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sweet annie (2021)

chemicals make you cry, make you fry                                you are sweet

make you f-r-y                                                           you heal the world

they may also bring tears,                                            with your life

years to your eyes                                                               you are s-w-e-e-e-e-e-e-t

burning, burning, they guide you                              you heal the world

maybe even convince you                                                              you are light

of their beauty                                                                  don't be fooled

anyone could believe                                         by those colors

they're meant for beauty                                        those colors

to the n-a-k-e-d eye                                                      those


sweet annies makes you sweet, make you sing                       colors

like how you u-s-e-d to                                                                   you are sweet

hear the sweet song? the one that made you                                  they are poison

fall in love                                                         you are light

fall in love

with that beautiful voice of yours

oh, oh, what a sweet annie you are

oh, what a s-w-e-e-e-e-e-t annie you are

raspy (2020)


Vocalist: Shara Lunon

the raspberry smears itself upon the cardstock, wettening the thick paper as if to make its place known

the residue discolors and weakens the paper, withering its constitution every minute


i am tart, i am curt, i am full of seeds

i am life and


my curves are nature


you have nothing to do with

my existence

i am smooth and harsh

i am nourishment

i am red


nothing will change me

not even you


time does not exist. performer has liberty to pursue score as quickly or slowly as desired.

chains of smashed raspberry (without lines) live in operatic descension

jam smears (with lines) ask for tonal direction, but fail to inquire further (a shyness makes them distant)

stains have audible breathiness, hollow, withered exhales

seeds (|) are simple, forte , staccato, symmetrical, percussive, voice placed in mask

partial larger chunks demand space and attention, broken trills in various pitches with fermata

burst (2020)


burst is a retrospective into the opposing emotions of Americans during the pandemic. The piece evolves from acoustic voices and instruments into white noise, an expression of loudness in a confusing time. Singular anguish transforms into overwhelming confusion.

for voice, electronics, autoharp, guitar, dulcimer

Instantly and Not At All (2020)

Instantly and not at all.jpeg

Instantly and Not at All explores the nature of a recurring motive swallowed by chaos with

visions of grief in its grasp. I’ve chosen to exercise elements of the same, but not

the same and collage with exploration of layered vocal textures, and the colors that emerge from this experimentation. The piece is bookended with heavy exhales where whispered tone clusters splinter into the silence. Sporadic click tones emerge from the breath. The vibraphone enters, soon to be

followed by the marimba, which presents the sole traditional notational motive indicated on the score. This theme is repeated throughout the piece in various variations. Initially, it can be heard in the marimba, but continues to change in timbre, instrumentation, length, and intervals.


The motive continues to emerge in its evolved forms in vocal trills and in the vibraphone, xylophone, bells, and lute. A high pitched vocal cackling also emerges with the click tones at the start to set a drone for the length of the piece. These layers are meant to be forgotten as more layers add to the texture of the piece, until the end where the listener’s awareness of these foundations are brought back when returning to the the scape of breathiness. 


Isolated three part harmonies singing “strife” enter four times throughout the piece to provide a sense of forward motion and the heaviness not only of breath, but of mind. More three part harmonies emerge singing “it seems like yesterday I saw you, instantly I knew you”. This line is another nod to the literal settings of the same, but not the same. The three voices are not in sync. There is a slight delay, which adds an irony to the contradicting line. The line “it seems like” applies an approximation of time and expression, and the second line “instantly I knew you”, switching intent and tense. Instead of recording three separate recordings, I recorded one line, and changed the pitch of the other two - another symbolic nod to the concept of same, but not the same. An ascending sliding tone in another vocal layer builds the climax, along with a rhythmic marimba section, bells, vibraphone, xylophone, and lute. Once it reaches its climax, the rhythmic elements of the piece ceases, returning it to a state of aimless exploration.

Pittsburgh Memory (2020)

Romare Bearden's Pittsburgh Memory (1964) used as a visual score


Please Enjoy Your Complimentary Calendar (2020)

Please Enjoy Your Complimentary Calendar

impatiently__ (2020)

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Vocals and Production by Shara Lunon

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