Search Music:

for violin 1, violin 2, viola, cello, gamelan, narrator and sheng (or oboe)

This work uses four short passages from Canadian composer and ethnomusicologist, Colin McPhee’s famous account of his experiences while living in Bali in the 1930s. A joint composition between Jack Body and Wayan Yudane who composed the gamelan sections. A Creative New Zealand grant assisted the composition of this work.

• Body, Yudane: A House in Bali; computer-set 

  Score and parts | Hardcopy - computer set
  
  $33.00
  • • Quantity:

• Body, Yudane: A House in Bali; computer-set 

  Score and parts | Hardcopy - computer set
  
  $41.00
  • • Quantity:

• Body, Yudane: A House in Bali; computer-set 

  Full score | Pdf - computer set
  
  $20.50
  • • Quantity:

• Body, Yudane: A House in Bali; computer-set 

  Full score | Hardcopy - computer set
  
  $25.00
  • • Quantity:
  • Borrow

• Body: A House in Bali; computer-set 

  CD
  

2 trumpets, horn, trombone, tuba

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

• Freed: A Nursery Tale; facsimile 

  Full score | Pdf - facsimile
  

• Freed: A Nursery Tale; facsimile 

  Full score | Hardcopy - facsimile
  
  $7.00
  • • Quantity:
  • Borrow

• Freed: The Circle and A Nursery Tale 

  Cassette
  
  • Borrow

with optional vibraphone. Originally for clarinet/saxophone, percussion and piano

• Whitehead: Angels born at the speed of light; facsimile 

  Full score | Pdf - facsimile
  

• Whitehead: Angels born at the speed of light; facsimile 

  Full score | Hardcopy - facsimile
  
  $14.00
  • • Quantity:
  • Borrow

Percussion: drumkit; mobile instruments; furniture; clothing (full details in score)

• Palmer: Blood Shower; computer-set 

  Full score | Pdf - computer set
  
  $8.50
  • • Quantity:

• Palmer: Blood Shower; computer-set 

  Full score | Hardcopy - computer set
  
  $8.50
  • • Quantity:
  • Borrow

• Palmer: Selected Works I 

  CD
  
  • Borrow

solo clarinet

In many ways this is a companion piece to an earlier work, Vivid for solo trumpet, which also sets a powerful, sexually charged poem by Will Christie. But where Vivid is very often overtly violent and forceful in its gestures, deepwalker is mostly much subtler, almost passive-aggressive in outlook. The opening lines of the poem – “the day is a drum that connects these vocal loops with grey traffic circles bridge after bridge” – are mirrored in the cyclical, sometimes elliptical form of the work, loops and circles that play between registers of the clarinet. Sexual tension and aggression bubble away in the background, periodically rupturing the musical surface with piercing, angular outbursts, sometimes in parallel with the rather tender, fluid lines of the low register, and with the spoken text itself. This violent interplay creates a kind of disordered internal conversation, a bizarre hermetic character opening and shutting her windows; a clarinet of many voices.

Warning: contains coarse language

• Taylor: deepwalker; computer set 

  Full score | Hardcopy - computer set
  
  $19.50
  • • Quantity:
  • Borrow

• Taylor: deepwalker; computer set 

  Full score | Pdf - computer set
  
  $16.50
  • • Quantity:

• Alex Taylor: deepwalker; audio 

  Media on Demand | Embedded
  

• Alex Taylor: deepwalker 

  Digital sound file - MP3
  

massed mixed voices, boy trebles, narrator, baritone solo, organ, percussion optional maori trumpet and powhiri

• Dellow: Fanfare and Finale; facsimile 

  Full score | Pdf - facsimile
  

• Dellow: Fanfare and Finale; facsimile 

  Parts - written | Hardcopy - facsimile
  
  $4.00
  • • Quantity:

• Dellow: Fanfare and Finale; facsimile 

  Full score | Hardcopy - facsimile
  
  $14.00
  • • Quantity:
  • Borrow

for bass clarinet in Bb, alto flute
percussion — kick-drum, snare drum, low tom-tom, low woodblock, high woodblock, medium cowbell (muted), hi-hat, high ride cymbal, medium splash cymbal, thin metal sheet, cabasa, rainstick, tibetan bowl (F if possible), vibraphone, marimba;
narrator — amplified with microphone and/or paper megaphone and power megaphone;
piano (nylon fishing line rosined), violin and violoncello

“In the beginning, there was nothing. Just the water.”
“But where did all the water come from?”

