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Ross James Carey

The Use of Quoting Strategies in my Recent

Compositions

Volume 1

Submitted in partial fulfilment of the requirements of the degree of Doctor of

Philosophy

Produced on acid-free paper

Faculty of Music, the University of Melbourne January, 2017

ORCID I.D. 0000-0002-9277-9829

II

III

Abstract: This exegesis explores how four types of quotation outlined by musicologist Krystyna

Tarnawska-Kaczorowska – parole and langue quotation, quotation-signatures and quotation-

symbols are employed in short form works to create an individual language rooted in ‘historical

sense’. The influence of nineteenth-century composers who wrote in short forms such as Grieg

and Schumann is mentioned as formative to my explorations in such forms, along with how a

“romantic” style is explored in several pieces. The use of chromatic completion is discussed as a

way of providing compositional balance in Two Rhythmic Duos for two bass clarinets, along

with its use in …infinite song… for piano solo and Baltic Song for clarinet and piano as a

quotation-symbol symbolizing infinity. An analysis of how the various types of quotation are

employed in Hommage à Haydn and …infinite songs (1-8)… for piano solo includes a discussion

on how langue quotation and quotation-signatures are employed as a means of paying homage to

historical and contemporary figures. The use of langue quotation in Tuk Tak Dung for S.A.B.

chorus, where it is employed to imitate three different traditional music styles found in Malaysia

is also explored. An in-depth analysis on how the Fibonacci series is employed to construct the

theme of the ‘Variations’ movement of Two Orchestral Movements also features, along with a

discussion on how the movement’s formal properties are influenced by Fibonacci numbers. A

folio of original compositions includes short form works for solo piano, guitar and harp, and a

range of chamber works requiring from two to four performers. Also included in the folio is a

work for chorus, along with a longer orchestral work. Recorded performances of a number of

folio pieces are included.

V

Preface

The following of my original compositions included as folio pieces for consideration for the degree of

Doctor of Philosophy contain elements that were worked on prior to my enrolment in the degree of

Doctor of Philosophy in June 2008. These are:

1. The first of Trois valses romantiques (2014) for piano solo, ‘…valse sentimentale…’ is an

arrangement for piano solo of Sentimental Waltz for clarinet in B flat and piano, composed in 1989.

2. The first movement of Trio élégiaque (2014/16) for flute, oboe and bassoon is an arrangement

for flute, oboe and bassoon of the first movement of a withdrawn composition for clarinet in B flat

and harp (or piano), Four New Year Preludes composed in 2000.

3. September Song (2015) for bass clarinet in B flat and piano is based upon an earlier work of

the same title for harp or piano solo, composed in 2000.

4. Baltic Song in versions for clarinet in B flat and piano (2009) and bass clarinet in B flat and

piano (2015) is based upon an earlier work of the same title for piano solo, composed in 2005.

5. The first of Lachlan Moods – Three Pieces for Guitar (2007/09) for guitar solo was composed

in 2007.

6. The first of Two Symphonic Movements (2013/16) for orchestra, ‘Fanfares’ was sketched in

short score in 2002.

I acknowledge the generous funding from the Government of Australia in the form of a scholarship

made available to me from June 2008 to July 2010 to enable me to focus on full-time study towards

the degree of Doctor of Philosophy at the University of Melbourne.

VI

Acknowledgements

I would firstly like to extend my heartfelt thanks to my supervisors at the Conservatorium of

Music at the University of Melbourne – Dr. Elliott Gyger, Dr. Andrián Pertout, Dr. Sue Robinson and

Dr. Julian Yu, for their guidance during the course of my studies for this degree. Dr. Gyger displayed

a great deal of patience, along with a calm confidence in my abilities and was always ready with

helpful and insightful comments during the sometimes challenging process of writing the exegesis.

Dr. Yu and his wife Marion Grey were very welcoming to me when I moved to Melbourne during the

early part of my candidature. I would also like to thank Dr. Yu for inviting me to contribute the first

of my ‘…infinite song…’ series for piano solo as a commissioned work for the album of piano pieces

based on Twinkle, Twinkle Little Star published by the Shanghai Conservatory of Music Press in

2016. Both Dr. Pertout and Dr. Robinson have also been very supportive and I would like to thank

them both.

My thanks are due to a number of colleagues and friends whose support was invaluable. Dr.

Jason Kaminski has been an accommodating and understanding friend to whom I have bounced ideas

off at various intervals. Dr. Katia Tiutiunnik, a colleague at Universiti Teknologi MARA, Shah Alam

from 2012-15 displayed a keen interest in the progress of my study and also kindly helped me with

sourcing various journal articles, a number of which proved invaluable in clarifying my approach

towards my subject matter. Dr. Tazul Tajuddin, also a colleague at Universiti Teknologi MARA has

and continues to be a kind and inspiring mentor and friend. I would also like to acknowledge the Dean

of the Faculty of Music of Universiti Teknologi MARA, Dr. Ramona Tahir, for her continued support

during my time as a Senior Lecturer there from July 2010 to February 2015. Mr. Aiman Mohd Misri

of the Sound and Music Design Academy of Lim Kok Wing University of Creative Technologies,

Cyberjaya assisted me in various ways beyond the call of duty during my year’s teaching at that

institution in 2015-16 towards the end of the period of working on this degree. Thanks are also due to

Dr. Merrill Findlay of Forbes, N.S.W., for her encouragement and the positive energy she channelled

my way towards the beginning of my studies, and to Jill Palmer who has been such a good friend not

only while I was living in Melbourne but also accommodating me during my visits to Melbourne in

2013 and 2016. I would also like to acknowledge Keiko Fujiie, Kazuhito Yamashita and family for

their continued and valued friendship. And finally many thanks to Dr. John Sharpley, Singapore, and

Krisna Setiawan, Surabaya. Your friendship, support and creative connections over the past number

of years have been and continue to be a real source of inspiration to me.

A number of performers have been very supportive of my work in various ways during this

period by commissioning or performing various works that feature in the folio. They are Jeanell

Carrigan, Laila Engle, Dr. Nathan Fischer, Thomas Hutchinson, Kenny Keppel, Toby Pringle, Grant

Sambells, Martyn Smith, Helen Webby, the Aroha String Quartet, the Australian String Quartet, and

the choir of SMK Seafield, Subang Jaya under their director Susanna Saw. I would also like to

VII

acknowledge the help of David Collins at the University of Melbourne for his assistance with

recording several of the folio pieces in April 2016. Other performers I would like to acknowledge are

Daisuke Kinoshita and Kazuhito Yamashita, to whom a number of the folio compositions are

dedicated, and Moira Hurst, for whom the original version of the first of Trois valses romantiques was

written. Ramon Anthin of the Visby International Centre for Composers, Visby, Gotland, was director

of that institution during my stay there in October to November 2005, when the original version of

Baltic Song was written, to whom I would also like to extend my thanks.

I would like to acknowledge the ongoing support of publishers Michael and Kimberly

Davenport, of Alea Publishing, Tacoma, WA, U.S.A., and Gabrielle van Oosterom of Donemus, Den

Haag, the Netherlands. I would also like to thank the executive director of the Centre for New Zealand

Music (SOUNZ) in Wellington, Diana Marsh, who along with her devoted staff, showcase not only

my compositions but also the works of many other New Zealand composers to the wider public.

Lastly, I would like to thank my family, in particular my mother Alison and my late father

Henry for all of their love, encouragement and practical support. I would also like to acknowledge the

kind support of my late uncle Percy, and in particular would like to thank my mother Alison and sister

Jillian for all of their help in different ways over the last few months while completing this degree.

VIII

IX

Table of Contents

Chapter 1 Introduction

Introduction 1

The use of ‘Found’ Material, Quotation and Commentating on Other Music 1

Forms of Quotation and Borrowing 3

Historical Sense and the Continuity of Tradition 5

Composing in Short Forms 10

Chapter 2 Uses of Quotation and Chromatic Completion

The Use of Parole Quotation in Lachlan Moods 15

The Use of Langue Quotation in Tuk Tak Dung 17

The Use of a Quotation-signature in Hommage à Haydn 19

The Use of Chromatic Completion in Two Rhythmic Duos and Baltic Song 26

Chapter 3 …infinite songs (1-8)… and Concert Piece on ‘Twinkle, Twinkle Little Star’ 37

Chapter 4 Two Symphonic Movements

Fibonacci Series as the Genesis of the Theme in ‘Variations’ 50

Plainchant as Langue Quotation in ‘Variations’ 62

Further Uses of the Fibonacci Series in ‘Variations’ 66

Chapter 5 Conclusion 67

References 68

Appendix

Published scores and recordings of folio works 70

X

Note: Bars 92-110 of Hommage à Haydn (1909) by C. Debussy appears as a musical example in

Figure 13 on page 24 of this text. Hommage à Haydn is published by Durand & Fils, Paris, 1910.

Chapter 1 Introduction

I started composing in earnest in 1986, the year prior to entering a Bachelor’s Degree

program majoring in composition at Victoria University of Wellington. Ever since, I have been

interested in the possibilities of using my writing as a vehicle for responding to the music I encounter

in my day to day existence. At that time, having graduated from singing in church and school choirs

that consisted largely of my continued studies in classical piano, though I had already begun

performing in the university’s Javanese gamelan; the sounds of the gamelan influenced a number of

my subsequent compositions. Quoting from and writing in the manner of pieces that I was performing

and listening to, either live or on recordings, was one way to creatively engage with a variety of

musical ideas and new compositional and expressive techniques, utilising these within my own

compositional narratives – a practice that has stayed with me, in one form or another, into my more

mature works.

This thesis looks at how quotation, “historical sense” and homage play a role in my more

recent compositions, alongside more abstract techniques such as chromatic completion and the

derivation of materials from the Fibonacci series. In addition, the thesis looks at the importance of

short form pieces within my oeuvre, and how these play an important part in my musical language,

featuring as they do as the majority of the folio works.

The use of ‘Found’ Material, Quotation and Commenting on Other Music

The use of quotation, through directly quoting other music or by alluding to a particular style,

is a well-established and widespread practice. As an introductory overview I will look at some

theorists’ writing concerning quotation and other forms of musical borrowing, illustrating these by

commenting on a number of twentieth century and contemporary composers who have employed the

procedure in their own work.

As has been noted by many commentators, composers have used quotation and other types of

borrowing for centuries. Burkholder1

has devised a typology of musical borrowing. The main

elements of this typology he groups under six main questions, which can be answered in a variety of

ways, depending on how the composer, or in some cases, performer or improviser borrows the

material, and on how this is presented in the subsequent work. These categories are:

1. What is the nature of the relationship (according to type, texture and origin) between the

borrowed work and the new work borrowing from it?

2. Which elements from the existing piece are incorporated into the new piece?

1 Burkholder, J. Peter, ‘Borrowing’. New Grove Dictionary of Music and Musicians, ed. Stanley Sadie and John

Tyrell, 2nd

ed. (London: Macmillan, 2001) vol. 4, 6-7

2

3. How does this borrowed material relate to the shape (form) of the new composition?

4. How is the borrowed material altered in the new piece?

5. What is the musical function of the borrowed material?

6. What are the associative or extra-musical meanings this material may bring into the new work?

Borrowing also includes practices such as allusion, modelling, and paraphrase, among others2.

David Metzer3 in Quotation and Cultural Meaning in Twentieth-Century Music argues that the

original material maintains a strong presence in the work that borrows from it. Any transformations of

borrowed material in the new work are viewed in relation to the original – the latter acting as a

constant point of comparison.

This idea that a new text refers to another pre-existent text, is called ‘intertextuality’4— the

old text becomes a partner in a dialogical structure, at both the level of creation and reception. The

nature of the relationship between texts can vary, according to the composer’s intent and the listener’s

experience. According to Burkholder, when Charles Ives quoted black spirituals or American Indian

tunes in his work, it was what he envisaged to be the substance of the music – its idealism and spirit –

that primarily motivated the composer in his borrowing. This was the quality he wanted the borrowed

music to give voice to in his own work. For Ives, there must be an authentic identification with the

borrowed material – it cannot simply function as an exotic reference.5

A further reason for borrowing material may be as a form of social commentary. When Peter

Maxwell Davies quotes from the aria ‘Comfort Ye’ from Handel’s Messiah in his Eight Songs for a

Mad King (1969) the singer’s grotesque delivery runs directly counter to the message the words

convey. As Metzer suggests, the composer is able here to mock a figure in authority, the mad king of

the title, while the use the distorted quotation to comment on the imposing weight of tradition, and the

stress that can place on contemporary musical life.6 Thus, one vital function of quotation is to act as a

social agent that participates in and shapes cultural discourses.

2 Metzer, David, Quotation and Cultural Meaning in Twentieth-Century Music (Cambridge: Cambridge

University Press, 2003) 4

3 Metzer 4-6

4 As defined in ‘Word, Dialogue and Novel’ intertextuality is the perception that any text is ‘a mosaic of

quotations’ produced by the interactions of other texts. Kristeva, J., 1986. ‘Word, Dialogue and Novel’. In: T.

Moi, ed. The Kristeva Reader. Oxford: Blackwell, 37. Quoted from European Connections, 13. European

Intertexts: Women’s Wri>ng in English in a European Context. Stoneman, P.; Sánchez-Arce, A-M.; Leighton A.,

eds, 17

5 Burkholder, J. Peter, All Made of Tunes: Charles Ives and the Uses of Musical Borrowing (New Haven and

London: Yale University Press, 1995) 422-423

6 Metzer 1-3

3

Another contemporary composer who has revisited music of the past is Wolfgang Rihm. In

Fremde Szenen I – III, a set of three piano trios composed between 1982 and 1984, Rihm takes the

music of Robert Schumann as his starting point and reconfigures the composer’s musical language,

without ever directly quoting any of it. Looking to Burkholder’s classification, this is an instance of

referring to an existing composer’s style (rather than quoting any of his specific works) and

incorporating various elements seen as typical in the works of that composer, for example melodic

gestures, rhythmic figures, textures or instrumental colours. However, according to Alastair Williams,

Rihm also ‘distorts some stylistic elements beyond which they can signify in their traditional sense’:7

by imitating Schumann’s tone, yet distorting the material, the emotion of the original is tapped but the

music presents itself also as a ‘strange voice or language with which one can become acquainted’.8

What results is a hybrid language, the meaning of which relies on a listener’s familiarity with those

same musical codes which the composer undermines.

As Robert Witkin mentions in his discussion on Adorno a ‘composer works with inherited

musical structures, with the “historical” forms that are the building blocks of the musical culture into

which s/he is initiated’. 9 This engagement with musical forms and structures means composers enter

into a further development of the historically formed musical materials already available to them.

Adorno was critical of philosophies, such as Heidegger’s, that sought to delineate a space outside of

historical entanglement, which he saw as leading to the ‘subject’s loss of all power to hold its distance

from the world and, through its lack of mediated relations with objects, the loss of its power to change

the world and be changed by it’. 10

Having recognised the original material, either as a quotation or, through allusion to stylistic

codes, a listener must confront any associations that arise for them upon hearing the work. A kind of

exchange between the two (the quoted material and subsequent work) ensues. The ways that quotation

and borrowing can be undertaken to shape cultural discourse are potentially numerous, each work

bringing the weighty cultural discourses of the borrowed work into the new one.

Forms of Quotation and Borrowing

7 Hoeckner, Berthold ed., Apparitions: New Perspectives on Adorno and Twentieth-Century Music (New York

and London: Routledge, 2006) 96

8 Ibid, 96

9 Witkin, Robert W., Adorno on Music (London and New York: Routledge, International Library of Sociology,

1998) 13

10 Ibid, 26

4

Krystyna Tarnawska-Kaczorowska in her article ‘Musical quotation: an outline of the

problem’11

outlines four broad points with regards to quotation. Firstly, it ‘constitutes material, or an

idea, that is consciously borrowed’; secondly, ‘it is material which is subsequently subject to

adaptation’; thirdly, ‘it performs certain functions, first of all structural, aesthetic and

semantic/semiotic/symbolic, but also a pragmatic role, when a certain quotation has been adopted as a

theme for variations, metamorphoses or paraphrases’; and lastly, the quoted material is saturated with

meaning, where ‘signifying or symbolic qualities are peculiarly concentrated’.12

She goes on to make

a distinction between two modes of quotation, quotation in the manner of parole and that in the

manner of langue.

These two terms, parole and langue, were created in the early years of the twentieth century

by the Swiss semiologist Ferdinand de Saussure in his Course in General Linguistics13

. According to

Saussure, parole [speaking] relates to the individual execution of language, while langue [language]

‘is both a social product of the faculty of speech and a collection of necessary conventions that have

been adopted by a social body to permit individuals to exercise that faculty’14

. As utilised by

Tarnawska-Kaczorowska, parole quotation ‘is quotation of an individual utterance, of a singular code,

one which points to a specific (concrete) work-source’.15

Langue quotation, on the other hand,

‘evokes a certain stylistic convention, as well as someone else’s personal principles, methods, systems

of composing’.16

Two further kinds of quotation which will be relevant when speaking of my compositions are

quotation-symbols and quotation-signatures. Quotation-symbols have a ‘great capacity for meaning,

accumulated over many years. Their message is quite easy to decipher, and they have thus grown to

be universal property.’17

Tarnawska-Kaczorowska gives several examples of quotation-symbols, such

as the initial motive of the Dies irae, Wagner’s “Tristan” motif, and the four-note motif from the

11

Tarnawska-Kaczorowska, Krystyna (1998) Musical quotation: an outline of the problem. Contemporary Music

Review, 17:3, 69-90, DOI: 10.1080/07494469800640211. [Accessed 21 December 2013]

12 Ibid, 74

13 de Saussure, Ferdinand Cours de linguis)que générale ed. C. Bally and A. Sechehaye, with the collaboration

of A. Riedlinger, Lausanne and Paris: Payot 1916; trans. W. Baskin, Course in General Linguistics, New York:

Philosophical Library, 1959

14 faculty.georgetown.edu/irvinem/theory/DeSaussure-Course-excerpts.pdf, 9-13 [Accessed 29 July 2017]

15 Tarnawska-Kaczorowska, Krystyna (1998) Musical quotation: an outline of the problem. Contemporary Music

Review, 17:3, 76

16 Ibid, 76

17 Ibid, 81

5

beginning of Beethoven’s Fifth Symphony, described as the ‘motive of fate or doom’18

. A further

quotation-symbol she mentions is the major triad, especially when this is presented as an element

foreign to the composition; according to Tarnawska-Kaczorowska, when used this way as the final

chord in Penderecki’s Stabat Mater, it symbolises ‘light, fullness, perfection, a micro-metaphor of

extraterrestrial happiness and glory’.19

I shall argue that certain other abstract compositional

procedures (such as an ascending musical line symbolising eternity or infinity) can also be seen as

quotation-symbols when utilised within certain contexts.

Quotation-signatures are pitch formulae such as “B.A.C.H.”, whereby letters of an

individual’s name are able to be sounded as musical tones. By this means they are able to evoke ‘a

concrete personality taken in his or her physical or spiritual dimension’.20

Quotation-signatures can

frequently be used as a way of paying homage. They can also be used by composers as self-referents

within their compositions, such as Shostakovich’s use of “D.S.C.H.” in certain of his works;

Tarnawska-Kaczorowska referring to this kind of signature as a ‘self-quotation-signature’.21

Historical Sense and the Continuity of Tradition

‘Historical sense’, or some sense of positioning one’s work in relation to tradition, is an

important facet of my compositional practice – something I have been consciously aware of since my

earliest exercises in composition as a teenager. Singaporean artist and poet Tan Swie Hian, in

recalling a conversation with French poet Henri Michaux stated that ‘[as] an avant-garde poet who

read Mediaeval classics, Michaux taught me a poet should have what T.S. Eliot terms as ‘historical

sense’ – in that one should not only perceive the ‘pastness’ of the past but also its presence, thereby

gaining his contemporaneity in time by being traditional’.22

British music commentator Tom Service,

in surveying the output of contemporary Hungarian composer György Kurtàg, states ‘Kurtàg has

composed a huge catalogue that resonates with the music of the past... it... speaks with a fearless

directness that bypasses musical tradition and becomes its own idiom’.23

18

Ibid, 81

19 Ibid, 81

20 Ibid, 83

21 Ibid, 83

22 ‘Thinker Artist Fighter Son’. The Peak Interview with artist Tan Swie Hian. (Singapore: The Peak Magazine,

July 2015) 44

23 Service, Tom, ‘A guide to György Kurtàg’s music’.

http://www.theguardian.com/music/tomserviceblog/2013/mar/12/contemporary-music-guide-gyorgy-kurtag.

