The pieces (should) stand by themselves. The \u2018notes\u2019 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\u2014please check back for the most up-to-date versions.)<\/p>\n
for string quartet playing on a beach while the f\u0336u\u0336l\u0336l\u0336 crescent moon is r\u0336i\u0336s\u0336i\u0336n\u0336g\u0336 setting<\/strong> (2021) for string quartet playing on a beach while the crescent moon is setting. Duration: less than ten minutes. score<\/a> – notes<\/a><\/p>\n timbral sketch for bassoon and bass<\/strong> (2019) for one bassoon player and one bass player. Duration: variable. score<\/a> – notes<\/a><\/p>\n 0, 1, 2<\/strong> (2019) for two players (any instrumentation). Duration: variable. score<\/a> – notes<\/a><\/p>\n not clapping<\/strong> (2018) for all present at a performance. Duration: variable\/ongoing.\u00a0score<\/a> – notes<\/a><\/p>\n Narrows \/ Expands \/ Elides <\/strong>(2018) site-specific work for small to large ensemble, any instrumentation, performing under the Narrows bridge in Perth. Duration: approximately 45 minutes. score<\/a><\/p>\n silences<\/strong> (2018) for two or more players (any instrumentation). Duration: variable. score<\/a> – notes<\/a><\/p>\n Egregore<\/strong> (2018) for multiple voices; to precede another performance by the same players. Duration: variable. score<\/a> – notes<\/a><\/p>\n four c sharps<\/strong> (2017) for solo pianist. Duration: approximately 9 minutes. score<\/a><\/p>\n Othering<\/strong> (2017) for piano and pre-recorded piano (or keyboard). Duration: variable. score<\/a><\/p>\n song to destroy myself \/ song to destroy the world<\/strong> (2017) for trans femme voice with drum and rattle. Duration: variable.\u00a0score<\/a> – notes<\/a><\/p>\n The 120 Days of Sodom \/ Must We Burn Sade?<\/strong> (2017) for narrator and multiple players (any instrumentation). Duration: variable. score<\/a><\/p>\n Hair. Metal.<\/strong> (2017) for multiple long-haired metalheads. Duration: variable. score<\/a> – notes<\/a><\/p>\n Meme <\/strong>(2017) for solo performer. Duration: ongoing. score<\/a> – notes<\/a><\/p>\n Silence backstage<\/strong> (2017) for one or more players backstage at a concert. Duration: variable (dependent on length of concert piece). score<\/a> – notes<\/a><\/p>\n drone piece for sandpaper and drum<\/strong> (2017) for solo player. Duration: variable (long). score<\/a>\u00a0– notes<\/a><\/p>\n John 4:33\u00a0<\/strong>co-written with Djuna Lee & Dan O’Connor (2017) for one or more silent readers. Duration: variable. <\/em>score<\/a> – notes<\/a><\/p>\n Ashes of Burnt Sage\u00a0<\/strong>(2017) for multiple drummers and multiple vocalists. Duration: variable (ideally at least 20 minutes). score<\/a> – notes<\/a><\/p>\n as she walks through the fields\u00a0<\/strong>(2017) for five speaking voices. Duration: variable. score<\/a><\/p>\n Voiceless Fricatives <\/strong>(2017) for two improvising voices. Duration: variable. score<\/a><\/p>\n Binary Count <\/strong>(2017) for any even number of speaking voices. Duration: variable. score<\/a>\u00a0– notes<\/a><\/p>\n Thirteen pages of improvisation <\/strong>(2017) for one or more improvisers; any instrumentation. The piece should be played from the score (not memorised). Duration: at least fifteen minutes. score<\/a> – notes<\/a><\/p>\n Composition for two performers (any instruments) playing never-before seen instruction on index cards <\/strong>(2017). Duration: approximately 30 minutes. score (image of envelopes)<\/a><\/p>\n Chakra song <\/strong>(2016) a collection of pieces for small to large ensemble; any instrumentation. Durations: variable. score<\/a> – notes<\/a><\/p>\n Variation on variations without a theme (drones ongs)<\/strong> (2016) another piece for small to large ensemble; any instrumentation: Duration: variable. score<\/a> – recording<\/a><\/p>\n Variations without a theme (drones ongs)<\/strong> (2016, revised 2022) a collection of pieces for small to large ensemble; any instrumentation. Durations: variable. score<\/a> – notes<\/a><\/p>\n\n\n 2023 April \u2018voixes\u2019 performed by Zaya Barroso, BLECK, Lill Colgan and Robbie Wardhaugh at Mouth, Carriageworks, Sydney<\/p>\n\n\n\n 2022, Sept \u2018voixes\u2019 performed by Paul Boye, Izzy French, Michelle Hall and Ella Peters at Old Customs House, Perth<\/p>\n\n\n\n 2022, July \u2018variations without a theme (drones ongs)\u2019 performed by Jameson Feakes,Dan O\u2019Connor, Oz Kesik, Djuna Lee, Josten Myburgh, Sage Pbbbt and Saskia Willinge at Kinds of Light, Perth<\/p>\n\n\n\n 2022, May \u2018voixes\u2019 performed by Daniel R Marks, Kieren Kelly, Casey Nicholls-Bull, Jones and Isla Scott at Object Oriented Ontologies, ACCA, Melbourne<\/p>\n\n\n\n 2021, Aug \u2018for string quartet playing on a beach while the full crescent moon is rising setting\u2019 performed by Earthshine Quartet, Feminist Counterpoint: Moon Music, USA<\/p>\n\n\n\n 2021 Apr \/ \u2018Ashes of Burnt Sage\u2019 performed by Bowen Gosper, Lenny Jacobs, Noemie Huttner-Koros, Oz Kesik, Annika Moses, Josten Myburgh, Sage Pbbbt, Vanessa Stasiw at Audible Edge Festival, Perth<\/p>\n\n\n\n 2019, Aug performances of \u20180, 1, 2\u2019 and \u2018timbral sketch for bassoon and bass\u2019 performed by Lu\u00eds Tasso Athayde Santos and Ebony Lim, Christ Church Claremont, Perth<\/p>\n\n\n\n 2018, July \u2018Narrows \/ Expands \/ Elides\u2019 performed by Catherine Ashley, Mace Frances, Bowen Gosper, Rodrigo Kendrick, Pippin Kenworthy, Dan O\u2019Connor, Sage Pbbbt, Shoshana Rosenberg, Sze Tsang, Alex Turner, Lindsay Vickery and Nate Wood at Limited Hangout: In The Field, Perth<\/p>\n\n\n\n 2017, Oct \u2018song to destroy myself \/ song to destroy the world\u2019 performed by Sage Pbbbt at \u2018Shock of the New\u2019, Perth<\/p>\n\n\n\n 2017, Sept performance of \u2018Ashes of Burnt Sage\u2019 by Eduardo Cossio, Bowan Gosper, Lenny Jacobs, Zoe Kilbourn, Josten Myburgh and Sage Pbbbt at iMprov, Perth<\/p>\n","protected":false},"excerpt":{"rendered":" The pieces (should) stand by themselves. The \u2018notes\u2019 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 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"_links":{"self":[{"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/pages\/48"}],"collection":[{"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/comments?post=48"}],"version-history":[{"count":0,"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/pages\/48\/revisions"}],"wp:attachment":[{"href":"https:\/\/sage.craigpedersen.com\/blog\/wp-json\/wp\/v2\/media?parent=48"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Performance history<\/h2>\n\n\n\n