Composition Diary

Constant data.

(1 data.txt):

1 : s l l g s g g s s s 
2 : l l g s g g s s s s 
3 : l g s g g s s s s l 
4 : g s g g s s s s l l 
5 : s g g s s s s l l g 
6 : g g s s s s l l g s 
7 : g s s s s l l g s g 
8 : s s s s l l g s g g 
9 : s s s l l g s g g s 
10 : s s l l g s g g s s 
11 : s l l g s g g s s s 

---
(2 data.txt):

1 : l s l g 
2 : s l g l 
3 : l g l s 
4 : g l s l 
5 : l s l g 

---
(3 data.txt):

1 : s l g s s l g s l s 
2 : l g s s l g s l s s 
3 : g s s l g s l s s l 
4 : s s l g s l s s l g 
5 : s l g s l s s l g s 
6 : l g s l s s l g s s 
7 : g s l s s l g s s l 
8 : s l s s l g s s l g 
9 : l s s l g s s l g s 
10 : s s l g s s l g s l 
11 : s l g s s l g s l s 

---
(4 data.txt):

1 : s l l 
2 : l l s 
3 : l s l 
4 : s l l 

---
(5 data.txt):

1 : s s s l s s l s 
2 : s s l s s l s s 
3 : s l s s l s s s 
4 : l s s l s s s s 
5 : s s l s s s s l 
6 : s l s s s s l s 
7 : l s s s s l s s 
8 : s s s s l s s l 
9 : s s s l s s l s 

---
(6 data.txt):

1 : g s s s s g 
2 : s s s s g g 
3 : s s s g g s 
4 : s s g g s s 
5 : s g g s s s 
6 : g g s s s s 
7 : g s s s s g 

---
(7 data.txt):

1 : l s g g g s g 
2 : s g g g s g l 
3 : g g g s g l s 
4 : g g s g l s g 
5 : g s g l s g g 
6 : s g l s g g g 
7 : g l s g g g s 
8 : l s g g g s g 

---
(8 data.txt)

1 : g g l g s l l g s 
2 : g l g s l l g s g 
3 : l g s l l g s g g 
4 : g s l l g s g g l 
5 : s l l g s g g l g 
6 : l l g s g g l g s 
7 : l g s g g l g s l 
8 : g s g g l g s l l 
9 : s g g l g s l l g 
10 : g g l g s l l g s 

---
(9 data.txt):

1 : l s g g s 
2 : s g g s l 
3 : g g s l s 
4 : g s l s g 
5 : s l s g g 
6 : l s g g s 

---
(10 data.txt):

1 : s l l g s g g s s s 
2 : l l g s g g s s s s 
3 : l g s g g s s s s l 
4 : g s g g s s s s l l 
5 : s g g s s s s l l g 
6 : g g s s s s l l g s 
7 : g s s s s l l g s g 
8 : s s s s l l g s g g 
9 : s s s l l g s g g s 
10 : s s l l g s g g s s 
11 : s l l g s g g s s s 



Composition Diary

Juncture II, New revisiting the Old

...In early 2013 I started sketching a new piano piece. In some senses it was a return to an earlier style of construction; a cellular based compositional model, focused on making the most use of extremely constrained harmonic, and thus melodic, material. By this stage I had already begun my doctorate and was interest in Maximal pitch content, as opposed to Minimal. However, the sketch was what it was. I produced about fifteen bars, set it aside to focus on other projects, and it was left untouched.