tommacmillan-blog - Tumblr blog

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Rough version of I tune I wrote using the Dorian b2 #4 mode - the fourth mode of the harmonic minor b5 scale.

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Delighted and honoured to have been a part of this project with Michael Philip Bridgewater. You can buy this album ON TAPE!

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An arrangement of one of my compositions, performed by the DB Jazz Project. 'Puppeteering' is about how mass culture manipulates the populace into maintaining an exploitative economic and political system - and how the artistic message of mass culture is 'meaningless' since it rarely reflects any contemporary socio-economic tensions, prioritising monetary gain over artistic invention. It uses the so-called Hungarian major scale, otherwise known as the sixth mode of the harmonic minor b5 scale.

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Review of my gig with The DB Jazz Project at The Bridge Hotel, on the 20/02/2015.

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Submitted for the 'Debates in the Philosophy and Theory of Music' module, as part of my Music Masters in May 2014. 

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I recently played with the Fiona Clayton Band on their video/recording for the track 'City Lights', at Blank Studios, Newcastle. 

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Performing with the DB Jazz Project at our launch gig, at The Bridge Hotel, Newcastle-Upon-Tyne, 09/10/2014. David Keighley: sax

Ben Grant: drums

Adrian Sander: bass

Tom MacMillan: guitar

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Playing banjo with the Cumberland Hot Shots, performing 'Ballin' the Jack' at Carlisle Jazz Club on the 18/09/2014.

Chris Perrin : clarinet;

Veronica Perrin : trumpet/vocals;

Brian Richardson : trombone; 

Tom MacMillan : banjo;

Tony Thornton :bass guitar;

Mike Jay : drums

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This piece was composed for flute and string ensemble, and performed by the Royal Northern Sinfonia. The pitch content in the piece is developed in three ways: through the use of a 12-tone row created using a cycle of minor/major thirds ( In C, this is C E G Bb D F# A C# F Ab B Eb), through the Hirajoshi scale (a scale used in traditional Japanese music equates to 1 3 #4 5 7), and an 8-note Lydian chord built on the scale degrees 1 3 5 7 9 #11 13 #15. The final section unifies all three of these elements. The performance was conducted by Mark Edwards. 

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Destiny's Child was an impromptu noise-rock outfit, created solely for this performance at the Blue Rinse sessions in Bar Loco, Newcastle-Upon-Tyne. This was the first time the group had ever played together in this, and the set was improvised entirely on the spot.  Neil MacMahon - violin Tom MacMillan - bass John Lambeth - drums Sean Cotterill - guitar Dario Lozano-Thornton - guitar & voice

This footage was filmed by Gustav Thomas (original source: vimeo.com/feltbeak).

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Text by Gustav Thomas, taken from vimeo.com/feltbeak:

"The third session from the February 6 outing sees the arrival of Joe Harmsworth, who takes up the second guitar position vacated by Dario Lozano-Thornton from the first, undocumented set from outside Fenwick's. Sandwiched by the unamplified Jonny and Bernie, the two guitars buzz up a minor fury of contrapuntal terns that swoop foisting observations on passers-by among the otherwise resident shifts of hang-abouts waiting for something to spike the police into enquiry."

Personnel: Bernat Duran - fiddle Joe Harmsworth - the black guitar Tom MacMillan - the red one Jonny Winter - melodica

Filmed by Gustav Thomas at Old Eldon Square, Newcastle, on February 6, 2014, at around 15.25.

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Text by Gustav Thomas, taken from Felt Beak (www.vimeo.com/feltbeak): 

"On this first outing into town, a line-up featuring the same musicians (except replace Gwilly with Dario Lozano-Thornton, guitar) had already done their first improvised set outside Fenwick's. Unfortunately this wasn't documented; they were moved on by security, although not with any particular force or aggression.

Here, the quartet scope the ambience of Old Eldon Square in a setting that doesn't impose on its users particularly, but instead makes a presence felt of some critical beaks pitting the surface of complacency ever-so gently, revealing, in this instance, a kindred understanding among certain members of the public who later, very politely, had a brief discussion with the troupe's leader, Tom MacMillan. The most esteemed Stephen Ferrell was also in attendance, having been drawn to the site by its sound from afar."

Personnel: Bernat Duran [off-camera, to the left] - fiddle Gwilly Edmondez - Casiotone SA1 Tom MacMillan - guitar Jonny Winter - melodica

Filmed from a single propping by Gustav Thomas at Old Eldon Square, Newcastle, February 6, 2014, at about 15.00.

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Review of the Britten concert at The Sage Gateshead which featured a performance of my work. In hindsight, my programme notes were indeed rather laborious! I don't think this detracted much from the music however. Definitely something to bear in mind for next time anyway...

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This is a piece written for wind ensemble, which was performed by Northern Sinfonia and premiered at The Sage Gateshead in February 2013. It was then given a repeat performance as part of The Sage Gateshead's Late Mix sessions, in October 2013. The piece is based on Deleuze and Guattari's book of the same name, and its tempo and modality constantly shift in unpredictable ways.  The piece was conducted in both performances by Mark Edwards.

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Another Room Full of Owls track from 2011. This one was a particular crowd-pleaser, and went down a storm at festivals. It's an arrangement of several traditional folk reels, including Drowsy Maggie and New Road to Alston. The prolonged ii - V cadence used in New Road to Alston changes its usual Aeolian modality to Dorian.

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I played with the Folk Rock group Room Full of Owls from 2008 - 2011. Highlights of this endeavour include playing at Solfest festival in 2008 and 2010, as well as our performances for BBC introducing. The line-up consisted of: Fiona Clayton: vocals, guitar, keyboard, whistle.

Jan Cardy: bass

Tom MacMillan: guitar

Robin Moody: violin

John Lambeth: percussion

Steve Orchiton: drums

The track was recorded and produced by Richard Bell.

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My earliest significant works with the Soul/Punk outfit Sods Law. We were able to gain a considerable following during the years 2005 - 2007.

Sarah Morton: vocals

Tom MacMillan: guitar

Jan Cardy: bass

Steve Orchiton: drums

The track was recorded and produced by Richard Bell.