song to destroy myself / song to destroy the world (2017) for trans femme voice with drum and rattle. Duration: variable.

The 120 Days of Sodom / Must We Burn Sade? (2017) for narrator and multiple players (any instrumentation). Duration: variable.

Hair. Metal. (2017) for multiple long-haired metalheads. Duration: variable.

Meme (2017) for solo performer. Duration: ongoing.

Silence backstage (2017) for one or more players backstage at a concert. Duration: variable (dependent on length of concert piece).

drone piece for sandpaper and drum (2017) for solo player. Duration: variable (long).

John 4:33 co-written with Djuna Lee & Dan O’Connor (2017) for one or more silent readers. Duration: variable.

Ashes of Burnt Sage (2017) for multiple drummers and multiple vocalists. Duration: variable (ideally at least 20 minutes). [some notes below]

as she walks through the fields (2017) for five speaking voices. Duration: variable.

Voiceless Fricatives (2017) for two improvising voices. Duration: variable.

Binary Count (2017) for any even number of speaking voices. Duration: variable.

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. [some notes below]

Composition for two performers (any instruments) playing never-before seen instruction on index cards (2017). Duration: approximately 30 minutes.

Chakra song (2016) a collection of pieces for small to large ensemble; any instrumentation. Durations: variable.

Variations without a theme (drones ongs) (2016) a collection of pieces for small to large ensemble; any instrumentation. Durations: variable.



The pieces (should) stand by themselves. These notes consist of 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.

Some notes on ‘Ashes of Burnt Sage’

Some notes on ‘Thirteen pages of improvisation’