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Chance Piece for Saxophone and Tape is a variation of Chance Piece for Oboe and Tape.

• Powell: Chance Piece for Saxophone; electroacoustic part 

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• Powell: Chance Piece for Saxophone and Tape; electroacoustic part 

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• Powell: Chance Piece for Saxophone and Tape; computer-set 

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• Powell: Chance Piece for Saxophone and Tape;  

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This work for tenor saxophone has been described as a “beautiful and craftsman-like piece…” by Rod Biss, in the NZ Listener; as “growing particularly strikingly from the lilting opening motif and the lurching and drooling phrases which answer it;” by Richard Bolley in Music in NZ and as having “..a strong jazz flavour.” by Philip Brownlee, in Music in NZ.

• de Castro-Robinson: Countercurrents; facsimile 

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• de Castro Robinson: Various Works  Year: 1989 

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• New Zealand Composers  Year: 1994 

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This piece arose out of collaboration with multi instrumentalist, Adam Page. The fixed media track was composed as a “virtual ensemble” to accompany a soloist. The title “Crunch Time” is representative of the manic and stressful character of the piece.

• Briar Prastiti: Crunch Time - downloadable PDF & backing track 

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• Briar Prastiti: Crunch Time - hardcopy score & CD 

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‘Roll Jordan Roll’ (movement one) is a series of genre variations on the African-American spiritual of the same name. The melody was transcribed from a 78rpm recording of the Fisk Jubilee Singers, and in turn, this appeared on the 1962 Folkways LP entitled An Introduction to Gospel Song. In my version, the listener will hear my own harmonization followed sequentially by pastiches of Karlheinz Stockhausen, Lennie Tristano, Anton Webern, and Thelonious Monk, in turn.

‘Dangdut’ (movement two) is a direct transcription of an Indonesian street musician called Mas Sujud. He and the tune appeared on a 1982 Kiwi-Pacific Records Ltd./Hibiscus Records LP called Music for Sale (Indonesian street music recorded by Jack Body). In the original, the singer accompanies himself on a small drum, and in my version, the piano part was generated solely by the notes in the melody and rhythms played by the drum. The sax part plays the melody.

This piece was recorded in 1991 by Taimur Sullivan (sax) and Allissa Eells (piano) with funding from the American (then Minnesota) Composers Forum.

• Davidson: Deux Plaisenteries; computer-set 

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• Davidson: Deux Plaisenteries; computer-set 

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• Davidson: Deux Plaisenteries; computer-set 

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• Davidson: Deux Plaisenteries; computer-set 

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• Stolen Music - New Compositions by Matthew Davidson  

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• Stolen Music - Chamber and Electronic Music by Matthew Davidson  Year: 1996 

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For some reason we never seem to fully escape our formative influences. In this case it is the Dave Brubeck Quartet’s 1959 Time Out album, featuring the smooth, lyrical alto saxophone sound of Paul Desmond, as well as time signatures not yet widely heard by the general public on a jazz recording.

Why Grooves Unspoken? Because we do not speak music, we play (or sing) it.

• Audain: Grooves Unspoken; tenor or soprano saxophone version; computer-set 

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• Audain: Grooves Unspoke; tenor or soprano saxophone version; computer-set 

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• Audain: Grooves Unspoken; alto or baritone version; computer-set 

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• Audain: Grooves Unspoken; alto or baritone version; computer-set 

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• Yvette Audain: Grooves Unspoken 

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This work was purpose-written upon request from one of the schools I work in, as a companion piece for my solo work Hazine (Treasure). The musical material here needed to be in a similar vein: that is, using exotic modality in a Middle Eastern/Mediterranean style, which in this case alternates with a more jazz-fusion-based, contemporary sound.

The title originates from a tale by the great storyteller Nasreddin Hoca, called ‘Hide and Seek’. The protagonist says at the end “If you do not look in your own heart first, then you will not find wisdom”. My work consists of 5 short, intuitively-composed ‘meditations’, linked together by either solo saxophone cadenza-like passages, or pianistic interludes.

To reflect a little upon the purpose of this work’s composition, the last of said meditations is actually ‘old wine in new bottles’, so to speak: it revamps and then develops, in a written-out improvisation, a melody and accompaniment I composed when in my final year of high school, seeing as I was writing this for an advanced student in their own final year of high school.

Yvette Audain

• Audain: Meditations Upon Nasreddin Hoca; computer-set 

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• Audain: Meditations Upon Nasreddin Hoca; computer-set 

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A spacious melody and a piano phrase; a meditation over a chordal progression

• Carey: Melody; facsimile 

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The sound of the saxophone has been processed by computer to create a dark and exaggerated sound world. The live saxophone spars with this new environment, sometimes aligning itself with, and sometimes divorcing itself from the electronic backdrop. Throughout, however, the instrument has only been reacting to a reflection of itself.

The tape part of this work was composed in the University of Auckland EMS and is comprised of computer modifications of a single saxophone gesture. This work won first prize in The University of Auckland Composition Prize Competition in l991 and received a “Mentione d’Onore” in the 16th Concorso Internationale “Luigi Russolo”, Varese, Italy in 1994. It has been frequently performed in New Zealand, Australia, USA and Europe.

• Hall: Reflexive; facsimile 

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• Hall: Reflexive; facsimile 

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• Hall: Reflexive; electronic part 

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In 1994 I kept a musical diary. At the time I had been in Slovenia for a year and, being a saxophonist myself, I was practising the saxophone most days but did not have a lot of contact with other musicians. Perhaps it was natural that this diary took the form of a rather inward looking set of pieces for solo saxophone. The result was a set of pieces concerned equally with saxophone technique (more specifically, with my own technical explorations at the time) and the compositional problems that I was then concerned with.

The saxophone techniques employed will be obvious at first listening. They include multiphonics (especially the filtering of multiphonics), quarter tones, an extended pitch range and an extended palette of dynamics and articulations.

As a composer, I was working on a graphic system for notating dynamics, which allowed dynamic “shapes” to be much more structurally significant in my music. New notations were also employed for microscopic pitch changes and for rhythm. The organisation of pitch is an ongoing concern for most composers and each of the pieces in this collection reflects a slightly different approach to this problem. Some of the solutions worked out here were later applied to larger scale pieces. The use of silence is another area that has often attracted my attention. In the third piece of this collection I have tried to “foreground” silence by introducing an alternative element as the “ground” of the piece.

Apart from these compositional concerns there is the central problem of building form with sound, which is particularly acute when writing for a single instrument. I have tried to avoid linear formal processes, preferring to disperse the unfolding of events, often resulting in a kind of spiral motion where a variety of elements are developed more or less simultaneously.

• Hall: some points in time, book I; facsimile 

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• Hunt: Winter; computer set 

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• Hunt: Winter; computer set 

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