[Accessed 22 February 2016]

6

The perhaps confusing idea that one’s music could both resonate with the music of the past

while at the same time somehow also bypassing it seems to correlate in some way to Tan Swie Hian’s

seemingly paradoxical statement regarding gaining one’s ‘contemporaneity in time by being

traditional’. Both point to the importance of tradition not merely as a passive resource to be mined or

copied at will, but rather as something to be actively fully incorporated into one’s very artistic being,

in order to then move beyond it and gain one’s voice; or, as Kurtàg puts it, ‘I discovered that I have

not to imitate, not to be in unison with my time, but to find out who I am.’24

In a number of my own compositions I have utilised source materials and referred to figures

from “tradition” – mainly, but not exclusively, the western classical tradition within which I was

raised – as well as to important contemporary figures. Some of these pieces were written to mark an

anniversary of a composer; others were written in homage to a composer, or relate to specific works

or to specific styles of music, while still others were composed as memorial pieces. A final category

includes more or less “straight” arrangements of traditional tunes, which nevertheless also make room

for some level of compositional “intervention”. The following table illustrates works composed within

these various categories. The work title, year of composition, performance forces and the individual

composer, piece or style of music referred to are stated. Works marked with an asterisk are included

within the folio:

Category Work Title (year of composition/ forces) Dedicatee/reference

Anniversary pieces Meditation on B.A.C.H (2000/ piano solo) J.S.Bach 250th anniversary of

death

Hommage à Haydn (2009/ piano solo)* J. Haydn 200th anniversary of

death

Homage pieces Hommage à Bartòk I & II (2012/ piano solo) Bèla Bartòk

Hommage à Glass (2012/ piano solo) Philip Glass

...infinite songs (1-8)... (2014-15/ piano solo)* Julian Yu; Krisna Setiwan;

John Sharpley; Gareth Farr;

Keiko Fujiie; John Elmsly;

Elena Kats-Chernin; James

Rolfe, Juliet Palmer

Memorial pieces Piano Piece (Memorial) (2000/ piano solo) Jack Speirs

Toccatina (Elegy) (2010/ string quartet)* Ruby Hunter

Meditasi (2016/ trumpet in B flat and piano)* Slamet A. Sjukur

Trio élégiaque (2014/16/ woodwind trio)* Twin Malaysian Airlines

24

‘Forces of history have helped shape György Kurtàg’s uncompromising music’. Jeremy Eichler, interview with

the composer. http://www.bostonglobe.com/arts/music/2007/11/11/forces-history-have-helped-shape-

gyorgy-kurtag-uncompromising-music/80XFWB5ft43hVSovXjEJjO/story.html?event=event25 [Accessed 22

February 2016]

7

disasters of 2014

Quotes/ arranges a

specific piece(s)/

(parole quotation)

Tombeau (1993/ violin and piano)

Debussy: ‘La niege danse’

from Children’s Corner for

piano solo (1906-08)

Movt. 5 of Procession, ‘Ave Maria’ (1994/

piano solo and Javanese gamelan)

Liszt: Ave Maria S. 545 for

piano solo (1881)

No. 2 of February Pieces (1996/ piano solo) Sakura Sakura (Japanese

trad.)

Twelve Little Chorales (recomposition) (1998/

piano solo)

Satie: Douze Petits Chorals

for piano solo (1906)

Fantasy on an Album-leaf by Schumann

(1999/ piano solo)

Schumann: ‘Albumblätter

III’, Bunte Blätter Op. 99 for

piano solo (1832-1845)

Commentary on the Lugubrious Gondola

(1999/ piano solo)

Liszt: La lugubre gondola for

piano solo (1882)

Serenade on Hymn Tunes (2002-2014/

piccolo, tenor saxophone, string quartet)

Various hymn tunes from the

Uniting Church Hymnal

Lachlan Moods (2007/09/ guitar solo)* Debussy: ‘Jimbo’s Lullaby’

from Childrens’ Corner

Piano Portrait: Joji Yuasa (2010/ piano solo) Joji Yuasa: Cosmos Haptic

for piano solo (1957)

…infinite song2… (2014/ piano solo)* Krisna Setiawan: VeYeBe for

piano solo (2014)

…infinite songs (1-8)… (2014/15/ piano

solo)*; Concert piece on ‘Twinkle, Twinkle

Little Star’ (2015/ flute and piano)*

Twinkle, Twinkle Little Star

Imitates specific

styles (langue

quotation)

Tuk Tak Dung (2011/ S.A.B.)* Malay gamelan; erhu

melodies; Bharatanatyam

vocalisations

…valse oubliée… (2011/ harp solo)* Romantic style

Trois valses romantiques (2014/ piano solo)* Romantic style

Two Symphonic Movements (2013-16/

orchestra)* II. Variations

Plainchant

Arrangements Two Malay Folk Songs (2011/ S.S.A; S.A.,

piano)

Tanjong Puteri, Tudung

Periuk (Malay trad.)

Six Russian Folk Tunes (2016/

violin/viola/violin & viola and piano)

Carol of the Bells, Snow

Maiden, Carol of the Russian

Children, Kalinka, Katushya,

Moscow Nights (Russ. trad.)

Figure 1 Categories of selected compositions relating to tradition

In alluding to other musical styles and specific composers and their work, the above-

mentioned works do so in a variety of ways – through the use of parole or langue quotation, as a

direct homage, by rearrangement, or by means of a dedication. A number of pieces use a variety of

8

quoting techniques other than parole or langue quotation such as quotation-signatures and quotation-

symbols, while other pieces arrange traditional melodies or create a conversation with traditional

styles. Certain works, such as the eight …infinite songs… for piano solo, employ not just one but

combine a variety of quoting techniques. Those works dedicated to composers include homage to

those composers with whom I am personally acquainted (such as the nine composers to whom the

...infinite song... pieces are dedicated, along with composers Jack Speirs and Slamet A. Sjukur) as

well as those I am acquainted with solely through their music (Bach, Haydn, Liszt, Satie, Debussy,

Bartòk, Joji Yuasa, Philip Glass and Ruby Hunter).

In a few of the works a cultural exchange takes place, as in the version of Liszt’s Ave Maria

for Javanese gamelan; here the composer’s bell-like piano textures are transferred to the mellow tones

of sarons, bonangs and gongs25

. A folio work which draws on the sounds of different cultures is Tuk

Tak Dung (2011) for S.A.B. chorus, a commission from conductor Susanna Saw for the S.M.K.

Seafield Secondary School Choir in Subang Jaya, Malaysia. The commissioning brief was for a three-

minute work showcasing Malaysian identity which the school choir could take overseas. Three

different styles of music (two instrumental and one vocal) from the three dominant cultures of

Malaysia (Malay, Chinese and Indian Tamil) are imitated in the work in a choral medium. How I have

aimed to capture each of these music’s particular qualities, by means of creating my own melodies

employing a variety of vocal tones and sung syllables (in the manner of a langue quotation) is

discussed in Chapter 2.

Memorial pieces play an important part in my output (as they do incidentally in Kurtàg’s

oeuvre). These include not only pieces composed in memory to an individual, such as the majority of

the memorial pieces listed above, but also pieces composed to commemorate such events as the

nightclub bombing in Bali in 2002 (Medicine Bundle no. 1: Flower Echoes of Spring, Sun and

Mountainside (2003)26

for piano with percussion, a commission from pianist Ananda Sukarlan) and

the 2004 Indian Ocean tsunami (Elegy (2005)27

for string quartet). Three of the folio works are

memorial pieces. Trio élégiaque (2014/16)28

, a three-movement work for woodwind trio was so

named due to the circumstances around the writing of its second movement, composed around the

time of twin Malaysian Airlines disasters of 2014. Toccatina (Elegy) (2010)29

, for string quartet, is

25

Recorded on ‘Tabuah Pacific’, Dan Poynton, piano, Gamelan Padhang Moncar (Auckland: Ode Records, CD

MANU 1514, 1996)

26 Score available from The Centre for New Zealand Music (SOUNZ), Wellington, New Zealand

27 Den Haag: Donemus 15175, 2016



9

dedicated to the memory of Australian indigenous singer-songwriter Ruby Hunter30

, whom I had the

privilege to hear in concert as part of ‘The Black Arm Band’ at the 2009 Melbourne International

Festival of the Arts several months before her death in February 2010. Meditasi [Meditation] (2016)31

for trumpet (or cornet) and piano is likewise dedicated to the memory of a celebrated musician, this

time of my acquaintance, Indonesian composer and teacher Slamet A. Sjukur32

. Similar to my other

memorial pieces, both Toccatina (Elegy) and Meditasi do not attempt to create overt links with their

dedicatee’s respective musical styles, but rather are more a record of my emotional responses to their

deaths.

“Historical sense” can relate too to specific memories of our own music-making, and how

these might be revisited and reinterpreted in our composing. Elena Kats-Chernin, one of the

dedicatees of the ...infinite song... series, in talking about her work for recorder and string orchestra

based on Bach’s Two-part Inventions, Re-Inventions33

, states “I was brought up playing [the

inventions] in my early piano lessons and I found the idea intriguing – not only to re-orchestrate them,

but also to give them a different structure and to take them in completely different directions from the

originals”.34

While composing Re-Inventions gave occasion for Kats-Chernin to recall and reinvent

the Bach Inventions from her childhood piano lessons, at times recalled childhood musical

experiences break to the surface of my own compositions, such as the theme from Debussy’s

‘Jumbo’s Lullaby’ from Children’s Corner (1906-08)35

(which like Kats-Chernin’s experience with

the Bach Inventions I had also learnt during my period of piano studies as a child), quoted towards the

end of the folio work Lachlan Moods – Three Pieces for Guitar (2007/09)36

.

According to contemporary American composer George Crumb,

30

Ruby Hunter (31 October 1955-17 February 2010) Singer, songwriter and guitarist; member of Ngarrindjeri

Aboriginal Nation


32 Slamet A. Sjukur (30 June 1935-24 March 2015) Officier de l’Ordre des Arts et des Lettres (2000) and a

member of Akademi Jakarta (2002)

33 Kats-Chernin, Elena. Re-inventions: based on Two-part inventions of J.S.Bach (Sydney: Australian Music

Centre, 2009)

34 Kats-Chernin, Elena. Programme note for Re-Inventions. Quoted by the composer in a personal email

correspondence to the author, 15 September 2009

35 Debussy, C. Children’s Corner (Paris: Durand & Fils 1908)


10

“We have come to think of ourselves as philosophically contemporaneous with all earlier cultures. And

it is probable that today there are more people who see culture evolving spirally rather than linearly. Within the

concentric circles of the spiral, the point of contact and the points of departure in music can be more readily

found.”37

The use by composers of a range of quoting strategies, employing a broad variety of quoted

materials from the music of previous eras, as well as their drawing material from other cultures and

genres, is characteristic of the stylistic pluralism common to a great deal of music being written today.

This eclectic approach towards one’s materials is also typical of my compositional approach, which is

partly a reflection of my own varied musical background, but also a desire on my part to be open to a

variety of stimuli and reflect upon and explore these in my work. Writing in diverse styles, bridging

genres, employing quotation in its various forms as well as forming collaborations with other creative

artists (with the often specific demands such collaborations entail) enables me to enter into a wide

ranging and enriching dialogue with the ‘pastness’ of the past, an ongoing conversation that can help

chart future directions in my work.

Composing in short forms

Short form works, lasting anywhere from around one minute to five or six minutes in

performance, form a significant part of my wider compositional output. They also play a prominent

role in the folio works. Why do I choose to work within these particular forms? There are a number of

reasons for this, to do with my compositional influences and musical philosophy, along with more

practical considerations.

One important influence on my compositional career has been my various activities as a

pianist and my explorations of the extensive repertoire written for that instrument, a particular focus

during ten years or so of formal piano study from the ages of eight to eighteen. Along with longer

pieces such as sonatas and sonata movements by Beethoven, Haydn and Schubert, this included

numerous shorter pieces by romantic period composers such as Schumann, Mendelssohn, Chopin and

Grieg, early twentieth century composers such as Debussy (the Preludes and Children’s Corner),

Ravel (Sonatine) and Bartók (the For Children and Mikrokosmos series, sets of folksong inspired

pieces) along with the Bagatelles of Beethoven and the dance-inspired movements of the French and

English Suites of J.S.Bach. Later on as an undergraduate student in New Zealand I often also

performed my own piano pieces as well as compositions by fellow students and visiting professors,

which created a welcome opportunity to focus more on contemporary repertoire for the instrument.

37

Crumb, G. Music: Does it have a future? In The Kenyon Review (Summer 1980); Quoted in Nils Holger

Petersen (2010) Quotation and Framing: Re-contextualization and Intertextuality as Newness in George

Crumb’s Black Angels, Contemporary Music Review, 29:3, 311, DOI: 10.1080/07494467.2010.535365

[Accessed 22 December 2013]

11

After graduating and a ten-year or so period where I elected not to perform in public, since

December 2004 I have been performing as a soloist and collaborative pianist in various capacities

throughout Australasia and Asia. Initially, my particular focus was on presenting my own and other

contemporary solo repertoire written for the instrument by composers from the Asia-Pacific region;

recently this has increasingly included standard repertoire as well as collaborative playing. My

interest however in presenting a wider variety of contemporary works has not waned; many of these

recitals, such as the four programmes in which I was both curator and performer for in Universiti

Teknologi MARA’s (UiTM) Malaysian Composers’ Series concerts in Kuala Lumpur in 2011-14,

have, out of necessity included disproportionally large numbers of short form works as a way of

showcasing as wide a range of composers as possible.

This practical involvement in presenting contemporary short form works has had an ongoing

influence on my own compositional approach – firstly, it has inspired me to continue to write short

pieces, and secondly, it has inculcated an awareness of the possibilities of the genre in more broad

terms. Along with this practical engagement as a performer I shall now examine further some of the

reasons I am particularly attracted to composing short form pieces, briefly examining two nineteenth

century composers who are acknowledged masters of the genre, Grieg and Schumann.

Grieg, in comparing his compositional philosophy to those giants of the western canon, Bach

and Beethoven, stated “Artists like Bach and Beethoven erected churches and temples on ethereal

heights. My aim in music is exactly what Ibsen says about his own plays: ‘I want to build homes for

the people in which they can be happy and contented.’”38

Implicit in this statement is the sense that,

while Bach and Beethoven created monumental, even awe-inspiring edifices, their works nonetheless

(perhaps as a result of their sheer monumentality) lacked a certain more intimate engagement with a

listener or performer, one with which they could hold a mirror to themselves and their more everyday

concerns.

Samuel Swift, in his preface to the collected Piano Lyrics and Shorter Compositions by Grieg,

writes ‘(Grieg) developed early the power of creating melodies that were expressive and of a beautiful

simplicity, and these he set in a frame of admirably appropriate harmonies.’39

A melodic focus is

indeed the paramount focus in the composer’s short form works, supported by a keen harmonic and

formal sense, factors which are also important in my own short pieces. Leon Botstein, writing about

Schumann, relates that composer’s ‘derision of virtuosity and mere technical proficiency and his

lifelong effort to write for amateurs and children [are] (a) construct of how accessible the

38

Abraham, Gerald, Grieg: A Symposium (Norman: University of Oklahoma Press, 1950), 13

https://pages.stolaf.edu/music242-spring2014/portfolio/musical-dichotomies-in-griegs-string-quartet-in-g-

minor-op-27-i/ [Accessed 3 Dec 2015]

39 Tapper, Bertha Feiring ed: Piano Lyrics and Shorter Compositions, Edvard Grieg (Boston: The Musicians

Library, Oliver Ditson and Company, 1910), vii

12

transformative act of music making in one’s private space could be.’40

The reference to ‘the

transformative act of music making in one’s private space’ is reminiscent of Grieg’s ‘building homes

for the people in which they can be happy and contented’.

The intimacy and immediacy of both composers’ short form works, along with the fact that a

large number of these pieces are accessible to non-professional performers, resonates to a large degree

with my own approach when composing in short forms, which comprise the bulk of the folio pieces.

While a number of my short form works require performers of a professional or near-professional

standard, for example Hommage à Haydn (2009)41

for piano solo, as well as Lachlan Moods for guitar

solo, …valse oubliée… (2011)42

for harp solo and Trio élégiaque (2014-16) for woodwind trio, others

are quite suitable for able amateurs or were expressly designed for amateur and student performers, an

area of music-making I find particularly rewarding. Recent works composed for student performers

include Tuk Tak Dung (2011) and Colours of Life (2013), both commissioned pieces for student

choirs in Malaysia; Petite Suite (2016)43

for clarinet trio which, in its original form, was

commissioned by my sister Jillian for three of her young cello students to perform in their local music

competitions in New Zealand44

; and Supplication (2016) for oboe and piano, composed for the

Australasian Double Reed Society’s composition competition in 2016 and premiered at their

conference in Sydney in October of that year. The brief for the latter piece was to write a short work

featuring a double reed instrument (one of oboe, cor anglais, bassoon or double bassoon) with or

without piano, and up to a difficulty level of around Grade VII, the aim being to enlarge the local

repertoire available to final year 12 students of the respective instruments to perform in their Higher

School Certificate (HSC) exams45

. This ongoing interest in writing for students follows on from

various other pedagogical pieces such as my piano pieces for learners, a number of which have been

40

Botstein, Leo, “History, Rhetoric, and the Self: Robert Schumann and Music Making in German-Speaking

Europe, 1800-1860” in Schumann and His World, ed. R. Larry Todd (Princeton, N.J.: Princeton University Press,

1994), 12


42 Den Haag: Donemus 15196, 2016. Recorded on - Helen Webby ‘Pluck’ (Auckland: Ode Records, CD MANU

5144, 2012)

43 Tacoma: Alea Publishing ALEA 1169, 2016

44 As Melodies for 3 (2008) composed with the support of Creative New Zealand/Toi Aotearoa Creative

Communities (Nelson). Available from the Centre for New Zealand Music (SOUNZ), Wellington

45 Already on the selected list for the HSC mandatory topic ‘Music of the Last 25 Years (Australian Focus)’ is a

collaborative composition with Australian composer Katia Tiutiunnik, Una Preghiera (2012) for viola and piano.

See australianmusiccentre.com.au/guides/hsc

13

published in New Zealand46

as well as included on current examination syllabi in both Australia and

New Zealand.47

The attraction I feel towards composing shorter form pieces, including pedagogical works

operates at a number of levels. These include the welcoming quality such intimate pieces provide to

performers and listeners alike, something which Grieg was well aware of and exploited so well in

such works as his Lyric Pieces for piano. Due to their brevity, short form works offer an ideal

template to concentrate on melodic writing and the poetic – as opposed to the more systematic

working out of ideas, for which the sonata form historically provided a durable model, with its

increasing focus especially during the nineteenth century on the ever further development of thematic

materials. An emphasis on the poetic presupposes a certain emotional engagement on the part of both

the listener and performer; while such an engagement can of course be present in longer works,

working with more concise forms I have found to be ideal to succinctly express certain emotional

states, such as the gentle melancholy of September Song (2015)48

for bass clarinet and piano or the

sense of loss present in such pieces as Toccatina (Elegy) and Trio élégiaque.

Along with their ability to engage emotionally, short form works offer a form that is readily

able to encompass humour, a particular quality that is often overlooked (and perhaps undervalued)

when thinking about contemporary art music. Humorous touches feature in …infinite song8… for

piano solo with its somewhat ponderously comical refrains based on the first phrase of Twinkle,

Twinkle Little Star, as well as in Two Rhythmic Duos (2009/16)49

for two bass clarinets, both in the

hesitant answering phrases of the first duo, as if the two instruments are working out the best way on

how to engage with each other, and in the second duo’s dogged and ultimately doomed application of

the twelve-tone serial technique, as if the two protagonists were over-compensating for their earlier

uncertainty of engagement with an overly rigid approach.

Formal clarity and focus is also something I value in my work, and I have found that

composing in short forms (with their inevitable constraints) requires that I restrict myself to only those

46

Leapfrog, Simple Song, Sad Song, Black and White Tag, Snake in the Grass, Falling Petals, Sighing in

September, Odd Dodos Do Add, The Giant Awakes!, Lullaby, Jumping in July, c.c.that!, Day’s End (2007) in

‘Sunrise: Music from New Zealand for Young Pianists’ (Wellington: Wellington Piano and Instrumental Group,

2008). Bells (2008) in ‘Take Flight: Music from New Zealand for Intermediate Pianists’ (Wellington: Sunrise

Music Trust, 2010)

47 Black and White Tag (2007) in Beginners grade syllabus (Launceston: St. Cecilia) and Preliminary syllabus

(Tauranga: New Zealand Music Examinations Board); Simple Song (2007), Sad Song (2007) in Preliminary

syllabus (Tauranga: New Zealand Music Examinations Board); Day’s End, c.c.that! (2007), Odd Dodos Do Add

(2007) and The Giant Awakes (2007) in Grade 1 syllabus (Tauranga: New Zealand Music Examinations Board);

Bells (2008) in the Grade 4 syllabus (Tauranga: New Zealand Music Examinations Board).



14

ideas that are absolutely essential. There is little room here for the extravagant gesture; rather, certain

modesty characterises such pieces, with a tendency towards understatement as well as a transparency

of formal qualities. Due to the nature of the genre, short form pieces are ideally suited to be realised

by modest forces such as solo instruments or small instrumental, vocal or mixed ensembles;

composing for smaller forces has been a predominant focus of much of my own recent composition

and is a feature as well of all the pieces included in the folio, with the exception of Two Symphonic

Movements (2013-16). Such an economy of means has certain advantages in purely practical terms; I

have found that shorter form works for solo instrumentalists or small ensembles, in particular those

available to the amateur and semi-professional performer, are somewhat more likely to receive

performances than more technically demanding works written for bigger forces.

Writing in short forms then has been a particular focus in my work that combines a nineteenth

century ideal of melodic, expressive and accessible writing with an original compositional style that is

able to speak to the performers and audiences of today. These works’ conciseness of means and small

instrumental forces, along with their being written for a wide range of difficulty levels, means they

can be accessed by a range of performers, from students or amateur performers to semi-professional

and professional musicians; there is a feeling of satisfaction to me knowing that numerous potential

performers, whatever their technical means, have the opportunity to form their own dialogue with my

compositions as an ongoing process of discovery.

15

Chapter 2 Uses of Quotation and Chromatic Completion

A. The Use of Parole Quotation in Lachlan Moods

Parole quotation, according to Tarnawska-Kaczorowska’s definition ‘[a] quotation of an

individual utterance, of a singular code, one which points to a specific (concrete) work-source’50

is

employed in a number of ways in the folio pieces. These include a fragment of the theme from

Debussy’s ‘Jimbo’s Lullaby’ from the set of piano pieces Children’s Corner (1906-08) which is

quoted in Lachlan Moods (2007/09) for guitar solo, and the well known children’s song Twinkle,

Twinkle Little Star which forms the basis of both the ‘…infinite song…’ series for piano solo

(2014/15) and Concert Piece on ‘Twinkle, Twinkle Little Star’ for flute and piano (2015). …infinite

song2… (2014) for piano solo includes a further example of parole quotation, as it also quotes in

modified form a descending motif found in Krisna Setiawan’s VeYeBe…Where the Stars Twinkle

(2014)51

, itself a short piano piece based on the Twinkle, Twinkle Little Star theme. In each of these

instances the quoted material is employed in different ways according to compositional aims.

In Lachlan Moods – Three Pieces for Guitar (2007/09) the first four bars of Debussy’s short

piano piece ‘Jimbo’s Lullaby’ are quoted towards the close of the third piece of the set. The inclusion

of this excerpt was not pre-planned, but was rather decided upon during the process of composing.

