Very pleased to have been given a British Composer Award last night for Microscopic Dances. I have been nominated before, but it is nice to finally win!

The judges said:
​
There is nothing microscopic about the ambition and impact of this courageous work.  It has a distinctive, innovative flair, employing technology and notation for all abilities to actively participate in an uncompromising, contemporary and exciting piece for now.  It’s genuinely inclusive and works flexibly, is finely crafted, compositionally strong with engaging, sophisticated writing and strong artistic integrity.  It is ambitious for what’s possible, embracing external influences in a unique sound world.  ​

Another recent re-write I have been working on is a piece of mine from 2004, entitled Deathletics.
I have reworked some of the detail in this score, which will be performed again by the wonderful Red Note ensemble, in Glasgow, in March next year.
It continues my obsession with ragtime (which I hope to revisit at some point in the near future...).

I have spent a lot of time over the last few months writing and re-writing an article for an online journal for artistic research: IMPAR.
The article is finally done and published, and is entitled: 
Challenging Creativity: Inclusive Composition
It focuses on my work with Drake Music Scotland, outlining how I became involved with the organisation, and how I have developed new work for their Digital Orchestra.

I recently re-wrote my Sequenza (originally for solo trumpet), for Bb Clarinet. It has since been performed in Sydney and Tasmania by the fantastic Alex South.
Since, then, I have been working on a new version of Millport Godzilla (from my wind quintet, Pilgrim of Curiosity), for performance in March 2019, by a new clarinet choir, led by John Cushing.
I am also looking forward to working on a new piece for contrabass clarinet, for Sarah Watts in the new year.

It's all about clarinets...

I am currently spending a bit of time re-writing my piece Close to Shore for contrabass flute and ensemble, for the fantastic Carla Rees (low flute specialist), and a 12-piece flute choir. It is taking me a while, and the decision-making process somehow seems slower than writing a new piece from scratch...
The original version is for contrabass flute and 12 solo strings (written for Richard Craig and NYOS:Futures), based on my experience of seeing an Ocean Sunfish (and its accompanying shoal of smaller fish), while snorkelling in the Mediterranean Sea many years ago.

Very pleased to have been nominated for a British Composer Award again this year, for Microscopic Dances, written for NYOS: Futures and Drake Music Scotland's Digital Orchestra. Looking forward to the Awards ceremony on the 4th of December, in the British Museum, London.

Pleased to be on the adjudication panel for the Music Education Council Awards again this year. It's great to see such a range of work submitted from around the UK. Will be spending all of Monday in the ABRSM offices in London to discuss.

In Korea all of this week to see the performance of a collaboration with Eunju Shin Dance, and Trent Kim, in Busan. Then also visiting schools with my RCS hat on and spending some time in Seoul.

Teaching on some interesting new courses at the RCS this term, including our new Special Repertoire topic for 3rd year BMus students. Stuart MacRae and myself are delivering a series of lectures and seminars, entitled: Textures and Timbres (after the excellent orchestration book by the late Henry Brant). First lecture today on Modernism/Post-Modernism. Delivering another new course this week - Free Composition - with another composer, John De Simone.

I am currently teaching Scoring and Arranging classes to our MA Musical Directing students on a Monday mornings for the next few weeks, covering various aspects of Orchestration, Transcription and Arranging.