This page lists compositions with scores that are available. You can reach out to Tessa Brinckman directly through the contact form. All compositions are BMI. Please send programs of any performances!

Music for one player

A Shared Solitary (2022/2020)
Niloufar Nourbakhsh arr. by Tessa Brinckman (ASCAP)
Alto flute + electronic media – 3″30

The original version for violin of “A Shared Solitary” was commissioned by the Library of Congress during the pandemic. Violinist Jannina Norpoth of PUBLIQuartet premiered the piece as part of the Library of Congress’ Boccaccio Project. Electronics (MAX patch) accompany the violin, a combination of live and fixed processing.

The composer writes that “…over the course of the piece, a delay line becomes less and less distant as the texture becomes fuller, culminating into a collective sound. A Shared Solitary attempts to resurface the fact that we are all going through this together all over the world even though we might not be able to physically see it.”

The alto flute and MAX version was suggested and arranged by flutist Tessa Brinckman. Composer Niloufar Nourbakhsh heard, and was entranced by, this new version, which still keeps the original fixed violin processing. The new version was premiered at the International Low Flutes Festival 2022, and the score is available via the contact form at

Sonus Redux: And the Wave Rolled Back (2020)
Todd Barton + Tessa Brinckman (ASCAP/BMI)
baroque flute + fixed audio
Score and album “Take Wing, Roll Back” to be released February 2024

A Cracticus Fancie (2017)
Tessa Brinckman – (BMI)
Amplified piccolo + fixed audio – 6″

A dark comedy and musical setting of the classic poem from New Zealand, Denis Glover’s “The Magpies”. Composed from the point of view of a magpie, Cracticus has the piccolo amplified as a percussive instrument, borrows from old Irish melodies and cracticus tibicen recordings, balancing out the intensity of the fixed audio, which includes a studio recording of Denis reading his work. The full recording is available on Take Wing, Roll Back (New Focus Recordings).

A Cracticus Fancie – amplified piccolo + fixed audio

Hüzün Nar: The Gorgon Cycles (2017)
Tessa Brinckman (BMI)
Alto flute + fixed audio – 12″

The words “hüzün” and “nar” in the title – which mean “melancholy” and “fire” in Turkish and Arabic respectively – are a nod to Turkish novelist Orhan Pamuk and his memoir of his beloved city, Istanbul, which I travelled to in 2011. The music was inspired by city-wide calls to prayer, Turkish TV shows, electronic dance music booming all night in the Old City, and later protests in Taksim Square. The score has room for improvisatory elements and moves rhythmically in cycles of 22. The fixed audio uses processed alto flute, prepared piano and electronic patches. Hüzün Nar is also the soundtrack for the animation film, The Gorgon Cycles (2023), and a score to is available to perform live with the animation.

The Gorgon Cycles was co-directed with animators Miles Inada and Devyn McConachie. It is a fever dream – an intricately layered animation invoking the return of long-banished visionary, Medusa. With a supporting cast of fish, snakes, dinosaurs, cat, monkey, magician, the film is statement of violent optimism – a contemplation of life amidst global catastrophe.

Hüzün Nar – alto flute + fixed audio – 8″

Blazing World (2018)
Tessa Brinckman (BMI)
Baroque flute + fixed audio – 5″

The score accompanied a research project realized during a residency at the Atlantic Center for the Arts. Using data sonification of the star system Orion and piano in the fixed media, Blazing World is a tribute to 17th Century philosopher and science writer, Margaret Cavendish, who was arguaby the first science fiction writer.

Blazing World – baroque flute + fixed audio

Music for multiple players

You Never Come Out the Same (2023)
Cara Stacey + Tessa Brinckman (PRS/BMI)
Piccolo + prepared piano – 8:14

The title comes from Cara’s time spent in Bahia, where there is a saying that “you never come out the same”. The music meditates on the value of water and cycles in healing, built from all kinds of cyclical movement, rhythms based on the title, connective nodes, hocketing techniques (from central African xylophone music), modal material (from Sundanese chamber music) and improvisation (from Tessa’s experiences on the Maori marae). Extended techniques on the piccolo and the prepared piano enhance the wilderness of emotions.

The piece can be heard on the album Take Wing, Roll Back (New Focus Recordings). The score will be available from the composers – please contact to learn more.

Wade Through Water (2023)
Andile Khumalo + Tessa Brinckman (SAMRO/BMI)
Alto flute + piano – 3:07

Wade Through Water questions the binary expectations of African heritage.
Andile Khumalo references sounds from around the African continent, Asia and the West, inviting the listener to go beyond individual and cultural differences. The pieces was inspired by the Hermann Hesse poem “Happiness”. At Andile’s suggestion, Tessa adapted the original version (clarinet and piano) for alto flute and piano, making use of the alto flute’s colorful extended techniques.

