– a series of 3 experimental-music compositions for vulture-radius flute during archaeo-organological reconstruction of the wind instrument (copying the pattern of the archaeological artefact HF1), and digitally recorded as an audio-document of an experimental-reconstruction process. Released in full as tracks 1, 5, and 9 on the album LISTEN I am making a flute for you (Bandcamp, ‘Frances Flute the Bellows Mender’).

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– experimental composition resulting in 10 short melodies. A recording of this performance composition (September 2021) features on the album Sonic Debitage as tracks 16-25: - GK3 18 cm Ney; GK3 20 cm Ney; GK3 22 cm Ney; GK3 24 cm Ney; GK3 26 cm Ney; GK3 18 cm Shak; GK3 20 cm Shak; GK3 22 cm Shak; GK3 24 cm Shak; and GK3 26 cm Shak (Bandcamp, ‘Frances Flute the Bellows Mender’).

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– graphically-scored experimental composition for the swan-wing-radius flute ‘Geissenklösterle 1 - Frances Gill 2’ (GK1-FG2). An extract from a series of experimental performances of the piece, recorded 4th March 2020 in the Gröna salen at Kalmar Slott (Sweden), features on the album Sonic Debitage as track 14, Monica’s house (Bandcamp, ‘Frances Flute the Bellows Mender’).

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– experimental composition realised in performance by Barbara Spreer, Gabriele Dalferth, Anna Friederike Potengowski, Dorothea Federle, and Frances Gill on the 11th January 2019. An extract from a recording of this performance features on the album Sonic Debitage as track 12, Finding Wolves (Bandcamp, ‘Frances Flute the Bellows Mender’).

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- experimental composition realised in performance by Träklang’, recorder ensemble, Urshult (Sweden), 23rd April 2018. A mashup called Soundmound:Urshult Winds (in C), using audio material from the performance, features on the digital album Sandby Borg (‘Frances Flute the Bellows Mender’).

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– flute duet, first performed, 26th August 2017 by Anna Friederike Potengowski and Frances Gill, for the GLASBA V KAMENI DOBI Music in the Stone Age – International Council for Traditional Music (ICTM) Study Group on Music Archaeology XV Symposium, and Workshop of the European Music Archaeology Project (EMAP), Ljubljana (Slovenia), 24th - 26th August 2017. An extract from a recording by Barnaby Brown of this performance features on the album Sonic Debitage as track 10, Duet for Anna (Bandcamp, ‘Frances Flute the Bellows Mender’).

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– composition (in collaboration with Susan Beatty), first performed on the 16th July 2017 at the summer exhibition, Kulturarv – källa, Näsby Nav, Öland (Sweden), where it was also filmed by Ylva Magnusson. Published on the YouTube channel called ‘Flute Origins’ (20th August 2017).

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- improvisation in a natural-forest acoustic. Published on the YouTube channel called ‘Flute Origins’ as the soundtrack for On Öland that day, 8th May, 2016.

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– composition in collaboration with Jan Bengtson, performed by Frances Gill for Sveriges radio programme ‘Sommar i P1/Karin Bojs’, 26th April 2016, and aired 19th August 2016.

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– composition. A recording of the original tune that was produced in April 2016 with support from Swartling Production AB, Stockholm (Sweden), features on the album Sonic Debitage as track 9, Schlaflied (Bandcamp, ‘Frances Flute the Bellows Mender’).

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– musique concrète composition, for a swan-wing-ulna bone, and a swan-wing-radius bone (both 14 cm long), to include, in performance, a section composed, performed, and recorded by Frances Gill, mixed and produced by John Swartling, called Bone tubes. First performed with Frances Gill (bones), Gjermund Kolltveit (jew’s harp) and Birgitta Ridderstedt (voice and body) 18th February 2016, at a concert in honour of Cajsa S. Lund, within the Symposium, The Archaeology of Sound, Acoustics and Music at Linnaeus University (Växjö campus), Sweden, 18th - 19th February 2016.


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– composition, performed and recorded in the late autumn of 2015, across four tracks using different voicing methods to experiment with the natural harmonic structures of tubes of the same length. Mixed and produced – with a soundbed of fire and wind – by John Swartling, this features on the album Sonic Debitage as track 8, Bone tubes (Bandcamp, ‘Frances Flute the Bellows Mender’). As an electroacoustic section it complements the scored piece called Dance for Cajsa.

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– experimental composition, first performed in the landscape at Sandby borg, Öland (Sweden), by artists from Kulturell Tankesmedja (cultural think-tank) 24th April 2015. Originally designed as a live flute-embouchure experiment it was realised/defined in performance de la musique concrète as being equally percussive.

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– summer-long-performance composition (a performance resulting in a composition over several weeks) situated in the forest; early-morning experimental performances testing each instrument across different voicing methods, transcribed as a musical score of the summer’s organological engagement.

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– composition as a transcription of music composed/realised in the act of archaeo-organological experimentation as performing practice. A compilation of phrases from the recording features on the album Sonic Debitage as track 4, Gravid (Bandcamp, ‘Frances Flute the Bellows Mender’).

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– The Battle of Stamford Bridge: The Musical is a composition comprising 12 songs plus Overture and Battle music.

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– new arrangement of La danse de Cleves (anon.); Quel fronte signorille (Dufay); Amoroso (anon); Je demande (Acourt); Vit en core (Vide); Les tres doulx yeux (Binchois); Le Spagna (Gulielmus); Go heart (anon.); Ce rondelet (Rezon); Jeo hay en vos (anon.) for flute, from transcribed and edited music of the earlier, and mid-fifteenth century (by Thurston Dart, and Brian Trowell respectively).

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– Affection transfer is one of Fran’s songs.

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– Sweet Lovelies is one of Fran’s songs.

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