Search Music:

Percussion: 2 bongos, 2 Congas, small tom; also requires: calligraphic paintbrush, large sheet of paper, white sand, two palm-sized black rocks

• Norris: 14 Islands; computer set 

  Full score | Pdf - computer set
  
  $8.50
  • • Quantity:

• Norris: 14 Islands; computer set 

  Full score | Hardcopy - computer set
  
  $8.50
  • • Quantity:
  • Borrow

• Michael Norris: 14 Islands; audio 

  Media on Demand | Embedded
  

• Two works by Michael Norris 

  CD
  
  • Borrow

After Resonance Blues explores the Korean idea of aftertone via interval-colour resonances and string after tones (partial un-dampening, prepared bass strings) as well as a Japanese intensification structure. Both of these relate to the idea of timbre grittiness and chordal intensification structure of the twelve-bar structure/grittiness in the blues. A spacious fourth resonance, very slow, at the very opening eventually opens out into a frenetic paced fifths sequence using blues riff patterns but intermingled with an interval-colour richness at the end-time climax. An after resonance string stimulation returns at the end to mirror the beginning prepared notes. The work contains transformed elements of Korean Ritual music; the mood is tinged with lyric sadness (“blue”) in that it reflects an inner emotion over the death of a Korean friend’s father prior to embarking on the work.

• Crossman: After Resonance Blues; computer-set  Year: 2007 

  Full score | Hardcopy - computer set
  
  • Borrow

• Mozart Fellows Concert 2007 - Vol. 1 

  CD
  
  • Borrow

• After Resonance Blues - Bruce Crossman 

  CD
  
  • Borrow

• Double Resonances - Bruce Crossman  Year: 2008 

  CD
  

These twenty (mostly very brief) bagatelles were among the first pieces I wrote while on a one-month residency at the Visby International Centre for Composers in Gotland, a Swedish island in the Baltic Sea, in October 2005.

The musical material I use in these Bagatelles I feel relates to my being in Europe (albeit a rather far-flung part) for the first time, and my subsequent reflection on my ‘European’ classical musical upbringing on the other side of the world in New Zealand. At times the music veers into irony, such as the violin caught in a maze of its own making (bagatelle 7) or the pianist unable to stop her rapid motions at either end of the keyboard (no. 14), sometimes to a laid-back jazzy feeling (no. 11) or quasi-improvisation (no 10); there are dance-like numbers too (4 and 19). The set ends with the longest bagatelle, a chromatic meditation over the open fifths of the cello and low register of the piano.

• Carey: Bagatelles; facsimile 

  Full score | Hardcopy - facsimile
  
  $16.00
  • • Quantity:
  • Borrow

1. The first movement illustrates the plethora of fish to be seen at the Aquarium at feeding time. There are small fish, big fish, colourful fish and plain fish. I have tried to mimic the darting movements of the small fish with quick high grace notes and tremolos. In contrast, the darker notes of the oboe and the piano represent the bigger, slower and brooding fish.

2. Watching the harbour in the morning is one of the most serene and beautiful experiences one can have in Barcelona. One morning I visited the harbour when the skies were clear and the sun was sparking on the ocean, which was a most brilliant blue. The area was almost deserted; it was early. I have captured the tranquillity of the moment with an intimate trio of cello, violin and clarinet.

3. Finding large as life puppets in the square outside the Cathedral was a delight. I imagined them to be alive, moving jerkily, interacting and dancing a little in an empty space.

4. Stepping out of the Metro and being confronted by La Sagrada Familia was a momentous experience. I have chosen two aspects of what I felt for this movement. Firstly, there is the foreboding nature of the building; the way it looks as though it were melting, twisting and almost lurching as it towers over you. Secondly, there is the light and peace that radiates from it through the optimistic spires and delicate bird decorations.

5. The fun side of Gaudi can be seen in the fairytale-like Park Gell, which is full of excitement, laughter and maybe (if you’re lucky) at bit of dancing.

Barcelona Postcards received a Honorific Mention Award in the 2005 Frederic Mompou International Award for the Young Composer Competition of the Joventuts Musicals de Barcelona.

• Toan: Barcelona Postcards; computer set 

  Full score | Hardcopy - computer set
  
  $30.00
  • • Quantity:
  • Borrow

• Toan: Barcelona Postcards; computer-set 

  Score and parts | Pdf - computer set
  
  $40.00
  • • Quantity:

• Toan: Barcelona Postcards; computer-set 

  Score and parts | Hardcopy - computer set
  
  $40.00
  • • Quantity:

• Toan: Barcelona Postcards; computer set 

  Full score | Pdf - computer set
  
  $30.00
  • • Quantity:

solo saxophone (tenor and soprano), flt, ob, cl, bs cl, hn, tpt, tbn, 3 perc., hp, gtr, pno, 2 vln, vla, vc, db.

