Search Music:

Flute Quintet was composed as the major work for my Honours project in Composition. While some of the movements are programmatic, others have no program whatsoever attached to them.

• McKenzie: Flute Quintet; computer-set 

  Full score | Pdf - computer set
  

• McKenzie: Flute Quintet; computer-set 

  Parts - written | Hardcopy - computer set
  
  $20.00
  • • Quantity:

• McKenzie: Flute Quintet; computer 

  Full score | Hardcopy - computer set
  
  $15.00
  • • Quantity:
  • Borrow

• Music by Lachlan McKenzie 

  CD
  
  • Borrow

• Psathas: Helix; computer-set 

  Full score | Hardcopy - computer set
  
  • Borrow

• John Psathas: Helix  Year: 2011 

  CD
  
  $30.00
  • • Quantity:
  • Borrow

Hineputehue translates literally as the woman of the sound of the gourd, and she is the Maori goddess of peace. The work was written in 2001, at the time of President Bush’s State of the Union address shortly before the invasion of Afghanistan, and suggests the fragility rather than the celebration of peace, particularly in a pre-European environment.

A number of instruments used in Hineputehue are made of gourds – the gourd, which carried food and water, is a symbol of peace. These include the poi awiowhio, a very quiet bird lure which is swung around the head, the tiny koauau ponga ihu or noseflute which ends the piece, the hue puru hau, a large gourd which is blown across its top opening and the gourd rattles played by the quartet. Two other wind instruments frequently made from gourds, the nguru and the ororuarangi, are also used. Other instruments are the putatara or conch shell trumpet, traditionally used for signalling, the pu kaea or war trumpet, a nguru niho paraoa or flute made from a whale’s tooth, the pumotomoto, associated with birth, and tumutumu (tapped percussion).

There is a similarity between the stringed instruments of the quartet and the gourds, in that they are made from plant material, with sound emitted through sound holes. Another link is the ku, the only stringed instrument known to Maori, which is a small musical bow played like a jaws harp (jews harp) using the mouth as a resonating chamber. The idea of ororuarangi, which can be translated as spirit voice (or double stopping in a different context) has had some influence on this piece as in the parallel movement of the strings.

• Whitehead: Hineputehue; computer-set 

  Full score | Pdf - computer set
  
  $13.00
  • • Quantity:

• Whitehead: Hineputehue; computer set 

  Parts - written | Hardcopy - computer set
  
  $22.00
  • • Quantity:

• Whitehead: Hineputehue; computer set 

  Full score | Hardcopy - computer set
  
  $13.00
  • • Quantity:
  • Borrow

• NZIAF: Gillian Whitehead Portrait; part 2 

  CD
  

• Whitehead: Bright Silence  Year: 2002 

  CD
  
  • Borrow

• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

  CD
  
  $35.00
  • • Quantity:
  • Borrow

Hineteiwaiwa is a wahine atua – a Maori goddess – the exemplary wife and mother who provided the pattern that all women follow. She assists at the entrances into and the exits from the world, with rituals concerned with tattooing of the lips prior to marriage, with the raising of tapu, and she is credited by some iwi with the introduction of weaving into the culture. Generally, she supports the role of women in traditional society. Hineteiwaiwa was written at the time that Tungia Baker, herself an exemplary wahine toa, or woman of strength, was dying, and is dedicated to her memory. In the improvisatory sections, which are guided and shaped by the taonga puoro player, there are few indications in the score. Generally, the improvisations involve the percussionist. Maori texts, devised and sung by the Kaikaranga, may be integrated into these sections. Also embedded in the improvisatory sections of the piece is a separate vocal composition by Aroha Yates-Smith, woven around the attributes and quality of Hineteiwaiwa.

• Whitehead: Hineteiwaiwa; computer set 

  Full score | Pdf - computer set
  
  $25.00
  • • Quantity:

• Whitehead: Hineteiwaiwa; computer-set 

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

• Whitehead: Hineteiwaiwa; computer-set 

  Score and parts | Hardcopy - computer set
  
  • Hire

One winter morning, a short walk from the marae at Waihi, on the southern shore of Lake Taupo, I stood on the shore to watch the sun rise. Behind me, a waterfall lead to a small stream that flowed into the lake, imposing its own patterns on those of the lake. The water was uniformly grey, but as the sun rose, for a moment the tops of the ripples were golden, with darker valleys between, before the whole area was flooded with light. So the ideas behind this trio have to do with the changing perspectives of patterns in water – in the bubbling of streams, the tumble of a waterfall, in the spiralling eddies where stream meets lake at sunrise.

In the opening movement, a group of short themes and ideas initially form a mosaic-like section, which recurs in developed and varied forms around more reflective passages. The second movement reverses the first, in that slow, sustained sections are interrupted by more energetic material, and the final movement draws all the previous ideas together.

• Whitehead: Piano Trio; computer-set 

  Full score | Hardcopy - computer set
  
  • Borrow

• Whitehead: Piano Trio; computer set 

  Full score | Pdf - computer set
  
  $22.50
  • • Quantity:

• Whitehead: Piano Trio; computer-set 

  Score and parts | Hardcopy - computer set
  
  $39.00
  • • Quantity:

• NZTrio: bright tide moving between  Year: 2008 

  CD
  
  $30.00
  • • Quantity:
  • Borrow

This piece utilises implements commonly found in a New Zealand kitchen, within the context of a group ritual. First performed at The Committee’s ‘Bangers ’n Mash’ concert, 2007.

