Holes, Scars,
and Erosion
Still shot from Tangram's informal performance of Ben Smith's 'Holes, Scars, and Erosion' (2026)
My latest composition, Holes, Scars, and Erosion, is a direct musical translation of the physiological reality of my ears' fragilities. The title refers to the literal damage that is present in my ears: holes and scars on the tympanic membrane, and the erosion of the ossicles.
Working with Daniel Shao (Flute), Garwyn Linnell (Cello), Alex Ho, and Sun 'Rockey' Keting (co-directors) of Tangram in a workshop at the University of York, I've been exploring how these clinical concepts can be mapped onto the sonic capabilities of the Flute and Cello.
Holes, Scars, and Erosion
Recorded at Sir Jack Lyons Concert Hall, University of York on Apr 21, 2026.
Flute: Daniel Shao
Violoncello: Garwyn Linnell
Watch the full performance video on YouTube.
Conceptual Mapping
The piece is built around three core metaphors that dictate the musical language:
- Holes: Represented by "tears" in the musical texture - sudden silences, snap pizzicatos, and "missing" fundamentals in the flute's whistle tones.
- Scars: Fixed, unyielding acoustic marks, key clicks and tremolo, representing nodes on the tympanic membrane.
- Erosion: The gradual thinning of sound, moving from rich spectral density to "residual breath" and noise using hollow, breathy tones and molto sul ponticello.
The Erosion Cycle
The structure of the piece follows a systematic "Erosion Cycle":
- Opening: "Idyllic purity" of natural harmonics presented alongside their fundamentals.
- Development: The introduction of "Scars" and "Holes" that begin to filter the material.
- The Pivot: At the Golden Ratio (0.618), the piece hits a point of "Irreversible Erosion," where the harmonic core is lost, leaving only a percussive "skeleton."
- Ending: A final fade into "Residual Breath."
The Workshop Process
During the 30-minute compositional workshop concerns were voiced surrounding harmonic notation, dynamic markings for whistle tones, etc. - non-standard notation is always a point of friction in the performance of contemporary styles of music. Overall, though, the function of the piece was well understood by the players and directors, the sonic and emotional impacts of the conceptual mapping was significant, and I felt a great sense of accomplishment in how the piece sounded, served its function, and cohered.
Please take a few minutes to listen to the recording above (or watch the informal performance on YouTube) of the informal performance of Holes, Scars, and Erosion which came at the end of the day.