Compositions and Arrangements

Here you'll find a selection of Annick Odom’s original compositions and arrangements, works that draw from Appalachian ballads, personal storytelling, and experimental traditions. Her music often weaves together voice, folk instrumentation, visuals, and contemporary techniques, inviting performers and listeners into vivid sound worlds. 
​Please be in touch if you're interested in performing a piece or want to work on a new project together. 

Large Chamber Ensemble / Choir (10 players)

• Bingham Bailey (2024) for voice, tenor sax, clarinet, bassoon, banjo, double bass, electric bass, electric guitar, vibraphone, drum set, percussion, choir (SSAT),  and electronics [also performed with flexible instrumentation] (arrangement), 9'00"
• Bow and Balance (2024) for voice, fiddle, banjo, guitar, double bass, clarinet, bass clarinet, choir (SSAT), electric guitar, and electronics [also performed with flexible instrumentation] (arrangement), 12'00"
• Elevator Story (2024) for voice, violin, electric bass, electronics, and choir (arrangement), 10'30"
• Springtime in the Valley (2024) for choir SSAT, 7'00"

​
Small Chamber Ensemble (2 - 8 players)

• A Few More Months (2019) for voice, flute, oboe, clarinet, and cello [arrangement was first released in the Off Latch Press Zine (Edition: Winter 2020)], 11'00"
• A Spitting Story (2019) for narrator, double bass, and flexible improvising ensemble, 10'00"
• Amity and Lone Pine (2022) for singer, double bass, guitar, lap steel, and drumset, 10'00"
• Four on the Floor (2025) for percussion (four players), fiddle, and crankie, 7'30"
• Hello Bill (2024) for voice, two double basses, piano, toy piano, 10'15"
• Last Week's Flowers (2022) for voice, vibraphone (two players), gongs, and small percussion, 8'00"
• Seven Bones (2022) for voice/double bass, oboe, and electronics, 7'30"
• Waarheden (2025) for tenor saxophone, electric guitar, percussion, and piano 7'30" 
• What Do I Know? (2022) for flute, percussion, trumpet, piano, 4'40"

Solos and Duos                             
Voice and Bass (one performer)

• Dolly, It's Fine (2017) voice, double bass, with optional electronics, 2'30"
• Nathan Killed the Bellcow (2016) for voice, double bass, and electronics (arrangement), 6'00"
• Oh Come All You Virginia Girls (Traditional) for voice and bass, 4'00"
• That's What Phyllis Would Say (2018) voice, double bass, and electronics, 2'30"
• To the Sea (2018) voice, double bass, and electronics, 4'30"

Other

• Blue Bell and Bell was a Hired Girl (2025) for two voices, prerecorded electronics and clarinets (arrangement), 6'00"
• If I Take the Time (2022) for clarinet, 2'30"
• ReSet for double bass (originally with dance choreography by Maleek Washington, supported by Joe’s Pub micro-commissions), 3'05"
• The Sun Sits in My Hair, voice, electronics, 6'30"

Songs (unnotated)

• Blote Voeten (2022) for voice and flexible instrumentation, 3'00"
• Fairview (2023) for voice and flexible instrumentation, 2'00"
• Fall Into Your Arms (2022) for voice and flexible instrumentation, 2'30"
• Get Up and Bar the Door (2016) for voice and double bass (arrangement), 2'30"
• Ik Ben te Alleen in de Wereld (2020) for voice and flexible instrumentation, 3'00"
• Rise Early (2021) for voice, mandolin, guitar, and double bass, 3'00"
• Robins in the Morning (2019) for voice and flexible instrumentation, 3'30"
• Lone Prairie (2018) for voice and bass (arrangement), 2'30"
• Moonwalk (2018) for voice and flexible instrumentation, 2'30"
• Mother of the Mountains for voice and flexible instrumentation, 2'30"  
• Rose Run (2018) for voice and double bass, 2'30"
• Roving Gamblers (2025) for voice and flexible instrumentation, 
• Wild Bill Jones (2015) for voice and double bass (arrangement), 3'30"
• What's It Like (2019) for voice and flexible instrumentation, 4'30" 

---