The pieces (should) stand by themselves. The ‘notes’ constitute some of my reflections on them and do not constitute definitive statements about how people should play them. Musicians should feel free to disregard these reflections and/or explore other manifestations of the pieces. Many of these pieces constitute invitations to explore a particular sonic or relational world in a quite open-ended way, putting a lot of trust in the performers and process. (Score may get slightly updated over time—please check back for the most up-to-date versions.)

O, D, E (2023) a text score, chamber opera for four vocalists and small ensemble (about six musicians). Duration: about 60 minutes

<3 love song: fragments of a speculative autobiography (2018, 2023) for narrator and three musicians. Duration: 50 minutes.

for string quartet playing on a beach while the f̶u̶l̶l̶ crescent moon is r̶i̶s̶i̶n̶g̶ setting (2021) for string quartet playing on a beach while the crescent moon is setting. Duration: less than ten minutes. scorenotes

timbral sketch for bassoon and bass (2019) for one bassoon player and one bass player. Duration: variable. scorenotes

0, 1, 2 (2019) for two players (any instrumentation). Duration: variable. scorenotes

not clapping (2018) for all present at a performance. Duration: variable/ongoing. scorenotes

Narrows / Expands / Elides (2018) site-specific work for small to large ensemble, any instrumentation, performing under the Narrows bridge in Perth. Duration: approximately 45 minutes. score

silences (2018) for two or more players (any instrumentation). Duration: variable. scorenotes

Egregore (2018) for multiple voices; to precede another performance by the same players. Duration: variable. scorenotes

four c sharps (2017) for solo pianist. Duration: approximately 9 minutes. score

Othering (2017) for piano and pre-recorded piano (or keyboard). Duration: variable. score

song to destroy myself / song to destroy the world (2017) for trans femme voice with drum and rattle. Duration: variable. scorenotes

The 120 Days of Sodom / Must We Burn Sade? (2017) for narrator and multiple players (any instrumentation). Duration: variable. score

Hair. Metal. (2017) for multiple long-haired metalheads. Duration: variable. scorenotes

Meme (2017) for solo performer. Duration: ongoing. scorenotes

Silence backstage (2017) for one or more players backstage at a concert. Duration: variable (dependent on length of concert piece). scorenotes

drone piece for sandpaper and drum (2017) for solo player. Duration: variable (long). score – notes

John 4:33 co-written with Djuna Lee & Dan O’Connor (2017) for one or more silent readers. Duration: variable. scorenotes

Ashes of Burnt Sage (2017) for multiple drummers and multiple vocalists. Duration: variable (ideally at least 20 minutes). scorenotes

as she walks through the fields (2017) for five speaking voices. Duration: variable. score

Voiceless Fricatives (2017) for two improvising voices. Duration: variable. score

Binary Count (2017) for any even number of speaking voices. Duration: variable. score – notes

Thirteen pages of improvisation (2017) for one or more improvisers; any instrumentation. The piece should be played from the score (not memorised). Duration: at least fifteen minutes. scorenotes

Composition for two performers (any instruments) playing never-before seen instruction on index cards (2017). Duration: approximately 30 minutes. score (image of envelopes)

Chakra song (2016) a collection of pieces for small to large ensemble; any instrumentation. Durations: variable. scorenotes

Variation on variations without a theme (drones ongs) (2016) another piece for small to large ensemble; any instrumentation: Duration: variable. scorerecording

Variations without a theme (drones ongs) (2016, revised 2022) a collection of pieces for small to large ensemble; any instrumentation. Durations: variable. scorenotes

Performance history

2024, Jan (6 performances) ‘<3 love song’ performed by Sage J Harlow, Lyndon Blue, Annika Moses and Josten Myburgh

2023, April ‘voixes’ performed by Zaya Barroso, BLECK, Lill Colgan and Robbie Wardhaugh at Mouth, Carriageworks, Sydney

2022, Sept ‘voixes’ performed by Paul Boye, Izzy French, Michelle Hall and Ella Peters at Old Customs House, Perth

2022, July ‘variations without a theme (drones ongs)’ performed by Jameson Feakes, Dan O’Connor, Oz Kesik, Djuna Lee, Josten Myburgh, Sage Pbbbt and Saskia Willinge at Kinds of Light, Perth

2022, May ‘voixes’ performed by Daniel R Marks, Kieren Kelly, Casey Nicholls-Bull, Jones and Isla Scott at Object Oriented Ontologies, ACCA, Melbourne

2021, Aug ‘for string quartet playing on a beach while the full crescent moon is rising setting’ performed by Earthshine Quartet, Feminist Counterpoint: Moon Music, USA

2021 Apr / ‘Ashes of Burnt Sage’ performed by Bowen Gosper, Lenny Jacobs, Noemie Huttner-Koros, Oz Kesik, Annika Moses, Josten Myburgh, Sage Pbbbt, Vanessa Stasiw at Audible Edge Festival, Perth

2019, Aug performances of ‘0, 1, 2’ and ‘timbral sketch for bassoon and bass’ performed by Luís Tasso Athayde Santos and Ebony Lim, Christ Church Claremont, Perth

2018, July ‘Narrows / Expands / Elides’ performed by Catherine Ashley, Mace Frances, Bowen Gosper, Rodrigo Kendrick, Pippin Kenworthy, Dan O’Connor, Sage Pbbbt, Shoshana Rosenberg, Sze Tsang, Alex Turner, Lindsay Vickery and Nate Wood at Limited Hangout: In The Field, Perth

2017, Oct ‘song to destroy myself / song to destroy the world’ performed by Sage Pbbbt at ‘Shock of the New’, Perth

2017, Sept performance of ‘Ashes of Burnt Sage’ by Eduardo Cossio, Bowan Gosper, Lenny Jacobs, Zoe Kilbourn, Josten Myburgh and Sage Pbbbt at iMprov, Perth