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• Bowater: the ghost of oedipus; computer set 

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• Bowater: the ghost of oedipus; computer set 

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ELLIS, Robbie (1984-): The Piano Tuner’s Performance Appraisal. File under (N) Novelty; (P) Piano Music; (S) Serialism.

• Ellis: The Piano Tuner's Performance Appraisal; computer set 

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• Ellis: The Piano Tuner's Performance Appraisal; computer set 

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Ragtime, with its syncopations, has always been a popular form of early jazz. The music of Scott Joplin is particularly well-known especially after his piece “The Entertainer” achieved world-wide prominence as a piece of film music. These three pieces were written and/or arranged for an enterprising group, The Estrella Quartet. Four fine young pianists formed the group as a unique way of completing chamber music studies at Auckland University. In 2010 I had written “Tui” for them, and this was followed in 2011 with “Ghost Dance”. Following these two serious pieces I was keen to write them something lighter, and these three rags are the result.

The first two pieces are arrangements of music written about 25 years earlier. “Those Ragtime-Caravan-Blues” was originally a piece for three violins and horn written for students I knew while attending a Cambridge Music School. This annual summer music school ran for forty years, ceasing in the late 1980s, and drew a diverse range of musicians from those professionally involved with music to those who simply enjoying the experience of making music with others. The summer school included a composition section which I attended several times.

The second piece was originally incidental music for the play “Mister Bones and Mister Jones” (by Eve Hughes). This play was mounted by students of Epsom Girls’ and Auckland Grammar Schools in 1985, and I wrote a number of short instrumental and vocal pieces for the production.

The final piece, “The Estrella Rag” was newly written for this set in 2011. It ends with a wild restatement of the opening music at a faster speed, and a final accelerando brings the work to the noisy and frantic close.

• Hamilton: Three Rags; computer set 

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• Hamilton: Three Rags; computer set 

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• Six Tone Clock Pieces (XIX-XXIV); computer set 

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• McLeod: Tone Clock Piece XIX 

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• Jenny McLeod: Tone Clock Piece XIX; audio 

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• Six Tone Clock Pieces (XIX-XXIV); computer set 

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• McLeod: Tone Clock Piece XX; computer set 

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• Jenny McLeod: Tone Clock Piece XX; audio 

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• McLeod: Tone Clock Piece XXI; computer set 

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• Six Tone Clock Pieces (XIX-XXIV); computer set 

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• Jenny McLeod: Tone Clock Piece XXI; audio 

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• McLeod: Tone Clock Piece XXII; computer set 

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• Six Tone Clock Pieces (XIX-XXIV); computer set 

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• Jenny McLeod: Tone Clock Piece XXII; audio 

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• McLeod: Tone Clock Piece XXIII; computer set 

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• Six Tone Clock Pieces (XIX-XXIV); computer set 

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• Jenny McLeod: Tone Clock Piece XXIII; audio 

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• Six Tone Clock Pieces (XIX-XXIV); computer set 

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• McLeod: Tone Clock Piece XXIV; computer set 

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• Jenny McLeod: Tone Clock Piece XXIV; audio 

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Early in 2010 I wrote Me he korokoro tui for a choral festival. The text of that work made reference to singing and the tui. A native bird of New Zealand. the tui is noted for it’s wide repertoire of song, and the proverb “Me he korokoro tui” means “as sweet throated as the tui”. For that work I sourced some examples of tui song from a pioneering book on New Zealand birds by Johannes Andersen.

In his book Bird-song and New Zealand song birds Johannes Andersen notated around seventy distinctive calls of the tui. He noted: “He sings at all times…by day and by night; at rest and on the wing…”, and also commented that “…the notes of this most versatile bird are different in different parts of the islands; and even in the same locality they vary from season to season, new notes being sounded in addition to old ones repeated…”.

Tui begins by quoting two of Andersen’s notated tui songs, and through the remainder of the work some others are briefly quoted as well. These tui songs were the starting point for a piece which explores varying textures and shifting tonalities, within a strictly rhythmic setting. The music is generally tonal but with an emphasis on harmony rather than melody. The music is quiet throughout and never rises above mezzo-piano, ending in reiterated chords like mist rolling in. The challenge with this piece was to avoid a texture that became too thick or heavy.

“Tui” was written at the suggestion of a former student of mine, Judy Lee. Judy was playing with a group of fellow students at Auckland University, using repertoire for 2 pianos (8 hands) as chamber music study.

• Hamilton: Tui; computer-set 

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• Hamilton: Tui; computer-set 

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