‘Jimbo’s Lullaby’, familiar to me since performing it along with other pieces from Children’s Corner

during the course of childhood piano studies, suggested itself due to the intervallic similarity of the

underlying intervals of its opening few bars to the main theme of the third of Lachlan Moods. Here is

the opening of the third piece:

Figure 2 Lachlan Moods III bars 1-8

50

Tarnawska-Kaczorowska, Krystyna (1998) Musical quotation an outline of the problem, Contemporary Music

Review, 17:3, 69-90, DOI: 10.1080/07494469800640211. [Accessed 21 December 2013]

51 Setiawan, Krisna. “VeYeBe…Where the Stars Twinkle” In Julian Yu (compiler) More Variations on the Theme

of ‘Twinkle, Twinkle, Little Star’ for Piano from Composers around the World (Shanghai: Shanghai Conservatory

of Music Press, 2016), 48

16

And the fragment of the theme of ‘Jimbo’s Lullaby’, as it occurs at bars 95 to 99:

Figure 3 Lachlan Moods III bars 95-103

The starting point of each of these excerpts consists of passages outlining intervals of a major

second in a descending motion, found in my own theme at bar 1 in the form of two melodic seconds

separated by a perfect fifth and at bar 2 by a minor sixth, and in Debussy’s theme (quoted at bars 95

and 96) as the harmonic intervals F-G and C-D. These harmonic intervals continue in the quoted

excerpt underpinning the start of Debussy’s theme proper at bar 97, while they are modified at bar 98

to the progression B flat to a bottom open E string. The introduced theme is arrested at its next

sounding note (the C natural at bar 99), which is held for two full beats supported by the open strings

E-A-D-G. Bars 100 to 103 act as a bridge back to the original material.

Although the similarities between the opening measures of two themes allows the quoted

excerpt to arise seamlessly out of the material surrounding it, the slower tempo and difference in

texture of the Debussy contrasts with the rapid passage work surrounding it, thus helping to place the

material within “quotation marks”, marking it as something introduced. The quotation is substantial

enough that we are able to recognize its source, but of sufficient brevity that the previous momentum

is regained without undue difficulty. Having encountered ‘Jimbo’s Lullaby’ in this way my own

thematic material can then be retrospectively reappraised through the lens of the introduced theme,

creating an awareness of their thematic links. Despite this, the brevity of the quoted extract means it

has no discernible structural function within the work but rather primarily fulfils an expressive aim,

the quiet flow of the lullaby creating an oasis of calm in the otherwise busy texture surrounding it.

The quote from ‘Jimbo’s Lullaby’ in Lachlan Moods is able to function in a number of ways.

It contains an aspect of homage, acknowledging the work of a composer who I particularly admire,

Debussy. This particular relationship is explored in another of the folio works, Hommage à Haydn

(2009) for piano solo, which was largely inspired by Debussy’s work of the same name composed in

190952

to commemorate the 100th anniversary of Haydn’s death, and which I shall discuss later on in

52

Debussy, C. Hommage a Haydn (Paris: Durand & Fils 1910)

17

this chapter. Other similar acknowledgments in my works are found in a number of short piano pieces

dedicated to J.S. Bach, Bartòk and Philip Glass (as mentioned in chapter one).

The use of ‘Jimbo’s Lullaby’ in Lachlan Moods also contains a symbolic aspect. It was

conceived in its original form of four pieces early in 2007 while I was a teacher of piano and

musicianship at the Mitchell Conservatorium of Music in Forbes, a country town with a population of

around 8,000 in the Lachlan district in central-west New South Wales, and from whence the set

derives its name. Children’s Corner was written by Debussy as a set of pieces for his daughter Chou-

chou (then aged 3) as part of her keyboard studies, and alludes to pedagogical works students of that

age might encounter in the course of their studies, such as Fux’s Gradus ad Parnussum which is

lampooned in the first piece of the set, ‘Dr. Gradus ad Parnussum’. Other pieces in the set refer to

children’s toys in their titles – ‘Serenade of the Doll’ and ‘Golliwog’s Cakewalk’. The reference to

Children’s Corner then has an additional function as an aide-memoire to my primary activity at the

time of composition, providing an autobiographical reference within the piece. This background to the

work is noted in the piece’s programme note, meaning these connections are made accessible to the

attentive audience member.

B. The Use of Langue Quotation in Tuk Tak Dung

Langue or stylistic quotation also features in several of the folio pieces. Along with a number

of the …infinite songs (1-8)… for piano solo, it is a feature of Trois valses romantiques (2014) for

piano solo, valse oubliée… for wire-strung harp or harp solo, Tuk Tak Dung for S.A.B. chorus and the

‘Variations’ movement of Two Symphonic Movements (2013/16) for orchestra. The use of langue

quotation in each case varies according to specific aims.

Tuk Tak Dung (2011) for S.A.B. chorus employs sung syllables (mostly pitched but also un-

pitched), hand-claps and passages of melismas to portray through vocal means three of the diverse

musical traditions found in Malaysia – Malay gamelan, traditional-style Chinese erhu melodies and

the vocalisations utilised in South-Indian Bharatanatyam dance. The work was commissioned in 2011

for SMK Seafield School Choir in Subang Jaya, by their director Susanna Saw. My brief was to write

a three-minute piece that this secondary school choir could take on tour to Germany the following

year to promote a distinctively Malaysian identity to audiences there, in order to showcase and

celebrate the country and its distinctive cultures living side by side. In the end however this trip did

not eventuate, with the choir giving the work’s eventual premiere in a fundraising concert held prior

to a trip to a youth music festival Brisbane in early 2014.

Susanna’s suggestion was to represent in some way the three most populous cultural groups

of Malaysia – Malay, Chinese and Indian (Tamil) – in a choral setting. Folksong arrangements, a

useful way of showcasing cultures, were not suitable given the limitations on duration. I proposed

instead the idea of imitating a well-known musical genre (perhaps instrumental) associated with each

18

culture, allocating roughly one minute to each style. Susanna agreed, and together we chose the Malay

gamelan, a traditional erhu melody (or erhu type melody) and the vocal melismas accompanying the

Bharatanatyam dance form to represent the three respective cultures. The piece follows this ordering,

with the middle Chinese section however briefly interrupted by a passage imitating the kendang (two-

headed drum) of the gamelan. Although I could well have chosen specific source materials (in the

form of existing pieces) upon which to base the work, by instead adopting the approach of imitating

each particular style I was allowing a certain freedom towards my materials, one where my own

creative responses could more come into play. This lent its own distinctive flavour to the end result.

The fact that the piece uses no direct quotations of actual gamelan, erhu or Bharatanatyam melodies,

but instead is based on my own constructed melodies and rhythmic patterns which mimic these three

types of music, means the piece is an example of langue quotation, rather than of the parole type.

The respective langue quotations employ a range of different scales and rhythmic patterns, as

well as different tempi and contrasts in texture, so that the three sections are clearly differentiated, an

important consideration for audiences who might be unfamiliar with these particular genres, quite

possibly being exposed to them for the first time. As well, each section uses a particular syllabic text

or vocal delivery I thought best conformed to each style, adding to each part’s particular character.

The first section utilises syllables which approximate the sounds of the various instruments found in a

Malay gamelan ensemble – low ‘dong’ and ‘dung’ for the kempul, with a faster moving and higher

pitched ‘dong, dung’ for the saron, and ‘tak, tak’ for the more staccato sounding ketuk. I was already

familiar (from my undergraduate years in New Zealand performing in a university gamelan) with the

three voiced tones used by Javanese gamelan instructors to indicate the three main tones produced on

the kendang – ‘tak’ for high, ‘tong’ for middle and ‘dung’ for low, and I decided to employ these as

well when imitating these particular percussive sounds. A hummed nasal vocal delivery contrasts with

half and fully open mouthed ‘ah’ for the erhu section, while the final section employs the three sung

syllables ‘ta-ka-da’ in a series of fast-moving phrases to represent the vocal patterns employed to

accompany Bharatanatyam dance. In this last segment of the piece the choir also performs clapped

rhythms which give an added rhythmic intensity to those passages it accompanies, contributing to the

celebratory feel of the work:

19

Figure 4 Tuk Tak Dung bars 75-82

Parole and langue quotation then both play important roles in my work in general and in

certain of the folio pieces, where they act as structural, generative elements as well as symbolically. I

shall now look at the further types of quotation employed in a number of the folio pieces, quotation-

signatures and quotation-symbols, and how these also contribute towards forging an individual style.

C. The Use of a Quotation-signature in Hommage à Haydn

20

Quotation-signatures53

, or pitch formulae such as “B.A.C.H.” and “D.S.C.H.”, whereby letters

of an individual’s name are able to be sounded as musical tones in order, according to Tarnawska-

Kaczorowska to evoke ‘a concrete personality taken in his or her physical or spiritual dimension’54

have featured in a number of my compositions to date, and are a feature in the folio works Hommage

à Haydn and the eight ...infinite songs...both for piano solo. In these pieces, the technique is employed

in order to pay homage to either historical (such as Haydn) or contemporary figures (such as the

various composers of my acquaintance to whom each of the pieces in the …infinite song… series in

dedicated). A further use of quotation-signatures can be found in another short work, Morceau bréve

sur le nom ‘Roland’ for piano solo (1999)55

, commissioned by Diethard Marx for his pianist brother

Roland; here a quotation-signature is constructed out of the first name of the work’s recipient,

forming the basis of the piece’s musical argument.

A short form work from the classical canon that utilises a quotation-signature is Debussy’s

1909 piece for piano solo, Hommage à Haydn, which forms the inspiration for my own short form

piano piece of the same title. Hommage à Haydn was a commission for an issue of La Revue Musicale

de la sociéte musicale indépendante commemorating the centenary of Haydn’s death. Commissioned

alongside Debussy were five other well-known composers of the day – Ravel, Dukas, d’Indy, Hahn

and Widor. Each composer was required to base a short homage on the sequence of notes B-A-D-D-

G, a cipher derived from the letters H, A, Y, D and N (where H in German is equivalent to B natural,

and the notes D natural and G natural stand in for Y and N). This same quotation-signature forms the

basis of my work in the modified form of the nine-note motif HAYN-HAYDN.

My relationship with the music of Haydn began a year or two after starting piano lessons

from the age of nine, when I commenced studying some of the simpler sonata movements and sets of

variations. Later on I came to better comprehend Haydn’s place in the classical canon, through the

breadth and scope of his output, and his importance in the development of the symphony and string

quartet and subsequent influence on other composers. It was, however, largely through my

acquaintance with Debussy’s Hommage à Haydn and in realising its considerable charms, the idea

first came to me of composing my own homage to the prominent classical period composer. I

envisaged my own work as partaking of the clarity and brio of some of Haydn’s quicker sonata

movements. I also modelled it to be in the same proportions as the Debussy work, as I wanted to be

53

Otherwise known as soggetto cavato, an older practice of quotation by aligning note names with proper

names, as practiced by composers such as Josquin des Pres in the Renaissance

54 Tarnawska-Kaczorowska, Krystyna (1998) Musical quotation an outline of the problem, Contemporary Music

Review, 17:3, 83, DOI: 10.1080/07494469800640211. [Accessed 21 December 2013]

55 The original version for piano solo is available from the Centre for New Zealand Music (SOUNZ), Wellington.

A version for clarinet in B flat and bass clarinet in B flat (2016) is published by Alea Publishers, ALEA 1159,

Tacoma, 2016

21

able to be pair my piece with that composer’s earlier homage in a recital programme. It was in this

paired format that the premiere of Hommage à Haydn was given in Penang, in my solo piano recital at

the Malaysian Science University (USM) in March 2009, the 200th anniversary of Haydn’s death.

Presenting the two pieces side by side in this way not only gave an opportunity to draw out some of

the commonalities between the two, but also lent a satisfying sense of historical continuity. Included

in the program on this occasion was Haydn’s Sonata in E minor (Hob XVI: 34), further reinforcing

this sense of continuity and an inherited tradition.

It was some years later in 2012 that I discovered that I was not alone in having made the

connection between the commissioned works of 1909, and the 200th anniversary of the composer’s

death in 2009. British pianist Matthew Schellhorn had that year commissioned six composers from the

United Kingdom – Cheryl Frances-Hoad, Michael Zev Gordon, Cecilia McDowall, Colin Riley,

Jeremy Thurlow, and Tim Watts – to write new pieces for piano solo based on the HAYDN motif,

and all six were premiered by him in November 2009 at the Cambridge Music Festival in the U.K.56

.

Schellhorn has also performed the newly commissioned works alongside the original commissions

from 1909, a very similar idea to my own.

Hommage à Haydn is composed in the form of a moto perpetuo and features a relentlessly

moving quaver line employing the HAYN-HAYDN nine-note motif (in musical tones B-A-D-G-B-A-

D-D-G), presented in the treble (with variants) throughout virtually the entire piece. The work is in

fast tempo in the time signature 9/8, with division of 4+5 quavers in the bar; this uneven division of

the bar along with the quick tempo lends it a rhythmically lively feel. The left hand is entrusted with

the bulk of the work’s melodic material, which is subject to constant repetition and variation. As well,

it is tasked with articulating the sustained bass notes which underpin the other two parts. A large

measure of the piece’s effectiveness lies in the interaction between these different voices: anticipating

or delaying motifs in the bass register in relation to the unchanging ostinato in the treble voice allows

the piece considerable rhythmic vitality. By employing varying lengths of phrases, I wanted to avoid

predictability in the work’s phrase structure; this creates a pleasingly organic effect to the unfolding

material. Here are bars 8-12, illustrating the three superimposed lines. A downward step-wise

progression in the bass line through flattened seventh and sixth leads back again at bar 12 via natural

sixth and flattened seventh to the tonal centre of the work, G natural:

56

‘Homage to Haydn’, musolife.com online magazine, (2009), 31 [Accessed 20 January 2013]

22

Figure 5 Hommage à Haydn, bars 8-12

This flowing melodic material leads to a contrasting four-bar passage featuring the right hand

ostinato played staccato combined with tenuto accented quavers in the bass, which are unpredictably

placed relative to the metrical structure, forming syncopated rhythms:

Figure 6 Hommage à Haydn bars 15-18

The more flowing sections alternate with this differently articulated material, which acts as a

kind of refrain to the main musical argument. At each subsequent repetition of this refrain further

quavers in the bass are progressively filled in to take the place of rests, until later on at bars 79 to 82

the left hand consists almost entirely of sounding notes, a few quaver rests unpredictably placed

interrupting the otherwise regular movement:

23


After a number of varied repetitions of the main melodic material accompanied by the

ostinato motif, I felt I needed to in some way disrupt the musical argument (thus far largely centred

around the work’s tonal centre, G natural) in order to create further variation, but also as a way of

allowing the work to move towards its conclusion. I came to the idea of modifying the ostinato motif,

keeping its melodic contour so it would still be recognisable but varying the notes; this is achieved by

modulating to the use of a mostly whole-tone variant of the motif from bar 92 onwards (this modified

motif is itself occasionally varied according to musical needs, as in bars 93-96). The addition of a

motif largely based upon the whole-tone scale was another way of paying homage to Debussy, known

for his use of the scale in a number of his own compositions. Here is the introduction of the modified

whole-tone motif at bars 92-96:

24


Along with this varied form of the motif, I also wanted to provide some relief from the

hitherto restricted range of the material thus far centred on the middle and lower voices of the piano.

This is achieved in two ways – through the occasional upward transposition by either one, two or

three octaves of the HAYN-HAYDN motif starting from bars 53, and by both hands together gradually

moving to the upper registers of the instrument from bars 98 to 103. This section leads directly to the

close of the work featuring quiet sustained chords in the piano’s middle register underpinned by bass

pedal notes, reminiscent of a similar passage found at the close of Debussy’s homage, where similarly

voiced sustained chords in the middle register are heard over bass pedals accompanying fragments

from the HAYDN motif in the upper register. By concluding in this way my intention was to create an

“aural signpost” for the listener who would be able to form a link between these chords and the

similar passage in the earlier piece. In both works, these more sustained sections contrast with the

earlier quicker running note passages:

25

Figure 9 Debussy, Hommage à Haydn bars 92-110

Here are the closing three bars of my piece:


Hommage à Haydn can be seen as ‘homage within homage’ in the way it references

Debussy’s work in which he himself pays homage to Haydn. Revisiting this work written one hundred

years prior to my own created an avenue for a creative re-imagining of “tradition”, both as a means to

comment upon it as well as reinforcing a sense of commonality of purpose with it. Both in its

approach towards an over-arching tradition and in its compositional techniques (which betray a

strongly minimalist influence) Hommage à Haydn partakes of an inclusive approach where

26

quotations, modelling, stylistic reference points and modified materials are freely available for

creative extrapolation and reinterpretation.

D. The Use of Chromatic Completion in Two Rhythmic Duos and Baltic Song

Chromatic completion – ‘the use of all twelve notes of the chromatic scale in a systematic

way’57

is utilised in a number of folio pieces – Two Rhythmic Duos (2009/16) for two bass clarinets in

B flat, as well as …infinite song… (2014) for piano solo and Baltic Song in versions for clarinet and

piano (2005/09)58

and bass clarinet in B flat and piano (2015)59

. In the last two mentioned examples,

chromatic completion is employed within each piece as a quotation-symbol, symbolizing infinity and

dissolving into the sea, respectively. The technique is also employed in several other pieces composed

over the last several years, notably the piano part of The Siege60

(2012/13) for viola and piano, a

collaborative composition with Australian composer Katia Tiutiunnik based on her work for solo

viola, Al-Hisar61

(2001). In this work chromatic completion is employed at certain places in the piano

part as a distancing mechanism from the viola’s predominately modal line. I will examine firstly how

and why the device is employed in Two Rhythmic Duos for two bass clarinets.

In Two Rhythmic Duos the use of chromatic completion in complementary ways within each

piece creates a sense of compositional and aesthetic balance. In the first of the duos, short pieces each

lasting around a minute and 50 seconds, each of the twelve chromatic tones is gradually introduced

over the course of the piece’s entirety, the twelfth and final tone being the very last note we hear. In

the second piece by way of contrast the twelve tones are introduced immediately as a twelve-tone row

in the first two and a half bars in the second bass clarinet part. This row is repeated at various

transpositions in both parts, where it forms the basis of a canon-like chromatically saturated texture.

This contrasting treatment towards chromatic completion in each of the pieces can be said to be the

defining feature of the work.

57

Green, Edward, “Haydn’s Secret ‘Dodecaphonic’ Art”, JMM: The Journal of Music and Meaning 8, winter

2009 [http://www.musicandmeaning.net/issues/showArticle.php?artID=8.6], sec.6.1. [Accessed 21 August

2016]

58 Tacoma: Alea Publishers ALEA 1127a, 2015. This work also exists in a version for violoncello and piano

(2012).

59 Tacoma: Alea Publishers ALEA 1127b, 2015

60 Tiutiunnik, Katia and Carey, Ross James. Creative Journeys: When Composers Collaborate. (Shah Alam: UiTM

Press, 2013) ,43-55

61 Ibid, 57-64. Also published by the Australian Music Centre, Sydney, 2001; the piece exists as well in a version

for solo violoncello (also published by the AMC)

27

This varied treatment towards the use of chromatic completion in each of the pieces can be

explained, at least in part, through looking at my work methods. In the first of the duos my use of

chromatic completion was achieved in an entirely intuitive manner – there was no over-arching pre-

compositional design nor prior twelve-note “row” determining the order in which respective tones

were to be employed; in this respect it follows on, method-wise at least, from other short works of

mine employing the technique where the ordering of the twelve tones was similarly obtained in an

intuitive manner. These include ‘Grasshopper’62

(2008) for piano solo, a short piece in an as yet

uncompleted pedagogical series of pieces for piano, Piano Parade (2007- ), as well as in the

aforementioned piano part to The Siege. The ability to intuit during the process of composition in

these works when the point of chromatic completion is reached indicates a certain sensitivity towards

my materials, this “felt” sense of balance helping explain why I am attracted towards the use of the

technique as a means of obtaining and aesthetic and formal clarity.

In the second duo, by way of contrast to the first, twelve-tone completion is employed in a

much more deliberate way to organise both macro and micro structures. Here the use of a twelve-tone

row in various transpositions over the course of the work creates a completely chromatically saturated

texture, in direct contrast to the first duo’s reference largely to tonal structures. The second duo’s

reliance on the row being presented as a strict canon as well as the piece’s relatively restricted tonal

range creates a further contrast to the first duo, which has a much freer, episodic feel. Although this

second row was not deliberately based upon that of the first piece (by marking the first appearance of

each tone in the first duo, a twelve-tone “row” can be found), the two rows do share certain

characteristics, both intervallic and structural, again illustrating an intuitive aspect to my

compositional methods. This perhaps is not entirely unexpected given that the two pieces were

intended to be presented together and were written one after another relatively quickly. Here are each

duo’s respective “rows”, the numbers under each note indicating the order in which they were

introduced:

Figure 11 Two Rhythmics Duos, I: 12-note row

Figure 12 Two Rhythmic Duos, II: 12-note row

62

First performed at the Asian Composers’ League (ACL) special event, Tokyo, October 2010

28

Both rows start on the same note, G, with the first three tones of the second row (G natural-C

natural-F sharp) an inversion of the opening three tones in row 1 (G natural-D natural-A flat). While

the fourth notes of the respective rows diverge, their fifth notes are identical, albeit with different

spellings – D flat/C sharp. Further similarities include identical notes at the sixth and seventh note

positions but presented in a different order – B and E natural in the first, E and B natural in the

second; a similar relationship exists between the F sharp and C natural found at the eleventh and

twelfth places of row 1 and reversed (C natural to F sharp) as the second and third tones of row 2.

Finally, an identical two-note progression consisting of B flat to E flat at the first row’s eighth and

ninth note positions and the ninth and tenth notes of row 2 further emphasises the similarity.

