"Sound Morphology" (Bil Smith Composer): April 2022

Friday, April 29, 2022

"The Varietist" for Mezzo-Soprano

PDF LINK:

https://drive.google.com/file/d/1qHJ6LWpLYaXXplba36joKdiDlh830AXc/view?usp=sharing

"Dealing Only With Class Tickets" for Euphonium. Bil Smith Composer

"Dealing Only With Class Tickets"

for Euphonium

Bil Smith Composer

Link to PDF Score:

https://drive.google.com/file/d/140d6dXQ_XXdwjAYhoMORmC0TCWVH9GZe/view?usp=sharing

Saturday, April 23, 2022

"Scripted Illusion" for Flute, Clarinet, Viola and Cello. An Oppositional Notation System.

Full Score Page

"Scripted Illusion"

for Flute, Clarinet, Viola and Cello.

An Oppositional Notation System.

Bil Smith Composer

Thanks to Dassault Systemes

Sunday, April 17, 2022

"Making The Peterhead Heel A Little Under The Weight" For Bass Clarinet

"Making The Peterhead Heel A Little Under The Weight"

For Bass Clarinet

Bil Smith Composer

Link To Hi-Res PDF Score

https://drive.google.com/file/d/1AIPF8cmt2DMaeL2y8l7uHoznyZ0XL2je/view?usp=sharing

Horațiu Rădulescu, Jack Black, Oboist and Bil Smith: The Reclamation: The Recording (5'27")

Horațiu Rădulescu Black

A Reclamation of Horatiu Radulescu’s String Quartet Number Four. The Recording For String Quartet and Select Instrumentarium

This work, the ‘Reclamation’ of Horatiu Radulescu’s iconic String Quartet Number Four was enabled by a commission from Credit Suisse.

Bil Smith Composer

Premiere at Washington Square Park, New York, NY. June 17, 2013 (5:27 — Five Hours, Twenty Seven Minutes).

THE RECORDING on SoundCloud:

https://soundcloud.com/bil-smith/condensation-of-chromium-1

Stephan Charles Wilson, Conductor

Taylor Good, Violin

Duant Cooley, Percussion

Saturday, April 16, 2022

"Collagen for Viola"

Link to PDF Hi-Res File

https://drive.google.com/file/d/0ByXT8veODB_TWTVjaFpYU3VwMms/view?usp=sharing&resourcekey=0-oZlXfsWvvOZJwmf-0XDNsQ

"Malformationa" For Piano.

Bil Smith Composer

Published by LNM Editions

"A variety of crucial, and still, most relevant ideation about nothingness or emptiness in music, has gained profound philosophical prominence in the history and development of complex notation. These traditions share the insight that in order to explain both the great mysteries and mundane facts about our performance experience as composers, ideas of ‘nothingness’ must play a primary role. Contrarian to this theorem, I present this architecture that is at once interpretative and constructive."