MEMBRANE was composed for the Plus Minus Ensemble, under the supervision of Mark Knoop. Much of my initial fascination with the ensemble came after hearing their recording of Bryn Harrison’s ‘Repetitions in Extended Time’. Harrison’s use of dynamics and gradual changes in texture attracted me greatly; in particular, the unity the electric guitar maintained with the rest of the ensemble made the group feel like a single, hybrid musical instrument. In previous pieces, I had explored subtle timbral alterations through small variations in texture, but with MEMBRANE, I wanted to create a work where the rate of change was significantly faster. I was also informed by the rapid flow of sonic information found in electronic music, specifically the work of artist Seth Scott. I was fascinated by how electronic sounds can exist independently or morph in infinite ways, with envelopes that are not restricted by the physical properties of acoustic instruments. It was my hope to create dynamic envelopes within this piece that were independent from the other notated material.
The generative foundations of MEMBRANE were built in Supercollider code. I aimed to create an intervallic space that provided extreme contrast from moment to moment while maintaining a sense of stasis over longer timescales. Each pitch was selected from a shared set. In contrast to my previous works, where pitches were chosen via probability or at random, I wanted to create an intervallic syntax that expressed the structure of the material through an arpeggiator algorithm.
In synthesisers, an arpeggiator performs an expanded role beyond traditional upward and downward motion; different patterns can be used to select notes within a range to create complex sequences. Using Supercollider, I developed a custom arpeggiator algorithm that used specific numerical patterns to decide the next note. For example, a pattern might dictate stepping upwards by one note in the pitch set, then two, then three, repeating the cycle once the limit of the pitch set was reached. Other patterns could create continuous alternation between adjacent notes. Rhythmically, I utilized the semiquaver as the base duration and applied a similar patterned operation to generate sequences of durations. By aligning or staggering these rhythmic and melodic cycles across different instruments, I could achieve great variation and create longer, evolving structural cycles.
While my practice is predominantly focused on the process of generating work, I challenged myself with MEMBRANE to generate algorithmic material in a linear fashion. Typically, I focus on the macro structure and aesthetic context before filling in smaller details. However, inspired by Harrison Birtwistle’s assertion that music fundamentally exists in time, I decided to compose the music exactly as it was to be heard—linearly. I generated sections of material using specific rules for pitch and rhythm, allowing each section to be informed only by the one immediately preceding it. This restricted decision-making process led to a piece with a structural fluidity and a unique sense of forward momentum that did not exist in my earlier work.