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This short work composed for 175 East’s microscore project in 1999 is scored for a quintet of flute, bass clarinet, bass trombone, cello and double bass – yet it could easily be adapted for any combination.

• Little: Betwixt; computer-set 

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• Little: Betwixt; computer set 

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• Little: Betwixt 

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• 175 East: Microchix and newer stuff 

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• NZ Women Composers Vol. 3 

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• Lodge: Cantus Intus; facsimile 

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• Lodge: Cantus Intus; facsimile 

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This short piece was written as a twenty-first birthday present for clarinettist Esther Smaill. The melodic fragment heard at the outset soon skitters over its own unstable surface, mutates into fanfare-like repetitions, is spliced with momentary cantabile inserts, is interrupted by slow motion signposts, and blows itself out in a final burst of energy.

• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set  Year: 2000 

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This short piece was written as a twenty-first birthday present for clarinetist Esther Smaill. The melodic fragment heard at the outset soon skitters over its own unstable surface, mutates into fanfare-like repetitions, is spliced with momentary cantabile inserts, is interrupted by slow motion signposts, and blows itself out in a final burst of energy.

• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set 

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• 175 East Vol. 1 

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• James Gardner: Selected Works 

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• Gardner: Charge and other works 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

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• Sound Barrier  Year: 2006 

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• Andrew Uren: Steep Steps  Year: 2011 

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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 is the “permanent exhibit” from the work in progress called ‘given what we gather takes place’. The model for the whole work is that of a museum in which some exhibits are on permanent display, and others are brought up from the storeroom. In other words, some sections of music are always to be played, while others are chosen by the performers from a pool of material to present a unique exhibition for each performance. The percussionist’s instrumental collection is similarly assembled; some categories of instruments are specified while others are chosen by the percussionist with the added stipulation that some aspect of the instruments chosen must be unique to the location of the performance. The music of this particular “exhibit” alludes to, but does not use, folk-like material and is conceived as a playful sparring match between two friendly opponents. ‘given what we gather takes place’ was commissioned by Resonate Duo, to whom it is dedicated, with funding from Creative New Zealand.

• Gardner: Given what we gather takes place; computer set 

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• Gardner: Given what we gather takes place; computer-set 

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• Given What We Gather Takes Place 

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A setting utilizing extended vocal techniques and a recording of early English riddles.

• Body: In the Curve of Song; computer-set 

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• Jack Body: In the Curve of Song; audio 

  Media on Demand | Embedded
  

Moments is made up of 14 frames, which are a visual guide to the exploration of sound and movement. The structures contained within the images can be freely interpreted in any sequence, providing it is followed through to its conclusion. The various designs and symbols create the tone colour and rhythm.

• Anthology of New Zealand Graphic Scores  

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Monkey Trips is based upon the Tibetan Buddhist metaphor of the six states/realms of being which we constantly recreate and assume to be reality, six “different kinds of projections or dream worlds” (Chogyam Trungpa Rinpoche). Each realm is associated with a particular instrument and the piece moves through them successively.

The Heaven Realm (violin), realm of serenity and stasis in which the monkey dwells on her achievements, blocking out everything undesirable; the intrusion of another player draws her out of this solipsistic state and into dialogue.

In the Human Realm (cello), realm of passion and intellect, the monkey becomes discriminating – exploring, comparing, reaching out to possess the pleasurable, but discovering that pleasure slips away and craving creates frustrations. However, the idea of unity emerges.

Those frustrations impel a retreat into the Animal Realm (bass clarinet), away from intensity into the habitual, rooting around in a more limited world, clinging stubbornly to the safely familiar, whether painful or comfortable.

Then a desperate feeling of starvation sets in, the realm of the Hungry Spirits (flutes); visions of open space and of plenty turn into deprivation. A thirsting for what monkey remembers she once had becomes insatiable. Always reaching out but never realising that in order to drink, you have to first open your throat.


The Hell Realm (percussion): a feeling of being trapped in a small space, of struggling to control this self-created imprisonment. The more she struggles, the more solid grow the walls until rage is exhausted. Then the monkey begins to let go, and suddenly sees that the walls are self-created, the realms are self-created. She breaks through into open space.

• Lockwood: Monkey Trips; facsimile 

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• Lontano: New Zealand Women Composers 

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• Maconie: Pastorale; facsimile 

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