Sub Navigation

Search Music:

Search for music by typing a word or phrase in the box below or by selecting one or more categories from the list on the side.

Or search for products by selecting an option below, and typing a word or phrase in the box above

  • Scores
  • CDs and DVDs
  • Downloads
  • Education Resources

Jason Long  

Cimmerian Cerulean Orb

Duration: 09' 00" Year: 2010
for tuba and live electronics

  • Programme Note

    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.

  • Availability

John Psathas  

Fanfare for a Super City

 Year: 2010
for orchestral brass, percussion and organ (optional)

Christopher Marshall  

Pastorale

 Year: 2010
for military band, male choir and soprano

Reuben Jelleyman  

Planar Shades

Duration: 05' 00" Year: 2013
for brass quintet

  • Instrumentation
    Trumpet in C, Trumpet in Bb, Horn in F, Tenor Trombone, Tuba in F
  • Programme Note

    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.

  • Availability

John Rimmer  

Riffs 'n Ructions

Duration: 06' 42" Year: 2011
for standard brass band plus easy optional parts for cornet, baritone, E flat bass

  • Programme Note

    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.

  • Availability

Tabea Squire  

Rund-funk

Duration: 02' 30" Year: 2012
a short work for solo trumpet, suitable for encore or placed into ordinary concert programme

Reuben Jelleyman  

Soliloquy For Horn in F

Duration: 04' 00" Year: 2012
for horn in F

  • Programme Note

    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.

  • Availability

John Rimmer  

Streets Ahead

Duration: 08' 00" Year: 2011
Duo in 3 movements based on street names in Motueka

  • Instrumentation
    Tenor Horn, E flat Bass
  • Programme Note

    “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.

  • Availability

Alex Taylor  

Vivid

Duration: 10' 00" Year: 2010
for solo trumpet

  • Programme Note

    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

  • Availability