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This work for brass quintet and narrator was written for the NZ Brass Quintet to perform in schools.

• Freed: A Nursery Tale; facsimile 

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• Freed: A Nursery Tale; facsimile 

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• Freed: The Circle and A Nursery Tale 

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This short piece was written as a twenty-first birthday present for clarinettist Esther Smaill. The melodic fragment heard at the outset soon skitters over its own unstable surface, mutates into fanfare-like repetitions, is spliced with momentary cantabile inserts, is interrupted by slow motion signposts, and blows itself out in a final burst of energy.

• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set  Year: 2000 

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This short piece was written as a twenty-first birthday present for clarinetist Esther Smaill. The melodic fragment heard at the outset soon skitters over its own unstable surface, mutates into fanfare-like repetitions, is spliced with momentary cantabile inserts, is interrupted by slow motion signposts, and blows itself out in a final burst of energy.

• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set 

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• 175 East Vol. 1 

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• James Gardner: Selected Works 

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• Gardner: Charge and other works 

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

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• Sound Barrier  Year: 2006 

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• Andrew Uren: Steep Steps  Year: 2011 

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This humorous piece could only have been conceived by a slightly warped mind! The title is a play on the 5/8 time signature and on the syncopation and ‘sinking’ theme evidenced throughout the music. Motivic devices such as inversion and retrograde are used extensively. The original version of the work was composed for mandolin and piano and performed in New Zealand in 1962.

• Twomey: Cinc!; computer-set 

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• Twomey: Cinc!; computer-set 

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• Twomey: Cinc! (Opus 5); computer-set 

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• Twomey: Cinc!; computer-set 

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• Reflections - Music Composed by Ray Twomey 

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• A New Dawning  Year: 1999 

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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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Written in 1972 for my daughter Katherine. She was at the time learning the guitar and I was endeavouring to teach myself the sitar from the Ravi Shankar book.. In attempting to marry the two instruments, the piece inevitably borrows bits from Indian music: the drone, the modal approach and the association of drumming with sitar-playing (though the “drummer” here is the guitarist). It remains however, basically western in concept: it is fully notated, the mode is Messiaen’s mode 2, and the sitarist is required to stop the tonic drone during the middle section of the piece allowing the guitarist to provide three substitute chords – in other words, “modulation”!

• Farquhar: Duet for Guitar and Sitar; facsimile 

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• Farquhar: Duet for Guitar and Sitar; facsimile 

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The text for this work is a short poem by Lucille Clifton (1936-) suggesting an intense religious experience and part of the traditional Latin ‘Magnificat’. The choir is accompanied by pre-recorded sounds which are mostly bell-like sounds, some deep and some very high. Holy Night was written for Opus to sing at the 2000 Secondary Schools Choral Festival.

• Hamilton: Holy Night; computer set 

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• Hamilton: Holy Night; computer set 

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• David Hamilton: Holy Night; video 

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• The Treble Voice Choral Music of David Hamilton Vol 1 

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• The Big Sing Finale 2000  Year: 2000 

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• Sound Barrier  Year: 2006 

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• Dellow: Reverie; facsimile 

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• Dellow: Reverie; facsimile 

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Three views of an imaginary object.

• Watson, C.: schemata; computer-set 

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• Watson, C.: schemata; computer-set 

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• Chris Watson: schemata; video 

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