Category: POLYTEMPORAL / ASYNCHRONOUS

Marc Yeats - Composer

the unimportance of events (2020)

Dedicated to my friend and composer, Jason Eckardt. This is a timecode-supported polytemporal ensemble piece. the unimportance of things for 17 players Instrumentation: alto flute clarinet in Bb bassoon tenor trombone 1 tenor trombone 2 percussion (1)* piano violin string quartet 1 string quartet 2 Double Bass Duration: 12.02   Performance instructions: 1) This work is unconducted.…
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when time is broke (2019)

This is a timecode-supported polytemporal ensemble piece. Dedicated to my friend, Lindsay Edkins. Instrumentation: PiccoloOboe Clarinet in B flatBass Clarinet in B flat Trumpet in C Percussion (1 player)*ViolinVioloncelloDouble bass *Percussion: Vibraphone, Timpani (2 kettles 29-28 inches and 22-20 inches), large, resonant Bass Drum. Duration: 13.50 Program note: Ha, ha, keep time! How sour sweet…
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Liquid Music for Ensemble (2019)

For solo clarinet and ensemble This is a timecode-supported polytemporal ensemble piece. Dedicated to my friend, Gleb Kanasevich Instrumentation: Clarinet in B flat, Oboe, Harp, String Quartet, Percussion (1)* *Percussion: Deep, resonant bass drum; large, deep Tam-tam; 2 Congas low/high; 2 Bongos low/high; 5 differently pitched Temple Blocks, low to high; High-Hat; Gong; Metal Wind…
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obscure sorrows (2019)

Dedicated to my friend, William A.P.M. Duo for clarinet (doubling Bass Drum) and violin. This is a timecode-supported polytemporal duo piece. Programme note: This piece is a timecode-supported polytemporal composition. It has been created by combining materials from liquid music (2017) for solo B-flat clarinet and materials from cutouts (2014) for violin. The addition of…
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[…] which constantly generates a pulviscular cloud […] (2019)

For Chamber Orchestra Dedicated to my dear friends, Stephen Davismoon and Lauryna Sableviciute This is a timecode-supported polytemporal chamber orchestra piece. Duration 20’36” Programme note:  ‘8. A classic is a work which constantly generates a pulviscular cloud of critical discourse around it, but which always shakes the particles off.’*  The term ‘pulviscular cloud’, in this…
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Cutouts for Ensemble (2019)

For violin and ensemble Dedicated to Peter Sheppard Skaerved Instrumentation: Violin solo, 1 Oboe, 2 Clarinets in B-flat, Harp, String Quartet and Percussion (1 player)* *Deep, resonant bass drum; 2 differently pitched Tam-tams; 4 suspended cymbals ranging from high to low in pitch. This is a timecode-supported polytemporal ensemble piece. Duration: 13 minutes. programme note:…
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pulviscular observations (2019)

For double string quartet This is a timecode-supported polytemporal string piece Dedicated to my dear friend, Gráinne Mulvey pulviscular observations is an intimate, compressed, elegiac and sometimes explosive 11-minute piece for double string quartet. pulviscular observations‘ relationship to landscape, intuitively established through self-borrowed materials taken from observation 4, and observation 5 and before them, the…
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pulviscular compression (2019)

pulviscular compression is an 11-minute piece for 19 string instruments spatially organised as four string quartets and three double basses. This is a timecode-supported polytemporal string orchestra piece pulviscular compression is dedicated to my friend, the composer Camden Reeves. pulviscular compression is a terse, compressed, agitated and somewhat relentless composition that attempts to establish a…
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the heaven that runs through everything (2018) standard orchestra iteration.

This is a timecode-supported polytemporal orchestral piece Dedicated to my dear friend, the composer, Gordon Crosse.  Duration: 30 minutes. Instrumentation: 4[1.2/picc.1.3/picc.2.4/Alt] – 3[1.2/Ca. 3/Bo] – 3[1.2/Ebcl.3/Bcl] – 3[1.2.3/Cbn] – 4.4[1.2.3/picc.4/picc] 3.1 – 2 Hps – Tmp+4* – Str:[16.14.12.10.8 as Violin 1: Soloists 1, 2, 3, and violins 1a, 1b, 1c, Violin 2: Soloists 1, 2, and…
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[and] a powerful flame came out of the earth […] (2019)

