I am presently working on a lighthearted pop composition project called MadeinMIDI, involving the creation of a series of concept-driven novelty pop tracks produced using music software and released via the internet. A recent high profile success in March 2012 was my track ‘Cars’, built entirely from car sounds and everyday traffic noises, which had a viral internet presence and was reported by BBC America and the Daily Mirror (amongst numerous press items) and broadcast by BBC Radio Leeds for whom I gave an interview. You can visit the ‘Cars’ press page at the MadeinMIDI project here
Watch the ‘Cars’ video that was created for the track by Croftwerk below:
I have also composed pieces for more traditional ensemble line-ups, including string quartet, wind quintet and orchestra and have had my own orchestral music performed publically. In August 2005 my orchestral composition ‘Fugue on the Final Countdown’ was premiered by West Yorkshire Symphony Orchestra at the ‘Beached’ music festival in Scarborough and received a further performance in 2009 at LCM’s Venue by Leeds College of Music’s Community Symphony Orchestra. The piece was composed in 2005 following a discussion of fugue subjects during a Harmony and Counterpoint class. I was thrown a gauntlet by the students: ‘submit one of pop’s finest anthemic moments to a rigorous contrapuntal treatment worthy of the great Baroque masters’ (or something like that). As it turns out Europe’s theme is actually rather Bachian in character, being reminiscent in particular of the subject used in Fugue No. 2 in C minor from the Well Tempered Clavier. Evenings poring over Oldroyd’s The Technique and Spirit of Fugue, which helpfully showed me the number of ways in which Bach broke his own rules, have probably paid off! The resulting composition for a standard orchestral line-up is for all intents and purposes a genuine fugue in that it utilizes a countersubject which works in invertible counterpoint, contains modulatory episodes which use material derived from the main theme and even culminates in a stretto-like finale.
As an arranger, in 2001 I re-worked an eighteen-part pit band score of the Sherman brothers’ musical, ‘The Slipper and the Rose’, for the NODA-initiated revival (based on original Angela Morley film score arrangements).
In 2004 Mel Bay published my guitar collection, Nineteen Gilbert and Sullivan Favorites arranged for Classical Guitar.
I have also worked freelance as a professional music typesetter for publications by Cambridge University Press (Julian Rushton’s ‘Elgar: Enigma Variations’), Boosey and Hawkes (my book, ‘Guitar from Scratch’), The Consort (early music journal) and numerous private individuals.