Solo
Joy and Spirit
for piano and electronics, December 2009
A fresh multi-movement oratorio coming soon!
What Kind of World
for harp and pre-recorded text, July 2009
This solo harp piece is a meditation on a speech given by American President Jimmy Carter that postulates the question: “What kind of world are we making for our children?” Musically the prosody of the speech is mirrored in the harp gestures that are encapsulated through a narrative form.
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What Jesus Looks Like
for solo trombone and electronics, January 2009
What Jesus Looks Like for trombone and CD, is a work inspired by a quirky recording made by a Christian church group of kids answering the question “what do you think Jesus looks like?” “He has a beard, maybe six foot one… he has brown hair… wares a white raged dress…” The trombone follows the speech rhythms, exemplifying the musical characteristics in the children’s voices.
Flesh Colour
for piano and electronics, November 2008
Flesh Colour for piano and CD, is based on a found sound recording of an interview between BBC interviewer Edward Lucie-Smith and American visual artist Andy Warhol on March 17, 1981. This piece brings outs the inherent musicality of Warhal’s speech and merges it with the speaking characteristics of solo piano.
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The Filth and the Fury
for piano and pre-recorded text, July 2007
This is a work inspired by the subtleties of human regret. It features the voice of John Lydon, aka Johnny Rotten of the British Punk rock band the Sex Pistols, expressing his personal struggles in dealing with the death of his best friend and fellow band mate, Sid Viscous (bass guitar). The work is slow and moves heavy.
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Dying Ain’t Bad Y’all
for Tenor Saxophone and pre-recorded text, January 2007
Dying Ain’t Bad Y’all was one of 2 commissions by the 2007 International Push Festival. It was inspired by the famed work GRAB IT by Dutch composer Jacob Ter Veldhuis. It features the voice of a pentecostal preacher synchronized with a lone tenor saxophone, resulting in a driving duet propelled by a spirited African American cadential speech melody. Funky? Damn, yesss!
Performed by Colin MacDonald February 2nd, 2007
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Little Museum
for Spoken-word performer and electronics, July 2006
Little Museum was a commission from spoken word artist Barbara Adler, for inclusion on her first CD Flusterblush. The poem delves into the relationship between media and technology. The music featires a mixed sound pallet of little clicks and ticks, under a haunting backdrop of droning trombones, accordion, and double base.
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Baby 81
for spoken word performer and electronics, March 2005
This piece was composed in collaboration with Vancouver Spoken word artist Barbara Adler. Premiered at the Bartlett Exhibition and Performance Space. Alexandre Centre, March 9th, 2005, Vancouver BC.
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