"Douglas A4D (A-4)" A Bendix Aviation Project

"The Colaboratorie" - A Laboratorie New Music Cooperative Composition

Oxilet Cluster Granular Synthesis, Singularity Saw, Fault-Tolerant Aeroepithelium, Magnetized Amplifier (Lungs System), Integrated Particle High Density Glisson Cloud Sweeping, Microsonic Optical Phase Vocoder, Polymorphic Percussion, Magnetized Amplifier (Lungs System), Holoreduction, Delta Titration Spectrum Filters, Irradiated Pulsar Synthesis (Saiph), Quantitative Valence Stabilizer, Variable Flourine Modulator, Vorticular Alpha Wave Oscillation, Chromatid Rotoresonance, Dimagnetic Distortion, Luminoconfiguration Sonic Algorithms (Prototype ), Set #8: 1089, 8507, 414 and String Ensemble.

"South Of The Central Lagoon Which Contained The Planetarium"

"South of the Central Lagoon Which Contained The Planetarium" for Strings, Chamber Orchestra, Piano, Live Electronics, Adderall, Straterra, Vyvanse, Paraldehyde and Xanax. (2013) Bil Smith Composer.

Premiere Performance, Art Basel Miami, December 8, 2013.

“Equivalent Ideation & Lost Gill-Slits” (2013) Bil Smith Composer

For Two String Quartets and Two Jazz Quintets featuring:

Quatuor Diotima - Radikant; Oliver Lake (Saxophones); Roscoe Mitchell (Woodwinds. Ideated Instruments); Bil Smith (Pocket Trumpet, Flugelhorn, Percussion); William Parker (Bass); Amina Claudine Myers (Piano); Milford Graves (Drums, Percussion, Ideated Instruments)

T’Ang Quartette; Evan Parker (Saxophones); Manfred Schoof (Trumpet); Maarten van Regteren Altena (Bass); Alt Koom (Percussion)

Han Bennink (Drums, Percussion)

Recording: Funkhaus Nalepastrasse, Berlin. March 12, 2013

The genesis of this composition emanates from my early music experiences as a free jazz trumpet player. Ornette Coleman’s Double Quartet and the seminal recording “Free Jazz”; Horatiu Radulescu’s musical treatise “Sound Plasma” and artist Mark Rothko all have a profound influence in the evolution of this work.

"It Behaves Like an Element in a Geometrical Equation" (2010-2012) - Bil Smith Composer

For Two Pianos, One Prepared Piano (Plot "A"), One Prepared Piano (Plot "C"), Bass Celeste, Modified Glockenspiel, and Annealed Steel Bells.

"Bil Smith has gone an indebted path, transposing his adamantium vernacular into a melancholic production...hovering between sound and silence, stability and instability. His compositions are apt sonic metaphors of total anonymity albeit with a paradoxical threat of imminent overload"

- Bill Meyer, Noted Music Critic of Gramophone, The Wire and The Guardian

"Similar Monomania" For Orchestra and Seven Pianos (2012)

"Similar Monomania" For Orchestra and Seven Pianos (2012). Bil Smith Composer

"Remarkably comfortable with causation, he seems to be moving through some ritual process that explodes into life threatening chaos at any moment. It's tempting to talk about shamanic journeys. The absence of a prevailing stylistic orthodoxy is striking"

- Clive Bell on Bil Smith's "Similar Monomania" for Wire

"The Bare Lathes Intertwined with Creeper and Wire-Moss" Bil Smith Composer

2013 Commission from Pemex (Petróleos Mexicanos)for Chamber Orchestra, a work predicated on 'Compositional Bounding Theory', a theory about the locality of movement. The main principle of Bounding Theory is the Subjacency condition, which forbids movement across more than one bounding node (i.e. tablature).

for Chamber Orchestra; Coloratura Soprano (Obstruent Phonology); Soubrette (Siblancy: Fricative speech sounds with high frequency); Spinto Soprano (Strict Cyclicity); IGT Wild Cherry Spinning Wheel Slot; IGT 2x3x4x5x Red Hot 7s™ Spinning Reel Slot; IGT Hot Roll® Ca$h Ca$h Ca$h™ Video Slots; IGT Megabucks® Crystal Sevens® Slot; WMS Dashing Dolphins Slot; Wicks Century 5 Pipe Organ; Paiste 24' Venus Gong; Waldorf Blofeld Synthesizer; Hellfire Modulator, an analog, tube-based distortion rack-module; Formanta Polivoks Synthesizer; ESP jeune fille X Gips -Cross Ray- Moi dix Mois MANA Signature Model Electric Guitar.

