For Solo Voice
- Bury My Name. A theater work in two acts for baritone/actor and piano. Presentation of the Shakespeare authorship question. Music:
- Introduction (Arrangement of "The Earl of Oxford’s Marche" by William Byrd)
- "Come, thou Monarch of the Vine" (Anthony & Cleopatra)
- Labour’s Reward (Edward de Vere, 17th Earl of Oxford)
- "We are glad the Dauphin is so pleasant with us" (Henry V)
- "Alas, poor Yorick" (Hamlet)
- Bylbis and Caune (Ovid—translation credited to Arthur Golding, but likely at least in part by Edward de Vere)
- "While You Here Do Snoring Lie" (The Tempest)
- "Imagine that you see the wretched strangers" (The Boke of Sir Thomas More-Anon, but thought to be written by Shake-speare)
- "A Fool, a Fool, a Motley Fool" (As You Like It)
- Lord’s monologue (Taming of the Shrew)
- Good Friend for Jesus’ sake forbear (Shaksper’s Epitaph)
- Mad scenes (King Lear)
- Sonnet 72 (Shake-speare)
- Blow, winds, and crack your cheeks!. A setting of speeches from Shakespeare's King Lear, for baritone, tenor and orchestra (or piano reduction). (Can be done with just baritone.)
- Love’s Kaleidoscope. A love-song-cycle for Soprano and Tenor with string orchestra or piano reduction.
- To the Virgins / Upon Julia’s Clothes / Chop Cherry (Robert Herrick) (Tenor)
- Matin Song (Thomas Heywood) (Soprano)
- The Passionate Shepherd to his Love (Christopher Marlow) (Tenor)
- Love is Enough (William Morris) (Duet)
- Never Love Unless (Thomas Campion) (Soprano)
- Longing (Matthew Arnold) (Tenor)
- . Echo (Christina Rossetti) (Soprano)
- Return (John Wilmot, 2nd Earl of Rochester) (Tenor)
- Farewell, Ungrateful Traitor (John Dryden) (Soprano)
- From a Distant Mesa. For tenor and orchestra (commissioned by Jerry Hadley). (2222/433/per./strings) Duration: 45 minutes.
- Spider Woman (Adam Cornford)
- Cancion al Rio Grande (Rudolfo Anaya)
- Being the Waters (V. Barrett Price)
- Wordless Duets for soprano, tenor, and piano.
- Ever Lost in Precient Felicity
- Distance Over Long Introspection
- Dreams of Fears Irrelevant
- The Real Shake-speare. A cycle of 5 songs, settings of poems by Edward de Vere, whom many believe to be the writer of the Shakespeare plays and sonnets. For voice and piano. Duration: 15 minutes.
- I am Not as I Seem to Be
- Revenge of Wrong
- Were I a King
- Reason & Affection
- Labour and Its Rewards
- Cat Stories. A song-cycle of poems about cats for voice and piano. Duration: 12 minutes.
- Verses to a Cat (Percy Bysshe Shelley)
- The Owl & the Pussycat (Edward Lear)
- On the Death of a Cat (Christina Rossetti)
- Cat Stretching
- Elegy to a Favourite Cat (Thomas Gray)
- Six Wordless Arias. For voice and piano (written for Deborah Benedict).
- Kubla Khan. A setting of the poem by Samuel Coleridge for bass and orchestra.
- The Song and the Slogan. A setting of poetry by Carl Sandburg. For orchestra with harmonica, solo cello. Version for flute, oboe, French horn, harmonica, banjo, cello, piano and tenor. (Commissioned by Jerry Hadley for performance in 2000.) Duration: 35 minutes.
- Illinois Farmer. Setting of a poem by Carl Sandburg for voice and piano. (Commissioned by Jerry Hadley for performance in 1998.) Duration: 4 minutes.
- Who’s Who. A satirical song-cycle from a text by Denise Mordecai for voice and piano. Duration: 4 minutes.
- La belle dame sans merci. Setting of a poem by John Keats for tenor and orchestra.
- Music, when soft voices die... Setting of a poem by Percy Bysshe Shelley for voice and piano.
- To His Coy Mistress. Setting of a poem by Andrew Marvell for tenor and piano.
- Bittersweet Dreams. Three poems by Christina Rossetti for soprano and piano. (Written for Deborah Benedict.)
- The Houses of Iszm. Setting of a poem by Adam Cornford for tenor and orchestra (or piano). (Written for Jerry Hadley.)
- Ozymandias. Setting of a poem by Percy Bysshe Shelley for male voice and piano.
- Jabberwocky. Setting of a poem by Lewis Carroll for male voice and piano.
- Lines to a Reviewer. Setting of a poem by Percy Bysshe Shelley for voice and piano.
- Contemporaries for Voice and Piano. Setting of found texts for voice and piano.
- Disabling a Computer with a Hammer or Other Heavy Blunt Instrument is Still Legal in Most States
- Language of the Bard
- You're Going to Need a Lawyer!
- Songs of Innocence & Experience. A complete setting of the poem cycles by William Blake for four voices and orchestra.
- Songs of Experience. Excerpt for tenor and orchestra "Little Girl Lost / Little Girl Found / The Tyger".
- Three Blake Songs for soprano and string orchestra. Version for soprano and piano; and for soprano and string quartet (arrangement made for Deborah Benedict).
- Annabel Lee. A setting of the poem by Edgar Allan Poe for tenor and piano. (Written for Jerry Hadley.)
- She Walks in Beauty. A setting of the poem by Byron for tenor and piano.
- Vocalise No. 3. Virtuoso work for soprano and piano, or mezzo-soprano and piano.
- In proud and glorious memory. Setting of anti-war poems by Siegfried Sassoon for baritone and string orchestra with snare drum and tympani.
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... for the rock group The Who, as well as for his own solo career ... He has also written over 100 songs that have appeared on his solo albums, as well as radio jingles and television theme songs ... synthesiser, bass guitar and drums, on his own solo albums, several Who albums, and as a guest contributor to a wide array of other artists' recordings ...
... Following the band's breakup in 1993, he embarked on a solo career under the name Frank Black ... He reformed the Pixies in 2004 and continues to release solo records and tour as a solo artist, having re-adopted his current stage name in 2007 ... of the Pixies to a more measured and melodic style in his solo career ...
... McCracken - guitar Denny Dias - guitar (solo on 'Your Gold Teeth II') Rick Derringer - guitar (solo on "Chain Lightning") Dean Parks - guitar (solo on "Rose Darling ...
Famous quotes containing the words voice and/or solo:
“Bare night is best. Bare earth is best. Bare, bare,
Except for our own houses, huddled low
Beneath the arches and their spangled air,
Beneath the rhapsodies of fire and fire,
Where the voice that is in us makes a true response....”
—Wallace Stevens (18791955)
“All mothers need instruction, nurturing, and an understanding mentor after the birth of a baby, but in this age of fast foods, fast tracks, and fast lanes, it doesnt always happen. While we live in a society that provides recognition for just about every life eventfrom baptisms to bar mitzvahs, from wedding vows to funeral ritesthe entry into parenting seems to be a solo flight, with nothing and no one to mark formally the new moms entry into motherhood.”
—Sally Placksin (20th century)