A full list of compositional works can be accessed here:http://www.marc-yeats.com/works/ Examples of recent compositions [publications/research]:
- shapeshifter (2015) for clarinet in Eb [soloist] and ensemble: flute, violin, violoncello, guitar, piano and percussion * http://www.marc-yeats.com/shapeshifter-2015/
- observation 1.5 (no man’s land) (2015) for recorder [treble doubling descant], violin and violoncello http://www.marc-yeats.com/observation-1-5-no-mans-land/
- observation three (salt hill) (2016) for double string quartet and double bass http://www.marc-yeats.com/observation-3-salt-hill-2016/
- the pictographs of emmanuel domenech (2015) for 2 flutes, oboe / cor anglais, bass clarinet, contrabassoon, violin, viola, violoncello, harp, and percussion * http://www.marc-yeats.com/the-pictographs-of-emmanuel-domenech-2015/
- observation one (ovington down) (2015) for string quartet http://www.marc-yeats.com/observation-one-ovington-down-string-quartet-2015/
- observation two (oxey marsh) (2015) for string quartet http://www.marc-yeats.com/observation-2-oxey-marsh-2015/
- streaming (2014) for Kingma Quartertone and open-holed system Alto Flutes http://www.marc-yeats.com/streaming-2014/
- cutouts (2014) violin solo http://www.marc-yeats.com/cutouts-2014/
- Yeats, Marc 76 works in Alexander Street Press Classical Scores Library: https://search.alexanderstreet.com/shmu/search?ff%5B0%5D=publishing_body_facet%3Amarc yeats%2AMarc Yeats|32856
- Yeats, Marc 64 Published scores in Open Music Library: http://openmusiclibrary.org/works/by/marc-yeats/79339/?page=1
- Yeats, Marc, Music Publication – Quarter Sounds for bass clarinet, published by Metropolis Music ISMN(9790365069255).
- Yeats, Marc, Music Publication – VOX for bass clarinet, published by Metropolis Music ISMN (9790365069347).
- Yeats, Marc, CD: stillness in movement, An Tuireann Art Centre, Portree, (2004) Yeats, Marc CD recording track on compilation album, Mad canary Solo Piccolo, Mosaic Chrisina Ledford, DC Baby, US (2008) https://www.amazon.com/Mosaic-Cristina-Ledford/dp/B001F5I8EO
- Yeats, marc CD Recording track on compilation album: Child to the Black Faced Night (2014)– Bass clarinet and piano – SCAW – Timeless Shades https://www.amazon.co.uk/s?ie=UTF8&field-artist=Marc+Yeats&search-alias=music
- Yeats, Marc, Dedicated CD: The Shape Distance, (2015) Chamber Cartel , Atlanta US https://chambercartel.bandcamp.com/album/the-shape-distance
- Yeats, Marc CD Recording track on compilation album: Dark Gravity (2016) for Reed Trio and Percussion – Gelachter Trio with Caleb Herron – Tailwind Oboe Classics: CC2032 Presto Classics http://www.prestoclassical.co.uk/r/Oboe+Classics/CC2032 http://www.prestoclassical.co.uk/r/Oboe+Classics/CC2032
- Yeats, Marc, CD: The Anatomy of Melancholy (2017) Marc Yeats/Prima Facie Records UK, (2017)
Control, Flexibility, Flux and Complexity: A Timecode-Supported Approach to Polytemporal Orchestral Composition
My current interests in composition involve creating fluid music that simultaneously brings together multiple, fully notated lines of material that operate in different, unrelated tempi, where notated material is fixed against part-embedded timecode read in conjunction with ensemble/orchestra-wide loosely synchronised mobile phone stopwatches that enable performers to reference their relative notational positions to their timeline positions in the music during performance. This timecode-support provides a temporal framework that helps players maintain high degrees of structural and architectural cohesion despite the polytemporal, unsynchronised nature of the music. This polytemporal compositional approach explores the relationships between composer control (through notational signification – the instructions, signs and symbols on the page) and performer flexibility through mediation (how that notational signification is interpreted and especially how tempo indicators are mediated by players attempting to render specific speeds as indicated through precise tempo instructions). It is the flexible nature of the tension between composer control and player flexibility that produces flux, that is, a range of unpredictable (indeterminate) sonic outcomes brought about through the ever-changing contextual relationships of the material simultaneously mediated by multiple musicians. Resulting performances are never identical due to the shifts in these material contextual relationships – the flux produced – but do yield similar and recognisable versions of the original compositional model through the effective management of flux when using the temporal framework provided by timecode. This flexibility produces performances that are always sympathetic and acceptable renditions of my compositional model – my blueprint – to deliver dense, complex, polytemporal musical structures. With no unifying pulse or beat and with each player following their own temporal trajectory, there is no need for a conductor. Each player, by reading the timecode in their parts in conjunction with their stopwatches, is responsible for their own pulse. They are their own conductor. As there is no universal pulse-synchronisation there is no synchronised score produced for timecode-supported pieces. The flexible relationships between all instrumental parts cannot be usefully represented in a fixed and synchronised score format. Consequently, music is performed through parts alone. Therefore, timecode-supported polytemporal music for orchestra is conductor-less and scoreless with each musician performing in simultaneously independent tempi from parts alone. This compositional and performance method offers new possibilities in writing and performing multi-tempi music by balancing composer control and player mediation to support structural coherence and flexible performance outcomes in through-composed orchestral music using managed flux to create complex sonic relationships. Working with the Yorkshire Symphony Orchestra, my research builds and tests new methodologies and repertoire in this undeveloped area of composition, producing a ‘how to’ tool-kit for other composers’ use.
Timecode-supported Polytemporal Orchestral Music: My current interests in composition involve creating fluid music that simultaneously brings together multiple, fully notated musical lines of material that operate in different, unrelated tempi, where notated material is fixed against part-embedded timecode read in conjunction with ensemble/orchestra-wide loosely synchronised mobile phone stopwatches that enable performers to reference their relative notational positions to their timeline positions in the music during performance, enabling high degrees of structural and architectural cohesion to be maintained despite the polytemporal, unsynchronised nature of the music. This polytemporal compositional approach explores the relationships between composer control and performer flexibility through mediation as well as virtuosity and structural cohesion, resulting in performances that, though never identical due to shifts in material contextual relationships, yield similar and recognisable versions of the original compositional model through the effective management of flux, producing performances that are always sympathetic and acceptable renditions to deliver dense, complex, polytemporal musical structures without a conductor and performed through parts alone.
Potential research overlaps and collaborations include:
- western classical performance practice,
- orchestral hierarchies and orchestral culture,
- the orchestral player as soloist, the role of the score and conductor in orchestral performance,
- performance and perpetual iteration,
- asynchronous music notation software development,
- asynchronous modelling,
- managing flux,
- structure and control,
- the observation and modelling of animal behaviours such as swarming, shoaling and flocking, as compositional elements in an asynchronous performance environment.