[and] a powerful flame came out of the earth […] for large orchestra This is a timecode-supported polytemporal orchestral piece. Dedicated to my dear friend, Sylvia Junge, as a gift for her 80th. birthday. Instrumentation: 5[1/picc1.2.3.4/picc2.5/alto/picc3] – 5[1.2/Ca1.3.4.5/Ca2] – 5[1.2.3.Bcl1.Bcl2] – 5[1.2.3.Cbn1.Cbn2] – 8.5[1.2.3.4.Btpt]3.2 – Tmp(2 players)+1* – Str[16 (1 soli).14 (1 soli).12 (1 soli).10…
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the heaven that runs through everything (2018) large orchestra iteration

This is a timecode-supported polytemporal orchestral piece. Dedicated to my dear friend, the composer, Gordon Crosse. Instrumentation: 5 Flutes: Flute 1, Flute 2/Piccolo, Flute 3/Piccolo, Flute 4/Alto Flute, Flute 5/Bass Flute 5 Oboes: Oboe 1, Oboe 2/Oboe d’amore, Oboe 3/Cor Anglais, Oboe 4/Cor Anglais, Oboe 5/Bass Oboe 5 Clarinets: Clarinet 1, Clarinet 2/ E-Flat Clarinet,…
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observation 1.8 (easton woods) (2017)

observation 1.8 for bass recorder, oboe and violin This is a timecode-supported polytemporal trio. 12.30 minutes duration Dedicated to my friend and musician, Sylvia Hinz. observation 1.8 is a continuation of a compositional journey began as Composer-in-Residence to the Observatory [a SPUD project] in 2015 during which time I composed 2, site-specifically inspired string quartets.…
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observation 5 (perpendicular music) for string quartet (2016)

Dedicated to my dear friend, the composer Gordon Crosse on his 80th. Birthday. This is a timecode-supported polytemporal string quartet. Duration circa 18.30 minutes observation quartets 4 and 5 are a continuation of a compositional journey began as Composer-in-Residence to the Observatory [a SPUD project] in 2015 during which time I composed 2, site-specifically inspired…
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observation 4 (easton bavents) for string quartet (2016)

Dedicated to my friend and colleague, Mic Spencer. This is a timecode-supported polytemporal string quartet. Duration: 17 minutes observation quartets 4 and 5 are a continuation of a compositional journey began as Composer-in-Residence to the Observatory [a SPUD project] in 2015 during which time I composed 2, site-specifically inspired string quartets. observation 1 and 2…
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observation 7 (gander down) 2016

This is a timecode-supported polytemporal ensemble piece.. Dedicated to my very dear friend, Sylvia Jungé for her 80th. Birthday. for piccolo, oboe, trumpet in C, Horn in F, viola, double bass and percussion [1]* *Deep, resonant bass drum, Large, deep Tam-tam, 2 Congas low / high [or similar drums pitched lower than the Bongos], 2…
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observation 6 (fawley down) 2016

Dedicated to Ensemble Suono Giallo This is a timecode-supported polytemporal ensemble piece. Instrumentation: for piccolo, soprano saxophone, piano and percussion. Duration: 12.30 minutes Commissioned by Ensemble Suono Giallo, premiered on the opening night concert of the Il Suono Young Composers’ Academy by Ensemble Suono Giallo, Saturday, July 15, 2017, at 7 pm, Scuola Comunale di Musica…
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observation 3 (salt hill) 2016

observation three: for double string quartet and double bass Dedicated to my dear friend, the composer Neil March This is a timecode-supported polytemporal string piece. Duration: 15 minutes Composer-in-Residence to the Observatory: Two site-specifically inspired string quartets across two residency locations in one year. As a composer and painter, I have a deeply held interest…
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an uncomfortable condition (2016)

For Flute, 2 violins, viola, violoncello and double bass | duration 12 minutes | dedicated to Grainne Mulvey an uncomfortable condition is commissioned by La Côte Flûte Festival 2016.  It received its first performance with ‘zero theorem’: Carla Rees [flute] Minsi Yang Johnson & Nuno Carapina, violins, Stephen Upshaw, viola, Patrick Tapio Johnson, cello and…
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observation 1.7.5 (2015)