I shall now illustrate the method in which the row was presented additively in the first duo,

contrasting this with how it was employed in the second. In the first of the pieces the first five tones of

the row (G natural, D natural, A flat, F natural and D flat) are first presented as a motif heard over an

octave and a half range in the first bass clarinet part:

Figure 13 Two Rhythmic Duos I bars 1-2

This five-note motif alludes to the two tonal centres explored throughout the piece, G natural

and D flat; its first four notes outlining a G dominant minor 9th chord (without a 3

rd), while the final

three outline a D flat major triad. To these at bar 6 the next three tones of the row are added (E

natural, B natural and B flat), at the point where the first bass clarinet is joined by the second

instrument. The addition here of both B natural and E natural “fills in” the dominant minor 9th chord

to create a G13th chord with a flat 9

th (G-B-D-F-A flat-E), the inclusion of a querying repeated B flat

at bars 7 and 8 functioning as a “wrong” note heard over the D flat in the bass, an example of musical

humour:


29

A further playful exploration ensues based on this material, again featuring motif fragments

and repeated notes:


At bar 26, the ninth tone (E flat) is added in a downward flourish articulated by both

instruments:


This leads on to a section of dance-like phrases employing what is, in effect, a constructed

eight-note scale (omitting the eighth note of the row, B flat) of G natural, A flat, B natural, D flat, D

natural, E flat, E natural and F natural. The episodic nature of the music up until then is replaced by a

more regular four-bar structure, the various motives coalescing into phrase and answering phrase

passed between the two instruments:

30


In the passage above these eight notes are employed as two interlocking dominant minor 9th

chords built upon the two tonal centres of G natural (G-B-D-F-A flat) and D flat (D flat-F-A flat-B-D

natural) respectively, with E natural and E flat used as passing tones. The exploration of a tonal

relationship built around centres a tri-tone apart in this piece prefigures its use in another of the folio

works …valse oubliée… (2011) for three-octave wire-strung harp (or harp) solo. Although not

consciously modelled on the earlier work, …valse oubliée… employs a very similar constructed scale

to Two Rhythmic Duos of G natural-A flat-B natural-C sharp-D natural-E flat-F natural (omitting the

E natural found in the earlier work); as in the duos a relationship is explored based around tonal

centres at the interval of a tri-tone’s distance from each other, G natural and C sharp (or D flat as it is

in the version of the work for piano solo, included as the third of Trois valses romantiques). While the

use of this seven-note scale in …valse oubliée… was largely due to the constraints of the nature of the

instrument I was writing for – the wire-strung harp is unable to be re-tuned during performance,

necessitating the use of one note for each of the seven strings to the octave for the entire duration of a

piece – this very limitation created an interesting compositional challenge when thinking about how to

create recognisable tonal centres with attendant triadic relationships in order to create a mosaic of

inter-linked passages that refer to some of the various textures, melodic motives and harmonies I took

to be typical of romantic style. In both pieces, in particular in …valse oubliée… where the material is

worked through in more thorough-going fashion than the first duo, these tonal relationships are offset

against each other in a relatively sophisticated way.

After this more recognisably melodic section the meter of the piece changes from 2/4 to 3/8 at

bar 56 (the contrast between duple and triple meters is important in other folio works, and will be

discussed in the section analysing the composition of the ‘Variations’ movement of Two Symphonic

31

Movements). In this case, the changing from a duple to a triple meter coincides with a change of tonal

emphasis (formed however without adding any further tones to those already in use) away from the G

natural-D flat axis to the tri-tone E natural-B flat (at bar 57), creating a sense of instability and a shift

of narrative, pushing the piece towards its conclusion:


The remaining three tones needed to achieve chromatic completion – A natural, F sharp and C

natural – are finally introduced in the piece’s last four measures, which act as a short coda in 2/4 time

signature. The piece concludes on the last two of these notes, F sharp and C natural, again at the

relationship of a tri-tone from each other:


The use of chromatic completion over the entirety of the first duo to create balanced melodic

and tonal structures forms a coherent short form work compositional strategy. In the second piece, the

second of the rows forms the basis for a theme in a form of a canon passed between the two

instruments. This theme consists of two complete cycles of the row, the twelfth note of the initial

cycle (A natural) becoming the first note of the subsequent cycle transposed up a major 2nd

. Here is

the theme as first heard in the second bass clarinet at bars 1-5, with the tones of the row numbered in

the order they are introduced:

32

Figure 20 Two Rhythmic Duos II bars 1 -5

The second bass clarinet is joined by the first at the second crotchet beat of bar 5, in a direct

imitation of the theme. The rhythmic interlocking which is a feature of the movement begins with the

second part delayed by a semiquaver rest at beat one of bar 6, in order to create a hocket-like texture

shared between the two instruments:

Figure 21 Two Rhythmic Duos II bars 5-10

This imitative texture continues with the two parts rising and falling together by step in

tandem. Here is an excerpt later on in the piece beginning at the third crotchet beat of bar 24, where

the two parts have already reached their apogee, and are starting their descent, back towards the

register found at the start of the piece:

33


The piece ends somewhat inconclusively in the same low register of the instruments as at the

start, a somewhat humorous acknowledgement perhaps of the futility of their overly deterministic

approach:


Two Rhythmic Duos then employs a contrasting treatment of chromatic completion in a

relatively sophisticated way to achieve its compositional goals, achieving a sense of balance both

within each piece and within the set as a whole. It does so in a lightly humorous way, creating an

attractive conversational modal which could be readily explored in further short-form works.

34

A further example of chromatic completion, this time functioning as a quotation-symbol can

be found in Baltic Song (2005/09) for clarinet in B flat or bass clarinet in B flat and piano (2015), in

its original version for piano solo composed when I was in residence in October 2005 at the Visby

International Centre for Composers (VICC) located in Visby on the Swedish island of Gotland. This

work, largely written employing a modal language based around a six-tone scale E-G-A-B-C-D,

features an underlying dotted rhythm ostinato in the bass voice of the piano part, evoking the gentle

rhythmic movement of waves on the Baltic Sea:

Figure 24 'Baltic Song' bars 1-20

35

After a number of variations around this material the piece concludes with an open-ended

passage which gradually fills in five of the remaining six tones with the sole exception of A flat (in

order, F sharp, E flat, B flat, F natural, C sharp) mainly in the clarinet part (the F sharp is also sounded

in the piano part). This “near chromatic-completion” (the A flat remains unsounded), in the

programme note accompanying the piece I liken to the melody dissolving into a “twelve-tone sea”:

Figure 25 Baltic Song bars 77-86

This transformation of the material from a firmly articulated tonality to the much more

unstable nature of an open-ended (near) twelve-tone line, an altogether less stable “reality”, creates a

sense of movement, itself a metaphor for the sea, an ever-changing (and perhaps ultimately

unknowable) entity. The inconclusive nature of the close of the piece (enhanced by the use of the

sustaining pedal in the piano part) adds to the sense of dissolution or dissolving and a progression to

something much more nebulous – from the gentle motion of the waves as seen at the surface, to

plumbing the sea’s unknowable depths. The inconclusive, almost questioning use of chromatic

completion here is symbolic of an open-ended process; the sea symbolizing a kind of infinity, an

opening both into the unknown and unknowable.

36

While chromatic completion can be employed for purely musical and aesthetic reasons, such

as the use of the technique in Two Rhythmic Duos, its use in Baltic Song as a quotation-symbol also

indicates its usefulness as a compositional tool to symbolize infinity and a “process of becoming” or

as an opening to the unknown. This symbolic aspect to my use of the technique is further explored in

the first piece of the …infinite song… series, discussed in the following chapter. It can thus be seen as

a useful technique to articulate both musical and extra-musical processes.

37

Chapter 3 …infinite songs (1-8)… and Concert Piece on ‘Twinkle, Twinkle Little Star’

A folio work bringing together several different kinds of quotation is the set of eight short

piano pieces …infinite songs (1-8)… (2014-15) based on the well-known children’s song Twinkle,

Twinkle Little Star.

The first of the set was composed in February 2014. At that time I was approached by my

former PhD supervisor at the University of Melbourne, Julian Yu, to contribute to a project of short

original pieces for piano solo based around the theme, to be published together as an anthology by the

World Humanities Press (WHP) in Hong Kong. Subsequently WHP pulled out of this arrangement,

and the anthology has now been published by the Shanghai Conservatory of Music Press63

. The

anthology features contributions from sixty-eight composers from eighteen countries, including

China, Australia and New Zealand. The composition brief for the project had just two requirements –

a submitted score should be of around one page in length and the piece needed in some form to make

reference to the theme of Twinkle, Twinkle Little Star. Additionally, a companion recording of the

theme and all sixty-eight variations, along with Mozart’s theme from his 12 Variations on “Ah, Vous

dirai-je, Maman” performed by Australian pianist Michael Kieran Harvey, was released in November

201564

.

Historically speaking, a project with a comparative aim might be Anton Diabelli’s request in

1819 to fifty well-known composers of the day to write a variation on his own original theme,

likewise with an aim towards publication. One of the solicited composers of course ignored the

request for just a single variation – Ludwig van Beethoven, whose 33 Variations on a Waltz by

Diabelli Op. 120 (1819-23), otherwise known as the ‘Diabelli Variations’, is regarded by a number of

commentators as the greatest of all piano works65

.

This project for an anthology of variations based on the tune followed on from Yu’s “The

Young Person’s Guide to Composition: Variations on the Theme of ‘Twinkle, Twinkle Little Star’ for

piano”66

, a primarily pedagogical volume of some 126 variations on the theme, where Twinkle,

Twinkle Little Star is employed to showcase a variety of compositional techniques and styles, a

number of the pieces written in the style of well-known composers both historical and contemporary

63

Yu, Julian (compiler). More Variations on the Theme of ‘Twinkle, Twinkle, Little Star’ for Piano from

Composers around the World (Shanghai: Shanghai Conservatory of Music Press, 2016)

64 Yu, Julian (compiler), Harvey, Michael Kieran (pianist). 70 More Variations on ‘Twinkle Twinkle Little Star’

from Composers around the World. (Melbourne: Move Record Co. MD3405, 2015)

65 Hiroshima, G: Diabelli Variations, LA Philharmonic program notes,

http://www.laphil.com/philpedia/music/diabelli-variations-ludwig-van-beethoven [Accessed 5 February 2016]

66 Yu, Julian. The Young Person’s Guide to Composition: Variations on the theme of ‘Twinkle, Twinkle Little Star’

for piano. (Tokyo: Zen-On Music 168424, 2010)

38

(including one where Yu cleverly imitates his own style). Many of the pieces in this set have

imaginative titles, such as ‘Philogamelania’ which combines Twinkle, Twinkle Little Star with the

style of Javanese gamelan music. Yu’s guide, while having a primarily pedagogical aim, contains

many attractive pieces which are suitable for public performance, and a number of pianists have

included them in their own recital programs, including me.

Given that I was already familiar with Julian’s Young Persons’ Guide, I readily responded to

the aims of the new project, and composed what was to become the first of the infinite song pieces

...infinite song... (2014), dedicated to Julian as instigator of the project. Subsequently over the course

of the next sixteen months (to May 2015) I wrote seven more pieces following identical specifications

as the first, creating a set of eight short pieces on the theme ...infinite songs (1-8)... (2014-15). While

the original request was for a piece of one page in length, some latitude was given, and all eight of the

original set of ...infinite songs... are between one page and one system long to two pages in length.

…infinite song… (2014)67

is the first of the series. Knowing that the work would be published

as part of an anthology, I felt merely presenting Twinkle, Twinkle Little Star (TTLS) with

accompanying harmonies would be much too obvious a compositional ploy (although I did feel free to

adopt this strategy in one or two of my subsequent variations that were not written for the published

album). I began therefore by conducting a formal analysis of the tune, as I felt this might give me

clues on how to proceed compositionally. TTLS has several defining features – firstly, the intervals of

a perfect fifth and major second are a feature of its melodic construction, particularly in the opening

phrase, which is repeated again towards the end of the tune; secondly, repeated notes also feature

throughout; and thirdly, the theme displays a strong sense of step-wise movement, both ascending and

descending – as in the opening phrase’s movement from G natural to A natural and back again, and

descending – the step-wise movement from the dominant at the end of the first phrase to the tonic at

the end of the second as well as the dominant to supertonic movement of phrases three and four. Here

is the theme:

Figure 26 Twinkle, Twinkle Little Star, theme

67

In Julian Yu (compiler) More Variations on the Theme of ‘Twinkle, Twinkle, Little Star’ for Piano from

Composers around the World (Shanghai: Shanghai Conservatory of Music Press, 2016), 94-95

39

Focusing next on how these various structural elements might be utilised compositionally, I

looked towards the first of them, the perfect fifth (C-G) and major second (G-A) of the theme’s first

phrase. I superimposed these three tones to create a three-note chord that I labelled the “TTLS triad”.

I then inverted the chord to create what I labelled the “TTLS inv-triad”, a major second supporting a

perfect fifth (C natural – D natural – A natural). This chord became the piece’s basic building block:

Figure 27 TTLS triad and inv-triad

Drawn towards the sound of this second triad, I considered how the TTLS inv-triad might be

able to be combined with other of TTLS’s structural elements, such as the strong sense of movement

found in the tune’s ascending and descending scale-like passages. I experimented by configuring the

TTLS inv-triad as a series of eleven chromatically ascending chords in the bass register, starting on the

D flat below middle C until the B below middle C, and ending with the TTLS triad (the original form

of the chord) on middle C. This chromatically ascending line of triads became the “TTLS quotation-

symbol”, a symbol of infinity, in that its upward movement over the course of an octave can

(theoretically at least) be repeated ad infinitum:

Figure 28 TTLS quotation-symbol

By symbolically linking the TTLS theme with a sense of infinite movement I was

intentionally referencing the ‘sense of wonder’ we feel when regarding the infinite universe, of course

implicit in the lyrics of the song, and made explicit in my title for the piece.

Through carrying this symbolic dimension, the TTLS quotation-symbol offered a ready-made

framework for the piece – namely, a slowly moving chromatically ascending line above which other,

freely melodic elements could be articulated, to represent musically the idea of infinity within a very

limited time frame (remembering that the piece could only be a page or so long in printed score).

Given the strongly diatonic nature of the original tune, this chromatically ascending line of the TTLS

quotation-symbol (with its attendant chromatic completion) became the defining feature of the piece.

My approach towards the resulting chromatically saturated space would be for it to articulate a fluid

sense of tonality, with each chord of the quotation-symbol forming a temporary tonal axis when

accompanying the attendant melody.

40

The point where chromatic completion is first achieved (i.e. where all twelve of the chromatic

tones have been employed) within the TTLS quotation-symbol is at the seventh chord of the series (G

natural-A natural-E natural) at bar 7. Incidentally, this also marks the point where a separate process

of chromatic completion is achieved in the melodic material found in the treble voice, with the

appearance of the twelfth chromatic tone (C sharp) on the second triplet semiquaver of bar 7. Unlike

the TTLS quotation-symbol this process of chromatic completion within the melodic line was arrived

at entirely in an intuitive manner, once again illustrating sensitivity towards my materials:

Figure 29 ...infinite song... bars 2-7

Achieving chromatic completion simultaneously in both voices towards the work’s mid-point

(it is 16 bars in length) along with the rapid motion of the melodic line at this juncture forms a point

of maximum instability, tonally speaking; from here until the work’s conclusion, the musical line

moves towards establishing a firmer sense of a tonal centre around C natural, the root note of the final

chord of the quotation-symbol.

While composed in an intuitive manner, the melodic line’s features can mostly be seen to

derive, like the accompanying chords, from the first phrase of TTLS. This illustrates how

subconscious processes were important during the process of writing. The melody’s opening three

notes E flat – A flat – G flat (presented at bars 2 to 3) outline a TTLS inv-triad on G flat, while in bars

4 and 5 up until the first crotchet beat of bar 6, the melody outlines interlocking forms of the TTLS

inv-triad (A natural-B natural-F sharp) with a TTLS triad (E flat – B flat – C natural). From there a

sequence of broken chord fifth-based harmonies forms the basis for a freely descending line, moving

41

to the bass clef at bar 9. It is only at bar 10 where TTLS’s characteristic opening repeated-note motif is

first heard in the treble voice above the quotation-signature and secondary line in the bass. This is the

first and only recognisable “quotation” of TTLS in the piece, limited to the first four notes of the

theme:

Figure 30 ...infinite song... bars 9 -10

The introduction of this four-note motif creates a sense of TTLS breaking the surface of the

surrounding texture, rather like a masked character allowing us a glimpse of his or her face part-way

through a fancy-dress ball. The appearance of this opening motif of the theme is a precursor to the

more extensive parole quotations of TTLS in subsequent pieces, beginning from the third infinite song

dedicated to composer John Sharpley, where the TTLS theme is heard in its entirety. This gradual

introduction (or uncovering) of the melody upon which the pieces are based allows listener and

performer alike a sense of discovery. The set as a whole forms a kind of musical journey where the

various types of quotation employed combine together to create the work’s particular character.

Utilising elements derived from the first phrase of TTLS as a quotation-symbol in …infinite

song… allowed for a ready-made scaffolding underpinning a freely expressive melodic line utilising

related melodic elements along with parole quotation. …infinite song… can be seen as successfully

integrating within a short-form work these complementary approaches towards a sourced material

carrying various associative meanings.

The TTLS theme is stated as parole quotation in six of the remaining seven …infinite songs…,

the sole exception being …infinite song2… dedicated to Krisna Setiawan. Here, the link to TTLS is the

quotation in slightly modified form of a motif from another piece composed for the TTLS album by its

dedicatee, VeYeBe…Where the Stars Twinkle (2014). Like the first of the series (dedicated to Julian),

this second piece, along with the remaining six follows a similar dedicatory practice. Each is

dedicated to a composer (or composers) of my acquaintance, all of whom have featured in my musical

as well as personal life in one way or another over the years. In a number of the ...infinite songs... the

choice of dedicatee plays an important role in the various compositional decisions made, influencing

which musical materials (other than the TTLS theme) were chosen as either langue or parole

quotations, or employed as quotation-signatures. Like the first piece of the set, in several others

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(…infinite songs 4, 7 and 8…) the TTLS theme is quoted only in part: while in others, such as

…infinite songs 3 and 6…, the theme is quoted more or less in full.

The parole quotation of TTLS is at times combined with a langue quotation, as in …infinite

song3… where it is presented in a swung, jazz rhythm as a homage to American-born Singapore-

resident composer John Sharpley, and in …infinite song4… where the last few notes of its second

phrase overlap with the start of a passage imitative of the rhythmic complexities of gong kebyar, like

the langue quotation in the previous piece a tribute to its dedicatee, New Zealand composer and

performer Gareth Farr.…infinite song7… offers a further example of langue quotation in the set. Here

the first two phrases of TTLS are combined within a compositional style imitating that of its dedicatee,

Elena Kats-Chernin – at least, the style I am most familiar with from a number of her shorter piano

works such as Half Moon Prelude68

, which, in common with a number of her works itself utilises

langue quotation in containing coincidental references to Beethoven’s “Moonlight” Sonata69

.

In those instances where a quotation-signature or signatures is employed (in four of the

pieces), it is formed out of the various letters of the respective dedicatee’s name, which in some cases

is employed in full, while in two cases only a selection of letters from the composer’s surname are

used. Along with providing a means of forming melodic material, the use of quotation-signatures in

…infinite songs… is a way of paying homage to a number of composers whose work and with whom I

have been acquainted with for, in some cases, many years.

...infinite song3...dedicated to John Sharpley is the first of the series to employ a quotation-

signature. Here the Sharpley quotation-signature features in an extended 12-bar coda (from bar 13)

which forms the second half of the piece. To arrive at the quotation-signature, I looked towards the

dedicatee’s surname (SHARPLEY), creating a motif which mixes standard letter-names (“A” and

“E”) with German letter-names (“(e)S” for E flat and “H” for B natural) and solfege (“R(e)” for D

natural). The letters “P”, “L” and “Y” were discarded, forming a five note quotation-signature based

on the letters S-H-A-R-E:

Figure 31 Sharpley quotation-signature

This Sharpley quotation-signature is presented in the form of a running-quaver ostinato in the

piano’s middle register overlapping with the final phrase of TTLS, the previous phrases of which are

presented in the first part of the work (from bar 3) as a parole quotation in the treble accompanied by

68

Kats-Chernin, Elena. Half Moon Prelude (Sydney: Australian Music Centre (AMC) 2004)

69 Programme note by the composer to Half Moon Prelude at

www.australianmusiccentre.com.au/workversion/Kats-chernin-elena-half-moon-prelude/13284

43

added-tone chords. The quotation-signature features as an accompanying figure underpinning the

final descending phrase of TTLS (G-G -F sharp-F sharp-E-E-D). The extended coda additionally

functions as a prolonged ‘resonance’ of the final sustained F 13

chord with flattened seventh from the

first section, the constant quaver motion of the Sharpley quotation-signature generating a sense of

internal movement:

Figure 32 ...infinite song3... bars 11-17

Another of the series employing a quotation-signature is ...infinite song4… dedicated to New

Zealand composer and percussionist Gareth Farr. This likewise features a quotation-signature

constructed from the letters of the dedicatee’s name (again combining standard and German letter-

names with solfege) which underpins most of the piece as ground bass:

Figure 33 Farr quotation-signature

The use of the Farr quotation-signature in this way was suggested to me due to its similarity

to the TTLS theme (particularly its first four notes G-A-D-E which are similar to the contour of

TTLS’s first phrase), meaning that the two could easily be combined. As well, the Farr quotation-

signature has an in-built tonal bias; by taking its first note, G natural as the tonic, the signature moves

from the tonic (G natural) to dominant (D natural) via the super-tonic (A natural) over its first three

notes, and again to the dominant via the super-tonic over its concluding three notes. This tonic to

dominant feel both within the quotation-signature and over the course of it as a whole (from its first

44

to last notes) allowed for a readily-made tonal basis for the piece, one importantly able to be subject to

repetition, a necessary factor for a ground bass. Here it is at bars 4-7 combined with the first two

phrases of TTLS. Both phrases of the tune are modified rhythmically by the prolongation of certain

note values, while the second phrase is also modified melodically by the chromatic alteration of

melody notes. As well, the notes of the second phrase are combined with harmonic intervals of a

minor second, perfect fourth and perfect fifth sounding below the melody line:


This rhythmic and melodic modification of the theme creates a destabilising effect, allowing

for the introduction of further introduced material in the form of a langue quotation imitating the

rhythms of Balinese gong kebyar, quoted here in homage to Gareth, a founder director in 2003 of

Wellington’s Balinese gamelan ensemble Gamelan Taniwha Jaya, with whom he also performs and

composes. The repeating harmonic interval of a perfect fifth first presented at the third crotchet beat

of bar 7 as repeating semiquavers in the treble continue over the next several measures as a series of

rhythmically irregularly repeated intervals, imitative of the brilliant sounds of gong kebyar. Here are

bars 10-11 from this imitative section:


…infinite song4… thus combines three types of quotation – parole (the TTLS theme), langue

(the imitation of gong kebyar) underpinned by a quotation-signature of the dedicatee’s name,

allowing it to allude to multiple layers of meaning.

