Saxophone
Quartet (published by Furore Music-Germany)
This work was commissioned by the Sydney Saxophone Quartet.
It has received performances on Australian national radio
and at a concert of Women composer’s works in Italy.
The recorded performance is a multi-track recording by the
talented performer Gregory Mayson. The second movement of
this work is included for study in Margaret's high school
text Accent on Music.
Saxophone
Quartet - First Movement. Track 3 [1:57]
The first movement in a moderate speed 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.
Saxophone
Quartet – Second Movement. Track 4 [1:34]
The second movement is livelier and juxtaposes lively rhythmic
chordal effects
with flowing melodic lines.
Saxophone
Quartet – Third Movement. Track 5 [1:49]
In the final movement which is again at a moderate speed
uses repeated sixteenth notes and figures which are contrasted
with more flowing melodic lines.
Images. Track 6 [1:53]
Performed by Gregory Mayson on Soprano Saxophone and
Margaret Brandman on 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 restatement of the opening
theme.
Permutations.
Track 7 [3:11]
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.
Antics
Performed by Gregory Mayson - Flute and Margaret Brandman
- piano.
This work is a modal work in three movements. This work
has been set for the AMEB Flute syllabus.
Antics - First Movement. Track 8 [1:51]
The first movement is in the Aeolian Mode and makes substantial
use of contrapuntal techniques.
Antics
- Second Movement. Track 9 [1:52]
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.
Antics
- Third Movement. Track 10 [2:31]
The final movement, is in the Ionian Mode, ( Major scale).
This work is written using a swing feel in triple time and
features improvisatory sections for both flute and piano.
Flights of Fancy
Performed by Gregory Mayson -Flute, Margaret Brandman
- piano.
This work was also set for the AMEB Flute syllabus. This
three movement work, offers the performers opportunities
for improvisation over given structures.
Flights
of Fancy - First Movement. Track 11 [3:47]
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.
Flights
of Fancy - Second Movement. Track 12 [1:35]
The second movement is played at an adagio tempo allowing
more lyrical themes to be shared between the flute and piano.
Flights
of Fancy - Third Movement. Track 13 [2:36]
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.
Twelve Timely Pieces
This set of short character pieces were written for pianists
looking for fresh ideas to study and perform for concerts,
eisteddfods or examinations.
Based
on engaging melodies with intriguing rhythmic twists they
explore major
and minor keys of up to two sharps and two flats and a variety
of time signatures from 2/4 to 7/4.
The
styles range from simple two part settings to meditative
pieces with chromatic harmonies.
Happy
Happy Joy Joy. Track 14 [0:48]
Key C, Time signature 2/4, Grading 1-2
This piece uses an ostinato style figure based on harmonic
4ths and 5ths.
The piece is unified by the introductory 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.
Mongolian
Knights. Track 15 [0:31]
Key Am, Time signature 2/4, Grading 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.
Charlies
Cheerful Chune. Track 16 [0:31]
Key C, Time signature 3/4, Grading 1-2
The bright rising theme of this piece covers the range of
a sixth. The dotted quarter note figure is featured. There
is use of imitation and also of descending left hand lines
which create interesting harmonies.
Sammy's
Sad Soul. Track 17 [0:39]
Key Am, Time signature 3/4, Grading 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.
Celtic
Country Dance. Track 18 [1:03]
Key G, Time signature 4/4, Grading 2
Once again this piece uses the appealing 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 to the sound.
The
Lonesome Bat. Track 19 [0:37]
Key Em, Time signature 4/4, Grading 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.
No.5
is Alive. Track 20 [0:33]
Key F, Time signature 5/4, Grading 2 -3
This piece uses a Jazz treatment of the 5/4 rhythm underpinning
a gently flowing melody.
Spider
on the Mirror. Track 21 [1:03]
Key Dm, Time signature 5/4, Grading 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 suggesting the movement of a spider covering
a large area.
Minnamurra Rainforest Dreaming. Track 22 [0:50]
Key D, Time signature 6/4, Grading 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.
Sleepy
Creepy Ghost Story. Track 23 [0:46]
Key Bm, Time signature 6/4, Grading 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. A ghostly chord with no ‘body’!
Morse
Code (Code B) Track 24 [0:40]
Key Bb, Time signature 7/4, Grading 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.
Snow
Gums in the Moonlight. Track 25 [2:04]
Key Gmi, Time signature 7/4, Grading 4-5
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 complementing the melody. The melody
finishes on a Minor 9th chord.
Bear
Boogie Bounce. Track 26 [2:08]
This piece, in B flat Major is one of the pieces from Margaret's
book The Blues and Boogie Woogie. The pieces in this book
incorporate the blues chord progression in both major and
minor keys, various Boogie-Woogie patterns for left hand
and the swing time feel.
Swingin'
'Bear Boogie. Track 27 [2:25]
(From The 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, Contemporary Modal Pieces. The titles
of the pieces are all of Australian native animals and the
pieces capture the unique character of each animal.
Pretty
Faced Wallaby. Track 28 [2:14]
(From 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.
The
Ring-tail Possum. Track 29 [0:43]
(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
an equally good technique in 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.
The
Wombat. Track 30 [1:12]
(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.
The
Spiny Ant-Eater. Track 31 [0:42]
(From Contemporary Modal Pieces)
This short work is based on a tone row and follows the rules
of serial composition. It uses clusters of chromatic notes
to achieve the effects of the animal’s spines.
The
Emu. Track 32 [0:34]
(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. |
