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My master's degree is starting to draw to a close, and I'm very aware that every piece I write now will be one of the last while I still have my tutor. For that reason, I've really tried to push myself beyond my current boundaries wherever possible.

This piece, while not incredibly 'contemporary' sounding I suppose, in some ways represents the culmination of my efforts and explorations while at this institution. I've pushed my harmonies and chord progressions as far as I'm personally willing to right now, and also used some new string techniques that I'd not really explored before. Some of this piece, especially the second half, is definitely among my favourite music I've ever written.

I've still kept to my usual style of working with very short bits of material and seeing where I can take them, but this piece is roughly divided into three or four smaller sections which have their own separate ideas as well. I've also become very interested lately in sounds that 'morph' over the course of a single note. Usually, that just means fading multiple instruments in and out on the same note. I feel that this is an area that isn't adequately explored in a lot of the more widely played contemporary repertoire, especially in more amateur-aimed music.

This piece will be performed at the start of May by a professional ensemble (including a very skilled concert pianist, fortunately). It'll be conducted, which is why I put the piece in this section.

I've put it on Soundcloud as well if that playback is working better than this site for whatever reason. There's a couple of really minor changes between the score and the recording, because once you start polishing the score in Sibelius you often kind of ruin the playback.

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I am very intrigued by this piece; while not in a style with which I am very familiar, the piece flows very nicely from idea to idea, and there is a clear and logical progression of material. I think you managed well to exploring and developing a lot of the material you present; for instance, I can very transparently follow the initial figures created by the clarinet and glockenspiel (independently, of course). The flute then introduces one of its prime figures -- i.e. the sextuplet -- and I am able to follow how it passes between the lines and transforms, as in the piano later in the piece. Ultimately, I think you did a good job creating a consistent, coherent structure by exploring the material you rendered. Good job, and good luck with the performance!

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