Trio for open-holed or kingma system quartertone alto flute, bassoon and violin Written for Rarescale and dedicated to Charles Morgan Lines | duration circa 7 minutes Composer-in-Residence to the Observatory: 4 site-specifically inspired string quartets across four residency locations in two years: As a composer and painter, I have a deeply held interest in the…
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observation 2 (oxey marsh) 2015

observation two for string quartet | circa 16 minutes in duration | dedicated to John McLeod “Honoured and proud to be the dedicatee of this extraordinary work by Marc Yeats – one of the UK’s most innovative and gifted composers. Trees are swaying and bending in the breeze in some exotic garden before they start…
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observation 1.6 (old winchester hill) (2015)

observation 1.6 (old winchester hill) for 2 violins and piano; duration circa 11.30 minutes. Composer-in-Residence to the Observatory: 4 site-specifically inspired string quartets across four residency locations in two years: As a composer and painter I have a deeply held interest in the psychological and perceptual / emotional / intuitive associations between these two media…
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the appointment of life (2015)

the appointment of life trio [duo] for extended male voice [viola] and percussion *[1] *percussion set 1: Deep, resonant bass drum; Large, deep Tam-tam; 2 Congas low / high [or similar drums pitched lower than the Bongos]; 2 Bongos low / high [or similar drums pitched higher than the Congas]; 5 differently pitched Temple Blocks…
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observation 1.5 (no man’s land)

observation 1.5 (no man’s land) | duration 14.5 minutes | for recorder [treble doubling descant], violin and violoncello | Dedicated to Sylvia Hinz and XelmYa US Premiere performed by XelmYa A. Renger – Violin / T.J. Borden – Cello / S. Hinz – Recorders Oct 19th 2016 at Barbara And Art Culver Center Of Arts…
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the pictographs of emmanuel domenech [2015]

the pictographs of emmanuel domenech for 2 flutes, oboe/cor anglais, bass clarinet, contrabassoon, violin, viola, violoncello, harp, and percussion [3]* *deep, resonant bass drum; 5 tom-toms ranging from low to high; 2 large, deep tam-tams; 5 differently pitched resonant wooden objects ranging from low to high [non-specific boxes, barrels, bowls, planks, logs etc.] or 5…
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observation 1 (ovington down) string quartet (2015)

observation one [ovington down] for string quartetDuration circa 14.5 minutes Dedicated to Sadie Harrison on her 50th. birthday. Composer-in-Residence to the Observatory: 4 site-specifically inspired string quartets across four residency locations in two years:As a composer and painter, I have a deeply held interest in the psychological and perceptual/ emotional/intuitive associations between these two media…
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the shape distance [2013] Album

The Shape Distance by Chamber Cartel the shape distance are a series of [initially] seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar core material that is ‘enclosed’ by other layers of material.
 The core music is represented by two solo pieces that although composed in isolation contain…
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mr redheffer’s perpetual motion machine (2015)

mr redheffer’s perpetual motion machine for two pianos | duration: circa 13 minutes | dedicated to ivon oates Note about the title: In 1812 a man called Charles Redheffer appeared in Philadelphia. He had with him a miraculous perpetual motion machine that required no source of energy to run. Or so he claimed. He set…
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the great moon hoax (2015)

the great moon hoax for two pianos | Dedicated to Anna Ferro | duration: circa 13 minutes Note about the title: A piece perhaps full of fantastical imagery? This is abstract music; no programmatic interpretation is intended. The title was found after the music was created: ‘The Great Moon Hoax lithograph of “ruby amphitheater” for…
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shapeshifter (2015)

Dedicated to Gleb Kanasevich | duration 20 minutes shapeshifter for clarinet in Eb [soloist] and ensemble: flute, violin, violoncello, guitar, piano and percussion [1]* *Marimba [5 octaves]; Deep, resonant bass drum; 4 Tom-toms ranging from low to high; large, deep Tam-tam; 4 differently pitched resonant wooden objects ranging from low to high [non-specific drums, boxes,…
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cohort (2014)

For clarinet in B flat, piano and vibraphone. Duration 5.30″ cohort: for clarinet in Bb, piano and vibraphone     notes: The instrumentalists play independently of each other. Music is cued to begin only with both instruments starting at the same time. There is no ‘fixed’ synchronisation between the instrumentalists. Whilst the relationship of each…
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