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Electroacoustic

Amplitude

By Peter Mcnamara

$34.00 Sale

Solo percussion (vibraphone and tam tam) and pre-recorded electronics, c.11'10
Composed 2013

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ISMN 9790720146232

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An Ear to Hear

By Robert Burrell

$11.00 Sale

For solo flute and/or electroacoustic soundscape. Grade 5

The accompaniment is an audio recording of bird calls, Brisbane State Forest and Mt Mee.  Download available below:

Composed 2011.

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ISMN 9790720140551
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Becoming

By Robert Burrell

$14.00 Sale

For solo violin and sound track. The accompaniment is an audio recording of bird calls, Butcherbird.  

Composed 2011.

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ISMN 9790720171395

Download Butcherbird backing track: Sound file

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Fragments

By Vincent Giles

$24.00 Sale

Flute ensemble  c.5'00

It is a composition that takes a series of musical fragments, which, discreetly, demonstrate two main musical themes, which are transformed and re-presented throughout the work. These fragments are arranged as independent “sound masses”, much in the same way as electroacoustic music, interacting differently according to what sounds they are placed with. The piece is designed to be antiphonic, for stereo perception and the players are split up accordingly,  the parts interact from left to right and vice-versa.   Composed 2010 rev 3013

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ISMN 9790720140506
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It needs a big 'ow' sound; ow-nd... ground!

By Vincent Giles

$14.00 Sale

For any low woodwind (sounding below C3 at its top register)

This composition is a variation on the entirety of Evan Johnson’s Ground, and utilises a MaxMSP patch originally developed by Lindsay Vickery with modifications by the composer.

The work is an investigation into the retention of a piece’s identity through multiple iterations (vaguely akin to Lucier’s I am sitting in a room) through its microsonic content. This variation retains Johnson’s metric and tempo markings, along with some of the dynamic markings and re-maps them without concern to the actual gestures made to a stylised version of a peak-frequency spectrogram made of a recording of the source work.

Composed 2015-2016

Audio (below) recorded by Brigid Burke

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ISMN 9790720167343
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Land of Cruelty

By Peter Mcnamara

$118.00 Sale

For amplified, ring-modulated oboe soloist and orchestra

The works incorporates a form of real-time electronic processing to the soloist’s part known as ring-modulation.  This occurs when the amplified signal of the oboe soloist is multiplied together with a modulating frequency provided by an obligatodouble bass player, creating a harsh but vivid sonority reminiscent of the Australian landscape.

Land of Cruelty’s narrative is the depiction of harsh landscape transitions evident in our continent where an area can be densely covered in life one year, but completely dry and devoid of life the next.  The oboe soloist is the navigator of this journey and depicts the ‘voice of the land’, with much of its melodic material influenced by transcriptions of Australian Aboriginal melodies.  The pitches of one melody entitled Malayah (quoted at the opening and closing of the work) are multiplied together to create the various ring-modulated effects.  Each section of the work is defined by a ring-modulated sonority realised by the oboe soloist and double bass that is then re-synthesised by the orchestra before transitioning into a more harmonious sonority.  These orchestrated colours provide a sonic canvas, crafted and moulded over time, over which the oboe soloist is placed.
Composed 2018


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ISMN 9790720227795
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Semblance of a Whole, A

By Vincent Giles

$41.00 Sale

A Semblance of a Whole, c.11'49

A composition for any three instruments, that draws its sonic and rhythmic material from the other two pieces.

This piece is the third part of the series Bits & Pieces / Put Together To Present / A Semblance Of A Whole. 

When these three pieces are played or exhibited together, they form a single piece: Bits & Pieces Put Together To Present A Semblance Of A Whole*, and should be played in succession. ONLY when performed in full should the electronics of part III be heard simultaneous to the trio. In individual performances of part III, only the instruments should be audible.

This piece has two scores: an audio score (https://github.com/vgiles/Semblance_Audioplayer) the supplied Pd patch and/or any implementation the performers desire to distribute the sounds to each instrument, and a rhythmic and dynamic score, notated. The audio score provides each player with their pitch, timbral, and gestural information in real time, which they are to improvise a response to, with some preparation. The articulation of this timbre is provided in the text score, which is to be utterly precise in rhythm, dynamic, and tempo.

Hard copy purchase includes three scores.

Composed 2015

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ISMN 9790720167350
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Voice of the Depths

By Peter Mcnamara

$37.00 Sale

Piano, percussion and pre-recorded electronics,  includes CD.

Russell Keats, eldest son of the Australian composer Horace Keats, was killed during the attack on his ship HMAS Canberra  (1) during 1942. His father and entire family was devastated by this event, and Horace Keats composed a very solemn and reflective song in memory of his son entitled Over the Quiet Waters. Voice of the Depths is composed for piano, percussion and pre-recorded electronics, and follows the story of Russell Keats during his deployment on the  Canberra. Spoken passages of text from the letters sent home to his family, read by his brother Brennan Keats, outline and initiate the structural points of the work. The pitches from the central motif of Over the Quiet Waters form its harmonic basis, and are used as fundamentals from which other pitch material is derived from their physical-acoustic properties. These physical-acoustic properties are used to synthesise sounds in the electronic component of the work, and are re-enforced in the piano and vibraphone parts. A speaker is also directed into the piano internal mechanism to agitate the strings creating sympathetic vibrations at various points. This results in a subtle reverberation effect that blends with the electronic reverberation and creates deceptive tone colour transformations.
Composed 2015


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ISMN 9790720167954
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