The piece can be heard on the album Take Wing, Roll Back (New Focus Recordings). The score will be available from the composers – please contact to learn more.

Giant Sleep (2023)
Tessa Brinckman (BMI)
any number of players + fixed audio

Giant Sleep is a commission from the UK-based Cities & Memories Project, with a specific theme of “sleep”, using a field recording, “Leeton Hums”, by Bassling. I composed musical cells that directly connect to its sound-structures, adding multi-track piano and e-bowings, in static and traveling spatialisations. Giant Sleep is both literal or metaphorical, where we exist in and outside of ourselves, like slumbering giants. Where sleep offers both a brief respite from, and engagement with, the terrors of being alive within our time.

Any number of live musicians can each choose a score from the different graphic notations I have created, with Giant Sleep as the fixed sound world to guide their performance. The only requirement in interpretation is a sensitivity to delicate sound, collaborations with yourself, the score, the audio and others in the room. The instructions are undergoing creative permutations with each performance.

Contact the composer for the score and updated information.

Your Coat, Turning (2023) – for a sounding community
Tessa Brinckman + Jane Rigler (BMI/ASCAP) 
Any instrumentation + fixed media (video with audio)  – 13:16

Your Coat, Turning is a video score, with sound, text and images, that guides participants to imagine, play and transmit sounds. The piece draws from electronic music, sound art, and  contemplative practices. Text and video prompt the audience to explore sound and interact with (provided) mystery objects that create a communal music experience. It’s a musical experience that invites participants to create multiple futures through sound, video, text and play – a game of recreations of self and community. Our climate crisis means that the coat of the earth is changing — and we must be able to deal with injury through creativity, beyond survival to renewal. Joy and imagination are necessary birthrights, and communal, political acts. Our concept of communing offers something that in the moment people can belong to, contemplate their ancestral gifts, and build their own future. We are interested in how to transform our individual and collective metaphorical coats (i.e. identities) through the experience of sounding and imagining together.

Your Coat, Turning – for any instrumentation

Galanthea (2022)
Tessa Brinckman (BMI)
alto flute + theorbo OR alto flute + guitar – 8″

Dedicated to guitarist Caroline Delume, Galanthea was commissioned by Festival Embarque (Paris France) and premiered by Tessa Brinckman, alto flute and Caroline Delume, theorbo, on August 26, 2022.
Galanthea is an homage to the snowdrop flower, galanthus nivalus, which uses thermogenesis to literally burn through the ice and snow.
The snowdrop is known as the first sign of spring, and also a messenger of hope. The composition is both improvisatory and strictly scored, microtonal and modal, beginning with a spacious atonal section, ending in a microtonal mode.

Galanthea – flute + theorbo version

That Which Colors The Soul (2015) 
Tessa Brinckman + Terry Longshore (BMI)
flute, tabla, tuned bottles, waterphone + fixed audio – 12″

A tribute to Northern Indian music traditions, in a tensile relationship with modern and Western aesthetics. Both parts in the score are improvisatory within both Western and Indian traditions. The flute part is notated for key melodic phrases and raga indications, requires glissandi between certain notes (meend), and the sound is best (though not necessary) with a wooden headjoint. The tabla part requires an experienced tabla player. The piece can be heard in full on Bandcamp.

That Which Colors the Soul – flute, tabla, tuned bottles, waterphone + fixed audio

Umi Sajin (2013)
Tessa Brinckman + Mitsuki Dazai (BMI/ASCAP)
Flute/alto flute/piccolo + koto/bass koto – 8″

Inspired by accounts of the Dust Bowl and the Great Garbage Patches in the Pacific Ocean, Umi Sajin expresses the ambivalence of our own survival in a destructive world. The score is mostly notated, with improvisatory parts, drawing from the Sawai koto school and jazz.

Umi Sajin – flute/alto flute/piccolo + koto/bass koto

Glass Sky (2003)
Tessa Brinckman (BMI)
Flute, violin, viola + cello – 10″

An homage to South African Outsider artist Helen Martins and her Owlhouse, borrowing from the Indian raga Multani and vocal traditions of the Kirana gharana. The score is fully notated. The flute part uses a wooden headjoint for its characteristic sound (though not essential), and glissandi technique (meend) is essential to the score. The recording can be purchased here or directly from Tessa Brinckman.

Glass Sky – flute + string trio