Round for soprano voices. 

One may notice the serpentine, melodious, and circular nature of the round. 

Special Thanks to Dr. Eric Scott Alexander, Mr. Erik Noyce, and Dr. Michael Porter. 

First performed on February 17th, 2022 at Boise State University Anthea Fisher, Nicole Gibbs, Katie Hansen, Hailey Hurd, Hattie Prater, Aviana R. Smith, and Savanna Stiller.

ca. 3 min.

Completed November, 2021
www.taylorrossmusic.com

Tempus Edax Rerum

'Tempus Edax Rerum' for soprano voices

An exposition of impermanence and the transmissible reality of all things. A continuous flow from one point to the next, whereby the experiential nature of the work is revealed moment by moment, within the comparison of dualistic paradox; one becoming the other, and the first becoming last.
In the emphasis of juxtaposition, the wildly emphasized extended techniques and atonality, contrast against the homophonic, metered, and pulsating tonality.
As with the mundanity of daily life and the passing of moments so non-distinct amongst themselves, their blending breath by breath and gradual transmutation into moments of cataclysmic consequence, is emphasized.
The beauty is welcomed as more palpable by the pain, and the pain more bitter because of the sweetness; the present moment experienced more vividly in the beautiful awareness of ephemeral decay.

First Performed on Saturday April 22nd, 2023 at Boise State University's Morrison Center for the Performing Arts by, David Korotkih, Laci Erich, violin;
Kate Nettles, viola; Aslen Whitmore, cellos 

ca 11 min.

Completed Aug-Dec, 2022
www.taylorrossmusic.com

Waxwing for string quartet

The primary motvation behind this work for solo flute is my time, encompassed, as an undergraduate at Boise State University, where the first composition I studied was Claude Debussy's Syrinx, and the last works I analyzed - in a Post Tonal Graduate Theory Course - were Elliott Carter's, Scrivo in Vento, and Edgard Varèse's, Density 21.5.
Focusing on utlizing the entirety of the french flute's full professional range, as a structural element of work, and - partly inspired by the extrapolation and fragmentation of the motivic cell in works by Augusta Read Thomas and Kaija Saariaho - and built on a set of rules allocating the movement of the voice from pitch to pitch; by fourth, or by semitone, in register, or by an octave displaced, and with the restriction of the use of a B natural until the final tone.
Extended techniques; flutter tongue, bisbigliando tremolos with percussive keyclicks/ keyslaps, and harmonics, are used to provide structure and forward momentum to the work, while particular attention is paid to rhythmic interpretation, and to the time and space between phrases, similarly as fundamental structural componants, both requiring elements of personal intuition on behalf of the performer as an active participant.

Special thanks is owed to Hannah Leonora Bailey, for her tremendous skill and expertise,
and her input and advice,
which helped to shape the work in its final form. www.hannahleonora.com

First Performed on Monday November 21st, 2023 at First Presbyterian Church Downtown Boise, ID by Hannah Leonora Bailey

ca. 6 min.

Completed August 13, 2023
www.taylorrossmusic.com

Taylor Ross Music

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