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Robbie Ellis  

Alla Marcia Brady

Duration: 05' 00" (can vary) Year: 2012
for a whole bunch of wind & brass

  • Programme Note

    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.

  • Availability

John Key  

Barristers of the Blues

Duration: 06' 00" Year: 2004
for jazz band

Jeff Henderson  

clums

Duration: 09' 27" Year: 2001
an improvisation by sync / shed with vocal, chamber ensemble and electronics

Philip Dadson  

Fax To Paris

Duration: 08' 00" Year: 1990
nuclear protest

Jonathan Besser  

Finale - Stepping Over

Duration: 07' 00" Year: 1994
for chamber ensemble

Aaron Lloydd  

Glue Engine

Duration: 06' 00" Year: 2000
for chamber ensemble

Philip Brownlee  

He rimu pae noa

Duration: 09' 00" Year: 2009
for taonga pūoro (1 or 2 players), flute, clarinet, violin, cello, piano

  • Programme Note

    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

  • Availability

Alison Isadora  

Nachtvlinders Part 6

Duration: 08' 00" Year: 1999
for chamber ensemble

Kathryn Lauder  

Noisy types

Duration: 05' 00" Year: 2002
a short set of three fun pieces suitable for students

  • Instrumentation
    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'
  • Availability

Kass Finlay McAuliffe  

Pearl

Duration: 05' 00" Year: 2004
landscape instrumental