The next piece in the series ....infinite song5... is dedicated to Japanese composer Keiko

Fujiie, and like …infinite song3… it features a quotation-signature of its dedicatee based on the letters

of their surname. Once again standard letter names are combined with German spellings and Solfege:

45

Figure 36 Fujiie quotation-signature

The Fujiie quotation-signature is stated only once, at bar 10, where it functions purely as a

passing gesture embedded within the surrounding melodic material:


The concluding E flat of the quotation-signature in the treble is additionally combined with a

TTLS triad (reappearing here after being first presented in …infinite song…) in the bass voice; the

TTLS triads continue in both voices in bar 11, and in combination with a TTLS inv- triad from bar 12.

Initially I had conceived of each of the pieces as stand-alone entities, and they are able to be

performed as such, but by the stage of writing the fourth and fifth …infinite songs… I was more aware

of the possibilities of presenting the pieces as a set; the re-introduction of the fundamental building

block of the first of the series (the TTLS triad with its inversion) here was a conscious strategy to

create an aural bridge to the earlier piece, thus further reinforcing the feeling of the pieces as a unified

whole.

The final piece in the series ...infinite song8... is dedicated to Toronto-based husband and

wife composers James Rolfe and Juliet Palmer. It employs not one but two quotation-signatures

based, respectively, on each of the dedicatee’s first and last names, and like the other quotation-

signatures employed in the set similarly combines standard and German letter-names with solfege.

Every letter is assigned a musical tone except for the initial “J” and “P” of the Juliet Palmer quotation-

signature. In constructing the two quotation-signatures I discovered each coincidentally uses the same

46

five notes – A natural, C natural, D natural, E flat and E natural, meaning that they were easily

combined. These five notes suggested to me a tonality centred on A minor – both signatures outlining

an A minor tonic triad featuring both natural and flattened fifths (A-C-E flat-E natural), along with the

subdominant, D natural. D along with E flat mostly functions in the piece as a passing note between E

natural and C natural.

In the piece the two signatures are used in complementary ways, James’ as a repeating

ostinato figure in the bass with Juliet’s forming the main melodic line in the treble. Additionally,

unlike the use earlier in the series where the signatures are employed solely in a horizontal fashion,

the Rolfe quotation-signature includes a vertical aggregate of its last four letters (C-A-F-E flat) first

heard in the bass voice at the last crotchet beat of bar 4. This forms an F dominant seventh chord in

second inversion punctuating the otherwise horizontal lines. The material formed from the two

quotation-signatures is broken up by a one bar modified statement of TTLS’s first phrase progressing

to flat 6 and ending on flat 5, first presented at bar 5, which recurs in the piece as a kind of refrain

interrupting the main melodic phrases. Following this, the two-bar phrase first presented at bars 3-4 is

repeated at bars 6-7 transposed down a major second:


Like the Farr quotation-signature encountered in …infinite song4… the Palmer quotation-

signature bears certain similarities to the TTLS theme. Firstly, the two intervals of a major sixth which

feature as motives at bar 3 – from middle C to A and from E flat to the C above – connect the

quotation-signature thematically to the TTLS triad, the outlying notes of which also outline a major

sixth. Another feature of the Palmer quotation-signature is the four note step-wise descending

progression (E natural, E flat, D natural and C natural) first presented in the treble voice from the last

quaver of bar 3 to the third quaver of bar 4. This progression is made by connecting the last three

47

notes of the signature (E, E flat and D) with the first (C); an identical progression is found from the

third to the sixth notes of the Rolfe quotation-signature, both being reminiscent of those phrases of

TTLS which likewise feature a similar, step-wise descending motion. This mostly chromatic step-wise

movement suggested a kind of playfulness to me, and indeed the piece is the most playful and

humorous of the eight.

…infinite song8…’s strongly unified sense of expression largely is a result of the limited

means employed to create its musical syntax. The humorous quality of the work particularly evident

in the modified first phrase of TTLS used as a refrain in the piece, along with the use of syncopated

and swung rhythms creates a foil to some of the less extroverted numbers that preceded it. It is

through working with a variety of compositional approaches and freely combining the four types of

quotation that interest is able to be sustained over the course of the …infinite songs (1-8)… ten-minute

duration, despite its apparently less than promising initial material.

TTLS also forms the basis for Concert Piece on ‘Twinkle, Twinkle Little Star’ (2015) for flute

and piano. This was composed soon after the completion of …infinite songs (5-8)… in May 2015 and

is dedicated to Japanese flutist Daisuke Kinoshita. Like a number of the infinite song pieces this work

makes extensive use of TTLS melodically and additionally utilises both the TTLS triad and TTLS inv-

triads which form the basis of the accompanying piano part. In Concert Piece the theme of TTLS is

generally used in a freer manner to generate melodic lines than in the …infinite song… series, perhaps

as a result of having a less restricted canvas upon which to work (in terms of duration) as well as due

to my wanting the piece to be more overtly virtuosic, at least for the flute part; the piano part is very

much in accompanying mode throughout. The piece is in two connected parts, slow-fast. Here is the

opening of the first section, marked Andante. The TTLS inv-triad is presented as accompanying

harmonies in the piano part, above which the flute explores melodic material derived from TTLS’s

first and second phrases:

48

Figure 39 Concert Piece on 'Twinkle, Twinkle Little Star' bars 1-8

This material is gradually developed, moving from the opening centred on the flute’s lower

range and the middle of the piano’s range to encompass both instruments’ entire range, along with a

much wider dynamic range than is employed at the start of the piece. In the second half of the piece,

marked Allegro scherzando (beginning at bar 72), the TTLS triad and inv-triad again form the basis of

the accompanying piano part, while the wide-ranging flute part freely elaborates on elements from the

theme in a brilliant study. Following are the opening two bars of this section. Here, TTLS triad and

inv-triads combine in the piano part, over which the flute articulates a firstly downwards then

upwards moving melodic line, the perfect fifth of the opening phrase of TTLS transformed into its

inversion, a perfect fourth. Augmented fourths also feature, as do major and minor thirds, inverting

the major sixth encompassing the outer notes of TTLS’s opening phrase:

Figure 40 Concert Piece on 'Twinkle, Twinkle Little Star, bars 72-73

49

Along with Concert Piece and the first eight …infinite songs…, further explorations of TTLS

in the form of eight further …infinite songs… have been added up to November 2016 (up to …infinite

song16…), and my intention is to augment the number further70

, creating an open-ended series of

pieces that can be added to as I see fit, much in the manner of grouped open-ended series of pieces

added to over a number of years, such as Berio’s Sequenzas or Ligeti’s Etudes for piano. The eight

additional pieces, like the initial set, are dedicated to composers and performers of my acquaintance

and employ a range of quoting devices, which, along with the continued use of the TTLS theme in one

guise or another helps create a sense of continuity across the series as a whole.

70

At the time of final submission of this exegesis, a total of 25 additional …infinite songs… have been added to

the original eight, forming a complete set of 33 short pieces lasting around an hour in performance. In the

manner of Bach’s Goldberg Variations, the first of the set (however in this case slightly varied) is reprised at

the work’s conclusion.

50

Chapter 4 Two Symphonic Movements

Standing somewhat apart from the rest of the folio, both in terms of scale and technique, is the

orchestral work Two Symphonic Movements (2013/16). In this work my aim was to explore self-

contained musical ideas on a larger canvas. While the references to musical tradition are less overt

both the first movement, ‘Fanfares’ as well as the second movement, ‘Variations’ employ langue

quotation at times, forming a point of contact with the ideas explored in the other folio works. In

‘Fanfares’ this takes the form of short fanfare-like motives and passages found throughout the

movement, while in ‘Variations’ the langue quotation is in the form of a plainchant-like melody stated

in the last section of the piece. Both movements additionally utilise the Fibonacci series to create

certain melodic and structural parameters.

A. Fibonacci series as the Genesis of the Theme in ‘Variations’

‘Variations’, the second of Two Symphonic Movements consists of a theme and 26 variations,

totalling around thirteen minutes in performance. The theme’s particular qualities, both formally and

pitch-wise, arose largely through a process of applying relationships found in the Fibonacci series to

its melodic and structural parameters. The compositional process will be illustrated through

examining the theme’s evolution through a series of working drafts, including mentioning which

elements from an otherwise discarded first draft were eventually incorporated into the finished theme.

I will also examine how the Fibonacci series is used in several other ways in the movement, primarily

structurally.

I chose to write this movement as theme and variations as I felt it provided a ready framework

upon which contrasting musical material could be presented within a regular, repeating structure. It is

a form I am familiar with and also fond of, largely thanks to early explorations of sets of variations for

piano, mostly from the classical period, culminating in my exploring as a young adult Beethoven’s

Diabelli Variations and Bach’s Goldberg Variations, both superlative examples of how a

straightforward theme, given imaginative treatment, can generate a wealth of contrasting material and

form the basis of large-scale works. As my intention was to write an orchestral movement of at least

ten minutes in duration, my aim was similarly to find a theme which had the potential to be developed

imaginatively over a relatively large scale, both harmonically and melodically.

‘Variations’ was sketched in short score fairly quickly over a period of several weeks at the

end of 2012 and the start of 2013, and orchestrated some time later, partly in 2015 and completed in

2016. The initial sketches consisted of one largely discarded draft followed by a definitive draft. To

start with, I composed a chorale-like theme which I labelled ‘Hymn’, experimenting with additive

phrases of varying lengths, this being one way I thought it possible to avoid a less interesting

foursquare structure. I began with a simple phrase of five bars in length in 3/4 time signature in the

51

natural minor mode (minor without a raised seventh), following an ascending and descending pattern

a perfect fourth away from its tonic note, A natural:

Figure 41 ‘Variations’, ‘Hymn’ theme, first phrase

This first phrase was followed by an answering phrase, a varied repetition of six bars

duration:

Figure 42 ‘Variations’, ‘Hymn’ theme, second phrase

The theme was further developed in its third phrase of seven bars in length, which featured in

its opening the rhythmic figure found in bars three and four of the second phrase:

Figure 43 ‘Variations’, ‘Hymn’ theme, third phrase

Just as the second phrase mimicked the first, the fourth phrase was a variation upon the

previous phrase, an eight-bar variant ending on the dominant:

Figure 44 ‘Variations’, ‘Hymn’ theme, fourth phrase

In the second half of my theme (phrases five to eight) these phrase lengths were employed in

reverse order, i.e. 8, 7, 6 and 5 bars in length, creating a kind of arch form to the theme as a whole.

Following this ‘Hymn’ theme I sketched a number of variations, beginning with one in 2/4

time signature. These in the main present the melody (or a variation of the melody), coloured by

varied harmonic progressions. Formally, my focus was still on creating variation in the number and

duration of phrases. I was aware that although my melody consisted of phrases of unequal lengths, I

still was relying on an eight (4+4) phrase structure, which I felt was too regular to sustain interest over

the course of the entire piece. To provide some sort of relief from this eight-bar structure, each

subsequent pair of variations, beginning with the second and third up until the 14th and 15

th, was

52

shorter by a single phrase than the preceding pair. In this scheme, variations two and three each

contained seven phrases (being one less than the eight phrases found in the theme and variation 1),

variations four and five, six phrases each (one less than seven), and so on until variations 14 and 15

contained just one phrase each. I chose which of the original eight phrases to remove sequentially

without relying on any particular method.

As well, to provide metrical contrast, for each paired variation (following on from the

example of the theme and the first variation), one was in the time signature of 3/4 while the other was

in 2/4, each pair being in the proportion of 3:2 or 2:3 (and thus approximating the ‘Golden ratio’,

which the Fibonacci series is a measure of in ever-increasing accuracy). This metrical contrast

between triple and duple time signatures became an important part of the ‘Variations’ movement in its

definitive form. Here is the start of the third variation, in 2/4 with the theme in the bass register, and

answering triadic harmonies in the treble:

Figure 45 ‘Variations’, initial draft, beginning of variation 3

While the first few variations followed a minor mode-based language, very quickly (starting

from the fourth variation) an increasingly chromatic language was employed. To illustrate, here are

the first five bars of variation nine:

53

Figure 46 ‘Variations’, initial draft, beginning of variation 9

The first draft of ‘Variations’ ended with a passage based around the interval of a third

doubled at the octave, in an orchestral tutti of around two minutes in length employing a freer kind of

durational scheme. Similar passages were to feature towards the end of the final version of the

‘Variations’, where they form a counterpart to the ‘plainchant’ theme.

The following table illustrates the formal schema of the first draft of the variations up to and

including variation 15. Whether the variation is in 2/4 or 3/4 time signature, the number and length of

phrases, as well as elapsed duration are mentioned:

Theme/Variation no. Time signature Length of phrases (in bars) Elapsed duration

Theme (Hymn) 3/4 5+6+7+8+8+7+6+5 0’58”

Var. 1 2/4 5+6+7+8+8+7+6+5 1’37”

Var. 2 3/4 5+6+7+8+7+6+5 2’26”

Var. 3 2/4 5+6+7+8+7+6+5 2’59”

Var. 4 3/4 5+6+7+8+7+6 3’43”

Var.5 2/4 5+6+7+8+7+6 4’12”

Var. 6 2/4 5+6+7+7+6 4’35”

Var. 7 3/4 5+6+7+7+6 5’10”

Var. 8 2/4 5+6+7+6 5’28”

Var. 9 3/4 5+6+7+6 5’55”

Var. 10 3/4 5+6+7 6’15”

Var. 11 2/4 5+6+7 6’29”

Var. 12 3/4 5+7 6’43”

Var. 13 2/4 5+7 6’52”

Var. 14 3/4 5 6’58”

Var. 15 2/4 5 7’02”

Figure 47 Theme and variations, initial draft, formal schema to variation 15

In the end I didn’t follow this particular formal construction, though a schema such as this

featuring diminishing phrase lengths I felt to be not without interest – in my initial draft it provides a

means to intensify the musical narrative, with more “information” being conveyed within ever shorter

54

time frames both in terms of the amount (more frequent use of shorter note values) and nature

(increasing chromatic) of the material. I ended up employing a scheme featuring regular repetition of

phrase lengths where each variation follows the exact same phrase structure as found in the theme.

This new theme’s structural basis was, as in the ‘Hymn’ tune, an additive scheme.

Although my ideas had flowed well, upon completing the draft score I felt somewhat

dissatisfied. In particular, I wasn’t particularly happy with the relatively simple modal constructions

and harmonic progressions which seemed too close to a traditionally “western” harmonic language.

Intuitively I felt I wanted to break away to a more linear way of writing, one which could perhaps

reference other traditions, such as the Middle Eastern modes I was working with contemporaneously

in The Siege for viola and piano, a collaborative piece with Australian composer Katia Tiutiunnik

incorporating her work for viola solo Al-Hisar (2001) (the ‘Variations’ movement was drafted during

a break from composing this work). As well, although I had achieved what I considered to be an

interesting kind of formal structure, I was not so satisfied with the regular 4+4 phrase construction of

the theme which formed its basis. This, along with my reliance on a somewhat conservative harmonic

language, meant I needed to reassess my materials and find a pathway towards developing what could

be, for me, a more satisfying kind of musical syntax.

I began by going back to the theme’s construction. Using my draft theme as a basis I

experimented by modifying its melodic contours to include more “black notes”. The use of a vaguely

minor/major tonality (due to the use of both C natural and D flat in the second phrase) along with a

restricted pitch range I thought created the more (superficially as least) “eastern” kind of sound I was

aiming for. Here is the modified theme, presented as four repeated phrases of respectively 5+6+7+8

bars:

Figure 48 'Variations' theme, second draft

I then composed a counter-melody an octave above the main theme utilising the same tones as

found in the theme (A, C, D flat, E flat, G). By emphasising the third crotchet of each bar this counter-

theme creates an “off-beat feel” to the main melody, creating a strongly rhythmic counterpart to it:

55

Figure 49 'Variations' theme, second draft with countersubject

The use of paired variations consisting firstly of a statement of the theme (or a variation upon

the theme) followed by theme and counter-theme ended up being employed extensively in the first

part of the first section (from the statement of the theme up until variation 13) of the completed work.

As my aim for ‘Variations’ was to pair it with an already sketched orchestral piece ‘Fanfares’,

I considered if there were elements from the earlier piece I might be able to draw upon when

composing the new movement. ‘Fanfares’ at certain points employs the Fibonacci Series to create

some of its melodic and structural material. Could perhaps the Fibonacci series be applied in some

way compositionally in this new movement? The 4+4 eight-phrase structure still seemed problematic,

so I first experimented by modifying this to a five-phrase structure (five and eight both being

Fibonacci numbers). I kept the arc of increasing and decreasing number of bars found in the eight-

phrase structure of the original draft, modifying this to an arch-form of 5+6+7+6+5 bars (totalling 29

bars in all), with the third phrase of seven bars acting as the mirror point.

I then looked at the melodic materials I was using. Having intuitively arrived at a process of

beginning the theme with a small number of tones (two) and building up the number in subsequent

phrases, which created a kind of organic growth to the melody, I noticed that phrases one to three

56

followed the Fibonacci series, in terms of the number of tones employed – the first phrase contains

two notes (A natural and C natural), the second three (the first two notes plus G natural), while the

third phrase utilises five notes (adding D flat and E flat). I considered whether the subsequent phrase

or phrases might also reference Fibonacci numbers in the number of tones they employ. If so, the

fourth phrase should use eight different tones in total (adding another three to the five already in use).

Thirteen tones (the next Fibonacci number in the series) wouldn’t be possible for the fifth and final

phrase, as this would be more than the twelve chromatic tones available within an octave, so I figured

upon five notes (already in use) for the final phrase of five bars, creating a kind of “asymmetrical

symmetry” to the melodic structure’s pitch material.

To determine what the remaining three tones should be, I again looked towards the Fibonacci

series. I considered if the series in some way could be applied to the makeup of the essentially self-

made eight-note mode I was in the process of constructing as the basis of my theme. By counting the

number of semitones between each of my melody notes, I thought perhaps it might be possible to

limit myself to intervals that related solely to Fibonacci numbers, making a correspondence between

how many semitones were found within each melodic interval with a Fibonacci number. The initial

interval of a minor third (A to C) in the first phrase is three semitones (a Fibonacci number); the next

interval, from C to D flat is one semitone (1 being the first and second numbers in the Fibonacci

series). Later on, the note successions A to G and D flat to E flat both outline an interval of a major

second (two semitones), while the concluding G to C (an interval of a perfect fourth) is five

semitones, 2 and 5 both being Fibonacci numbers. These intervals I could keep, if I were to allow a

correspondence to numbers found in the Fibonacci series.

However, the other intervals in my theme as it currently stood did not follow this “Fibonacci

rule”, including the two larger intervals found in the third phrase, a major sixth (9 semitones) and

major seventh (11 semitones). I therefore set about to modify this phrase by restricting myself to

smaller intervals of one, two, three or five semitones; in fact, this results in a more pleasing melodic

line. Instead of an E flat in the phrase’s second bar, I employed G natural, thus creating an interval of

a perfect fourth (five semitones) to the following C. Later on I placed a G flat between G natural and

D flat, creating a minor second (one semitone) leading on to a downward moving perfect fourth,

leading again by a leap of a perfect fourth and a chromatic step to G natural. Through this process I

arrived at my modified third phrase:

Figure 50 'Variations' theme, third draft, third phrase

The fourth phrase followed a similar process of filling in the spaces between notes while

checking they met the “Fibonacci rule”. This phrase utilises the additional tones of B flat, F natural

57

and E flat added to the five tones already employed, making eight in total. The phrase ended up being

strongly directional, moving mostly by step from a high D flat to a low A (the theme’s tonal centre)

below middle C, with the upper octave’s C, B flat and A repeated at the lower octave:

Figure 51 'Variations' theme, third draft fourth phrase

With the completion of this phrase I had found, more or less by default, the eight-note scale

upon which the movement is based:

Figure 52 'Variations', eight-note constructed scale

I discovered my constructed scale had a link to the Fibonacci series. By numbering F natural

as ‘one’ and counting the series upwards from this starting point by semitone, so that G flat is ‘two’

and G natural ‘three’ etc., six of the eight tones of the scale, that is, six of its eight notes (with the

exception of B flat and E flat) could be represented by the first seven Fibonacci numbers. In this

numbering the second F natural is discounted, as it repeats at the octave as “13”:

Figure 53 'Variations', constructed scale following Fibonacci numbers

Upon completing the fourth phrase, I added a final five-bar phrase, again following the

dictates of my rule, as well as making sure it utilised five of the tones from my scale, to complete the

5+6+7+6+5 bar construction. To confirm the prevailing tonal centre, as well as for the purposes of

symmetry, I wanted the melody to finish on the original starting note of A 440; this was achieved

through a leap of a minor seventh from middle C to the B flat above, an example where the

“Fibonacci rule” is not followed (when creating rules such as this I allow for the odd exception if it

makes musical “sense”). Although the following note (G flat) is a major third from the preceding B

flat (and thus also note following the rule), the progression to the final A natural creates an augmented

second (three semitones) relationship with the G flat in bars 3 and 4, if the intermediate B flat is

considered as an upper passing tone to the A:

58

Figure 54 'Variations' theme, third draft fifth phrase

At this juncture I looked once again at my melody and considered whether its total number of

bars could also make reference to a Fibonacci number. At present the melody came to a total of 29

bars; the next Fibonacci number above 29 is 34. To arrive at 34 bars I would need to add another five-

bar phrase to my existing five phrases, creating an asymmetric arch structure of 5+6+7+6+5+5 bars.

