Is my first ever piece written for Celeste back in 2013.  Influenced by Tchaikovsky, Alice and Wonderland and everyday objects, you'll hear some tra-la-la's and some doorbells so enjoy my 'heavenly' weird take on the Celeste.

Did you sleep okay

Second Movement from my HND folio to a previous composition that disappeared so many times from the computer and re transcribed then refound. (Again like its predecessor, this received the same lost and found technique) This movement uses the theme but instead concluding the pains of the mouse being attacked and reminising of its cheese (programmatic) using atonal rows and mirroring techniques with my usual twist of tonal qualities.

Found II Quietly With The Cheese

This piece was continuous task throughout my HND year, was pushed to the challenge of bigger score writing where I orchestrated for String Orchestra featuring Harp Solo and Two Solo Violinists.  Hint of jewish or film and my interpretation of dark screechy violin music (won't be helped my Sibelius's violin midi)  Structure is in A: B: C.
Key things to listen out for I feel capture my Faux music/outdoorsy/dark string writing;
1. Drones
2. Blend
3. Interchange of Soloist roles.

Dark Side Of Mounte Rosa

Continuation of String Writing Projects/Compositions and previous pizzicato commissions for I experimented with the idea of inverting and retrograding motifs to come up with a clockwork nature where parts inside the clock itself go back and forth and can stay still. (like a watch perhaps if your visual like I am)
Harp acts as the solo I would say throughout while the strings have to counter what ever the harp has set in terms of time where change of harmony, the use of subtle chromatic shifts and PIVOT TONES to heighten the intimacy I feel working with the 20th Century techniques.
Rhythms are also retrograded and inverted as you may hear in between all the wee changes of modulation.

Clockwork

If the clues not in the name, this is what serial composition does to me.  Not much to say about this composition, tone row where my math skills had to be dusted of cob-webs.
I have four notes of the row to start (D natural, Db, A natural, B natural) then I had a note every few bars, varing and matching in its compound signature.  After the full row is heard,  you will hear how I have begun to cut some of these notes out at certain bars until only left with one note which fades away after time.  

Serial composition I believe to need as much space to develop as possible and for as a listener I find I need time to adjust and just to shut my eyes.
(Apologies for the Sibelius Piano Quality)

Fuzzed Moth

Part Two of a set of compositions of the 'plucking' nature written for the Glasgow Symphony Orchestra.  My banjo style playing in the corridors with my violin was where most of these ideas came into my head so hope you can feel that to where all the parts are all weaving and mirroring with octaves and third relationships between a very basic harmonic progression.  

My aim is do a whole collection of this style of short what I describe as weave composition (not necessarily pizz.) 

Can you see the food connection??
 (yes I am always hungry)

lauren.h.

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