Lipogram (2021) - for solo violin

A "lipogram" is a literary work that entirely avoids the use of an
individual letter. Generally, this will be a frequently used letter,
like "E","T", or "A" in the English language. In this work, I apply the
same idea to a 12-tone system of tuning, and omit the most popular
note from that set, while making use of every other tone available.
My work leaps around the violin's range, taking full advantage of a
variety of timbres, volumes, and instrumental expressions as it does
so, ending with moves towards the absent tone, both by semitone and
by fifth, that never arrive.

Performed by Tanya Swinton.

Lipogram

Limanoidaloid (2021) - for fixed media and solo double bass.

The title of this work is a neologism, combining two similar words. The first, ‘liminal’, refers to the process of passage between two things, such as walking down an empty street or staying in a hotel room. The second, ‘liminoid’, also denotes an experience outside normal routine, but specifically an optional and recreational one, like attending a nightclub, concert, or sports event. This piece explores the distinctions between the two concepts in a variety of ways.

The fixed media track for this work contains audio samples, used with permission, from Maelstrom by Katie Bombardieri (https://soundcloud.com/katiebombardieri/maelstrom).

Performed by Julia Magri (https://soundcloud.com/user-495434134).

Limanoidaloid

Lovesong (2022) - for big band and electronics

Lovesong forms part of a larger artistic project examining the interaction between noise and other, more conventionally musical sounds. The beginning of the piece accentuates the contrast, placing conventional, upbeat big band writing alongside sudden, loud bursts of noise. As it progresses, this work then begins to emphasise the commonalities between the two musical forces, the electronics are used in a melodic role, and the acoustic instruments are used to create unusual unpitched noises. The title, Lovesong, serves to lull the listener into an initial false sense of security before the noise enters. Additionally, it refers to the union of opposites that plays out over the course of the piece.

Performed by the Sydney Conservatorium of Music's Big Band #1, conducted by Ellen Kirkwood.

Lovesong

Colours of Noise (2022) - for tenor saxophone and fixed media

Colours of Noise is based around the colours assigned to various noise signals in audio engineering. The most commonly known of these colours is "white noise," which has equal power across the entire spectrum of human hearing. The other sounds used in the electronic component of this piece are red and pink noise, which are weighted towards low frequencies; blue and purple noise, which are weighted towards high frequencies; and green noise, which emphasises the middle frequencies.

Performed by Andrew Smith.

Colours Of Noise

Shifting Visions (2022) - for large wind ensemble

Shifting Visions was written for the Wind Symphony at the Orange Regional Conservatorium, as part of a collaboration with a number of composers from the Sydney Conservatorium of Music. The piece moves between a bright, propulsive opening inspired by electronic dance music, and a gentle chorale-like section. Through gradual tempo changes and continuous harmonic development, the piece smoothly travels between these two contrasting ideas, which provides the basis for the title.

Shifting Visions

Dilate, Tessellate (2020, rev. 2022) - for string quintet (two violins, two violas, and cello)

Dilate, Tessellate is structured around two concepts from geometry: dilation and tessellation. On the small scale, the harmony 'tessellates', with the chords moving smoothly by step in the same way that a tessellating pattern of shapes fit together with no gaps or overlaps. Over the entire length of the piece, the harmony 'dilates' or expands, moving from standard chords built from thirds towards more complex quartal and quintal harmony. These harmonic concepts are presented in a bright, lively, and fast-moving piece with a constant rhythmic drive propelling the players and listeners forward.

Performed by the Metamorphosis String Quartet.

Dilate, Tessellate

Noctilucent (2020) - for large wind ensemble

Performed by Ensemble DaCapo, conducted by Jenny Ridgway.

Noctilucent

Wood, Brass, and Ivorite (2022) - for alto saxophone, acoustic guitar, and two pianos

Performed by Andrew Smith (saxophone), Roberto Steyer (guitar), Alicia Elsom (piano 1), and Felix Qian (piano 2).

Wood, Brass, and Ivorite

Phytosphere

Above / Below / Between

Constant and Equivalent (2020) - for orchestra

My entry for the Artology fanfare competition, which was performed by the Queensland Youth Orchestra at an online concert on the 30th of September, 2020.

Hear all the other fanfares here!: https://www.youtube.com/watch?v=kDoBCt6KHHg

Constant and Equivalent

Composer, musicologist, and brass player.

I live and create on Dharawal land.

Eamon Roche

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