My diversity of work in the arts shows the many aspects and skills I have gained and utilise, being able to deliver several projects at once to a high standard, no matter what part I have to play in its construction. Starting with piano at thirteen I dived into the world of music, joining two jazz groups, two choirs, an orchestra and quickly became an instructor for two samba groups while performing in a third. From there I studied music while continually moving from one ensemble or project to the next, gaining a love for contemporary music at university and whilst strengthening classical elements. I am at heart a composer and love writing and exploring music with other people.
My writing process is a very hands on one, I play a lot and spend time practicing. My earliest pieces are inspired by errors in my daily piano practice and since then I have only refined that process. I had been writing for myself and for academic purposes for 5 or 6 years when I was commissioned to write for feature film Parallel Lines (2014), my first major project. I had studied the process of spotting and scoring for a film and was passionate about the practice. The random elements of the directors and your own blend of aesthetics will always be unique but that is what is interesting about working in the arts, I am a very good team player and work very well with others.
Whatever project it is, I like to get to know the forces I am using (most commonly instruments) at a first hand level. This leads to my workspace being populated by all manor of instrument; I am firstly a pianist but also a vocalist and bassist with experience in trumpet, flute, saxophone, and percussion as well as an array of others. I am also familiar with synthesizers and sequencing as well as sound recording and editing.
Whilst studying at university I developed a keen interest in minimalist and other contemporary music, looking closely at the works of Steve Reich, Terry Riley, Louis Andriessen, Karlheinz Stockhausen and many more. Even going as far to perform the works of Morton Feldman to the public in all three years of study. I like the freedom as well as the process of writing in this music, having composed my own music for trumpet and radiator, playing music dictated by socks and installing a composition that exists in the 5th dimension.
I am very proficient when working and recording with other musicians. Whilst at university I also studied conducting, working with orchestras, choirs and chamber groups to produce concerts and recordings. I am always excited to work on a new project and enjoy the process of bringing together multiple ideas and personalities into sonic representation.
My journey conducting was first brought to life whilst at secondary school, bringing together musicians from years 7, 8 and 9 to form a junior jazz band, a kind of training scheme to ready students to the higher pressures and standards of the now senior jazz band. From leading and conducting that I moved into college to further train myself in performance and lead several smaller bands before attending Hull University and start formal conducting training.
As well as two modules dedicated to conducting and a special study, I also studied musicology, composition and performance. During my time there I worked with countless ensembles, directing the music society choir, orchestra and brass ensemble as well as other amateur orchestras in the area and ad hoc orchestras. In my 3rd year I was appointed musical director for the universities production of Dido and Aeneas, following my work the previous two years as assistant MD and pit musician.
I have worked with many established conductors, participating in master classes with Tom Hammond (2015, 2017), Kenneth Woods (2016) and Johnathan Bloxham (2017) as well as tuition from Dr Elaine King and George Kennaway.
My rehearsal style varies depending on whom I am working with but in general I like to deliver a fast paced, well organised and inclusive rehearsal, bringing together individual musicianship under a unique, unified idea.