The pieces (should) stand by themselves. The ‘notes’ constitute some of my reflections on them and do not constitute definitive statements about how people should play them. Musicians should feel free to disregard these reflections and/or explore other manifestations of the pieces. Many of these pieces constitute invitations to explore a particular sonic or relational world in a quite open-ended way, putting a lot of trust in the performers and process. (Score may get slightly updated over time—please check back for the most up-to-date versions.)
for string quartet playing on a beach while the f̶u̶l̶l̶ crescent moon is r̶i̶s̶i̶n̶g̶ setting (2021) for string quartet playing on a beach while the crescent moon is setting. Duration: less than ten minutes. score – notes
timbral sketch for bassoon and bass (2019) for one bassoon player and one bass player. Duration: variable. score – notes
0, 1, 2 (2019) for two players (any instrumentation). Duration: variable. score – notes
not clapping (2018) for all present at a performance. Duration: variable/ongoing. score – notes
Narrows / Expands / Elides (2018) site-specific work for small to large ensemble, any instrumentation, performing under the Narrows bridge in Perth. Duration: approximately 45 minutes. score
silences (2018) for two or more players (any instrumentation). Duration: variable. score – notes
Egregore (2018) for multiple voices; to precede another performance by the same players. Duration: variable. score – notes
four c sharps (2017) for solo pianist. Duration: approximately 9 minutes. score
Othering (2017) for piano and pre-recorded piano (or keyboard). Duration: variable. score
song to destroy myself / song to destroy the world (2017) for trans femme voice with drum and rattle. Duration: variable. score – notes
The 120 Days of Sodom / Must We Burn Sade? (2017) for narrator and multiple players (any instrumentation). Duration: variable. score
Hair. Metal. (2017) for multiple long-haired metalheads. Duration: variable. score – notes
Meme (2017) for solo performer. Duration: ongoing. score – notes
Silence backstage (2017) for one or more players backstage at a concert. Duration: variable (dependent on length of concert piece). score – notes
drone piece for sandpaper and drum (2017) for solo player. Duration: variable (long). score – notes
John 4:33 co-written with Djuna Lee & Dan O’Connor (2017) for one or more silent readers. Duration: variable. score – notes
Ashes of Burnt Sage (2017) for multiple drummers and multiple vocalists. Duration: variable (ideally at least 20 minutes). score – notes
as she walks through the fields (2017) for five speaking voices. Duration: variable. score
Voiceless Fricatives (2017) for two improvising voices. Duration: variable. score
Binary Count (2017) for any even number of speaking voices. Duration: variable. score – notes
Thirteen pages of improvisation (2017) for one or more improvisers; any instrumentation. The piece should be played from the score (not memorised). Duration: at least fifteen minutes. score – notes
Composition for two performers (any instruments) playing never-before seen instruction on index cards (2017). Duration: approximately 30 minutes. score (image of envelopes)
Chakra song (2016) a collection of pieces for small to large ensemble; any instrumentation. Durations: variable. score – notes
Variation on variations without a theme (drones ongs) (2016) another piece for small to large ensemble; any instrumentation: Duration: variable. score – recording
Variations without a theme (drones ongs) (2016, revised 2022) a collection of pieces for small to large ensemble; any instrumentation. Durations: variable. score – notes
Sage Pbbbt 