"Concentrated Sweetner And Aperture: Bechet's Syndrome" Bil Smith Composer (2010/2013)

"Forgotten Algebra Of The Random Sky"

for Orchestra and Melodaphone Hyperbare, Membrane de Platine Tronquée, Néodyme Accéléré Trompette à Coulisse, Résonance des Hydrocarbures, Hadril Isotopique, Transparent Chambre de Cloud Peresium Bols, Yttranium non Conducteur et Opaque Rhodogen

Bil Smith Composer (2013)

A Commission from Électricité de France (EDF)

"For a Brief Moment The Secret Formulae of the World Around Us, but…"

"For a brief Moment The Secret Formulae of the World Around Us, but…"

For Chamber Orchestra, String Quartet, Solo Violin, Solo Viola, Seven Metalophones Formulae, Time Valued Contained Tape , Auto-Nader Model Sonificis, and QuarterCello Intevallis, Trans-liberated Pudenda of Cage Tapes.

"And the Guilded Spirit Was Declining" for Three Organs - Bil Smith Composer

"And the Guilded Spirit Was Declining" for Three Organs.

Recorded and Premiered March 9, 2013, San Giovanni Degli Eremiti, Palermo Italy.

A New Recording on the Laboratorie New Music Record Label.

"Ilatom" for Potentiated Voices, Piano and Modulator: LIVE

"Ilatom" for Potentiated Voices, Piano and Modulator which premiered at Merkin Hall in February, 2013. Less than two minutes long and one year to create. This performance recorded May 21, 2013 at Bowery Performance Space.

"The vocalists occupy the center of the space faced outwards directing the sound into the tubular passageways which have been partitioned off with metal and glass plates creating chambers that are optically and acoustically permeable.

Buried in the strata of "Ilatom" are deposits of grainy textures, nests of overtones and more juxtaposed arrangements than the length of this work would suggest."

- David Keenan for The Independent

"A Hand of Patience on the Floor of the Pool" Bil Smith Composer (2011-2013)

"A Hand of Patience on the Floor of the Pool" (2012-2013). Bil Smith Composer.

Flute 1: Whirled-down draught; defective tape image:
Flute 2; Bruised mouth, plane of intersection:
Flute 3; Supine forearm extended across a candlewick bedspread:
Tape 1: Alto Flute; Handhold of Reality:
Non-Tape Alto Flute 2: Hand beneath her knees and gripped her/his right thigh:
A Clarinet; Sonic pegged down too firmly...fluid backward to the poet of drainage:
Tape Ex: Independent existence , the phenomenology of the pre-Cambrian trilobite

"Augmented Attempts at Rendering" for Orchestra, Primarily Strings - Bil Smith Composer

In 2012, I was asked to create a work based on a defined aesthetic which I was well aware of, but was outside of my comfort zone...so to speak. This is a commission from SAP and I am thankful for their trust and willingness to explore.

This is from a live recording in November, 2012 at BAM.

"Lexical" for Orchestra (2006-2013). Premiere Live Performance

"Lexical" for Orchestra, Solo Violin, Viola, Cello and Density Coded Magnetic Optic Tape. (2006-2013). Bil Smith, Composer

Premiere Live Performance.

"There are plenty of experiments on the grain of the sound that almost totally ignore the music's structure. Smith's goal has been to illustrate work that manages to incorporate sonic elements not conventionally considered musical while achieving unexpected forms of organization that transcend undifferentiated noise"

-Julian Cowley for Wired Magazine

"Bernard Cerquiglini" for Prescript Chamber Ensemble (Oulipo Posentante)

"Bernard Cerquiglini" Member: Oulipo

Professor at Paris 7, director of the National Institute of French, Vice-President of the Superior Council of the French Language, President of the National Observatory of Reading, linguist Bernard Cerquiglini entered April 15, 1995 to Oulipo. Author of "Autobiography of the circumflex accent," he plays the role of "guardian of the language." He was appointed by the Prime Minister of a mission to reform spelling, then a mission on national languages n France.

In 2010, I, Bil Smith, was approached by a unique individual by the name of Bernard Charron (not sure it was his real name). He asked me about my music and we moved onto the subject of literature and writing. This led to a lengthly discussion about the Oulipo and our respective opinions about their oeuvre. Some months later he contacted me and asked if I would be interested in writing short musical 'vingettes' as he described them, mimicking the Oulipian aesthetic utilizing my "compaction music" techniques.

I found the concept interesting, but at the time I was quite busy with other commitments. He returned to me several weeks later and stated that he had secured a grant from Société Générale Group to allow me to pursue this endeavor.

Here I present one of a number of these works, composed for "Prescript Chamber Ensemble", performed by the members of the Juilliard Faculty in NY, The Boston Symphony, Ensemble Debrosses and The Birmingham Symphony Orchestra.

CD to be released next year on the Laboratorie New Music Label.

