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alla marcia – adv. As a musical direction: in the style of a march. Also as adj., n. (Source: Oxford English Dictionary.)
Marcia Brady – A character from the 1969-1974 American television series The Brady Bunch. (Source: Wikipedia.)

General instructions/suggestions include:
- Gather a dozen or so wind and brass players. Have them memorise this music.
- The players should walk one by one from off-stage to on-stage.
- If possible, have them do a complete circuit across the stage, off the other side, through the backstage area, then back onto the stage through the original entry point.
- I encourage the use of surprising points of entry, e.g. balconies, strange doors, trapdoors, zip lines, time machines.
- Optional: incorporate the theme tune to The Brady Bunch in Bb major.

• Ellis: Alla Marcia Brady; computer set 

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• Ellis: Alla Marcia Brady; computer set 

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• Samuel Holloway: Austerity Measures - hardcopy score 

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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 

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• Taylor: deepwalker; computer set 

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• Alex Taylor: deepwalker; audio 

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• Alex Taylor: deepwalker 

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• Dylan Lardelli: Hiki-Iro - hardcopy score 

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• Dylan Lardelli: Hiki-Iro - downloadable PDF 

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• Dylan Lardelli: Hiki-Iro; audio 

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Shifting Shadows (2012) is inspired by Stockhausen’s Mikrophonie 1 (1964), in which the sounds of a tam-tam are manipulated in real time by the movement of hand-held microphones and through electronic filtering and diffusion of the amplified sound.

In my work three traditional Javanese gamelan instruments – gambang (xylophone), slenthem (metalophone), and rebab (spiked fiddle) – are activated by an array of household materials to generate sounds. In live performance I intend for additional ‘players’ to create other layers of sound using a microphone as a musical instrument. The recording attempts to convey this layering of sound.

The character of Shifting Shadows was inspired by the idea of the ‘familiar spirit’, which in old European folklore is a supernatural entity, sometimes taking the form of an animal or human figure, to assist witches and other cunning folk. The sounds used in Shifting Shadows are eerie, intimate and gestural, giving the impression of an unknown creature.

• Briar Prastiti: Shifting Shadows - hardcopy score 

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• Briar Prastiti: Shifting Shadows - downloadable PDF 

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• Shifting Shadows - audio CD 

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When Helen initially asked me to write her a lever harp piece, one option that arose in discussion was that of using a loop pedal. This created many possibilities for the piece, but also created limits in the way I could use certain material. After the expansive opening, Strata uses multiple layers built up of patterns played over top of each other. The constantly repeating riffs drive the piece, and the melodic material weaves around this, sometimes in sync and sometimes purposely against the underlying patterns. Strata was written while I was Mozart Fellow at the University of Otago in 2011.

• Chris Adams: Strata - downloadable PDF 

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• Chris Adams: Strata - hardcopy score 

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• Helen Webby: Pluck  Year: 2012 

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This piece was inspired by scenes from Shakespeare’s Macbeth featuring Hecate and the three witches: the cauldron scene in which they list their dastardly collection of ingredients, and their visions of Macbeth and his self-induced demise. The performers are required to produce screams and shrieks; mutterings and hissings; boilings, bubblings and grumblings; sighs and groans; squeaks, puffings and vocal effects; as well as playing a recurring diabolical dance.

Many thanks to the wonderfully adventurous and magnificently virtuosic trio of Andrew Uren, Gretchen Dunsmore and Donald Nicholls for requesting this piece.

• Scholes, C.: The Wyrd Sisters; computer-set 

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• Scholes, C.: The Wyrd Sisters; computer-set 

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• Scholes, C.: The Wyrd Sisters; computer-set 

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• Scholes, C.: The Wyrd Sisters; computer-set 

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• Claire Scholes: The Wyrd Sisters  

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these short pieces undertake a very limited exploration of vertical (harmonic) and horizontal (melodic) musical spaces. for me these are avenues for further experimentation; the opening gestures of a meditation.

• Taylor: two movements; computer set 

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