Here then is the complete and final version of the theme: the additional phrase, a variant of the

original fifth phrase and placed directly before it creating a more “finished” feel to the melody:

Figure 55 'Variations', completed theme

In arriving at my theme I had consistently applied the Fibonacci series to a number of

parameters: to determine which intervals could be employed, how many notes should feature in each

phrase, as well as to the theme’s total number of bars. Compared with my first thematic draft, this

second theme, as well as being more compact than the first (which on reflection seemed overlong), I

felt was of more interest due to its tighter construction and well directed melodic contours. I was

particularly happy with what was I felt a sustained arc of melody over the whole of its six phrases,

moving from its first note to its last in what seemed a natural and logical manner. Unlike the melody

of the first draft the melody has a modal feel yet avoids an obviously major/minor tonality, hinting at

interesting opportunities to develop it further musically. Maintaining a firm tonal centre (A natural)

around which the musical material coalesced gave me a strong unifying factor to work with in

subsequent variations. Most importantly, the modal feel of the theme and its lack of obvious harmonic

59

referents liberated me to think primarily in a linear, melodic way, and to get away from my

predominant mode of thinking in melodies accompanied by triadic harmonies (a result perhaps of my

extensive keyboard training). Focusing on a linear way of writing was also a primary aim in the

composition of The Siege.

My next step compositionally was to revisit my earlier sketch of theme and counter-theme

(reproduced as Figure 9), modifying this to fit the form of my expanded melody. I intentionally

restricted the counter-theme to the eight-note mode, again following the “Fibonacci rule” albeit here

within the smaller range of an octave. An exception to this is the G flat to B flat at the end of the third

phrase (a major third, or four semitones), positioned to allow me to move in two steps from G flat to

the upper D flat. This exposition of theme and counter-theme became variation 1 in the finished work:

60

Figure 56 'Variations', Variation 1 (theme and counter-theme)

The second to the thirteenth variations are presented in the same manner as the theme and

first variation – that is, as a variant of the melody in each even numbered variation and the same

varied melody with a counter-melody in each odd numbered variation. Variations 12 and 13 differ

61

only in that they add to material already introduced in variations 10 and 11, thus creating a four

variation set (or double-pair). While all thirteen variations utilise the eight-note mode derived from

my application of the Fibonacci series, the “Fibonacci rule” of allowing only melodic intervals of 1, 2,

3, 5 or 8 semitones was set aside from the second variation onwards. This relaxing of the rule

permitted me to expand the possible range of intervals employed horizontally, allowing for intervals

such as a major third, diminished fifth and minor and major sevenths, all of which feature, for

instance, in the second variation. By combining a strict adherence to the mode without any

proscriptions on their use meant I engendered a much greater variety of possible thematic material

than might have otherwise been possible.

An example of this is the eighth variation, which along with the ninth is in the form of a

waltz, an older European dance form that seems quite a stylistic leap from the preceding material. It is

a form however which I am obviously attracted to, featuring as it does in works such as …valse

oubliée… and Trois valses romantiques. The measures in the first and second phrases all begin with a

strong downbeat, in the manner of a traditional waltz. Alongside this accompanying figure the melody

(in the treble) features a syncopated rhythmic line with the melody notes falling on every third beat,

masking the downbeat somewhat:

Figure 57 'Variations', variation 8 (beginning)

Although the intervals found in the melodic line in this variation initially conform to my

“Fibonacci rule” soon other intervals outside of the rule, such as the major sixth, perfect octave and

major ninth found at the close of the melody line in example above, feature. The accompaniment from

the start allows for any possible melodic interval within the eight-note mode; in the passage above,

these include intervals of an augmented fourth, major sixth and major and minor sevenths, along with

those intervals already found in the theme.

An example of a variation in the time signature of 2/4 is the tenth variation, which provides

the basis for the following three variations. Although in a different time signature from the theme the

62

melodic contour is largely the same; the compression of the thematic material (into a duple time

signature), along with a slightly faster tempo and the inclusion of smaller note values (quavers) gives

the music a sense of greater momentum, although the original 34 bar structure is maintained. The

addition of the melodic intervals of a major third at the end of the third and fifth phrases and major

sixth at the start of the second phrase provides needed variety to the melodic line:

Figure 58 'Variations', variation 10

The theme and first 13 variations are followed by variation 14, a fanfare for brass, and a

central section of three slower variations (variations 15 to 17) featuring expressive solos for trumpet

(16) and cor anglais (17). A bridging variation (no. 18) for muted brass, low flutes and tubular bells

leads to a further bridging variation (no 19) featuring rocking thirds in the treble over a passage of

mainly ascending thirds in the bass, this time in the natural minor mode (coincidentally the mode of

my initial sketches for the movement). This sets the scene for the introduction of a langue quotation in

the form of a plainchant-like theme (also in the natural minor mode), announced in variation 20.

B. Plainchant as Langue Quotation in ‘Variations’

An example of langue quotation in ‘Variations’, the plainchant-like melody introduced in

variation 20 is in 2/4 time signature, and utilises the identical 34-bar structure (in the division of

5+6+7+6+5+5 bars) as the theme and other variations. As my primary concern was the creation of a

freely flowing melodic line, this structure is utilised in a free manner, with phrases at times bridging a

double bar line, as at bars 18-24. The accompaniment in the bass continues the passage in thirds heard

in the previous variation:

63

Figure 59 'Variations', Var. 20 (Plainchant theme)

These two elements continue in the next variation, Variation 21, along with the addition of a

countermelody presented an octave above the main plainchant melody; later on in Variation 22 a

chiming, bell-like figure is added, with the accompanying passage in thirds doubled at the octave

below, creating a four-part texture with each part presented at different registers, creating a clear

demarcation of musical lines:

64

Figure 60 'Variations', Variation 22, beginning

The plainchant-like melody, as well as the ‘bell-like’ figure reminiscent of the tolling of a

church bell both overtly reference Christianity. Both the chords accompanying the plainchant theme

and the ‘bell’ motif feature the interval of a third. Along with making reference to the threefold

division of the movement, the number 3 also has a symbolic dimension – in symbolising the Christian

doctrine of the Holy Trinity of God, Jesus and the Holy Spirit, thus dovetailing with the overtly

Christian symbolism of the plainchant theme.

While these Christian elements were not part of the piece in its planning stages, nor was the

work envisaged as being overtly “religious”, at least at the outset, I found that in the process of

writing the plainchant-like melody seemed to flow quite naturally out of the materials I found myself

working with (specifically the change to the A natural minor mode and the passage in thirds at

Variation 19, both also unplanned at the outset). By quoting a plainchant-like melody I was of course

aware that such a melody would carry various religious or spiritual significations. Musically speaking,

both the modulation to the natural minor mode and the introduction of the plainchant theme create a

needed sense of relief from the restrictions of the much more chromatic (and angular) preceding

material. They together offered a renewal of my materials and a firm basis for the ensuing variations.

65

What, however, are the extra-musical effects of the inclusion of a plainchant, specifically its

allusion to Christianity?

A characteristic of plainchant according to Alistair Hardie is that ‘its modality and non-

metrical rhythms contrast with subsequent music, which is mostly articulated by a defined key and

metre, because chant predates these dimensions’.71

Hardie goes on to make the link between chant’s

predating these dynamic fields with God who ‘precedes and is distinct from time’72

. He further states

that contemporary American composer John Adam’s use of Hildegard’s O quam preciosa in his

‘Nativity-oratorio’ El Niño might therefore parallel God transcending time, in the way that ‘the chant

[is not only] distinct from most of the remaining material’s metre and pitch-centre, as God is distinct

from the temporality of creation, but both chant and God also predate the dimensions by which their

respective temporalities might be defined.’73

The appearance of plainchant (or more correctly, my plainchant-like theme) towards the end

of the ‘Variations’ movement then can be seen as transcending the material that precedes it, as that

material is overtaken and transformed by something which is distinct from it as well as in some sense

predates it. Although not expressed overtly in the work title (unlike Adam’s El Niño or ‘The Child’,

obviously referring to the Christ child), this statement of plainchant in the Variations movement can

nevertheless be seen as partaking in some sense of a broadly religious (and transformative) sentiment.

A Christian, theological reading of the work might be that the transformation from the earlier material

employing a constructed (“restricted”) mode to the “natural” minor parallels draws a parallel with our

finite lives and the all-encompassing, infinite (in terms of time and space) “naturalness” of God’s

expression.

This use of the minor mode as well as the simple nature of the melody, is somewhat

reminiscent of the original sketch for the movement (‘Hymn’), as is the use in the bass register of

triads without fifths, first encountered in variation 9 of the initial draft (employing chords without

fifths at this point also meant being able to avoid unwanted parallel fifths due to the frequent step-

wise progression of the bass line). Both furnish examples of how earlier sketches can be re-imagined,

allowing for the creative re-use of otherwise to be discarded material. The melody with its

accompanying chords in thirds, following on the earlier format of melody and countermelody, is

presented with a counter-melody in variation 21; while the Christian or religious aspect is further

highlighted in the following variation, variation 22, where the alternating figure from A natural to C

71

Hardie, Alistair (2010) Musical Borrowing as Incarnation: A Theological Reading of Hildegard’s O quam

preciosa in John Adam’s El Niño, Contemporary Music Review, 29:3, 294 DOI: 10.1080/07494467.2010.535363

[Accessed 22 December 2013]

72 Ibid, 294

73 Ibid, 302

66

natural played on the tubular bells are reminiscent of the sound of church bells calling a congregation

to prayer.

C. Further Uses of the Fibonacci Series in ‘Variations’

The Fibonacci series is referenced in a number of other ways in ‘Variations’. Although their

use is undoubtedly commonplace, while employing only duple and triple time signatures (2/4 and 3/4)

throughout the movement, in so doing I was conscious of the fact that 2 and 3 both are numbers found

in the Fibonacci Series. As already mentioned, the theme and first variation, along with the other

variations in the first section up until variation 13 are presented in pairs; each pair consists of one

variation in duple and the other in triple time (or vice versa) expressed as a 2:3 or 3:2 ratio, this being

the roughest approximation of the Golden section.

Form-wise, the movement is divided into three main sections – the first section consisting of

the theme and first 13 variations; the second section the middle five variations – the brass fanfare

(14), three central slow variations (15-17) and the first bridging variation (18); while the third and

final part is from the introduction of the natural minor mode at variation 19 (the second bridging

variation) until the end (variation 26), eight variations in total. This threefold division makes reference

to the Fibonacci series in a number of ways. Firstly, 3 is a Fibonacci number, while the total number

of variations, 26, (2x13) also references the series (2 and 13 likewise being Fibonacci numbers). The

division of the work (separating the theme from the threefold division of the variations) is in the ratio

of 1:13:5:8, with a further division (1+3+1) of the central section of five variations – all Fibonacci

numbers.

A further structural division making reference to the series is in variation 14, a fugal fanfare

for brass. The various entries of the instruments are spaced according to numbers of the series – the

first and third trumpets enter at intervals of one and three bars respectively after the second trumpet; a

longer spacing of 16 bars (2x8) occurs before the entry of the first trombone, followed by the second

trombone three bars after this and the bass trombone two bars after the second trombone (and five

after the first), with the tuba the last to enter in the following bar. Following the Fibonacci series to

determine entry points in this way created a pleasingly irregular method of layering the various

melodic lines; the addition of the lower instruments towards the variation’s end permits an

intensification of the material, out of which the first of the slow variations (variation 15) emerges.

The use of the Fibonacci series thus plays an important part in the ‘Variation’ movement of

Two Symphonic Movements, where it forms a useful tool in helping determine a number of the

melodic and structural aspects of the work.

67

Chapter 5 Conclusion

My compositional practice reflects an eclectic approach towards the wide range of borrowed

materials I feel free to utilise within it. This eclecticism extends to the variety of performers I elect to

write for, from students to community groups to semi-professional and professional performers, as

well as in the range of music I choose to play as a performer. Each of these in turn has had an

influence upon my compositional style, forming different strands of experience I am able to draw

upon when creating new works.

Having particularly concentrated on short form pieces during the course of the PhD, I expect

to continue to write such pieces into the future. This ongoing exploration of short form works has

begun with the completion of the …infinite songs… series74

, several short pieces for oboe and piano75

,

a Little Suite (2016-17) for solo guitar76

and a set of variations for piano four hands77

. Other interests

are in composing further for voice, and the possibility of composing an oratorio, a form with which I

have hitherto left unexplored. This particular interest has been sparked by performing and singing

recently in Mozart’s Requiem and Handel’s Messiah as well as contemporary American composer,

Morten Lauridsen’s Lux Aeterna. I imagine approaching this in a contemporary way that can allow

the exploration of diverse spiritual traditions, possibly combining sourced and my own original texts.

A work for violin and small ensemble is envisaged, taking the form of linked episodes exploring the

ideas around infinity (already touched upon in the …infinite song… series), the cosmos and a

particular interest of mine, Vedic astrology.

From the beginning of my compositional career while studying at Victoria University of

Wellington, an emphasis was placed on inculcating the awareness and appreciation of a variety of

compositional approaches found within diverse traditions, while equipping one with the technical and

expressive means to help realise one’s compositional vision. These qualities have stayed with me

throughout my career and have informed my work, including those pieces written while studying for a

PhD. Exploring a number of quoting strategies along with paying homage to other composers and

traditions are but some of the many ways I am able to acknowledge the creative connections to others

across a range of geographical and historical boundaries, lasting forms of acknowledgement that can

bear fruit into my future creative pursuits.

74

…infinite songs… (2014-17) for piano solo

75 Reverie (2016) and Burlesque (2016) for oboe and piano, both dedicated to Thomas Hutchinson

76 Composed at the request of Dr. Nathan Fischer for inclusion of an anthology of contemporary guitar pieces

to be published by UiTM Press, Shah Alam

77 Nine Variations on a Balletti by Giovani Giacomo Gastoldi (2017) for piano four hands

68

References

Abraham, Gerald. Grieg: A Symposium (Norman: University of Oklahoma Press, 1950), 13

https://pages.stolaf.edu/music242-spring2014/portfolio/musical-dichotomies-in-griegs-string-quartet-

in-g-minor-op-27-i/

Botstein, Leo. “History, Rhetoric, and the Self: Robert Schumann and Music Making in German-

Speaking Europe, 1800-1860” in Schumann and His World, ed. R. Larry Todd (Princeton, N.J.:

Princeton University Press, 1994), 3-46

Burkholder, J. Peter. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing (New

Haven and London: Yale University Press, 1995)

Burkholder, J. Peter. ‘Borrowing’ in New Grove Dictionary of Music and Musicians, ed. Stanley

Sadie and John Tyrell, 2nd

ed. (London: Macmillan, 2001) vol. 4

Debussy, Claude. Children’s Corner (Paris: Durand & Fils, 1908)

Debussy, Claude. Hommage à Haydn (Paris: Durand & Fils, 1910)

de Saussure, Ferdinand. Cours de linguistique générale ed. C. Bally and A. Sechehaye, with the

collaboration of A. Riedlinger (Lausanne and Paris: Payot, 1916); trans. W. Baskin, Course in

General Linguistics (New York: Philosophical Library, 1959; New York: McGraw-Hill Book

Company, 1966) faculty.georgetown.edu/irvinem/theory/DeSaussure-Course-excerpts.pdf

Dunsby, Jonathan and Goldman, Jonathan eds. The Dawn of Music Semiology: Essays in Honor of

Jean-Jacques Nattiez (Rochester: University of Rochester Press (Eastman Studies in Music), 2017)

Eichler, Jeremy. ‘Forces of history have helped shape György Kurtàg’s uncompromising music’

(interview with the composer). http://www.bostonglobe.com/arts/music/2007/11/11/forces-history-

have-helped-shape-gyorgy-kurtag-uncompromising-

music/80XFWB5ft43hVSovXjEJjO/story.html?event=event25

Green, Edward. “Haydn’s Secret ‘Dodecaphonic’ Art”, JMM: The Journal of Music and Meaning 8,

winter 2009 [http://www.musicandmeaning.net/issues/showArticle.php?artID=8.6], sec.6.1.

Hardie, Alistair. (2010). Musical Borrowing as Incarnation: A Theological Reading of Hildegard’s O

quam preciosa in John Adam’s El Niño, Contemporary Music Review, 29:3

Hiroshima, G. Diabelli Variations, LA Philharmonic program notes,

http://www.laphil.com/philpedia/music/diabelli-variations-ludwig-van-beethoven

Hoeckner, Berthold ed. Apparitions: New Perspectives on Adorno and Twentieth-Century Music

(New York and London: Routledge, 2006)

‘Homage to Haydn’, musolife.com online magazine, (2009), 31

Kats-Chernin, Elena. Half Moon Prelude (Sydney: Australian Music Centre, 2004)

Kats-Chernin, Elena. Re-inventions: based on Two-part inventions of J.S.Bach (Sydney: Australian

Music Centre, 2009)

69

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University Press, 2003)

Nattiez, Jean-Jacques. Musicologie générale et sémiologie, (Paris: Christian Bourgois, collection

“Musique/Passé/Presént”, 1987); trans. Carolyn Abbate, Music and Discourse: Toward a Semiology

of Music (Princeton, N.J.: Princeton University Press, 1990)

Nils Holger Petersen. (2010). Quotation and Framing: Re-contextualization and Intertextuality as

Newness in George Crumb’s Black Angels, Contemporary Music Review, 29:3

Service, Tom. ‘A guide to György Kurtàg’s music’.

http://www.theguardian.com/music/tomserviceblog/2013/mar/12/contemporary-music-guide-gyorgy-

kurtag

Setiawan, Krisna. VeYeBe… Where the Stars Twinkle. In Julian Yu (compiler), More Variations on

the Theme of ‘Twinkle, Twinkle, Little Star’ for Piano from Composers around the World (Shanghai:

Shanghai Conservatory of Music Press, 2016), 48

Stoneman, P., Sánchez-Arce, A-M. and Leighton A. eds. European Connections, 13. European

Intertexts: Women’s Writing in English in a European Context

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Musicians Library, Oliver Ditson and Company, 1910)

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Magazine, July 2015)

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Carey, Ross James. Creative Journeys: When Composers Collaborate (Shah Alam: UiTM Press,

2013), 57-64

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Little Star’ from Composers around the World. (Melbourne: Move Record Co. MD3405, 2015)

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70

Appendix

Published scores and recordings of folio works

Baltic Song (2005/09/15) Tacoma, WA: ALEA 1127a, 1127b, 2015

Hommage à Haydn (2009) Den Haag: Donemus 15192, 2016

…infinite song… (2014). In Julian Yu (compiler) More Variations on the Theme of ‘Twinkle, Twinkle,

Little Star’ for Piano from Composers around the World (Shanghai: Shanghai Conservatory of Music

Press, 2016), 94-95

Lachlan Moods – Three Pieces for Guitar (2007/09) Den Haag: Donemus 14941, 2016

Reverie (2009) Den Haag: Donemus 14942, 2016

September Song (2000/15) Tacoma, WA: Alea Publishers ALEA 1132, 2015

Two Rhythmic Duos (2009/16) Tacoma, WA: Alea Publishers ALEA 1151, 2016

…valse oubliée… (2011) Den Haag: Donemus 15196, 2016 Recorded on Helen Webby ‘Pluck’.

Auckland: Ode Records, CD MANU 5144, 2012

Ross James Carey

The Use of Quoting Strategies in my Recent

Compositions

Volume 2

Folio of Compositions I

Submitted in partial fulfilment of the requirements of the degree of Doctor of

Philosophy

Produced on acid-free paper

Faculty of Music, the University of Melbourne January, 2017

ORCID I.D. 0000-0002-9277-9829

II

III

Contents

...infinite songs (1-8)… (2014-15) for pianoforte solo 1

Hommage a Haydn (2009) for pianoforte solo 23

Trois valses romantiques (2014) for pianoforte solo 35

Lachlan Moods – Three Pieces for Guitar (2007/09) 61

Reverie (2009) for guitar solo 73

…valse oublie e... (2011) for three-octave wire-strung harp or harp solo 81

Concert Piece on ‘Twinkle, Twinkle Little Star’ (2015)

for flute and pianoforte 93

Supplication (2016) for oboe and pianoforte 109

Baltic Song (2005/2009) for clarinet in B flat and pianoforte 119

Baltic Song (2015) for bass clarinet in B flat and pianoforte 129

September Song (2015) for bass clarinet in B flat and pianoforte 139

Meditasi (2016)

for trumpet in B flat or cornet in B flat and pianoforte 147

Two Rhythmic Duos (2009/16) for two bass clarinets in B flat 155

Trio élégiaque (2016) for flute, oboe and bassoon 163

Toccatina (Elegy) (2010) for 2 violins, viola and violoncello 185

Tuk Tak Dung (2011) for S.A.B. chorus 209

IV

List of Recordings of Folio Works

1. …infinite songs (1-8)… (2014-15) for piano solo. Ross James Carey, piano. (10’34”)

2. ‘…valse vermillon…’ from Trois valses romantiques (2014) for piano solo. Ross James

Carey, piano. (2’43”)

3. Reverie (2009) for guitar solo. Nathan Fischer, guitar. (3’11”)

4. …valse oubliee… (2011) for three-octave wire-strung harp solo. Helen Webby, three-

octave wire-strung harp. (7’06”)

5. Concert Piece on ‘Twinkle, Twinkle Little Star’ (2015) for flute and piano. Laila Engle, flute;

Ross James Carey, piano. (4’41”)

6. Supplication (2016) for oboe and piano. Thomas Hutchinson, oboe; Jeanell Carrigan,

piano. (5’11”)

7. Baltic Song (2015) for bass clarinet and piano. Kenny Keppel, bass clarinet; Ross James

Carey, piano. (3’22”)

8. September Song (2015) for bass clarinet and piano. Kenny Keppel, bass clarinet; Ross

James Carey, piano. (3’45”)

9. Toccatina (Elegy) (2010) for 2 violins, viola and cello. The Aroha String Quartet. (6’16”)

Recording locations and dates:

Composition Seminar, Conservatorium of Music, University of Melbourne 21 April 2016 (1, 5)

Melba Hall, Conservatorium of Music, University of Melbourne, 22 April 2016 (2, 7, 8)

Galeri Tuanku Nur Zahariah, Universiti Teknologi MARA, Shah Alam, 16 March 2013 (3)

Albany St. Studio, Dunedin, 2012 (from the commercial release Helen Webby: ‘Pluck’, CD Manu

5144, Ode Records, Auckland) (4)

Australasian Double Reed Society (ADRS) NSW Composition Competition Final and

Concert, ADRS Conference, Sydney Grammar School, Darlinghurst, 1 October 2016 (6)

Aroha String Quartet in association with the Centre for New Zealand Music (SOUNZ) and

Concert FM, St. Andrews on the Terrace, Wellington, 15 October 2015 (9)

Ross James Carey

…infinite songs (1-8)… for Pianoforte

Ross James Carey

…infinite songs (1-8)… for Pianoforte

Composed between February 2014 and May 2015

Premiere (nos. 1 & 2): 2 November 2014 (Universiti Teknologi MARA Composers’ Series, Kuala

Lumpur Performing Arts Centre, Kuala Lumpur, Malaysia)

Premiere (nos. 1-8): 2 July 2015 (Somervale Retirement Facility, Mount Maunganui, Tauranga,

New Zealand)

Australian premiere: 21 April 2016 (School of Music, University of Melbourne, Australia)

SE Asian premiere (nos. 1-8): 22 August 2016 (La Salle College of the Arts, Singapore)

All performances – Ross James Carey

Duration: c. 10’00”

Copyright © 2015 Ross James Carey

PROGRAMME NOTE

1. to Julian Yu

2. to Krisna Setiawan

3. to John Sharpley

4. to Gareth Farr

5. to Keiko Fujiie

6. to John Elmsly

7. to Elena Kats-Chernin

8. to Juliet Palmer and James Rolfe

...infinite songs (1-8)... (2014/15) are eight short variations for piano solo on the theme of Twinkle, Twinkle,

Little Star. The first of the set ...infinite song... was composed in February 2014 at the invitation of Julian

Yu for inclusion in an album of especially composed pieces by 69 composers from around the world

which all in some way feature the well-known theme. The album was published by the Shanghai

Conservatory of Music Press in 2016. A CD recording by Australian pianist Michael Kieran Harvey of

all 69 works accompanies this album, as well as having being released in its own right on

Melbourne’s Move label in 2015.

