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alla marcia – adv. As a musical direction: in the style of a march. Also as adj., n. (Source: Oxford English Dictionary.)
Marcia Brady – A character from the 1969-1974 American television series The Brady Bunch. (Source: Wikipedia.)

General instructions/suggestions include:
- Gather a dozen or so wind and brass players. Have them memorise this music.
- The players should walk one by one from off-stage to on-stage.
- If possible, have them do a complete circuit across the stage, off the other side, through the backstage area, then back onto the stage through the original entry point.
- I encourage the use of surprising points of entry, e.g. balconies, strange doors, trapdoors, zip lines, time machines.
- Optional: incorporate the theme tune to The Brady Bunch in Bb major.

• Ellis: Alla Marcia Brady; computer set 

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• Ellis: Alla Marcia Brady; computer set 

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  $17.00
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• Key: Barristers of the Blues; computer-set 

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• Premieres 2004, Volume 4 

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for violin, guitar, alto saxophones, baritone saxophones, soprano saxophones, drums, voice, percussion and electronics

• sync / shed  Year: 2001 

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percussion, tone-trees, voices, hand clapping

• Dadson: Fax to Paris 

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  $4.00
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• New Zealand Music for Creative Dance 

  CD
  
  $34.00
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• Different Tracks  Year: 1993 

  CD
  
  $30.00
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clarinet; saxophone, clarinet, bass clarinet (1 player); accordion, french horn (1 player); percussion; piano; double bass, violins and others

• Jonathan Besser: Ensembled  Year: 1999 

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• Aaron Lloyd: The Black Mill - various works  Year: 2000 

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Like many whakataukī, or traditional sayings, he rimu pae noa conveys a rich range of meanings. Literally, it describes seaweed set in motion by the tide. Metaphorically, it also refers the restlessness of a traveller, and the movement of a whole bed of seaweed in the same current alludes to a group of people working in harmony. This in particular has a strong resonance with the collaborative process from which the piece arose. The instrumental ensemble provides a framework, and a backdrop, for the improvisation of the taonga pūoro. At the same time it attempts to maintain its own identity, in conversation with the solo lines. Precisely specified gestural events are distributed in a flexible rhythmic framework,
which aims at a balance between control and spontaneity. I am deeply grateful to Horomona Horo, for a richly rewarding collaboration, and to Richard Nunns, whose work over many years is a deep source of inspiration.

Philip Brownlee

• Brownlee: He rimu pae noa; computer-set 

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• Brownlee: He rimu pae noa; computer-set 

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  $13.00
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• Philip Brownlee: He rimu pae noa; video 

  Media on Demand | Embedded
  

• Philip Brownlee: He rimu pae noa 

  Digital sound file - MP3
  

• Two pieces by Philip Brownlee 

  CD
  

• Alison Isadora: Selected Works 

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oboe/ violin duet (or other instruments with the same range), clarinet in B flat, violin section (at least 2 players), cello or cello section; Perc 1: glockenspiel. triangle, slide-whistle, whistle, egg-shakers, cap-gun or 2x 'party poppers'; Perc 2: typewriter, woodblock, bicycle horn, aluminium frying pan, vibra-slap, piano; everybody in the group also needs to have a 'kazoo'

• Lauder: Noisy Types; computer set 

  Full score | Pdf - computer set
  

• Lauder: Noisy Types; computer-set 

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• Lauder: Noisy Types 

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• Avian Dreams  Year: 2004 

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