...The result is a movement through harmony and dissonance that speaks to the physicality of sound—the music becomes audibly tighter, more tense, as the tiered movements through the scale cause certain frequencies to pull upon one another. It also relies upon and draws attention to the ability of the mind to perceive several planes of information simultaneously, for as the canon progresses, certain tones come into alignment with one another, while others simultaneously phase into dissonance, harmonies and their opposite sounding at the same time, existing in parallel and moving past one another as though on separate tracks.

Oulipo Posentante Series: Daniel Levin Becker" for Prescript Chamber Ensemble: Bil Smith Composer

"Daniel Levin Becker" for Prescript Chamber Ensemble (Oulipo Posentante)

What sort of society could bind together Jacques Roubaud, Italo Calvino, Marcel Duchamp, and Raymond Queneau—and Daniel Levin Becker, a young American obsessed with language play? Only the Oulipo, the Paris-based experimental collective founded in 1960 and fated to become one of literature’s quirkiest movements.

An international organization of writers, artists, and scientists who embrace formal and procedural constraints to achieve literature’s possibilities, the Oulipo (the French acronym stands for “workshop for potential literature”) is perhaps best known as the cradle of Georges Perec’s novel A Void, which does not contain the letter e. Drawn to the Oulipo’s mystique, Levin Becker secured a Fulbright grant to study the organization and traveled to Paris. He was eventually offered membership, becoming only the second American to be admitted to the group. From the perspective of a young initiate, the Oulipians and their projects are at once bizarre and utterly compelling. Levin Becker’s love for games, puzzles, and language play is infectious, calling to mind Elif Batuman’s delight in Russian literature in The Possessed.

In recent years, the Oulipo has inspired the creation of numerous other collectives: the OuMuPo (a collective of DJs), the OuMaPo (marionette players), the OuBaPo (comic strip artists), the OuFlarfPo (poets who generate poetry with the aid of search engines), and a menagerie of other Ou-X-Pos (workshops for potential something). Levin Becker discusses these and other intriguing developments in this history and personal appreciation of an iconic—and iconoclastic—group.

In 2010, I was approached by a unique individual by the name of Bernard Charron (not sure it was his real name). He asked me about my music and we moved onto the subject of literature and writing. This led to a lengthly discussion about the Oulipo and our respective opinions about their oeuvre. Some months later he contacted me and asked if I would be interested in writing short musical 'vingettes' as he described them, mimicking the Oulipian aesthetic utilizing my "compaction music" techniques.

I found the concept interesting, but at the time I was quite busy with other commitments. He returned to me several weeks later and stated that he had secured a grant from Société Générale Group to allow me to pursue this endeavor.

Here I present one of a number of these works, composed for "Prescript Chamber Ensemble", performed by the members of the Juilliard Faculty in NY, The Boston Symphony, Ensemble Debrosses and The Birmingham Symphony Orchestra.

CD to be released next year on the Laboratorie New Music Label.

...The result is a movement through harmony and dissonance that speaks to the physicality of sound—the music becomes audibly tighter, more tense, as the tiered movements through the scale cause certain frequencies to pull upon one another. It also relies upon and draws attention to the ability of the mind to perceive several planes of information simultaneously, for as the canon progresses, certain tones come into alignment with one another, while others simultaneously phase into dissonance, harmonies and their opposite sounding at the same time, existing in parallel and moving past one another as though on separate tracks.

"Oblique Personalities: Her Thighs and Hips to the Architectonics of Floor and Ceiling"

"Oblique Personalities: Her Thighs and Hips to the Architectonics of Floor and Ceiling" by Bil Smith & Bendix Aviation, Composers. Performed by Ensemble Desbrosses

It is impossible not to make a connection with the lessons that I have learnt from Aldo Clementi, in particular with his almost obsessive inclination to use musical structures not for their own purpose, but rather 'in order to put life into them.'

The action of the work is in the shape of a massive provocative arch, and the transformation of the material proceeds in a grand gesture that is reminiscent of abstract colorist techniques. The work arises from a point of concentration from which all the energy, pulsation and rhythm are propelled.

"Thrones De Los Cantares" (A Micro-Opera)

for 27 Voices (inclusive of Coloratura Soprano, Lyric Soprano, Heldentenor, Contralto, Baryton-Noble, Basso Buffo, Dugazon Soprano), Grapheticist*, and Chamber Ensemble. (Synthesis by Transient Drawing and Particle Cloning).

*Grapheticists are practitioners of Graphetics which is a branch of linguistics concerned with the analysis of the physical properties of shapes used in writing. It is an etic study, meaning that it has an outsider's perspective and is not concerned with any particular writing system. It is contrasted with the related emic field of graphemics, the study of the relation between different shapes in particular writing systems.[1] Graphetics is analogous to phonetics; graphetics is to the study of writing as phonetics is to the study of spoken language.

As such, it can be divided into two areas, visual graphetics and mechanical graphetics, which are analogous to auditory and articulatory phonetics, respectively. Both printed and handwritten language can be the subject of graphetic study.

Bil Smith Composer