Each of the infinite songs is dedicated to a composer (or composers, in the case of the eighth piece of the

set) of my acquaintance. Each of the dedicatee(s) is referenced through various quoting strategies –

parole and langue quotation, and quotation-signatures (transliteration of names into musical tones).

Additionally, the first piece of the set utilises a slowly ascending line of triads in the bass, forming a

quotation-symbol representing infinity.

Twinkle, Twinkle, Little Star expresses an underlying sense of wonder at the vast universe of which we

are a part, which is why I gave my pieces the title …infinite songs...

...infinite songs 1 and 2...received their first performance by the composer as part of the ‘Piano Stars’

concert at the Universiti Teknologi MARA Composers’ Series held at the Kuala Lumpur Performing

Arts Centre, Kuala Lumpur, Malaysia in November 2014. The first performance of ...infinite songs (1 -8)…

was given by the composer at the Somervale Retirement Village, Mount Maunganui, Tauranga, New

Zealand on 2 July 2015, with further performances by him at the University of Melbourne in April

2016 and the La Salle College of the Arts, Singapore, in September of the same year.

BIOGRAPHICAL NOTES

John Elmsly is a composer resident in Auckland

Gareth Farr is a composer, percussionist and Balinese gamelan performer resident in Wellington

Keiko Fujiie is a composer resident in Nagasaki

Elena Kats-Chernin is a composer and pianist resident in Sydney

Juliet Palmer and James Rolfe are composers resident in Toronto

Krisna Setiawan is a composer and pianist resident in Surabaya

John Sharpley is a composer and pianist resident in Singapore

Julian Yu is a composer resident in Melbourne

INSTRUMENTATION

Pianoforte solo


p

bring out melody; as though improvised

mp p

Very free and gentle

e = c.84

pedal free

mp mflightly

Più mosso e = c.92

5

p mp

lungaRall. A tempo

7

3

To Julian Yu

Ross James Carey(2014/15)

...infinite songs (1-8)...Variations on 'Twinkle Twinkle Little Star' for Pianoforte

...infinite song...Variation on 'Twinkle Twinkle Little Star'

3

3

3

3

3

3

3

3

33

6

p

mp

p

9

mfmp

mp f piùp p mp

Tempo primo12

molto tenuto

pp

clearly

mp 15

p

5

3

3

5

l.v.

Shah Alam,4 Febr 2014

3

7

ppmp p piùp

Very free and gentle e=76

p

mp p piùp mf

5

p f p espress. mf pp

8

ppp mp decresc.

14

1/2

5

To Krisna Setiawan

Another variation on 'Twinkle Twinkle Little Star'

...infinite song2...

Motif derived from 'VeYeBe' (2014)by Krisna Setiawan

l.v. 5

53

5 3

8

pp sub.ffp

18

piùp 21

Shah Alam,

17 June 2014

9

mf mp lyrical

Gentle swing q = 84

con pedale

5

cresc. mf p cresc. f

rall.9

(until end) the tenuto melody notes are heard above the accompanying texture

mp p

Più mosso q = 100

13

(e)S

pp legato

H A R(e)(PL) E(Y)

To John Sharpley

...infinite song3...A further variation on 'Twinkle Twinkle Little Star'

3

2

14

24

5

10

pp

17

ppp

ppp

20

14

2 3

4 5 2

Shah Alam13 October 2014

11

melodia poco marcato

mp

q = 60

Gp

A R(e) E (u)T H F A R(e) R(e)

mf p

5

mf p cresc.

8

mf mp cresc.

10

to Gareth Farr

...infinite song4...Variation on 'Twinkle Twinkle Little Star'

3 3 3 3 3 3

3

3 3

33 3

3

12

f

12

mf p mp p

14

mp piùp sotto voce pp

17

ppp molto ten.

21

3

3

3 3

3 3

3

3 3

3

Kuala Lumpur7 Febr 2015

13

p mp p

Andante q = 76 rit. A tempo

mp p mp p cresc.

4

mf p mp

F

mf

U(t) j(m)I

f

(m)I E(s)

7

3rd

mf p

11

To Keiko Fujiie


14

piùp ppp

Meno mosso

13

Mt. Maunganui7 May 2015

15

p

Con moto q = 84 rit. q = e

mp mel. poco marcato mf

Maestoso q = 425

e sim.

mp p mp

e = q 10

p cresc.

Tempo primo15

To John Elmsly


3

grad raise ped.

16

f mp p

19


17

f p melodia poco marcato

Allegro q = 160 molto rit. A tempo

con pedale

f p

molto rit. A tempo4

mf piùp sub ff sub p mf

7

fff f marc. mf f

Meno mosso q = 13211

Variation on 'Twinkle Twinkle Little Star'

to Elena Kats-Chernin

...infinite song7...

1

53 1

5

2

35

24

35

24

235

245

2

4

1 5

4

5

18

ff f mp espress. p

molto rit. e = q Andante q = 8414

piùp ppp

Tempo primo q = 16017

mp p

q = 40

20

una corda

Repeat ad lib.Poco a pocodeaccel. e dim. tre corde


19

p sempre poco tenuto

Moderate swing

(J)A M(i) E eS R(e) (d)O L(a)FE(s)

(J)U(t) L(a)(m)I E(s)(u)T (P)A L(a) M(i) E(s) R(e)3

f p mp p

5

f p mp

8

f p mf mp

11


to Juliet Palmer and James Rolfe

20

f p f p

14

mf decresc. p

17

p

mff p f

20

decresc. mp

23

p pp

26

decresc.

D.S. al segno


21

Ross James Carey

Hommage a Haydn for Pianoforte

Ross James Carey

Hommage a Haydn for Pianoforte

Composed in February 2009 to mark the 200th anniversary of the death of Joseph Haydn

Premiere: 7 March 2009 (Universiti Sains Malaysia, Penang, Malaysia) – Ross James Carey

Duration: 2’50”


PROGRAMME NOTE

Hommage a Haydn (2009) was composed in February 2009 as a commemorative piece to mark the

200th anniversary of Haydn’s death. The title quotes Debussy’s solo piano piece Hommage a Haydn

composed in 1909, itself a commissioned work written to commemorate the 100th anniversary of the

composer’s death one hundred years previously. Debussy’s short homage was the initial inspiration

for me to compose my own homage to the classical master.

Like the Debussy, my piece utilises the HAYDN quotation-signature (in musical tones B-A-D-D-G) as

the basis for its musical material. A modified form of this motif (HADNHAYDN) forms the ostinato

heard as a moto perpetuo in the treble throughout most of the piece. The left hand elaborates various

melodic lines presented above several step-wise pedal points. Formally, the piece follows a cyclic

form. The HADNHAYDN motif eventually modulates to a whole-tone variant followed by a series of

sustained chords which, as in Debussy’s homage, signal the work’s close.

The first performance was given by the composer at Universiti Sains Malaysia, Penang on 7 March

2009. Hommage a Haydn is published by Donemus Publishers, Den Haag, the Netherlands.

INSTRUMENTATION

Pianoforte solo


p

h_q._q = 38

e sim.

4

mf

7

mp

10

13

2 1 3 5 3 1 5

for PianoforteRoss James Carey

(2009)

Hommage à Haydn

31 34 1

2 1

3

2 1 2

4

5

21

25 31

2 315

27

f

15

p

18

e sim. mf

21

24

mp

27

31 34

3

2 1 2

45

11 31

28

f

30

p

33

e sim. mf

36

f

39

mp

42

cant.

1 1

1 21

2

15

24

15

24

23

29

f

45

48

p

51

mp

54

e sim. cresc. mf

56

45

13 1 2 1 1

3

30

p mp

59

f

62

p

65

più p mp

68

e sim.

71

3

2 1

1

1

1

31

p

Rall.

74

cresc.

A tempo

76

f

78

80

p

83

31 2

3 1 3 2

35

24

35

15

41 1 1 4

12

4 5

32

più p

85

p

Poco meno mosso87

89

pp

A tempo (tempo primo)92

mf p mf p mf p

94

Gradually raise the pedal

Half Ped.

33

mp p mp

97

p

100

pp

Rall.

103

molto tenuto

p

Meno mosso Tempo primo

107

34

Ross James Carey

Trois valses

romantiques for Pianoforte

Ross James Carey

Trois valses

romantiques for Pianoforte

Composed in 1989 (no. 1), 2008 (no. 2) and 2011 (no. 3). Numbers 1 &3 arranged for pianoforte

in February 2014. Number 2 revised in February 2014.

Duration: 10’00”


PROGRAMME NOTE

I. ...valse sentimentale...

II. ...valse vermillon...

III. ...valse oubliee...

Trois valses romantiques (2014) look towards nineteenth century “romantic” style for their inspiration.

The first and third in their own ways explore the romantic ideal of the nineteenth century European

waltz, while the second is gently ironic in tone.

...valse sentimentale...’s sweeping melodic lines combine with an expansive accompaniment to evoke a

bygone era. In blending a “sentimental” melody with jazz harmonies however the piece also creates

other musical associations. ...valse vermillon... features an off-beat ostinato accompaniment in the bass

and triadic and seventh-chord harmonies in the treble that never quite seem to settle. In ...valse

oubliee..., titled after Liszt’s set of four piano pieces Valses oubliees (1881-84), fragments of dance-like

melodies centred round various tonal centres move freely within various typically Romantic period

pianistic textures. These half-suggested melodic lines relate to both memory and forgetting, hence

the title ...valse oubliee... (...forgotten waltz...).

...valse sentimentale... is a version for piano solo of Sentimental Waltz (1989) for clarinet in B flat and piano.

The piece also exists in versions for cello and piano (2012) and bass clarinet and piano (2015). The

versions for clarinet and bass clarinet are published by Alea Publishing, Tacoma, WA, USA. ...valse

vermillon... (2008, revised 2014) was originally conceived as part of an album for learner pianists, Piano

Parade. ...valse oubliee... (2011) for three-octave wire-strung harp was a commission from New Zealand

harpist Helen Webby, and is included on her 2012 CD release ‘Pluck’. It was arranged for piano solo in

2014 and also exists in a version for three-octave toy piano.

INSTRUMENTATION

Pianoforte solo

PERFORMANCE NOTES

In ...valse sentimentale... all grace notes preceding a downbeat should be played at a leisurely speed, i.e.

they must certainly not be rushed. In ...valse oubliee... the given metronome marks should be followed as

far as possible, but considerable freedom can be allowed in the rubato passages as marked (pressing on,

holding back, a tempo).

Where particular sustaining pedal marks are given these should be followed. In ...valse sentimentale...

and ...valse vermillon... the use of the performance directions con pedale and sempre con pedale generally

means one pedal to each whole bar. At times, a lighter or half-pedal may be deemed to be more

appropriate according to the performer’s discretion.

Although grouped as a set of three, the pieces are also able to be performed individually, in which

case they should be known under their respective titles.


p

Slow waltz tempo q = 56

p

Sempre con pedale

4

mp

Trois valses romantiques

I. ...valse sentimentale...Ross James Carey

(2014)

for Pianoforte

3 3 3

3

3

33

41

7

p

10

mp p

mf mp

12

mf mp

3 3 3

3 5

3

3

3 6

6

42

p

15

mf

p

17

p dolce

19

3

5

35 3

3

43

piùp

20

piùp

mf

23

f

mf

3

3

3

3

3 3

44

p

25

mp

p

mf

27

cresc.

mf

p

29

mp p

3

3

3 3

3

3 7 3

45

mp

32

mp

35

38

mp p

3 5

3

33

3

3 3 3 5

46

mf mp

Rall.41

mf mp p

ff

A tempo44

ff

f mf p mf ppp

Rit.

47

f mf p

ppp

3

3

3 6

6

3

3

3

3

47

pmp

Ironic h. = 44

con pedale

mf

7

12

p

18

II. ...valse vermillon...

The third crotchet beat in the LH accompanyingpattern should be played slightly after the beatcreating a 'lop-sided' feel to the waltz rhythm.

48

mp

24

cresc. mf p

30

mp

bring out the top line36

43

p

50

49

più p

57

cresc. f mp

64

cresc.

69

mf rfz sub. p rfz sub. p

75

p mp mf p

80

50

mp

86

mf p

92

mp p piùp

98

pp

Meno mosso h. = 35104

molto ten.

con ped.

mp p

Lent q = 66108

senza ped.

una corda

51

p dolce

Andante q = 72

mp

7

mf

12

p pp

16

tre corde

(holding back)

(a tempo)

III. ...valse oubliée...

(holding back) (a tempo)

(pressing on) (a tempo)

(pressing on) (a tempo)

(holding back)

grad. raise ped.

52

p

Più Andante q = 6320

mp

25

mf f p

30

pp

Poco Più mosso q = 84

35

(pressing on) (holding back)

(a tempo) (pressing on)

(holding back)

(a tempo) (holding back)

3

3 3 3 3 3 3 3 3 3 3

1/2

una corda

3 3 3 3 3 3

3 3 3 3

53

37

piùpp

39

mp mf

Tempo primo q = 72

42

mp p dolce

Rall.46

3 3 3 3

3 3 3 3 3 3

3 3 3 3

3 3 3 3 3

3 33

3 3 3 3

3

tre corde (holding back) (pressing on)

54

più p

Allegretto q = 100

51

cresc.

Poco a poco accel.

55

sub p mp

Rit.59

mp

p sfz p cresc.

Più mosso q = 120 Accel.63

55

67

mf

Vivo q = 142

70

f mp p

Più vivo q = 15672

piùp

Rit.

q = e76

una corda

tre corde

56

f mp p

Meno mosso q = 78 Rit.

79

pp

q = 8483

86

88

5

una corda

3 3 3

3

3 3 3 3 3

3

1/2

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3

3

3

3

3 3 3 3 3 3 3 3 3

3 3

33

3

3 3 3 3 3

3 3 3 3 3

57

più pp sfz mf

Allegretto q = 116

90

mp mf

93

rfz

97

mp

Poco Meno mosso q = 100

100

tre corde

3 3 3 3 3 3

3 3 3

58

ppiù p

106

mp p


piùp

Rall.

116

q = 69

120

pp

(holding back)

(a tempo) (holding back)

3

3

3

3 3

59

Più mosso q = 210123

mf mp

Con moto q = 156 q = 142

130

p più p

q = 120 q = 100

135

Andante q = 69141

mp

senza pedale

una corda

1/2

tre corde

60

Ross James Carey

Lachlan Moods Three pieces for Guitar

Ross James Carey

Lachlan Moods Three Pieces for Guitar

Composed in February 2007 and October 2009

Premiere: 4 September 2011 (The first Kalari-Lachlan River Arts Festival, Forbes, New South

Wales, Australia) – Grant Sambells, guitar



PROGRAMME NOTE

Lachlan Moods – Three Pieces for Guitar (2007/09) is a set of three contrasting vignettes for solo guitar.

The first of the set, with the indication ‘Gently rocking’ features a cyclically repeated melody

coloured by major and minor triads. The second piece, marked ‘Contemplative’ is somewhat darker in

tone, while the virtuosic finale, marked ‘Vivo’ features a running theme built around the intervals of

parallel melodic major seconds. Towards the end of this last piece, a brief quotation from Debussy’s

piano piece ‘Jimbo’s Lullaby’ from the set Children’s Corner (1906-08) is heard.

The first version of Lachlan Moods was composed as a set of four pieces in the town of Forbes in

Central New South Wales in early 2007. In a subsequent revision in Melbourne in 2009, I retained

only the first of these four pieces, while adding two newly composed ones, creating a set of three

pieces. Lachlan Moods takes its name from the Lachlan River, which flows through the town of Forbes

and gives its name to the surrounding district.

Lachlan Moods – Three Pieces for Guitar is dedicated, in friendship, to guitarist Kazuhito Yamashita.

Lachlan Moods received its first performance by Australian guitarist Grant Sambells at the first Kilari-

Lachlan River Arts Festival in Forbes, New South Wales on 4 September 2011.

Lachlan Moods is published by Donemus Publishers, Den Haag, the Netherlands.

INSTRUMENTATION

Guitar solo


mp cantabile p

Gently rocking q. = 68

I.

mp piùp mp

5

mf p

9

mp p f

13

p mp piùp p

rit. A tempo17

Lachlan Moods Three Pieces for Guitar

Ross James Carey (2007/09)

To Kazuhito Yamashita

65

mp p mp p

21

piùp mf f

25

mp p

29

mf piùp

rit.

33

p pp

Poco meno mosso rit.

37

tasto

ord.

pont.

> >

>

tasto

ord.

tasto

66

p espress.

Contemplative q. = 60

II.

cresc. mp p

5

mp mf p

10

cresc. f dim.

rall.14

p mp

Poco più mosso q. = 6917

mf p sotto voce mp

rall.21

f mp p

Tempo 1 q. = 6024

67

cresc.

28

mfp

33

mp p

rit. A tempo

36

cresc. mp p piùp

40

mf mp f

44

p mf mp

49

cresc.f

accel. rit.53

tasto

> > pont.4

4 4 4 4 4

tasto ord.

4 4

tasto

ord.

4

4 4

4

68

p

Vivo q = 104

III.

cresc.

4

mp p

8

cresc. mp p

11

cresc. mf p

15

cresc.

18

f p

rit.21

mp

Meno mosso q. = 6025

mf p

30

pont.

ord.

pont.

ord.

69

cresc. f

36

mp p

41

mf p

rit. Tempo I q = 10447

51

mp p cresc.

54

mf p

58

cresc. mp p

61

cresc. f

65

pont.

ord.

pont.

ord.

pont.

ord.

70

dim. p cresc.

68

f dim.

72

p mp piùp

Poco meno mosso76

p mp

Tempo I q = 10480

mf mp

83

p cresc.

86

mf

89

dim.

p

92

>

>

tasto

71

mp

mf

f

Andante q = 7695

p mp p

rit.100

p f

Tempo I q = 104 Poco più mosso q = 116

104

107

p mf

110

f


p

115

cresc.

118

f ff

121

Debussy: 'Jimbo's Lullaby' from Childrens' Corner

ord.

pont.

ord.

72

Ross James Carey

Reverie for Guitar

Ross James Carey

Reverie for Guitar

Composed in November 2009

Premiere: 30 November 2012 (Universiti Teknologi Mara Malaysian Composers’ Series, Kuala

Lumpur Performing Arts Centre, Kuala Lumpur, Malaysia) – Nathan Fischer, guitar

Second performance: 28 March 2013 (Galeri Tuanku Nur Zahirah,Universiti Teknologi MARA,

Shah Alam, Malaysia) – Nathan Fischer, guitar

Duration: 3’00”


PROGRAMME NOTE

Reverie (2009) for guitar solo was composed in Melbourne towards the end of 2009, around the same

time as the second and third of Lachlan Moods – Three Pieces for Guitar (2007/09). The work’s melodic

movement through various tonal centres parallels the freely flowing thoughts experienced during the

wonderfully idle state of an afternoon reverie.

Reverie is dedicated, in friendship to Kazuhito Yamashita. The first performance was given by

American guitarist Nathan Fischer on 30 November 2012 at Universiti Teknologi Mara’s Malaysian

Composers’ Series, held at the Kuala Lumpur Performing Arts Centre. The same performer gave a

subsequent performance of the piece at Galeri Tuanku Nur Zahirah, Universiti Teknologi Mara, Shah

Alam on 28 March 2013.

Reverie is published by Donemus Publishers, Den Haag, the Netherlands.

INSTRUMENTATION

Guitar solo


p mp p mp mf

Andante q = 74

p mp p mf

5

pmf

9

mp p mp p

14

mp p mp mf

18

dim. p

Meno mosso A tempo22

Ross James Carey(2009)

ReverieTo Kazuhito Yamashita

for Guitar

3 3

pont.

