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A slow, lyrical piece for saxophone and piano.

• Biddington: Cavatine; computer-set 

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• Music for Friends: the chamber music of Eric Biddington  Year: 1997 

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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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• Biddington: Four Latin American Dances; computer-set 

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• The Chamber Music of Eric Biddington 

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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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Egyptian Ella and The Sheik of Araby have always been two of my favourite tunes to play as a jazz clarinetist. I have also dabbled in gypsy-influenced musics with a couple of friends in the folk instrumental band Doris. These influences have certainly come through in this piece, but mainly it was my work in music education that inspired me to write a piece with a Middle Eastern flavour, as among the many students with whom I am blessed is a tenor saxophonist from Turkey. Hence my choice of title, Hazine – pronounced ‘ha-ZEE-nay’ – being a Turkish word.

I have also been working to expand my own modal knowledge, in this piece choosing to explore several darker modes (locrian, for example) with which I am not as familiar as I am with the more common ones (such as dorian). Another scale I have chosen to feature is a Turkish makam.

Yvette Audain

• Audain: Hazine (Treasure); computer-set 

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• Audain: Hazine (Treasure); computer-set 

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• Yvette Audain: Hazine (Treasure) 

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• Yvette Audain: Hazine (Treasure) 

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Homage was written for saxophonist Rachel McLarin, who premiered the work. The night sky’s debris to which the work claims to pay homage has been forgotten by the composer, perhaps signalling the piece was always more significant than the occasion which nominally gave rise to it. Given one cannot literally write down the night sky (or its debris), any more than one can pull it down, it is unsurprising that a juxtapositional collection of motifs captured on manuscript paper should outlive any given evening. The piece, with its calls, upward arcs and gentle falls, may loosely suggest some kind of homage to an unreachable sky, but this relationship is a rebus better left to sing for itself.

• McKinnon: Homage to the Night Sky's Debris; facsimile 

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• McKinnon: Homage to the Night Sky's Debris; computer-set  Year: 2005 

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• Waiteata Collection of New Zealand Music Vol. 8 - Chamber Music II  Year: 2005 

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• Biddington: Introduction and Allegro; computer-set 

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• The Chamber Music of Eric Biddington 

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