Bone Fractures explores the relationships that can exist between a solo trombone, a processed version of itself and a tape of transformed trombone sounds. All processes occur either concurrently to the trombone impulse sound or a short time after. The significance of this is that the processed sound never achieves complete dislocation from the impulse sound. The trombone's stance within the piece moves from one of predominance to one where the processing adds amplification (both electronic and gestural) and finally to one where it offers accompaniment to predominant processed and tape sounds.
The piece requires a second performer to operate the electronics and execute morphing of the treatments and for this reason the piece can be considered a duet: the trombone writing always addresses the idiom of the particular electronic treatments used and the electronic treatments address the idiom of the trombone.