-nOir= is an ongoing project that explores the application of graphic notation at varying levels of musical education and background. The piece combines aspects of inherently graphic notation with more quasi-traditional notations in an attempt to coax a performer into a state of performance instability. The nature of the notation exhibited in -nOir= intends to encourage performers to consider the extended possibilities their instruments possess as well as the extensive possibilities of their existing performance techniques, and in turn, advocates that they capitalise on such qualities during interpretation.

A proficient minimalist composer, Hayat's work often focuses on aspects of spoken word, the upright piano, poetry, and field recordings, drawing upon influences such as John Luther Adams, Philip Glass, and Julian Eastman as influences.

-nOir= (Page 4) Feat. Hayat Sebep

-nOir= (Page 3) Feat. Hayat Sebep

-nOir= (Page 2) Feat. Hayat Sebep

-nOir= (Page 1) Feat. Hayat Sebep

The work aims to stress the extremes of violence and savagery that man is capable of. Written for three instruments occupying particularly the lower end of the pitch scale as an indication of not only the depth of the sinners within hell but also the number of sins housed, the notation incorporates one stave of continuity—implying the circle itself— around which three dotted sets of parameters—implying the respective rings—gradually develop and collapse as the work unfolds.
Written for a string trio of Double Bass, Cello, and Violin, each instrument is representative of a different sinner imprisoned within the circle, and is instructed to perform with the connotations of such a level of violence under consideration:

Double Bass (Violence against Man): The Double Bass represents those violent against their fellow man, guilty of the most heinous crimes of all, such as murder. This performance should be the most violent, forceful, and unnerving.
Cello (Violence against Self): The Cello represents those who brought violence upon themselves. This performance should be approached less violently, and like the trees in Dante’s narrative, somewhat remorseful.
Violin (Violence against God and nature): The Violin represents those violent towards God, and nature; his greatest creation, through the reverent of false Gods, and blasphemy. Arguably the instrument most representative of emotion, this performance should be the least violent, and most contrite.

Composed: 2021
Performed: 2021

Circle VII - Violence - Woven Paths Of Measurable Savagery (for Double Bass)(Feat. Gary Ankers)

The work aims to stress the extremes of violence and savagery that man is capable of. Written for three instruments occupying particularly the lower end of the pitch scale as an indication of not only the depth of the sinners within hell but also the number of sins housed, the notation incorporates one stave of continuity—implying the circle itself— around which three dotted sets of parameters—implying the respective rings—gradually develop and collapse as the work unfolds.
Written for a string trio of Double Bass, Cello, and Violin, each instrument is representative of a different sinner imprisoned within the circle, and is instructed to perform with the connotations of such a level of violence under consideration:
Double Bass (Violence against Man): The Double Bass represents those violent against their fellow man, guilty of the most heinous crimes of all, such as murder. This performance should be the most violent, forceful, and unnerving.
Cello (Violence against Self): The Cello represents those who brought violence upon themselves. This performance should be approached less violently, and like the trees in Dante’s narrative, somewhat remorseful.
Violin (Violence against God and nature): The Violin represents those violent towards God, and nature; his greatest creation, through the reverent of false Gods, and blasphemy. Arguably the instrument most representative of emotion, this performance should be the least violent, and most contrite.

Composed: 2021
Performed: 2021

Circle VII - Measurable Paths Of Woven Savagery (for Violin)(Feat. Sam Der Kevorkian)

'[105] - At Last... We Echo Into Nothingness' is the fifth and final installment in a series of improvised experimental works composed between February 2020 and August 2023. It is the only work composed in 2023 marking a two-year interval since the last installment in the series '[104] - And As The Candles Watched... The Earth Died Screaming'.

The Ambient Sessions

[105] - At Last... We Echo Into Nothingness

-nOir= is an ongoing project that explores the application of graphic notation at varying levels of musical education and background. The piece combines aspects of inherently graphic notation with more quasi-traditional notations in an attempt to coax a performer into a state of performance instability. The nature of the notation exhibited in -nOir= intends to encourage performers to consider the extended possibilities their instruments possess as well as the extensive possibilities of their existing performance techniques, and in turn, advocates that they capitalise on such qualities during interpretation.

Dr. Jake Randell is a recent PhD graduate of the University of Leeds, where his practice-led research investigated the compositional possibilities of decoupled organ pipes.

-nOir= (Feat. Jake Randell)

‘103 - What We Leave as Remnants’ is the third addition to an ongoing collection of improvised experimental works, composed in November 2020, as a continuation of two prior compositions, ‘101 - Dark’ & ‘102 - the wal(L)s are sh(I)fting y(e)t I cannot (S)tand’.

[103] - What We Leave as Remnants

'104 - And As The Candles Watched... The Earth Died Screaming' is the fourth installment in an ongoing collection of improvised experimental works. The piece is the first and only work of the collection to be composed in 2021, following ‘103 - What We Leave as Remnants’ in late 2020.

[104] - And As The Candles Watched... The Earth Died Screaming

UK based experimental composer. My key compositional interests involve the interpretation of graphic notation, experimental performance techniques, aspects of education in experimental notation interpretation, as well as ensemble behaviour. My work has been performed and premiered in the United Kingdom, Europe, as well as the United States. My newest work ‘(De)Constructing August’, is currently in rehearsals, and is scheduled to premiere in May 2025. I began my Ph.D level research in October 2024.

Instagram: thomasodonnell_composer 

Website: https://thomasodonnellcomp.wixsite.com/www-thomasodonnell-c

Contact: thomasodonnell.composer@gmail.com

Thomas O'Donnell

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