For solo cello + electronics. Performed by Severine Ballon 2013. Stereo mix of four channel piece.

The work uses extended cello performance and electronic techniques to explore the spatial and sonic experience of the cello. Amplification, sampling, delays and spectral filtering serve to build up detailed layers of spatialised, magnified sound. The grain of the instrument is investigated, crossing the boundary between noise and pitch. The textures constantly evolve in response to minute adjustments in the speed, pressure and position of the cellist’s bowing patterns.

The title is taken from a series of paintings by Robert Irwin.

Late Lines was turned into an installation for Glasgow Sound Thought 2014.

Late Lines

cut it out for piano and electronics by Georgia Rodgers

Performed by Mark Knoop at City University June 2014

cut it out

Just found this algorithmic comp I did in 2010.

Non real time

Study of tuba sound using granular textures to explore the pitch-noise continuum. Working with Oren Marshall. Composed in July 2014 to inform work for live tuba and electronics, Partial Filter, premiered by Pete Smith at HCMF 2014.

Tuba Study III

For solo tuba and electronics. Composed in 2014 as part of the Sound and Music Next Wave programme. Recorded by Oren Marshall, engineered, mixed and mastered by David Lefeber with the support of NMC recordings. Premiered at HCMF 2014 by Pete Smith, performed by David Powell at Cafe Oto 2015.

partial filter

Filtered field recording. Recordings made on the beach near Tadoussac, St Lawrence river, Quebec in June 2015. Composed October 2015.

Tadoussac

Recording of my installation at Field Studies 2011. NB: most of the sound used was bass frequencies so this is mainly illustrative! It will be on my blog soon with photos and words.

Train Your Body

Electroacoustic composition. Most of the sounds used came from wooden things.

Make it snappy

Three pieces for string quartet performed by the Quatuor Bozzini on the 5th Feb 2016 at the Woodend Barn, Banchory Scotland. Recording engineer Nicolas Godmaire.

The concert concluded the second week of work in the Composer's Kitchen, following part one in Montreal in June 2016. The project has been fantastic and I'm very grateful to the Quatuor Bozzini, Sound and Music, Sound Scotland, Christopher Butterfield, Christopher Fox, Egidija Medeksaite, Kyle Brenders, James O'Callaghan, Nicole Rochman, Nicolas Godmaire and everyone else who contributed to making it happen.

Three pieces for string quartet 2016

Performed by Two New Duo - Ellen Fallowfield (cello) and Stephen Menotti (trombone). Recording from a workshop held at City University, 07.03.17. http://www.twonewduo.com

This piece examines the physical nature of the instrumental sound by using long, held notes at microtonal intervals, which cause a fluctuating pattern of beats. The sounds are then broken down into constituent parts of transient noise and sustained harmonics. Rooms acoustics are important in this piece and the 'locatedness' of sounds is often ambiguous.

The title refers to philosophical discourse about the nature of sound. Distal theories consider sounds to be located at the object which is vibrating, whilst proximal theories say that sounds are where the listener is. Medial theories locate sounds in the medium between the object and the listener. At different points in the piece I tried to emphasise different modes of listening, shifting the location and spatiality of the sounds.

Distal theories

'Near and far' for vocal ensemble and electronic sounds performed by EXAUDI. Recording from a concert at City University, London 24th May 2017.

This piece sets fragments from Emily Brontë's poem Stars (1846) with sine tones of various frequencies. It explores spatial relationships between the singers, electronic sound and listener. Brontë's poem also deals with spatiality, contrasting as it does the relative magnitude of stars (infinity, the universe) with a human scale (homes, rooms).

Thanks to EXAUDI and James Weeks for their help on this project.

Near and far

Maeshowe for sextet and sine tones. Concert recording from the premier in Helsingborg, Sweden, April 2018.

With many thanks to the Riot Ensemble for their help in realising this project: Ausiàs Garrigos (clarinet), Andy Connington (trombone), David Royo (percussion), Fontane Liang (harp), Neil Georgeson (piano), Louise McMonagle (cello) and Aaron Holloway-Nahum (conductor).

The piece is based on the resonant frequencies of Maeshowe, an ancient burial chamber on the Scottish island of Orkney. The frequencies were extracted from the acoustic impulse response and converted from Hz to 12tone equally tempered pitches with cent deviations. The frequencies are played exactly as sine tones and approximated by the instruments in various ways.

Maeshowe

For solo percussion and electronics. Composed May - Aug 2010.

A to B

Instrumental and electronic composition https://polarpatterns.wordpress.com/

On youtube: 'Base' for bassoon and double bass https://www.youtube.com/watch?v=GQpD6uFm6Rc

'Masking set' for alto, viola, cello: https://www.youtube.com/watch?v=OuN08R__FTE

Georgia Rodgers

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