IMAGES (CD)

Tracks 1 &2 Lyric Fantasy (score and parts available from the Australian Music Centre)

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This work for Piano and String Orchestra received its world premiere performance in Canberra, on the 4th of September 1999 by the Musica da Camera Orchestra with piano soloist Colin Forbes.

This two movement work begins with a pulsating figure for the strings, which moves outwards chromatically, employing interesting chordal structures.

The piano enters with a flourish with eastern sounding soon after, moving through both vigorous and lyrical themes. The mood of the first movement is bright, containing many lyrical melodies, some built on the pentatonic sale, shared between the instruments. The slower middle section of the movement develops the opening chromatic theme and then builds to a gentle climax in a major tonality.

By contrast the second movement begins with a minor theme and explores interesting harmonies and textures and interesting pulsating figures and jazzy rhythms. The central section builds, featuring dramatic piano figures and then recaps some of the melodic figures from the first movement , followed by a solo cadenza by the piano and the final chord resolution of the piece.

Tracks 3, 4 and 5 Saxophone Quartet (published by Furore Music-Germany)

This work was commissioned by the Sydney Saxophone Quartet. It has received performances on national radio.

The first movement (Moderato) is based on a descending syncopated theme in 7/4 time which moves to a sing 3/4 section and then finishes in 5/4. The second movement (Presto) juxtaposes lively rhythmic chordal effects with flowing melodic lines.

In the final movement (Moderato) repeated sixteenth notes and figures are contrasted with more flowing melodic lines. This performance is a multi-track recording by the talented Sydney performer Gregory Mayson. The second movement of this work is included for study in Margaret's high school text 'Accent on Music '.

Track 6 Images

Performed by Gregory Mayson on Soprano Saxophone and Margaret Brandman - piano.

This is a lively jazz influenced work in ternary form. The Soprano Saxophone and Piano share the syncopated opening theme, which is contrasted with a more lyrical central section of the work. It finishes with a return to the opening theme.

Track 7 Permutations

Performed by Gregory Mayson -Clarinet and Margaret Brandman - piano.

This is a one movement work in ternary form with many hints of modern jazz harmonies. Beginning with rippling right hand figures, matched by the clarinet, the work then progresses to a slower section making use of long notes in the lower 'chalameau' register of the clarinet. In the final section the earlier motifs are developed and re-used.

Tracks 8, 9, 10 Antics

Performed by Gregory Mayson -Flute and Margaret Brandman - piano.

This work was set for the 1998 AMEB Flute syllabus. This work is a modal work in three movements. The first movement is in the Aeolian Mode and makes wide use of contrapuntal techniques. The second movement is in the unusual time signature of 7/4. The work which is written in the Phrygian Mode, begins with a haunting introductory section reminiscent of Japanese flute music, and then continues in tempo. The final movement, is in the Ionian Mode , known as our familiar Major scale. This work is written using a swing feel in triple time, and features improvisatory sections for both flute and piano.

Track 11, 12, 13, Flights of Fancy

Performed by Gregory Mayson -Flute, Margaret Brandman - piano.

This work was also set for the 1998 AMEB Flute syllabus. This three movement work, offers the performers opportunities for improvisation over given structures. The first movement is two contrasting sections which alternate. (A B A B2 A B3 A) The A section uses a lively modern jazz theme while the second section is a slow moving using rather ambient chord progression. Each time the B section returns it is dealt with differently. Firstly the flute states the theme in long notes. The second time this section appears, the flute improvises over the chords, and the third time, the piano improvises over the progression. The movement then ends with a restatement of the A theme.

The second movement is played at an adagio tempo allowing more lyrical themes to be shared between the flute and piano. The final movement final movement explores the 7/4 time signature and a modal tonality. Jazz elements are worked into the composition, along with ostinati and once again the flute has room for improvisation, over the ostinato pattern in the piano part. Then both piano and flute improvise together before the final statement of the 7/4 ostinato theme.

The styles range from simple two part settings, to meditative pieces with chromatic harmonies. The titles of the pieces are;

Track 14 Happy Happy Joy Joy -Key C - Time sign.. 2/4 (Grade 1-2)

This piece uses an ostinato style figure based on harmonic 4ths and 5ths. The piece is unified by the opening theme, (to which the words of the title can be sung) , which appears again in the middle of the song and also at the end.

Track 15 Mongolian Knights Key Am - Time sign.. 2/4 (Grade 1)

This contrasting piece, uses similar harmonic devices to the first tune, but in different context. The harmonic fifths create an eastern sound evoking the Knights in the title.

Track 16 Charlies Cheerful Chune Key C - Time sign.. 3/4 (Grade 1-2)

The bright rising theme of this piece covers the range of a sixth, and makes used of the dotted quarter note figure. It makes use of imitation and also of descending left hand lines which create interesting harmonies.

Track 17 Sammy's Sad Soul Key Am - Time sign.. 3/4 (Grade 1-2)

As a counterpart to the previous piece, this tune uses a falling theme over the range of a sixth in the minor key. There is much use of phrasing and slurs to create an interesting texture and bring out various melodic ideas.

Track 18 Celtic Country Dance Key G - Time sign.. 4/4 (Grade 2)

Once again this piece, uses the fun sound of harmonic fifths in a left rhythmic accompaniment pattern which suggests a country dance. The harmonies in the first section of the piece introduce some chromatic movements, while at the end of the piece the use of modern harmonies add a cheerful brightness the the sound.