This work might be seen as a survey, from one end to the other, of a symmetrical, double-ended knot, where one thread is made of a sonic imagining of wire and the other of silk. Myriad loops and elbows, dippings under and over and threadings of eyes give rise to possibilities for certain meldings of materials, collisions of density, flavour and colour. Considered one of the most secure methods of tying two lines together, the Carrick Bend, like all bend-knots, has loose ends…

Carrick Bend was commissioned by Stroma, with funding from Creative New Zealand. It was premiered by Stroma (cond. Hamish McKeich), with saxophonist Lars Mlekusch, in Wellington in 2005.

• Watson, C.: Carrick Bend; computer set 

  Full score | Pdf - computer set
  
  $24.00
  • • Quantity:

• Watson, C.: Carrick Bend; computer-set 

  Full score | Hardcopy - computer set
  
  $24.00
  • • Quantity:
  • Borrow

violin I, violin II, viola and cello

The title is taken from the seventeenth century Latin word Catena meaning a chain, row or series. This abstract is reflected in the composition of the piece; sections of each movement are built from short melodic motives, which once stated, keep recurring.


The first movement opens with a moment of quiet contemplation before the viola resolutely states the main theme and is followed in canon by each of the other instruments. The second movement is cyclic in structure, comprised of four sections (ABCA); the first is comparatively bright and sunny in mood, the second a quirky dance employing string glissandi, the third builds in intensity, employing clashing harmonies and fast tightly-knit motives and the fourth, a diminished iteration of the first section. The third movement is playful in character and begins with a call and response between all parts before turning into a lively dance in 7/8. The rhythmic interplay between groups of two and three quavers continues until the end of the piece.

soprano cornet, solo cornets, cornets 1,2, repiano, flugel horn, solo horn, horns 1,2, baritones 1,2, trombones 1,2, bass trombone, euphoniums, E flat bass, B flat bass, timpani, 2-3 percussion, solo trombone

The starting point for this piece was some dramatic cloud formations I experienced while in Morrinsville, near Hamilton. It was a brilliant sunny day, with occasional huge and interestingly shaped clouds floating past. They provided inspiration for the opening texture for my piece Clouds, which is flowing and slowly unfolding in character.

Clouds can assume many different shapes and characters and this is reflected in my piece. There are stormy ideas with strong rhythms, jagged ideas built from small motifs, mysterious ideas that suggest darker clouds, bright climaxes that suggest the sun bursting through.

The solo trombone is like a small aeroplane, weaving its way through the clouds and enjoying a rather turbulent journey. Its part is soloistic but integrated into the band texture and often underpinned by the percussion, who have an important role in sustaining the momentum of the piece. Near the end the soloist has a brief cadenza before the music rises to a rumbling climax. This passage finally disintegrates, as the clouds disperse.

Anthony Ritchie

• Ritchie, A.: Clouds, op.114; computer-set 

  Full score | Hardcopy - computer set
  
  $38.00
  • • Quantity:
  • Borrow

• Ritchie, A.: Clouds, op.114; computer-set 

  Full score | Pdf - computer set
  
  $30.00
  • • Quantity:

• GUNG-HO - Virtuoso Works for Trombone - David Bremner  Year: 2009 

  CD
  
  $30.00
  • • Quantity:
  • Borrow

flute, B flat clarinet, bass clarinet, bass trombone, cello, bass

• Bowater: Declination Zero; computer set 

  Full score | Hardcopy - computer set
  
  $25.00
  • • Quantity:
  • Borrow

• Bowater: declination 0 (zero); computer set 

  Full score | Pdf - computer set
  

• 175 East: The Sleep of Reason and Declination Zero 

  CD
  
  • Borrow

• Lardelli: Duo; computer-set 

  Full score | Hardcopy - computer set
  
  $22.50
  • • Quantity:
  • Borrow

• Lardelli: Duo; computer set 

  Full score | Pdf - computer set
  
  $19.00
  • • Quantity:

• Three Generations 

  CD
  
  • Borrow

30 untuned instruments with optional amplification

• Speak: Gu Ta; computer set 

  Full score | Hardcopy - computer set
  
  $7.00
  • • Quantity:
  • Borrow

• Jeroen Speak: Gu Ta 

  CD
  
  • Borrow