MetaConversely, by Roger Dean(2019). An EA piece based on materials recorded in 1980 for Conversely (tpt, piano, and optional pre-recorded tape). The pre-recorded materials (John Wallace, trumpet; Roger Dean, piano) were used to construct a new work.
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Average Violin, by Roger Dean(2017). 90 seconds for John Ashbery
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Vocal Shafts (by Roger Dean. Performed by Torbjorn Hultmark, soprano trombone/electronics) | 2016
The Bimblebox austraLYSIS Montage (Bird calls by Roger Dean (2), Sandy Evans and Andy Milne, presented by austraLYSIS in performance; composed for the Bimblebox project. ) | 2014.
Rugs, by Roger Dean. For improvising trumpeter and electronic sound (Phil Slater, trumpet, presented by austraLYSIS) | 2014.
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Diemo's Tune by Roger Dean, 2013 (Acousmatic sound, created for a performance in Singapore, 2013, with Diemo Schwarz at the inaugural soundIslands festival) | 2013.
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TrumpetStones (Multipiano Trumpet) by Roger Dean, 2010 (Phil Slater, trumpet; Roger Dean, piano, computer; Greg White, computer. ) | 2014.
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Cloudspotting, for piano and pre-recorded electronics, by Roger Dean, 2009 (Roger Dean, piano, composer) | 2009.
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MultMutase, an algorithmic multipiano performance piece, by Roger Dean, 2008 (Roger Dean,computer. Live in Sydney.) | 2008.
Pan Pitches (by Roger Dean) | 2020. This is the first of a series of pieces in which I treat the grand piano as an instrument capable of playing any pitch, not just the normal 88 or so pitches of our conventional 12-tone equal temperament (12-TET). In 12-TET each key on the keyboard has an associated pitch frequency derived by multiplying the preceding key's frequency by a constant such that 12 keys later is a key whose frequency is twice that of the initial key, constituting an octave. I previously made a family of tunings sytems in which there are no such repeating ratio intervals of frequency, but some increments of frequency (additive steps) between adjacent members of the sysem do recur. Here I take this to the logical extreme, and while generating discrete pitches, allow them to adopt any frequency in the normal audible range. The grand piano tones are generated by physical synthesis models within the excellent software PianoTeq. This largely algorithmic piece is appropriately named, not only because of the pitch structure it uses, but also because it sonifies the first 2 months of the covid-19 pandemic daily new case numbers for the world at large, alongside those for Australia alone. There are some performance controls used at the beginning of the piece, but most of its progression is generated algorithmically using those covid data. I have made a simple visualisation of aspects of the audio of the piece, seen alongside it. Some performance controls are used as the piece proceeds so as to change the expressed colour palette. The piece was first released for world Make Music Day 2020 (21st June), within a diverse collection from Western Sydney University, released on YouTube. There the title is incorrect.