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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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guitar and ensemble (2-6 players) - instrumentation is flexible (and suggested size is also only a suggestion)

• Brownlee: As if to catch the fleeting tail of time; computer-set 

  Full score | Hardcopy - computer set
  
  $14.00
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• Brownlee: As if to catch the fleeting tail of time; computer-set 

  Full score | Pdf - computer set
  
  $14.00
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• Philip Brownlee: As if to catch the fleeting tail of time; audio 

  Media on Demand | Embedded
  

• Philip Brownlee: As if to catch the fleeting tail of time; video 

  Media on Demand | Embedded
  

• Philip Brownlee: As if to catch the fleeting tail of time 

  Digital sound file - MP3
  

• Two pieces by Philip Brownlee 

  CD
  

“Tradition, as I first came to feel it (as a child of 9 years), was given to me by grand father when he was teaching me how to play the clarinet. To me this traditional musical language is not an ‘old loveless spinster who raises her threatening finger like an old time teacher’. My feeling about traditional ways of musical expression is exactly the opposite. It resembles a young girl full of juices, pleased and sorry, vivid and loving, that dances barefoot on the ground; as if being taken by a desire to sin, but then again she repents it. Later she falls in love, wishes to break the rules so to live and breathe freely. No concrete use of instruments no formal orchestration, or particular musical formation can capture her essence.”

Manos Achalinotopoulos

• John Psathas/Nederlands Blazers Ensemble: Zeibekiko  Year: 2004 

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  $35.00
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open instrumentation

Performers begin at the top of a flowchart and work their way through, each choosing their own sonic adventure. Initially composed for redshift music.

• Anton Killin: citylife - downloadable PDF 

  Graphic score - full score | Pdf - computer set
  
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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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• 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
  

unspecified instruments and for any number of performers

A medicine bundle is part of the traditional teachings and practices of the First Nations peoples of North America. The title of the first Medicine Bundle piece, which I wrote as one of the many invited composers worldwide to contribute a piece for pianist Ananda Sukarlan’s Concerts for Bali commemorating the Bali bombing of October 2002, was my response to an article published in the Toronto Star, where an elder of the Six Nations Reserve of southern Ontario spoke of a ‘medicine bundle’ found within each of us; a place of healing and transformation which we can tap into in times of strife and need. I envisaged the bundle in this case as a bundle of notes from which the performer(s) can freely bring their own sensitivities, experiences and responses to the work’s realisation.

The score consists of one page allowing for a varying page orientation.

• Carey: Medicine Bundle (No. 2); facsimile 

  Full score | Pdf - facsimile
  

• Carey: Medicine Bundle (No. 2); facsimile 

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Percussion - for any number of players with free choice of instruments. 'Pitches' are suggestive only.

For several years I had been promising Andrew a new piece for bass clarinet, and previously worked in Vancouver with Barry Truax’s POD system to produce some intriguing granulation files derived from notes played by Andrew. These languished unused until 2003 when I heard some wonderful frogs singing in the middle of the night at Chulalongkorn University of Bangkok, and managed to get some recordings. These two sources, plus some transformed temple bell recordings and a mad chorus of police whistles in evening traffic, provided the source material for the soundscape. I began writing the music for bass clarinet around this soundscape.
Much of the bass clarinet part is composed using a synthetic scale which is different in each octave. Although the end result is an arbitrary invention which pleased me, the original inspiration came from exploring the relationship between the Thai seven note scale and pentatonic scales. I had originally been thinking that Thai percussion instruments might be appropriate for the percussion part, but have since decided that the any available instruments may be used. The first performance used a mixture of ‘junk’ percussion (e.g. bowls, cans and flower pots) and bongo drums, but any experiments are welcome.

• Elmsly: Nocturne; electroacoustic part 

  Part - recorded | CD
  
  $10.00
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• Elmsly: Nocturne; computer-set 

  Score and parts | Pdf - computer set
  
  $20.00
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• Elmsly: Nocturne (clarinet part only); computer-set 

  Parts - written | Pdf - computer set
  

• Elmsly: Nocturne; computer-set 

  Score and parts | Hardcopy - computer set
  
  $20.00
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• Elmsly: Nocturne; computer-set 

  Full score | Pdf - computer set
  
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• Elmsly: Nocturne; computer-set 

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• John Elmsly: Nocturne; audio 

  Media on Demand | Embedded
  

• Two Works by John Elmsly 

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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 

  Full score | Hardcopy - computer set
  
  $12.00
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• Lauder: Noisy Types 

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any instruments with at least one wood, skin and metal instrument

• Lyell Cresswell: Organic Music 

  Digital sound file - MP3
  
  $6.00
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• AustraLYSIS: Windows in Time  Year: 1994 

  CD
  
  $30.00
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• Ellis: Play Some Metallica; computer-set 

  Full score | Hardcopy - computer set
  
  $3.00
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• Ellis: Play Some Metallica; computer-set 

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• Robbie Ellis: Play Some Metallica 

  Digital sound file - MP3