Abstract
These two pieces are aimed at a wider audience, one not necessarily well versed in the language of contemporary music. I adopt here a tonal language that draws overtly on pre-existing styles- Turkish folk/popular music and jazz. The first piece is based around a rhythmic pattern, the Aqsaaq, commonly found in much Middle Eastern folk music and marries this with unambiguously Turkish melodic material. The second piece, a homage to the late South African jazz pianist Bheki Mseleku, uses a pre-existing jazz 'head' as a template from which new melodic material is formed. Both pieces bring to bare processes of construction found in my more specialised music but applied here to more vernacular material.