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Each of the provided works is accompanied by the audio file (in MP3 format), and the accompanying score (in PDF format).

All materials © 2006 Christopher William Pierce, Conte de Fée Publishing; licensed by ASCAP. Materials on this page are for promotional purposes only and are provided for private use by the press and can't be used in any capacity unless permission is granted to you by the composer.

Melody with Gesture

For 12 players (or chamber orchestra) (2006)

Notes:

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“0, 1, 1, 2, 3, 5, 8 …“ by dividing each number of this series (Commonly known as the Fibonacci series) by its immediate predecessor a reoccurring quotient emerges, “1.618…”, termed the Golden ratio. These mathematical relationships form the basis of the central principles of Melody with Gesture. The melodic, harmonic, and structural pillars of the work are all derivatives of this series. The work utilizes an octave specific synthetic scale (as opposed to Major and Minor) which mirrors the first few digits of the Fibonacci series (ex. D, Eb, E, F, G … = 0, 1, 2, 3, 5 …). The work alternates between two central ideas, melody and gesture, with the entrance, and length of each aligning with the Golden Ratio.

Melody with Gesture was written for the National Arts Centre Young Composers Programme, where it was premiered in Southam Hall by l’Orchestre Francophonie Canadienne led by its Music Director and Conductor, Jean Philippe Tremblay.

SCORE
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Press Here for and Audio Interview by Larry Lake on Two New Hours (CBC, March 2007)

On a Poem of Baudelaire

‘Je t’adore à l’égal de la voûte nocturne’ from Les Fleurs du Mal

For Soprano, Accordion, and String trio. (2005)

Notes:

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Written in the last few months of 2005, 'On a Poem' was written for Soprano Kathryn Aaron using the text of French poet Charles Baudelaire. With an underlying structure of a plagal cadence (IV - I), the work has two separate sections separated with the entrance of the voice. The harmony uses an octave specific mirrored scale around the pitch 'Ab', and subsequently contains both Octatonic modes. Alternating between whole and half steps in either direction around the central pitch 'Ab', a harmonic language of tension and release is created by expanding and contracting the harmony . A version for full orchestra for soprano Andrea Wiltzius is currently underway.  This was my first work for voice.

The work was first performed at the 2006 New Music Festival in Walter Hall at the University of Toronto.

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Guitar Suite

For solo guitar

Notes:

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Written in the summer of 2004 in Baltimore Maryland, the work contains four short movements, with two slow inner movements encapsulated by two faster movements. My first work for guitar, I sought to exploit the natural beauty of the instrument while retaining my own compositional voice

Commissioned by renowned guitarist Rob MacDonald (who was present from conception to completion), the work owes a great deal to his dedication to the work. Having been performed extensively throughout North America and Europe since its completion, the work still remains a staple of Mr. MacDonald.

 

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I. Presto

No II Adagio ma non troppo (Ad Libitum)

No III Adagio assai

No IV Allegro con brio