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Cimmerian Cerulean Orb was inspired by the image of our small planet as seen from the outer edges of the solar system, and the idea of its past (or potential future) existence without life. A variety of effects and extended techniques were used to represent some of the sounds of our elements – air, water, fire, earth, combined with certain electronic manipulations that signify the planet’s connection with the cosmos. A structure of sparsity with extended soft sections expresses the desolateness of the expanse, sometimes interupted with violent outbursts.

• Long: Cimmerian Cerulean Orb 

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• Psathas: Fanfare for a Super City; computer set 

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• Psathas: Fanfare for a Super City; computer set 

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• Marshall: Pastorale; computer-set 

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• Marshall: Pastorale; computer-set 

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• Marshall: Pastorale; computer-set 

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• Marshall: Pastorale; computer-set 

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This work for brass quintet was conceived to be a piece in which the timbral dimension was traversed continually. Whilst the beginning phrases limp along, slowly elongating between long breaths, the phrases are constantly altered in ‘shading’, soon becoming fragmented between registers and timbres. The second main section is a slow, parametrically-changing chorale.

The pitch series here creates an ‘expanding shape’, inflating beyond each tension until the pitches map themselves into the pattern derived from the harmonic timbral constituents (here the 10th partial of the fundamental pitch of the piece). The implications of such focus allows the listener to extend their own imagination throughout the same timbral continuum, considering sounds and indeed other ‘colours’ in their minds that their senses are infact unable to perceive.

• Reuben Jelleyman: Planar Shades - hardcopy score & parts 

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  $30.00
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• Reuben Jelleyman: Planar Shades - downloadable PDF 

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Riffs ’n Ructions is a fun piece for brass band. As the title implies repeated rhythmic patterns(riffs) are subjected to interruptions(ructions). In the fast sections the percussion section provides the ructions. In the first slow, lyrical section a quintet of instruments is interrupted by loud chords from the larger band.

The piece is rhythmically charged with quasi- ragtime patterns contrasted by dramatic textures. In the latter, repeated regular rhythmic patterns are disturbed by irregular ones.

Riffs ’n Ructions opens out on two occasions for improvisations by the solo cornet and solo euphonium. Both players are asked to improvise on previous rhythmic ideas.

This work was created with support of the Centre for New Zealand Music (SOUNZ) Community Commission.

It was first performed by 100 brass and percussion players from the Nelson Brass Academy conducted by Nick Sharpe at the Nelson School of Music on 10 April 2011.

• Rimmer: Riffs 'n Ructions; computer-set 

  Score and parts | Pdf - computer set
  

• Rimmer: Riffs 'n Ructions; computer-set 

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• John Rimmer: Riffs 'n Ructions 

  Digital sound file - MP3
  

• John Rimmer: Riffs 'n Ructions 

  Digital sound file - MP3
  

Rund-funk was written for Melbourne-based trumpeter Josh Rogan by Tabea Squire, in early 2012. The title is a play on the German word for radio, ‘rundfunk’: it has been hyphenated to bring out the English word ‘funk’.

• Tabea Squire: Rund-funk - hardcopy score 

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• Tabea Squire: Rund-funk - downloadable PDF 

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• Tabea Squire: Rund-funk; video 

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Without the multiplicity of the ensemble, material for a soloist must be oriented carefully within the aural dimensions in order to achieve any similar strength of complexity. Development occurs by multi-technique permutations and phrase synthesis, before finally loosening the binds of the monologue’s pulse (implying various conclusions). The set of soliloquies focus on the physical architectures and abilities of each solo instrument within the context of organic synthesis of musical material.

• Reuben Jelleyman: Soliloquy For Horn in F - downloadable PDF 

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• Reuben Jelleyman: Soliloquy For Horn in F - hardcopy score 

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“Streets Ahead” is a duo for Tenor Horn and E flat Bass and draws on moods from three streets in Motueka in the ‘top of the south’.

The first ‘Whakarewa Street’ is a lively rhythmic dance in changing metres reflecting the bustling activity of this street where the local high school is situated.

Motueka Quay is a quiet reflection of the calm water near the Motueka spit where bird life is abundant.
Fearon Street where the Top 10 Holiday Park is situated, features another lively dance in which musical patterns are gradually transformed.

• Rimmer: Streets Ahead; computer set 

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• Rimmer: Streets Ahead; computer set 

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vivid

adjective
1. producing powerful feelings or strong, clear images in the mind
2. (of a colour) intensely deep or bright
3. archaic (of a person or animal) lively and vigorous

origin: mid 17th century, from Latin vividus, from vivere “to live”

Vivid is a response to the poetry of Will Christie, in particular her poem Vivid, an incredibly intense exploration and interrogation of language, sexual politics and identity. I was drawn to the percussive, almost violent sibilance that was “ready in the words”: it suggested to me an explicitly musical setting. The music attempts to create a conversation between text and sound while retaining the narrative, wordplay and multiplicity of meaning inherent in the written poem.

Alex Taylor

• Taylor: Vivid; facsimile 

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• Taylor: Vivid; facsimile 

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• Alex Taylor: Vivid 

  Digital sound file - MP3