Track 19 The Lonesome Bat Key Em - Time sign.. 4/4 (Grade 2)

This two part work, allows the hands to have a conversation with each other. It is a good study in mixed eighth and quarter note rhythmic patterns.

Track 20 No.5 is Alive Key F - Time sign.. 5/4 (Grade 2-3)

This piece uses a Jazz treatment of the 5/4 rhythm underpinning a gently flowing melody.

Track 21 Spider on the Mirror Key Dm - Time sign.. 5/4 (Grade 3-4 )

Listed as an AMEB examination piece for piano Grade Three.

The theme of this piece explores the curious keyboard phenomenon of the exact mirror of black and white notes, moving outwards Chromatically from D. The piece is in ternary form with a coda section at the end. The left hand in the middle section creates another jazzy rhythm, punctuated by chord clusters in the right hand . After the repeat of section A, the coda uses more intriguing chordal figures based on the mirror movement of the notes moving out from D. The final two bars have octave leaps reminiscent of a spider moving over a large area.

Track 22 Minnamurra Rainforest Dreaming Key D - Time sign.. 6/4 (Grade 3-4 )

Listed as an AMEB examination piece for Piano for Leisure syllabus Grade Three.

This work is more ambient. The left and broken chord figures float through the sounds of the 6th, 7th, and 9th chords. The work is played in rubato tempo so that the right hand dreamy melody can be gently played. The 6/4 time signature is split in the less usual manner, in groups of two. Performers can count the work in 3/2 if they wish.

Track 23 Sleepy Creepy Ghost Story Key Bm - Time sign.. 6/4 (Grade 3)

Once again use is made of harmonic fourths, to achieve a rather spooky effect.The creepy quality is created by the alternating step wise movement of the accompanying chords and the open sound of the final chord, which does not contain a third.

Track 24 Morse Code (Code B) Key B Flat - Time sign..7/4 (Grade 3-4)

As the name suggests, the opening percussive figure reminds the listener of Morse code figures. The treatment of 7/4 in this case, is highly rhythmic somewhat like a Toccata. To achieve full effect the piece should be played quite fast.

Track 25 Snow Gums in the Moonlight Key G m - Time sign..7/4 (Grade 4)

Beginning with a one bar introduction which uses some very jazzy chords, this rather ambient work, uses rising arpeggiated figures in the left hand to accompany the right hand flowing melody. At other times the flowing lines are shared between the hands. The second section of the work uses the theme in a higher register of the instrument, with the richer sound of harmonic 6ths, below the melody.The melody finishes on a Minor 9th chord.

Track 26 Bear Boogie Bounce

This piece, in B flat Major. is one of the pieces from Margaret's book 'The Blues and Boogie Woogie' , The book was written to demonstrate the blues chord progression in both major and minor keys, various Boogie-Woogie patterns for left hand and the swing time feel. This piece is the first from the second section of the book which use wider spacing in the left hand patterns.

Track 27 Swingin' 'Bear Boogie ( included in Blues and Boogie-Woogie)

This piece is in the key of D minor and in a contrasting mood to Bear Boogie Bounce. It is played somewhat slower and the boogie pattern used has a semi-latin feel. The middle section uses highly syncopated Right Hand chords to achieve a very swinging effect.

This next group of pieces is from the book of Modal pieces with Contemporary effects, by Margaret - Contemporary Modal Pieces. Each modal piece has the name of an Australian animal.

Track 28 Pretty Faced Wallaby (from the book - Contemporary Modal Pieces)

This work, in the Aeolian Mode, on A , is in ternary form. The chords used in the first section are decorated with upper extension notes to achieve a rich harmonic palette. The hopping effects of the wallaby are suggested by the opening syncopated theme which continues throughout the first and last sections. The middle section has a rather hypnotic effect achieved by the repetition of a four bar contrapuntal figure at different pitches

Track 29 The Ring-tail Possum (from Contemporary Modal Pieces)

This work is in the Dorian Mode beginning on G and is written with changing time signatures in almost every bar to achieve a flowing effect. , The widely spaced unison notes require a equally good technique for both hands. The rapid, curling sixteenth note figures suggest the tail of the possum. The musical effect reminiscent of the improvisations of Jazz Pianist -Oscar Peterson.

Track 30 The Wombat (from Contemporary Modal Pieces)

This canonic piece is in the Phrygian Mode, is in four sections. In section A, the opening theme is imitated by the left hand at a two bar distance. In section B, the theme, appears in the bass part while a counter-melody is introduced in the treble. In section C, these two melodic ideas are swapped into the other parts. In the final section (D) the canon reappears with a four octave distance between the parts. Pianists who have learned to play by intervals and by the feel of the spacing between the hands will find this quite easy to play.

Track 31 The Spiny Ant-Eater (from Contemporary Modal Pieces)

This short work, is a serial composition, written on a tone-row. It uses clusters of Chromatic notes to achieve the effects of the animals spines.

Track 32 The Emu ((from Contemporary Modal Pieces)

This work is in the Locrian Mode, a theoretical mode which was not used by early composers but has become useful in works of a jazz nature, as it is the mode which suits the half-diminished seventh chord. The large stature of the Emu is suggested by the four-note chords. The piece has a rather unfinished feeling, owing to the sound of the diminished chord.