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• Whitehead: Antiphons; facsimile 

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• Whitehead: Antiphons; facsimile 

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• Harris: Arquebus; computer set 

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• Harris: Arquebus; computer-set 

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• Harris: Arquebus; computer-set 

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• Harris: Contours; computer set 

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• Ross Harris: Contours; audio 

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1. Fantasia – an textural exploration of a lively melodic theme
2. Ballad – a flowing melody accompanied by scrunchy chords and gentle rhythms
3. Tango – fragments of melodic and rhythmic material are explored and gradually fuse together to create a syncopated melody with simple accompaniment
4. Frenzy – a solemn introduction based on the theme from Fantasia is followed by a rollicking romp through a variety of time signatures.

• Camm: Four Pieces for Brass Quintet; computer set 

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• Camm: Four Pieces for Brass Quintet; computer-set 

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• Camm: Four Pieces for Brass Quintet; computer-set 

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Gestauqua was composed in February and March 1989, for Concord Brass Quintet, then resident at SUNY Fredonia and directed by Grant Cooper

• Elmsly: Gestauqua; facsimile 

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• Elmsly: Gestauqua; electroacoustic part 

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• Elmsly: Gestauqua; facsimile 

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• Elmsly: Gestauqua; facsimile 

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• Grant Cooper and Concord Brass: Points in a Changing Circle 

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The Chorale melody was written by Stravinsky in 1952, as a theme for organ improvisation by Marcel Dupre. I am grateful to Robert Craft and the Stravinsky Estate for permission to use it here. Stravinsky’s melody is played by the first trumpet in each of the three chorale settings. All three are canonic in treatment, with the texture increasing from two parts in Chorale 1 to four parts (plus a tuba bass-line) in Chorale 3. The two Interludes take off from the finale notes of the chorale. In contrast both are quick, with a somewhat Stravinskian rhythmic exhuberance; Interlude 1 is scored for a trio (excluding the two trumpets), Interlude 2 for the full quintet.

• Farquhar: Homage to Stravinsky; facsimile 

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• Farquhar: Homage to Stravinsky; facsimile 

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• Farquhar: Homage to Stravinsky; facsimile 

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• David Farquhar: Auras  Year: 1997 

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• Sound Barrier  Year: 2006 

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This brass octet with its somewhat dense texture of waiata-like fragments, is inspired by the spatial as well as the dynamic and energetic qualities of the mountain. The Maori title may translate as ‘The Mountain Called Wharepapa’, which is the original name for Mount Arthur in the Nelson district, a significant mountain in my childhood landscape. This piece is dedicated to the memory of my father, Tas McKee.

• Fisher: Ko Wharepapa Te Maunga; computer-set 

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• Fisher: Ko Wharepapa Te Maunga; facsimile 

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• Helen Fisher: Various Works 

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• Elmsly: Memorial; computer set 

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• Cresswell: Sextet; facsimile 

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• Edward Harper and Lyell Cresswell  Year: 1997 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

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• Rimmer: Sonata a 5; facsimile 

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• Rimmer: Sonata a 5; facsimile 

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• Rimmer: Sonata a 5; facsimile 

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• Grant Cooper and Concord Brass: Points in a Changing Circle 

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