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• Bray: Four Characteristic Pieces for Grade 4; computer set 

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Piano Piece 1 is constructed using the “12 note fixed-register” technique. The notes are grouped relatively closely around the centre of the keyboard to create 3 different transpositions of the melodic motif which creates a modulating effect. Piano Piece 2 is constructed using rhythmic groupings of 6 or 12 notes with some cross-rhythmic elements. Piano Piece 3 is written around the idea of harmonic resonance. Piano Piece 4 makes use of modes of limited transposition, in this case the recurring tone/semitone/tone/semitone etc pattern derived from the last chord of Piano Piece 1.

• Keay: Four Piano Pieces; computer-set 

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• Nigel Keay - Various Works 

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• Biddington: Four Preludes; computer set  Year: 1997 

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• The Chamber Music of Eric Biddington 

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• Eric Biddington - Four Preludes for Piano 

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• Eric Biddington: Cupid and Pysche  Year: 2006 

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‘Four Short Pieces’ were commissioned for Allen’s Australian Bicentennial Anthology of piano music, published in 1988 and now long out of print. The details of the first performance are unknown; the first performance I heard was by Anna Klymashivka in Sydney in 1996. The pieces perhaps suggest nature images, but the only one that was a reaction to something specific is the last, which was suggested by watching and hearing a beck in spate (or flooded stream) on the west coast of Scotland

• Whitehead: Four Short Pieces; computer set 

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• Whitehead: Four Short Pieces; computer 

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• Ritchie A.: Gigue; facsimile 

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Interlude for Piano is written in a pointillistic melodic style first used in the previous work for piano, Diffractions for Piano & Chamber Orchestra. Interludes is a brief, freely evolving abstract piece with a somewhat improvisational feel to it, and is concerned with splashes of harmonic colour across the keyboard in the context of sinuous angular melodic fragments, hence the suggestion of the pointillistic aspect to the work.

It was written for the IRMT conference in Nelson in January 1988 and the piece was given its first performance by Mark Secker at the Nelson School of Music.

• Keay: Interlude; computer-set 

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• Keay: Interlude for Piano; computer-set 

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• New Zealand Composers  Year: 1994 

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• SOUNZfine Volume 1  Year: 1996 

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A piano piece of beyond diploma difficulty. It depicts stormy conditions on the Desert Road which runs through the central North Island of New Zealand, passing through a large, elevated tract of barren land franked by three large mountains. The terrain produces some awe-inspiring displays of nature and the ancient Maori people crossed this land only when absolutely necessary. They called the area “Rangipo” (Dark Sky).

• Caskie: Landscape No 1. The Dark Sky; facsimile 

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• Caskie: Landscape No 1. The Dark Sky; facsimile 

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This work for solo piano has been described as “a haunting gem for a modern baby.” (Blanks, Sydney Morning Herald)

“In a simple arch structure of eight bar phrases, it progresses in variations from naive simplicity to what could almost amount to a nightmare in the centre, then back to slumbering innocence once again.” (Bibby, Music in New Zealand)

• Whitehead: Lullaby for Matthew (SOUNZwrite score); computer-set 

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• Whitehead: Lullaby for Matthew; facsimile 

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• Whitehead: Lullaby for Matthew; computer-set  Year: 1996 

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• First Fifteen - a selection of piano music by NZ composers  Year: 1996 

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• Tuhonohono 

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• Gillian Whitehead: Lullaby for Matthew 

  Digital sound file - MP3
  
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• SOUNZfine Volume 1  Year: 1996 

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• You Hit Him He Cry Out - Dan Poynton  Year: 1996 

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• New Zealand Colours – Alternative Works for Royal Schools Music Exams  Year: 2008 

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Moderato Amabile was written in London especially for the series ‘Australian Piaon Music Vol. 1’.

• Australian Piano Music Volume 1  Year: 1990 

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• Norton: More Microjazz 1; computer set 

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