|
Work
List
| Title |
Date |
Instrumentation
[abbreviations
list] |
Duration |
Category |
| dreamflower
for
Lori |
2006 |
bcl
|
3-7' |
Solo |
| dreamflower |
2005 |
voice,
rec.,
cl.,
tb.,
va.,
cb.,
elec.
gtr.,
pno.,
perc |
3' |
Ensemble |
| Pliny
(the
lesser) |
2005 |
picc/fl.,
cl/b.cl.,
vibes,
vn.,
vc.,
pno. |
14'
|
Ensemble |
| Pliny |
2005 |
picc/fl.,
cl/b.cl.,
vibes,
vn.,
vc.,
pno. |
17'
|
Ensemble |
| Chive
Noses |
2005 |
pno. |
3' |
Solo |
| Listful |
2005 |
ob.,
sop
sax.,
cl.,
b.cl.,
bn. |
11' |
Ensemble |
| Three
Scenarios
for
Trio |
2004 |
electric
guitar,
slide
guitar
(one
hand)/nose
flute
and
radio,
sound
sculptures,
sound
can
|
40' |
Ensemble |
| Improv |
2004 |
|
19' |
Ensemble |
| Tree
Ferns |
2003 |
gtr., elec.
gtr.
|
20' |
Solo
|
| Lines
that
enlace |
2001 |
5
electronic keyboards
|
25' |
Ensemble |
| Gossamer
Bit
–
Ives
Hymn |
2001/2 |
for
rec.,
cl.,
tb.,
va.,
cb.,
elec.
gtr.,
pno.,
perc |
9' |
Solo
instrumental |
| Abandoned
Situation:
1.
Shimmy
2.
Bog’s
End |
2001 |
|
21' |
Ensemble |
| Fin
Fin |
2000 |
voice,
septet
|
9' |
Vocal and
ensemble
|
| Wrinkle |
2000 |
hackbrett
and
piano
|
7' |
Ensemble |
| Decorated
Shed |
2000
|
perc.
|
18' |
Ensemble |
| Three
Shapes
of
the
Sword |
1999 |
pf |
18' |
Solo |
| Ornaments |
1999 |
vn pf
|
9' |
Ensemble |
| Slip |
1998 |
Bb
cl.,
bn.,
Bb
tpt.,
vn.,
clo.,
celesta
and
tape |
18' |
Ensemble |
| Retablo |
1998 |
Bb
cl.,
vn.,
clo.,
pno. |
25' |
Ensemble |
| Corals
of
Valais |
1997 |
pno.
|
9' |
Solo |
| Up
To
The
Line |
1996 |
String
quartet
|
10' |
Ensemble |
| Somatic
Refrain |
1996 |
bcl
|
15' |
Solo
|
| Leisure
2 |
1996 |
sop.
sax./harmonica,
b.
cl.,
bari.
sax.,
tpt.,
tb.,
elec.
gtr.,
perc.,
vn.,
cb.,
pno. |
14' |
Ensemble |
| Leisure |
1995 |
b.
rec.,
b.
cl.,
tb.,
elec.
gtr.,
perc.,
voice
w/
harmonica,
vn.,
cb.,
pno. |
8' |
Ensemble |
| Incomparable
Compatibles |
1995 |
Collaboration
with performance artist/sculptor Colette
Urban
Score
for
2
performers
and
sound
sculpture.
|
40'
|
Ensemble |
| 23.
(Disintegration) |
1995 |
pno.
|
3' |
Solo
|
| Rainsnout |
1994 |
picc.,
fl.,
ob.,
cl.,
b.
cl.,
accordion,
elec.
gtr.,
perc.,
va.,
vn.,
vc.,
pno. |
16' |
Ensemble |
| November
|
1994 |
bass
clarinet,
cello,
contrabass,
electric
guitar,
piano
and
percussion. |
15' |
Ensemble |
| Unknown
Leaves (formerly Untitled) |
1993 |
for
accordion,
electric
guitar,
tuba,
percussion
and
piano
|
10' |
Ensemble |
| Spit
and
Baling
Wire |
1993 |
for
woodwind
quintet
|
17' |
Ensemble |
| Continuous
Cities
(Places
without
leaves) |
1992 |
concerto
for marimba
|
18' |
Orchestral |
| Gibbous
Moon |
1991 |
traverso,
baroque
violin,
viola
da
gamba,
harpsichord |
13' |
Ensemble |
| Semplice
e
cantabile |
1991 |
pno. |
2' |
Solo |
| One
bit |
1991
|
bass
cl,
trumpet,
cb,
pno,
and
2
perc |
3' |
Ensemble |
| Runa |
1990 |
bn,
bari
sax,
vln,
elec.
pno,
ampl.
pno,
and
perc. |
16' |
Ensemble |
| The
Chamber
of
Statues |
1987/
1992/
1996 |
bass
cl,
hn,
vln,
cb,
pno,
and
percussion/
1992:
b.
cl,
bn,
vc,
cb,
pno,
perc.
/1996:
b.
cl,
tpt,
melodica,
vn,
cb,
pno,
perc.
|
13'
|
Ensemble |
| A
Blank
Sheet
of
Metal
(Tungsten
Carbide) |
1987 |
for
3
elec.
gtrs,
Korg
Organ,
DX21
synth,
ampl.
pno
and
cb,
elec.
bass
gtr.,
tuba
and
2
percussion
|
22' |
Ensemble |
| Jacobs
Chuck |
1986/7 |
for
magnetic
tape |
9' |
Solo |
| Raw
Sangudo |
1986 |
alto
sax,
C
trumpet,
tuba |
9' |
Ensemble |
| Untitled
(Two
bits) |
1986 |
string
quartet,
double
bass,
and
4
percussion |
13' |
Ensemble |
| Au
Lieu
des
Blues (formerly Maladie in lieu de la bleue) |
1985 |
alto
flute,
soprano
sax,
vibes,
marimba
and
percussion
|
4' |
Ensemble |
|
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Contact Allison
Cameron
For any inquiries
or to be placed on the mailing list, please contact Allison Cameron by
one of the following methods:
Snail
Mail: Allison Cameron P.O. Box 492, Stn. C, Toronto,
ON M6J 3P6 Canada
Email: Please fill out
the form
below
The
Allison Cameron Band
Allison Cameron - banjo, harmonica
Eric
Chenaux - acoustic guitar,
harmonica
Stephen
Parkinson - electric guitar, harmonica
Listen on Myspace
This
trio began playing in the winter of 2007, working on Allison Cameron's
compositions based on traditional folk music. Some of the music borrows
tablature notation from traditional English folk tunes in a
non-conformist manner, using re-tuned guitars and banjo, new rhythm,
free rhythm and sometimes no rhythm to re-invent and create new
pieces out of the old work. Similar to the definition of a
palimpsest: a manuscript on which two or more successive texts have
been written, each one being erased to make room for the next with
the earlier writing incompletely erased and often legible. The group
combines approaches to composition and improvisation often found in
rock and jazz bands with that of contemporary music composition. |
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