Music by Eric Lyon

Included here are selected MP3 recordings of and scores of my music composed for instruments, computer-generated music, and hybrids. These files are large so it is recommended that you have at least a DSL speed connection in order to download or listen to these files. The MP3 format reduces audio quality, particularly for computer music that was designed for CD quality playback. If you are interested in hearing these works with the highest available quality, please email me.

This page will be updated as new recordings become available so please check back from time to time.

Instrumental Music

Taking Liberties [0.7 MB]
Composed in 2005 for Confluences (trumpet, trombone and piano). Recording not yet available.

Grand Duo for Trumpet and Trombone [6.3 MB]
Composed in 2003 for the Bonk Festival.
The score to Grand Duo[0.25 MB]

Twins [1.0 MB]
One minute long solo piano piece. Composed in 2005 for the New Musics Festival. Performed here by Reiko Haragaya.
The score to Twins [0.2 MB]

The New World Sonatina [10.1 MB]
For small chamber ensemble. Composed in 2000-2003. Performed here by Non Sequitur at the Ought One Festival. Only Movements I and III are heard in this recording.
An alternative performance (with all three movements) may be heard here [19.1 MB]

Six European Lullabies for solo piano [15.4 MB]
For solo piano. Composed in 2000-2003. Performed here by Corey Merenda Holt at the Bonk Festival.
score to Six European Lullabies [2.5 MB]

Nocturne [7.3 MB]
For solo violin. Composed in 2001 for Conrad Harris.

Just Give Us Czechosolvakia and We'll Die Happy Men [10.6 MB]
For Brass and Percussion ensemble. Composed in 2000 for the Bonk Festival. Performed by the USF Percussion Ensemble.

The Framework of Discipline [8.2 MB]
For solo trumpet and small ensemble. Composed in 1999. The soloist in this recording is Edward Carroll.

An American Fantasy [11.2 MB]
For large ensemble. Composed in 1999. Performed here by the Bonk Festival Chamber Players.

Shock and Awe [10.5 MB]
For small chamber ensemble. Composed in 1999 for Essential Music. Performed here by the Bonk Festival Chamber Players. An alternative performance may be found here

score to Shock and Awe, mmt. I [1.0 MB]
score to Shock and Awe, mmt. II [2.5 MB]

Thalidomind [9 MB]
For Wind Ensemble. Composed in 1998. Performed here by the USF Wind Ensemble.

Four Last Songs [13.7 MB]
For two singers and rock band. Composed in 1997. Performed by me (lead on songs 1 and 4) and Paul Reller (lead on songs 2 and 3), accompanied by Handshake Squad.
Lyrics to Four Last Songs

Deep and Heavy Love Vibes [13.3 MB]
For percussion ensemble. Composed in 1996 for the Bonk Festival. Performed here by the USF Percussion Ensemble.

Bonko Bonzo [13.3 MB]
For two pianos. Composed in 1992, and performed here by Thump.

String Quartet #1 [9.3 MB]
Composed in 1990.

score to String Quartet #1 [2.2 MB]

Computer Generated Music

Global_Eyes.mp3 [3.7 MB]
Composed in 2001.

Investment_Strategies.mp3 [8.4 MB]
Composed in 1996.

The Pursuit of Opulence [11.7 MB]
Composed in 1995.

Ivory Pincers [3.9 MB]
Composed in 1995.

Oscar Meyer Eppler [5.7 MB]
Composed in 1994.

Polka Fantasy [6.5 MB]
Composed in 1988.

Live Computer Music

Stem Cells [17.8 MB]
Performed in 2004 at Ars Electronica.

Second Skin [14.6 MB]
Performed in 2002 at Electric Words.

A Gauzy Red Miasma [11 MB]
Performed in 2000 at SEAMUS.

Happy Millennium to You! [13.7 MB]
Performed in 2000 at Open Space.

Hybrid Music

Onceathon II: The Kiss of Constable [11.2 MB]
For flute, computer-generated tape, and optional computer processing. Composed in 1998 for Margaret Lancaster who plays flute in this recording. Live computer processing is done by the composer.

Twinkletoes [11 MB]
For snare drum and computer-generated tape. Composed in 1997 for Paul Reller. Texts by Erik Belgum. Matthew Gold performs in this recording.

Chris Penrose Music Be Stopped [2 MB]
For violin, piano, percussion and computer-generated tape. Composed in 1994.

Bonus: a strange online Shockwave video called Ghost Sites of the Web 1998-2001 that surreptitiously appropriated my music for the sound track. The fidelity is ghastly but somehow that seems appropriate.

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