Throughout Thomas King’s novel the character of the trickster Coyote reappears, hopelessly bamboozled, trying to learn what really happened when the world began. Who knows the Real Story? Coyote would like to think he does, but then there’s Coyote’s Dream – “gets loose and runs around. Makes a lot of noise”. Coyote’s Dream has his own idea about things: “I’m in charge of the world”. By the end of the piece, you’ll be wondering where all that water came from…

• Palmer: How it Happened; computer set 

  Full score | Pdf - computer set
  
  $30.00
  • • Quantity:

• Palmer: How it Happened; computer set 

  Score and parts | Hardcopy - computer set
  
  $36.00
  • • Quantity:

• Palmer: How it Happened; computer set 

  Full score | Hardcopy - computer set
  
  • Borrow

• Juliet Palmer: How it Happened 

  Digital sound file - MP3
  

• Lilburn: Landfall in Unknown Seas; computer-set 

  Full score | Hardcopy - computer set
  
  $13.50
  • • Quantity:
  • Borrow

• Lilburn: Landfall in Unknown Seas; facsimile 

  Full score | Hardcopy - facsimile
  
  • Borrow

• The Lindsay String Orchestra of Wellington: Landfall in Unknown Seas and other works 

  Vinyl (LP or EP)
  

• Lilburn: A Song of Islands and other works  Year: 1986 

  Cassette
  
  • Borrow

• Lilburn: A Song of Islands  Year: 1986 

  Vinyl (LP or EP)
  

• Lilburn/Watson/Pruden: New Zealand Chamber Orchestra  Year: 1993 

  CD
  
  • Borrow

• Alex Lindsay String Orchestra  Year: 1998 

  CD
  
  $25.00
  • • Quantity:
  • Borrow

The Love Sonnets of Michelangelo I wrote for Michael Parmenter, with whom I worked on a programme entitled Between Two Fires (also included was a dance-theatre work I created collaboratively with Michael, using his voice as well as his body, with imagery extracted from the diaries of Franz Kafka.) At the time I was focused on different styles of melody, having just completed my Five Melodies for Piano. Inspired by the lovely voices of some of the then current students in our School of Music, I felt that women’s voices gave the expressive quality I wanted, as well as providing a useful ‘cover’ for the overtly homo-erotic tenor of the texts. The original production used film, shot by my good friend Bayley Watson, showed the dancer’s prostrate figure, swathed in bandages. As the performance unfolded the cloth was gradually cut and pealed back by hands belonging to an old man whose face we never saw, the intended metaphor being of the sculptor cutting away marble to reveal the male form that he sensed already existed within the stone.

The work has since had other performances that have discarded the theatrical elements, most successfully when each setting is prefaced by a reading of the poem in translation.

These settings of some of Michelangelo Buonarroti’s most personal sonnets articulate the anguish of love and desire, as well as the despair of old age. The musical style combines the theatricality of Italian bel canto with the direct expressivity of folksong.

• Body: Love Sonnets of Michelangelo; facsimile 

  Full score | Hardcopy - facsimile
  
  $9.50
  • • Quantity:
  • Borrow

• Jack Body and Michael Parmenter: Love Sonnets 

  Video
  
  • Borrow

• Baroque Voices: How Great is the Pleasure   Year: 2001 

  CD
  
  • Borrow

• Waiteata Collection of New Zealand Music Vol. 6 - Composer Portrait: Jack Body  Year: 2003 

  CD
  
  $15.00
  • • Quantity:
  • Borrow

• Ellis: Play Some Metallica; computer-set 

  Full score | Hardcopy - computer set
  
  $3.00
  • • Quantity:
  • Borrow

• Ellis: Play Some Metallica; computer-set 

  Full score | Pdf - computer set
  
  • • Quantity:

• Robbie Ellis: Play Some Metallica 

  Digital sound file - MP3