Solo (with and without electronics)
(or alto flute) and fixed media
Commissioned and premiered by Courtney Sullivan
Premiered November 10, 2018 at Florida State University
The siren song is an alluring melody heard only by sailors just before their death. Within a soundscape of cavernously echoing water drops and an underwater descent into this seductive trap, “Siren” is a feminist commentary on this mythical siren song. The English hornist represents our siren, not as told by the male-narrated stories through which the myth is known, but by the female protagonist, as depicted musically by her unhinged femininity—both beautiful and deadly. The song captivates the audience as it transforms into a cascading melody—luring the listener inward. When the sailor is in her grasp, the siren transforms back again into the femme fatale she is, dragging her catch into the depths of the cave. One final breath is inhaled, and the English horn sounds one last beckoning call, as the piece returns to the dark soundscape from which it began—dark, but just as beautiful.
flute and live electronics
Premiered on April 28, 2017 at Florida State University
recitation [ res-i-tey-shuh n ]
1. an act of reciting, repeating aloud
2. an elocutionary delivery of a piece of poetry or prose, without the text, before an audience
3. a piece so delivered or for such delivery
Portrait of the American Woman
Runner-Up Selection for the VIOLA2020 Call for Scores.
To be premiered by Maggie Snyder, Professor of Viola at UGA, in Fall of 2020, and include in the VIOLA2020 CD recording project.
a beautiful reckoning
flute, alto flute, voice, guitar, fixed media, light show
Premiered February 17, 2020 at the University of North Texas
"...Replacing the pain of heartbreak and transition with the pain of broken calluses, I discovered a riff along the way—one of openness, strength, and resonance, particularly embodied by the altered dropped tuning. From there, five variations of fingerpicking patterns, hand positions, and strumming were developed into a mosaic of acoustic guitar layers. Five lines of interlacing flute and alto flute melodies and sound effects layer on top of the guitars. Two recorded vocal lines loop and combine to create moments of over a dozen harmonies. Electronic elements expand the piece in range, dynamics, and timbre. Together, my creation, born of pain, became beautiful. It was a reckoning..." (see score for full program notes)
Oiseaux en Verre
flute, violin, piano
Premiered in concert on February 5th, 2018 at the University of North Texas
"Oiseaux en Verre" translated from French means, "Glass Birds."
A figurine of a bird taking flight, stuck in its crystalline form, the sharpness and clarity of the glass.
Imagine the refraction of light through this prism of glass.
Watch the colors dance.
Hear the birds come to life...
...And quietly return to their glass form.
Woodwind Quintet No. 1
flute, oboe/English horn, clarinet in Bb, horn in F, bassoon
Premiered on April 4, 2018 at Florida State University
Selected for N.E.O. Sound Call for Scores for 2020 concert season
With chordal stacks and swells across the diverse set of timbres of the instrumentation, Aleyna M. Brown's first woodwind quintet is a statement of technique and beauty. The extended harmonies, overlapping melodies, and moments of tension and release provide the essence of this piece. The first movement explores dynamic chordal swells, perpetual motion, and melodic conversations across the ensemble. The second movement is an
English horn feature, both elegiac and seeking, with a resounding chant-like melody in the richest register of the instrument. The final movement is an extension of the pyramid-stacking motives, with a full fugue built upon the bassoon. Rhythmic and unpredictable, the fugue unravels and builds back again, including quotes from motives heard throughout the piece, for the exciting conclusion of this three-movement piece.
2 cello, piano
Premiered on March 13, 2017 at Arizona State University
This piece is a nonstop Phrygian ride from start to finish, with intricate conversation across the three performers incorporating extending techniques like chops and wood hits. The premiere was at Arizona State University as part of a university exchange with Aleyna's alma matter Florida State University.
piano and strings
Premiere April 30, 2016 at the BFA Thesis film showcase at Florida State University
Commissioned by director Billy Mauer
Performance rights owned by Billy Mauer and Florida State University
Premiered March 22, 2017 at Florida State University
"Espionage" is an electronic composition reminiscent of the visual drama, suspense, and movement of choreography or film. With cinematic hits, a driving bass line, and atmospheric synths, this track is an example of the diverse effects and cues of Aleyna's fixed media and film scoring style.
Commissioned by choreographer Hayley Duplantier
Premiered March 25, 2022 at the Texas Woman's University School of Dance
“Damned Women" explores the hysteria of the women accused of witchcraft during the 1692 Salem Witch Trials using visceral sounds of breathing, laughing, whispering, and screaming amidst a fixed media score including church bell tolls and the snare drum rolls leading to the witches' execution.
Commissioned by choreographer Mary Roberts
Premiere MFA Thesis of Mary Roberts, November 10 and 11, 2017 at the FSU School of Dance
“Red Gaze” is an experimental tango composed for Mary Roberts' M.A. thesis production exploring the life and effects of working as an entertainer on a cruise ship. The segment, "Red Gaze" features the familiar characteristics of bass, castanets, and accordion, while also exploring electronics and sounds of sea waves and ship bells.
Red: the symbolic color of the tango
Gaze: the ever-present eyes on a performer, the psychological experience of being “on” all the time
Choreographed for solo dancer by Holly Stone, performed in concert on March 22, 2018 at Florida State University. Subsequent performance April 13, 2018 at the 2nd Annual Central New York Ballroom Showcase, Syracuse, NY
Piano reduction of Intro & Main Theme
Brotherhood of Man
Commissioned by choreographer Aigars Larionovs
Premiered at the Days of Dance festival, April 21, 27, and 28, 2018 at the FSU School of Dance
Inspired by Aigars's choreography background in Latvian Capoeira Aleyna composed this fixed media piece with layers of various drumming sounds to enhance the strong and acrobatic choreography of the trio of dancers. To enhance the overall form, the piece begins and ends with slowly changing synth layers, as contrast to the highly rhythmic drumming themes.