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• Phil Dadson: Sound Tracks - solo improvisations  Year: 2004 

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Angels Flow was composed for harpist Helen Webby, for her CD of New Zealand harp music, entitled ‘Pluck’. This piece imagines a parallel between the sound of harp music and the movement of spirits, or angels. In some cultures, such as Maori culture, sounds produced by instruments have spiritual properties. Music can tap into a part of the mind that transcends reality, and puts us in touch with imaginary, spiritual worlds. In this piece the flowing movements of the angels are unpredictable and capricious. A gradual modal change through the piece finds rest at the end, as the music descends to the lower register of the harp.

Angels Flow was premiered in the 2012 Otago Festival of the Arts, and is one of ten works commissioned and recorded by Helen Webby for her CD ‘Pluck’, released by Ode Records (Manu 5144). Helen Webby wishes to acknowledge the generous support of Creative New Zealand, University of Otago and John Egenes, producer. ‘Pluck’ is the first anthology of New Zealand harp music.

• Anthony Ritchie: Angels Flow - hardcopy score 

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• Anthony Ritchie: Angels Flow - downloadable PDF 

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• Helen Webby: Pluck  Year: 2012 

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• Desdemona's Song - John Couch  Year: 2005 

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• Guitar Aotearoa; computer set  Year: 1991 

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Written in 1972 for my daughter Katherine. She was at the time learning the guitar and I was endeavouring to teach myself the sitar from the Ravi Shankar book.. In attempting to marry the two instruments, the piece inevitably borrows bits from Indian music: the drone, the modal approach and the association of drumming with sitar-playing (though the “drummer” here is the guitarist). It remains however, basically western in concept: it is fully notated, the mode is Messiaen’s mode 2, and the sitarist is required to stop the tonic drone during the middle section of the piece allowing the guitarist to provide three substitute chords – in other words, “modulation”!

• Farquhar: Duet for Guitar and Sitar; facsimile 

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• Farquhar: Duet for Guitar and Sitar; facsimile 

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

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A very liberal arrangement/transcription of a Chinese folk song.

• Audain: Gold Snake; computer-set 

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• Audain: Gold Snake; computer-set 

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• Audain: Gold Snake; computer-set 

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This music was written as a study in the technique of hammer-ons and pull offs for my whisky drinking companion Owen Moriarty. It is just as important for the player to have a command of these techniques as it is for the drinker to have a companion, thus the exchange was an obvious one.

• Hogan: Hammerowen; computer-set 

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• Hogan: Hammerowen; computer-set 

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• Owen Moriarty - Solo and Ensemble Guitar 

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• Guitar Aotearoa; computer set  Year: 1991 

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It bites was composed especially for Alyssa Reit during the summer (February) of 2011. The piece comprises musical material designed to weave the sounds of two lines, one higher and one lower, in and out of each other, a constant state of flux, contrast, and sustain.

• Killin: It bites; computer-set 

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• Killin: It bites; computer-set 

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