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• Harris: Arquebus; computer set 

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• Harris: Arquebus; computer-set 

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• Harris: Arquebus; computer-set 

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Banda is a genre that sprang to life in the late nineteenth century when Mexican music collided with the polka of German immigrants. Traditional bandas are centred around the sousaphone and the tambora (a bass drum with a hi-hat on top). Beyond these, you’ll find further wind, brass and percussion instruments depending on the regional style: clarinets, saxophones, alto horns, trumpets, trombones, tarolas (snare drums) and more.

A few months before writing this piece I’d seen a YouTube video of Chicago group Banda Sincera performing before a Mexican national team football match*. The atmosphere was party, the tempo was quick, the time was compound, the licks were virtuosic, and the pulse was always getting disrupted at the ends of sections. The band would pause, the tarolero and sousaphone dude would go off on a soloistic tangent, and then the band was back in for more of the same. They even stuck a conga-based cumbia in the middle! These guys were mental and I loved it.

When I started on a piece for Saxcess I established the reasonably serious beginnings of Huff, but I kept getting pulled down this raucous Mexican garden path. I put the serious to one side, started a new score, took a few days to get this “banda chiflada” (crazy band) out of my system, and resumed composing Huff when I was done. They’re two very different pieces, but ultimately cut from the same cloth.

• Banda Sincera playing Arriba Pichátaro here: http://youtu.be/Cm1dcT710d8

• Ellis: Banda Chiflada; computer set 

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• Ellis: Banda Chiflada; computer set 

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This short celebratory piece is based on some of the stylistic qualities of John Elmsly’s and Leonie Holmes’ compositions.

Up to about the “golden section” (just over 3/5 of the piece), the pitch material is based on John’s name and uses some of his favourite intervals. The rest of the piece uses pitches from Leonie’s name and some of her favourite gestures as in the sudden fast rhythmic patterns.

The title is doubly significant. It refers not only to the piece itself with its celebratory ‘fanfares’ or ‘calls’ and their colourful resonances which lead the listener into another soundworld but also to the outstanding personal qualities of these two composers. Like most university staff, John and Leonie work industriously beyond the call of duty.

After listening to the 2012 CD of the Karlheinz Company, I realised that in my coloured resonances I had subconsciously used a similar technique found in John Elmsly’s striking work “Ritual Auras”. Such is the nature of serendipity.

• Rimmer: Beyond the Call; computer set 

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• Rimmer: Beyond the Call; computer set 

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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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A diploma level fantasie with interplay of importance between the instruments. Written for a flute-playing friend, this pieces has been broadcast a number of times.

• Caskie: Fantasia for Flute and Piano; computer-set 

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This work was written to accompany a short visual clip from the original cartoon of the same name.

• Audain: Felix the Cat: The Magic Bag; computer-set 

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• Audain: Felix the Cat: The Magic Bag; computer-set 

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• Audain: Felix the Cat: The Magic Bag; computer-set 

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The first movement is characterized by strong accents and motor rhythms. A wedged-shape opening theme is contrasted with a darker, smoother second theme. The movement has traces of sonata form though the structure is treated with freedom. A mysterious middle section builds to a climax, leading to a highly truncated and varied recapitulation.

In the second movement a florid flute melody contrasts with a heavy chordal motif on the piano. The somber mood is lightened a little by a higher pitched second idea that, nonetheless, has a rather sinister character. Towards the end, the flute part becomes freer in rhythm, like a small cadenza, and anticipates ideas in the third movement.


This final movement is connected to the second without a break, and is dance-like in mood. A quirky opening theme builds to a more robust second idea. As these ideas are developed a waltz-like section appears on the piano, contrasted with a more lyrical theme on flute. A reversed recapitulation of themes leads to a quicker coda, and the work ends with a flourish.

• Ritchie, A.: Flute Sonata; computer-set 

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• Ritchie: Flute Sonata; computer-set 

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• Ritchie, A.: Flute Sonata; computer-set 

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• Holloway: Hauptstimme; computer set 

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• Holloway: Hauptstimme; computer set 

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• Holloway: Hauptstimme; computer set 

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(He’s the lead singer of Rage Against the Machine, btw.)

(This sentence was written to conform with the New Zealand Clarinet Quartet’s request for a programme note of 10 words or fewer.)

• Ellis: If Zack de la Rocha were a twelve-tone serialist composer; computer-set 

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• Ellis: If Zack de la Rocha were a twelve-tone serialist composer; computer-set 

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• Robbie Ellis: If Zack de la Rocha were a twelve-tone serialist composer; audio 

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• Microscore Madness! - the New Zealand Clarinet Quartet 

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