• Willis: Ritual Recipe Recycled; computer-set 

  Full score | Pdf - computer set
  
  $14.00
  • • Quantity:

• Willis: Ritual Recipe Recycled; computer-set 

  Full score | Hardcopy - computer set
  
  $17.00
  • • Quantity:
  • Borrow

Shuo Shu Ren or The Storyteller, was inspired by my childhood memories of listening to folk stories. Folklore and the oral tradition were very much a part of people’s lives before television invaded China in the 1980s. In the period in which I grew up, there were regular power cuts in the evening, and neighbours always came together to share stories in the dark. The stories never seemed to run out. We visited the cha guans (tea-house) where tea was served and fantastic tales would be spun by expert story-tellers. Often I would run home from school to catch the late afternoon broadcast of a particular story-teller’s account of some epic tale, usually based on a classical novel in a historical setting. This was before my family owned a television set, and the memories of these joyful moments are as vivid now as 25 years ago. My interest in storytelling never subsided. From a composer’s perspective, the theatrical characteristics of Chinese story-telling, which range from shouting and vocalizing to intense facial expressions and body movements, are extremely seductive and lead naturally to almost operatic ideas. I have always thought of myself as a story-teller of sorts, but in place of words I use music. In Shuo Shu Ren, the communal stories that a story-teller shares, are interwoven with the personal narratives of the individual. Blurring the boundaries between myth and reality, this work exists within the space of a “third reality”. In the epilogue to the piece, as the stories come to a close, what remains is the theme of the story-teller who sighs in desolation while fragments of stories flash by, ephemeral as light.

Shuo Shu Ren was commissioned by the Zurich-based Ensemble Pyramide who gave its first performance in January 2002. I dedicate this work to my dear friend, the flautist Markus Bronnimann, without whom this work would never have come into being.

Gao Ping, from Gao Ping, Chamber Music , NAXOS

• Gao: Shuo Shu Ren - The Storyteller; computer-set 

  Full score | Pdf - computer set
  
  $50.00
  • • Quantity:

• Gao: Shuo Shu Ren - The Storyteller; computer-set 

  Full score | Hardcopy - computer set
  
  $50.00
  • • Quantity:
  • Borrow

• Gao Ping: Chamber Music  Year: 2006 

  CD
  
  $16.00
  • • Quantity:
  • Borrow

• Statham: Suite for Flute and String Quartet; computer-set 

  Score and parts | Pdf - computer set
  
  $34.50
  • • Quantity:

• Statham: Suite for Flute and String Quartet 

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

• Keith Statham: Suite for Flute and String Quartet; audio 

  Media on Demand | Embedded
  

• In Retrospect - Quintets, Quartets and Trios by Keith Statham 

  CD
  
  • Borrow

• Keith Statham: ...of wine and roses  Year: 2011 

  CD
  
  $27.00
  • • Quantity:
  • Borrow

Though notated as Western music, ‘The Fire Raga’ is written in the style of Indian classical music. It abounds in figurations common to that style. In Indian classical music the musicians improvise on the scale notes of a chosen ‘raga’ (a mode in Western music), and, therefore, the music is not notated. When there are two instrumentalists, say sitar and shahnai (a one-reed wind instrument) they mainly ‘dialogue’ with each other, imitating a phrase introduced by one player and repeated from memory by the other, joining together in the occasional unison. In ‘The Fire Raga’ the imitation often involves three, or, at times, all four players, and unison passages are often harmonized, but, at all times only the scale notes of the ‘raga’ are sounded. Glissandi, grace notes and trills decorate the notes. The tuning of the scale notes in Indian classical music, which is subtly different to that of traditional Western music, achieves the mood and atmosphere which is the intention of the ‘raga’. The time of day when a particular ‘raga’ is played is important too. For instance, ‘The Fire Raga’ is meant to be played at ‘sunset when the lamps are lighted at the end of twilight.’ This ‘raga’ of Northern Indian music called ‘The Fire Raga’ belongs to a group of evening ragas known as Dipaka (after sunset). It is hexatonic but different in ascent and descent consisting of C, E, F sharp, G, A flat, B (ascending) and C, A flat, G, F sharp, E, D flat (descending). Notice there is no D flat in the ascending scale and no B in the descending. The notes of the raga are introduced in the slow beginning section establishing their relationship with the ‘tonic�(consonant) C and the ’dominant’ (sonant) G. When the tabla enters in the longer fast section of the music the player uses a rhythmic pattern called a tala. Certain standard variations fill out the pattern as well as some cross-rhythms. The player diverts from the basic pattern to add interest and a sense of ‘play’ with the other musicians. In the first performance of this piece a tabla player was unavailable so the improvised drum part was played on a ‘djembe’ – a single-headed drum from West Africa – successfully enhancing the music.

• Dixon: The Fire Raga; computer set 

  Full score | Pdf - computer set
  
  $20.00
  • • Quantity:

These tunes can be played on any instrument (e.g. violin, flute) with accompaniment of chords on guitar or piano. They are played in Celtic fashion, that is, the tunes have a cyclical nature and can be repeated as many times as desired.

• Prosser: Wee Happy and the Lounge Bears; computer-set 

  Full score | Hardcopy - computer set
  
  $8.00
  • • Quantity:
  • Borrow

• Prosser: Wee Happy and the Lounge Bears; computer set 

  Full score | Pdf - computer set
  
  $8.00
  • • Quantity:

• Wee Happy and the Lounge Bears  Year: 2001 

  CD
  
  $30.00
  • • Quantity:
  • Borrow

• Prosser and Seymour: Camden Mews NW   Year: 2006 

  CD
  
  • Borrow