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• Madden: He is Risen; computer-set 

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• Madden: He is Risen; computer-set 

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• The Graduate Choir: My Spirit Sang All Day  Year: 2005 

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• Cooper: Hine e hine (arr.); facsimile 

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• Cooper: Hine e Hine; facsimile 

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• Maori: various artists 

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• A Royal Occasion - National Youth Choir and Kiri te Kanawa 

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‘Hope There Is’ was commissioned by the Macquarie Singers, Sydney, for a graduation ceremony in which poet and activist Oodgeroo Noonuccal was receiving an honorary degree at Macquarie University. Her poem ‘Hope’ is the text.

• Maclean: Hope There Is; computer-set 

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• Clare Maclean: Hope There Is 

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• Clare Maclean: Complete Choral Music 

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• Hamilton: I Have a Dozen Dragons; computer-set 

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• The Treble Voice Choral Music of David Hamilton Vol 1 

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This piece, for four part unaccompanied choir or vocal quartet, is a setting of Isaiah’s vision of God, which is found in Isaiah chapter 6. It was written for Syntony vocal quartet from Adelaide.

• Maclean: In the year that King Uzziah Died; facsimile 

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• Maclean: In the year that King Uzziah Died; facsimile 

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• Clare Maclean: Osanna 

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A karanga is a call which begins the Maori ceremony or welcome, the powhiri. Traditionally the karanga is performed by the women. It is an indication that the visitors (the ‘manuhiri’) should begin to move forward on the marae.

“The start of he karanga indicates to a visitor that they are free to approach their hosts across the marae atua (sacred space directly in front of the meeting house). The call also clears a spiritual path for the ancestros of both the visitor and host and meet and partake in the ceremonial uniqueness of the powhiri.” (from www.newzealand.com)

The karanga also includes acknowledgment of ancestors and may allow the visitors to identify where they have come from.

Although my work picks up on some of these traditional karanga elements, it is not intended to be a representation of an actual karanga or powhiri. The text is drawn from several sources, and includes some typical traditional karanga calls. In the music, the female voices represent the hosts and the male voices represent the visitors, although at times (for purely musical reasons) this distinction is blurred.

The women’s text is founded on the call of “Haere mai!” (“Welcome!”), and the men’s text of “Karanga mai!” (“Call!”). THese two phrases recur throughout the work, often underpinning other texts. Although the two groups often call back and forth to each other, at times the two groups also perform together, super-imposing their respective texts. Towards the end of the work the two groups come together and the work ends with all singers presenting the same text.

Musically, the work begins by using rhythmic ideas which suggest traditional chant. No actual traditional chants are used however. A feature of a karanga is the unbroken line of sound which passes from singer to singer. Much of the remainder of the work uses a rich palette of tonal harmonies often moving slowly from chord to chord. The piece includes a part for conch shell player, an instrument also associated with calling to visitors and welcoming them.

Karanga was written for The Graduate Choir and their conductor Terence Maskell

David Hamilton

• Hamilton: Karanga; computer set 

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• Hamilton: Karanga; computer set  Year: 2005 

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• A Sound Came from Heaven  Year: 2007 

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This piece sets a well-known Maori proverb and blessing. Each text seeks something good for others – the English translations of each line beginning with the injunction “May…”. The proverb is first sung in unison, then presented in an English chant. The initial proverb is then repeated sung largely in canon against itself, with the blessing reappearing towards the end of the piece.

Kia hora te marino was written for Auckland Boys Choir and their conductor Suart Weightman.

• David Hamilton: Kia hora te marino - hardcopy score 

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• The Treble Voice Choral Music of David Hamilton Vol. 3  Year: 2011 

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This short setting was originally scored for SATB voices with organ, with subsequent versions for SSAA unaccompanied (with optional guitar) and SATB unaccompanied. The text is a traditional Irish toast but also works as a blessing suitable for church services or even as a grace.

• David Hamilton: May The Road Rise To Meet You - hardcopy score 

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• The Treble Voice Choral Music of David Hamilton Vol 1 

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• Cecilian Singers: Alleluia  Year: 2003 

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One of New Zealand’s most popular choral works Minoi, Minoi has been performed by hundreds of choirs around the world. It was part of the winning program of the New Zealand National Youth Choir’s winning entry in the 1990 ‘Let the People Sing’ competition in Germany.

• Marshall: Minoi, Minoi; computer-set 

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• Marshall: Minoi, Minoi (SATB); computer set 

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• Marshall: Songs of Samoa; computer-set 

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• Christopher Marshall: Minoi, Minoi 

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• New Zealand National Youth Choir: Te Roopu Rangatahi Waiata o Aotea Roa  Year: 1992 

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• NZ National Youth Choir on Tour North America  Year: 1994 

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• New Zealand Choral Music Vol. 1  Year: 1994 

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• Sing we triumphant; NZSSC  Year: 1999 

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• Tower New Zealand Youth Choir: Choir of the World  Year: 1999 

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• The Big Sing Finale 2001   Year: 2001 

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• 2005/06 New Zealand Secondary Students' Choir: Choral Champions  Year: 2006 

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• A Sound Came from Heaven  Year: 2007 

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This setting of the Kyrie from the Latin Mass is the first movement of ‘Missa semplice’. Having had for some time an intention to compose a Mass setting of modest proportions, in 2006 I wrote the work incorporating some other texts in English. The work was originally scored for three-part mixed voices (SAB). This re-working of ‘Kyrie’ for treble voices was made for Rangitoto College’s choir ‘Perfect Fourths’ at the request of conductor Bianca Abelskamp.

• Hamilton: Missa semplice; computer-set 

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• Hamilton: Missa semplice; computer set 

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• David Hamilton - Music for Mixed Voice Choirs Vol. 1 

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• David Hamilton: Missa semplice (2006)  Year: 2007 

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