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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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‘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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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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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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The Sonata for alto saxophone and piano was written in 1977, when the composer was a student in the composition class at the Koninklijk Muziekconservatorium van Brussel. It was composed at the request of students in the saxophone class, performed by them and included in diploma recital
programs by Lawrence Riley and Lee Schloss.

• Elmsly: Sonata; computer-set 

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• Elmsly: Sonata; computer-set 

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• Elmsly: Sonata; computer-set 

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• John Elmsly: Sonata; audio 

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• John Elmsly: Sonata; video 

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