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Player 1: Marimba with lower octave, 3 roto-toms Player 2: Glockenspiel with lower octave, Marimba 2 with lower octave, Vibraphone (Celesta) Player 3: Vibraphone, Tubular Bells, Piano (and bass drum, if no player 4) Player 4: Piano (optional), Bass drum, 3 temple-blocks, 3 cow-bells, glockenspiel, party siren, hooter, suspended cymbal, bongos celesta

These arrangements of old fashioned songs belong to a series made for various combinations including voice and piano, piano solo, piano and percussion trio, and chamber ensemble. The original tunes are from Francis & Day’s ‘Popular and Community Song Book (For All Occasions)’, a vocal album that I came to know as a child, soon after I began to learn the piano and could accompany my grandmother’s singing.

• Body: 3 Sentimental Songs; computer-set 

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This work is designed as a conversation between a flute, an oboe, a clarinet and a piano taking the form symbolised by the titles to each movement. It could also be considered a sonata for woodwinds and piano, but without the traditional ‘sonata’ structure.

• Twomey: Dialogues (Opus 27); computer-set 

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• Twomey: Dialogues (Opus 27); computer-set 

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• Twomey: Dialogues (Opus 27); computer-set 

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• Twomey: Dialogues; computer-set 

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• Reflections - Music Composed by Ray Twomey 

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• Ray Twomey: Soundscapes  Year: 2001 

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synthesizer, electric guitar, violin, gamelan

• Besser: Music for Peace Volume One  Year: 2002 

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Tenor Trombone, Double Bass (pizz. only), Drumkit

A creative deconstruction of the old jazz standard Straight No Chaser that pits the flexibility of the trombone against the rhythmic prowess of unpitched percussion.

• Michael Norris: Heart Across Night - downloadable PDF 

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• Michael Norris: Heart Across Night - hardcopy score 

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for flute (+ alto flute), (soprano + alto) saxophone, (alto and baritone) saxophone and piano

In the initial part of any sound there occur a number of complex fluctuations in the harmonic spectrum, for instance, the moment a violinist puts the bow to the string or the trumpeter tongues a note. These are called onset transients, and as much non-periodic noise as pitched sounds.

This idea was the starting point for the work where notes often begin with a cluster in the piano part. The idea was not so much to represent or mimic this physical phenomenon, but rather to use it as an idea in itself.

• Cree Brown: Hidden Bellow; computer set 

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• Cree Brown: Hidden Bellow; computer set 

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• Colin Hemmingsen: The Rite of Swing  Year: 2005 

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piano can be either acoustic or sampled

Mal Occhio, the evil eye, is the ancient belief that the gaze of strangers casts unwanted magic into the lives of the innocent. The belief is that a person – otherwise not malefic in any way – can harm you, your children, your livestock, by looking at them with envy and raising them. When I spent time in Greece one summer, my family and I experienced such a remarkable sequence of bad luck, that some of those around us became convinced we had fallen under the influence of the evil eye, or mal occhio. When my sister had us tested (over the telephone…) by the local specialist in these matters, it was discovered that I was so utterly hexed my aura was opaque. This piece is dedicated to my sister Tania, who tried in her own way to protect her kid brother from evil eye.

John Psathas

• Psathas: Mal Occhio; computer set 

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

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violin, viola, cello, piano

Oppositions was composed for The New Zealand Piano Quartet, for inclusion on a CD of the composer’s chamber music, released by Kiwi-Pacific Records. It is in one movement, and is based around the idea of opposing forces, whether they be literal or imaginative. In musical terms, the piano is frequently pitted against the strings, while musical themes seem to jostle for supremacy. After a short and ominous introduction, the strident first theme is played on violin, accompanied by hammered chords. A second theme has all three stringed instruments playing in ‘cluster’ harmonies. The cello announces a lyrical but turbulent idea, and this is played in counterpoint with the first theme. The piano is to the fore in a third theme, which is stealthy and marked by sudden outbursts. These themes are discussed in a middle section that gradually winds down to very soft, thudding chords, before building up to a vigorous return of the opening. In this final section themes are fragmented and tossed around violently, before a brief Coda in which the first theme appears dominant.

• Ritchie, A.: Oppositions; computer-set 

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• Ritchie A.: Oppositions; Computer Set 

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• Anthony Ritchie: Chamber Music  Year: 2006 

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Arrangement of the famous Radetzky March by Johann Strauss. Includes deliberate ‘wrong’ notes for a bumbling bassoonist, a snake-charmer solo for the oboe player, a pompous ‘classical’ solo for the violinist and a sneaky minor key version of Pop-goes-the-weasel for the pianist.

• Crehan: Radetzky March; computer-set 

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This is an arrangement of Radetzky March by J. Strauss for flute, tenor saxaphone, cello and piano. It includes some fun, made-up passages and interludes.

• Crehan: Radetzky March; computer-set 

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