> > >

tasto ord.

77

mp p mp

26

p mf

accel. Più mosso30

p

Tempo primo rit.

35

piùp cresc. f

Meno mosso Accel. Più mosso39

mp p mf

Tempo primo43

f p mp

47

p mp p

accel.51

pont.

tasto

ord.

78

mf p f mf

rit. Meno mosso

56

mp cresc.

Tempo primo60

mf p mp

rit. A tempo65

mf p mp p

rit.69

piùppiùp

p

A tempo74

p pp

Meno mosso78

pont.

tasto

ord.

pont.

ord.

3

3

pont.

ord.

pont.

ord.

tasto

ord.

79

Ross James Carey

…valse oublie e… for Three-octave Wire-strung Harp or Harp

Ross James Carey

…valse oublie e… for Three-octave Wire-strung Harp or Harp

Composed in November and December 2011

Premiere: 9 October 2012 (Otago Festival of the Arts, Cathedral of St. Paul, Dunedin) – Helen

Webby

Further performances: 11 September 2013 (Dr. John Gallagher Concert Chamber, University of

Waikato, Hamilton); 13 September 2013 (Adam Concert Room, Te Koki New Zealand School of

Music, Wellington); 14 September 2013 (Te Manawa Gallery, Plamerston North); 4 October

2013 (Music Theatre, School of Music, University of Auckland) – Helen Webby

Duration: 5’30”


PROGRAMME NOTE

...valse oubliee... takes its title from Liszt’s series of four piano pieces of the same name (Valses oubliees 1-4

S.215) composed between 1881 and 1884. Meaning “forgotten waltz” ...valse oubliee… features fragments

of waltz-like material presented in the form of a mosaic of inter-linked passages employing various

textures, melodic motives and harmonies that are typical of romantic style.

Given that the wire-strung harp is unable to be re-tuned during performance, the piece is written

employing an unequally spaced scale (G-Ab-B-C#-D-Eb-F) that in its construction enables various

tonal centres to be explored in the course of the work.

...valse oubliee... was commissioned by New Zealand harpist Helen Webby, for inclusion on her CD

release Pluck featuring newly commissioned pieces for harp and harp and voice by ten New Zealand

composers, released in 2012 on the Ode label. ...valse oubliee... was composed with the support of

Creative New Zealand/Toi Aotearoa in Shah Alam, Malaysia in November and December 2011.

...valse oubliee... received its first performance on 9 October 2012 by Helen Webby at St. Paul’s

Cathedral, Dunedin, New Zealand as part of the 2012 Otago Festival of the Arts.

...valse oubliee...is published by Donemus Publishers, Den Haag, the Netherlands.

INSTRUMENTATION

Three-octave wire-strung harp or harp solo


p

Andante q = 72

7

mp

12

p

16

mp

Più Andante q = 6320

holding back - -

a tempo

Composed for Helen Webby for inclusion on her CD 'Pluck' with support from Creative New Zealand/Toi Aotearoa

...valse oubliée...for Three-octave Wire-strung Harp or Harp


holding back - - - a tempo pressing on - - - - - a tempo

pressing on - - - - - - - - - - a tempo

holding back - - - - - - - -

pressing on - - - holding back - - -

85

25

mf p

30

pp


37

39

a tempo pressing on - - - - - -

holding back -

a tempo holding back - - - 3

3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3

3 3 3 3

3 3 3

3

3 3 3 3 3 3

3 3 3 3

3 3 3 3 3

3 3 3

3 3 3 3

3

86

mf mp

Tempo primo q = 7242

p più p

Rall. Allegretto q = 10047

cresc.

Poco a poco accel.52

sub p

57

mp

mp


holding back - - pressing on -

87

cresc.

Accel.65

mf

Vivo q = 14269

f mp p

Più vivo q = 15672

piùp mf

Rit. q = e Meno mosso q = 78

76

mp

Rit. 80

5

88

pp

q = 8483

86

88

piùpp

90

sfz mf mp

Allegretto q = 11692

3 3 3 3

3 3 3 3

33

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3

3 3

3

3 3 3 3 3 3 3 3 3

3 3

33 3

33 3 3 3 3 3 3 3 3

3 3 3 3 3

3 3

3

3

89

mf

95

mp

Poco Meno mosso q = 100100

p più p

106

mp


113

p

holding back - a tempo

holding back - - a tempo holding back - - - -

3

3

3

3 3

harmonics (sounding 8va)

90

Rall. q = 69118

piùp


mf mp

Con moto q = 156 q = 142130

p

q = 120 q = 100135

Andante q = 69141

piùp

dampened

ord.

91

Ross James Carey

Concert Piece on

‘Twinkle, Twinkle

Little Star’ for Flute and Pianoforte

Ross James Carey

Concert Piece on

‘Twinkle, Twinkle

Little Star’ for Flute and Pianoforte

Composed in May 2015

Premiere: 21 April 2016 (School of Music, University of Melbourne, Australia) – Laila Engle,

flute; Ross James Carey, piano



PROGRAMME NOTE

Concert Piece on ‘Twinkle, Twinkle Little Star’ (2015) for flute and piano was composed in Mount

Maunganui, Tauranga, New Zealand in May 2015 directly after the completion of ...infinite

songs (1-8)... (2014/15) for piano solo which, as does Concert Piece, references the theme Twinkle,

Twinkle Little Star. Concert Piece combines this universally loved children’s tune with jazz-

infused harmonies derived from Twinkle, Twinkle’s first phrase, making particular use of a triad

(with its inversion) consisting of a whole tone superimposed with a perfect fifth. The piece

takes the form of a brilliant concert study in two contrasting parts – an introductory Andante

and concluding Allegro scherzando.

Concert Piece on ‘Twinkle, Twinkle Little Star’ was given its first performance by Laila Engle, flute,

and Ross James Carey, piano, at the Composition Seminar at the School of Music, University

of Melbourne on 21 April 2016. The piece is dedicated in friendship to flutist Daisuke

Kinoshita.

INSTRUMENTATION

Flute, Pianoforte


p

Andante h = 60

p sempre poco ten.

con ped.

cresc. mp p

6

mp p

11

mp

cresc. mf mp mf

15

cresc.

mp

to Daisuke Kinoshita

Concert Piece on 'Twinkle Twinkle Little Star'


for Flute and Pianoforte

3

3

97

mp p

19

mf

cresc. mp p

23

p mp

cresc. mf

27

p cresc.mf

31

3

3

3 5

5

98

mp mf p

35

p

cresc. mf

39

cresc. mf

mp

43

mp

cresc. f

46

cresc.

f

3

3

3

3

99

dim. mp

49

dim. mp

52

p

56

dim. p

59

3

3

3 3 3

100

pp p mp pp

62

pp ten. p

mp p mp

66

mp p

pp p ppp

69

mp p ppp

mp leggiero

Allegro scherzando h = 8272

mp leggiero, poco tenuto

3

3 3

3 3

3

3

3 3 3 3 3

3

101

cresc. mf p

75

cresc. mf p

cresc.

78

cresc.

mf p mf

81

mf p

p

84

mf p

3 3

3 3 5 3

102

cresc.

87

cresc.

mp p

90

p

mp

cresc. mp p

93

cresc. mp p

con ped.

mp p mf cresc.

96

mp p mf cresc.

3 3

3

103

f dim.

99

f dim.

p

102

p

cresc. mp

105

cresc. mp

p cresc.

108

pcresc.

3 3

104

mf

111

mf

p cresc.

114

p cresc.

mf

116

mf

p cresc.

119

p cresc.

3

3

3

3

3

105

f

121

f

p cresc.

124

p cresc.

mf

127

mf

con ped.

f

130

f

3

33

3

3

106

dim. p

133

dim. p

cresc.

137

cresc.

mf p cresc. molto fff

140

mfp cresc. molto fff

3 3

3

3

211

53

3

3

107

Ross James Carey

Supplication for Oboe and Pianoforte

Ross James Carey

Supplication for Oboe and Pianoforte

Composed in July 2016

Premiere: 1 October 2016 (Australasian Double Reed Society conference, Sydney Grammar

School, Darlinghurst, NSW, Australia) – Thomas Hutchinson, oboe; Jeanell Carrigan, piano

Duration: c.4’00”


PROGRAMME NOTE

Supplication for oboe and piano features an expansive, expressive melodic line heard over the whole of

the oboe’s range, accompanied by insistent harmonies in the piano part. A feature of the work is the

combination of major and minor tonalities throughout, giving the piece its particular character. Later

on melodic material made up of the interval of a perfect fourth features, leading on to the motif of a

falling perfect 5th heard in the accompaniment at the piece’s close.

The title, ‘Supplication’ (or ‘Prayer’) need not be thought of as relating to any specific religious

tradition but rather as being indicative of any heartfelt request or petition. In its harmonic and

melodic language Supplication is somewhat related to Meditasi (2016) for trumpet (or cornet) in B flat

and piano, composed to the memory of Slamet A. Sjukur.

Supplication was composed as an entrant to the Australasian Double Reed Society (ADRS), (NSW

Branch) Composition Competition 2016 in Cyberjaya, Malaysia in July 2016. It received its first

performance at the ADRS conference, Sydney Grammar School, Darlinghurst, Australia on 1 October

2016 by oboist Thomas Hutchinson and pianist Jeanell Carrigan.

INSTRUMENTATION

Oboe, Pianoforte


p mp p

Andante espressivo h = 62

p sempre ten.

con pedale

mp p cresc. mp p

8

cresc. mp p

mp p mp

14

for Oboe and PianoforteRoss James Carey

(2016)

Supplication

Composed as an entrant to the Australasian Double Reed Society (NSW Branch)Composition Competition 2016

3

113

mf

20

cresc. mp

mp

25

p

mf mp

30

mp p mp

p mp cresc. molto

rit.

35

pcresc. molto

3 3 3

114

f mp

A tempo h = 6240

f poco marc. mp

cresc.

45

cresc.

f mp

49

f mp

3

115

cresc. mf f

54

cresc. mf f

p piùp

59

p piùp

p piùp

63

p piùp

ff

68

ff

3

3 3

3 3

116

f

72

f

mp

76

mp p

mf mp p

80

mp mf p

mp

84

cresc. mp p

3

3

3

3

3

3

3

3

3 3

3

117

mf fff

89

mp cresc.fff

f

93

mf mp

p mf p

Meno mosso h = 5698

p mp

piùp pp

rit.

103

p piùp pp

3

3 3

3

3

3

118

Ross James Carey

Baltic Song for Clarinet in B flat and Pianoforte

Ross James Carey

Baltic Song for Clarinet in B flat and Pianoforte

Composed in October 2005 and February 2009



PROGRAMME NOTE

The original version of Baltic Song, for piano solo, was composed in October 2005 while I was a

composer in residence at the Visby International Centre for Composers, located in the historic town

of Visby on the Swedish island of Gotland overlooking the Baltic Sea. The piece was recomposed for

clarinet in B flat and piano in Melbourne in 2009, with subsequent versions for cello and piano (2012)

and bass clarinet and piano (2015).

Over a rocking accompaniment, the lyrical line of the solo instrument outlines a spacious melody

before dissolving into an eleven-tone 'sea' at the piece's close.

Baltic Song is published in versions for clarinet in B flat and piano and bass clarinet in B flat and piano

by Alea Publishing, Tacoma, WA, USA.

INSTRUMENTATION

Clarinet in B flat, Pianoforte


mf p mf

Slowly, but with a sense of movement

p

p mp

9

mf piùp pp

16

mf

p

p piùp pp

cresc. mf

22

cresc. mf

Ross James Carey

(2005/09)

Baltic Songfor Clarinet in B flat and Pianoforte

123

mp

28

pmp

p cresc.

34

cresc.

mf mp

39

mf mp

124

f sub.p

45

f sub.p

piùpmp

50

piùp mp

cresc.

f p

55

cresc. f p

3 3

3 3

3

3 3

3

125

mp p

59

mp p

mf

63

mf

p

68

mp p

3

33

126

p piùp p

Poco Meno Mosso73

legato

cresc. mf mp

78

p piùp

Rit.82

piùp

3

3

3

127

Ross James Carey

Baltic Song for Bass Clarinet in B flat and Pianoforte

Ross James Carey

Baltic Song for Bass Clarinet in B flat and Pianoforte

Composed in October 2005 and February 2009. Arranged in October 2015.



PROGRAMME NOTE

The original version of Baltic Song, for piano solo, was composed in October 2005 while I was a

composer in residence at the Visby International Centre for Composers, located in the historic town

of Visby on the Swedish island of Gotland overlooking the Baltic Sea. The piece was recomposed for

clarinet in B flat and piano in Melbourne in 2009, with subsequent versions for cello and piano (2012)

and bass clarinet and piano (2015).

Over a rocking accompaniment, the lyrical line of the solo instrument outlines a spacious melody

before dissolving into an eleven-tone 'sea' at the piece's close.

Baltic Song is published in versions for clarinet in B flat and piano and bass clarinet in B flat and piano

by Alea Publishing, Tacoma, WA, USA.

INSTRUMENTATION

Bass Clarinet in B flat, Pianoforte


mf p mf

Slowly, but with a sense of movement

p

p mp

9

mf piùp pp

16

mf

p

p piùp pp

cresc. mf

22

cresc. mf

Ross James Carey

(2005/09/15)

for Bass Clarinet in B flat and Pianoforte

Baltic Song

133

mp

28

pmp

p cresc.

34

cresc.

mf mp

39

mf mp

134

f sub.p

45

f sub.p

piùpmp

50

piùp mp

cresc. f sub p

55

cresc. f p

3 3

3 3

3

3 3

3

135

mp p

59

mp p

mf

63

mf

p

68

mp p

3

3

3

136

ppiùp p

Poco Meno Mosso73

legato

cresc. mf mp

78

p piùp

Rit.82

piùp

3

3 3

137

Ross James Carey

September Song for Bass Clarinet in B flat and Pianoforte

Ross James Carey

September Song for Bass Clarinet in B flat and Pianoforte

Composed in September 2000 and October 2015



PROGRAMME NOTES

September Song (2015) for bass clarinet in B flat and piano is based on an identically named piece for

harp or piano solo composed while I was Mozart Fellow at the University of Otago, Dunedin, New

Zealand in September 2000. The piano part of the current work quotes this earlier piece in full. Over

a series of parallel ninth chords in the piano, the bass clarinet articulates a spacious melody.

September Song was completed in October 2015 in Cyberjaya, Malaysia. The harp original was

dedicated to harpist Helen Webby, and was given its first performance by the dedicatee at the

University of Canterbury, Christchurch, New Zealand in October 2000. This version for bass clarinet

and piano is published by Alea Publishing, Tacoma, WA, USA.

INSTRUMENTATION

Bass Clarinet in B flat, Pianoforte

mp sempre cantabile cresc.

Andante q = 50

mp cresc.

basso sempre ten.


mf mp

6

mf mp

cresc. mf

rit.12

cresc. mf

September Song

Ross James Carey

(2000/15)

for Bass Clarinet in B flat and Pianoforte

143

p cresc.

A tempo17

p cresc.

mf p

22

mf dim. p

cresc. f

28

cresc.f

p ten.cresc.

rit. A tempo32

p cresc.

144

f

37

f

ff

42

ff

ten.

p mp p

48

mp dim. p

(L.H. takes top note)

145

Ross James Carey

Meditasi for Trumpet or Cornet in B flat and Pianoforte

Ross James Carey

Meditasi for Trumpet or Cornet in B flat and Pianoforte

Composed in February 2016

Premiere: 13 July 2016 (New Zealand Brass Bands Championships, Mission Estate Winery,

Napier) – Toby Pringle, cornet; Martyn Smith, piano

Duration: 3’15”


PROGRAMME NOTE

Meditasi [Meditation] (2016) for trumpet or cornet in B flat and piano was composed in Cyberjaya,

Malaysia in February 2016. It is dedicated to the memory of Slamet A. Sjukur. Meditasi consists of a

simple melodic line played by the trumpet accompanied by composite major and minor chords in the

piano part. Later on, various short fanfare-like motives are echoed between the two instruments,

leading to the piece’s conclusion.

Meditasi was highly commended in the first SOUNZ (Centre for New Zealand Music) Brass

Composition Prize held in association with the Brass Band Association of New Zealand (BBANZ)

and the Composers’ Association of New Zealand (CANZ) in 2016. It received its first performance by

Toby Pringle (cornet) and Martyn Smith (piano) at the National Brass Band Championships at the

Mission Estate Winery in Napier, New Zealand on 13 July 2016.

Meditasi is published by the Centre for New Zealand Music (SOUNZ), Wellington.

INSTRUMENTATION

Trumpet (or Cornet) in B flat, Pianoforte


p

Adagio espressivo q = 86

p sempre ten.

con pedale

mp pcresc.

7

cresc.

mf p mp p

12

mf pl.v.


In memory of Slamet A. Sjukur

Meditasifor Trumpet in B flat and Pianoforte

3

3

3

3

3

151

mp

17

mp

mf p

22

cresc.

mf pcresc.

mf f

27

mpmf

3

152

mp p

rit. A tempo31

p

mp cresc. f

36

mp mf f

dim.mp

41

dim.

mp molto ten.

44

l.v.

3

153

p mp

47

p molto ten.mp

l.v.

più p

52

più p

l.v. l.v.

mp f mp mf f

57

f mf fmp mp

mute

open

3

3

mute

open

mute

Cyberjaya4 February 2016

3

154

Ross James Carey

Two Rhythmic Duos for Two Bass Clarinets in B flat

Ross James Carey

Two Rhythmic Duos for Two Bass Clarinets in B flat

Composed in 2009. Arranged for two bass clarinets in 2016.

Duration: 3’40”


PROGRAMME NOTE

I. Allegretto (crotchet = 90)

II. Always measured (crotchet = 63)

In Two Rhythmic Duos the focus is on the rhythmic interplay between the two instruments. In number

I, a widely spaced melodic line is explored in a lively, playful manner. The second piece is more

measured, a rhythmic canon forming the basis of the interweaving melodies.

Two Rhythmic Duos is an arrangement of Two Pizzicato Preludes for two celli, composed in 2009 for cellist

Rachel Atkinson in Melbourne, Australia. This is a companion piece to Two Rhythmic Etudes for two

celli, written in 2006 for Ukrainian cello duo 'Duo Violoncellissimo'. This revised version for two bass

clarinets under the title Two Rhythmic Duos was completed in Cyberjaya, Malaysia in 2016 and is

published by Alea Publishers, Tacoma WA, USA.

INSTRUMENTATION

`

2 Bass Clarinets in B flat


p mp p

Allegretto q = 90

I.

p mp p

mp p mf

9

mp p mf p

p mp pp cresc.

17

mf pp cresc.

mp cresc. f mpp

25

mp f p mf p

mp p

31

mp mf p

Ross James Carey(2009/16)

Two Rhythmic Duosfor Two Bass Clarinets in B flat

3

3

3

3

3

3

3 3

3

3

3

3

3

159

più p f p

39

più p mf mp

f p mp mf

45

mf mp mf

mp mf p mf

51

p mf p mf

p mf p mf f mp p

58

p mf p mp f p

mp p

66

mf

mf p più p

70

p mf p più p

3 3

3

3 3

3 3

3 3

160

p poco ten.

Always measured q = 63II.

p poco ten.

poco

6

poco

a poco cresc.

9

a poco cresc.

13

17

mf

mf poco

20

poco

161

a poco decresc.

24

a poco decresc.

27

31

p

34

p

piùp

rit. 37

162

Ross James Carey

Trio ele giaque for Flute, Oboe and Bassoon

Ross James Carey

Trio ele giaque for Flute, Oboe and Bassoon

Composed in May and June, 2014 and July and August, 2016

Duration: 11’30”


PROGRAMME NOTE

I. Gently flowing-Piu mosso-Tempo I

II. Allegretto- Piu mosso-Tempo I

III. Risoluto-Poco piu mosso-Piu mosso-Tempo I-Piu mosso-Tempo I-Poco meno mosso-Meno mosso

Trio e legiaque for woodwind trio is in three short movements. The title Trio elegiaque refers principally

to the elegiac character of the second movement, which was composed around the time of the twin

Malaysian Airlines disasters (MH370 and MH17) of 2014. The unusual and tragic circumstances of

both incidents were very much on my mind while composing this movement. The third movement,

added two years later in 2016 shares an elegiac feeling while being rather more declamatory in tone.

The flavour of the first movement, by way of contrast, is somewhat pastoral.

Trio e legiaque is dedicated to Dr. Leroy Osman and ‘Chamber Music Merida!’ of Merida, Yucatan,

Mexico in response to the call for scores for the inaugural 2016-17 La Hacienda Xcanatun concert

series. This dedication is in appreciation for Dr. Osman’s initiative in founding this series.

INSTRUMENTATION

Flute, Oboe, Bassoon


Flute

Oboe

Bassoon

p mp p mp p

Gently flowing q = 102I.

p mp p

p

mp p p mp p mp p mp

6

mp p p mp p

mp p mp p mp p mp

p mf cresc.

12

mf cresc.

p mf cresc.

Ross James Carey

(2014/2016)

Trio élégiaquefor Flute, Oboe and Bassoon

To Dr. Leroy Osman and Chamber Music Merida!

167

f mp p

18

f mp piùp

f mp piùp

cresc. mf

23

p cresc. mf

p poco marc. cresc.mf

p


p mp espress.

p

30

3 3 3 3

3 3

3 3 3 3 3 3

3 3 3 3 3

3 3 3

3

3 3 3

3 3 3 3

3 3 3 3

3

3

3 3 3 3

3 3 3 3 3 3

168

33

36

mf p

mp espress.

39

42

3 3 3 3

3 3

3 3 3

3

3 3

3

3 3 3

3

3

3 3 3 3 3 3

3 3 3

3

3

3

3 3 3 3 3 3

3 3

3

3 3 3

3 3 3 3 3 3

169

mf

45

p cresc.

48

cresc.

poco marc. cresc.

f piùp

rit. Tempo I

51

f piùp

f piùp

p

56

mp p mp

p mp p mp p

3

3

3 3

3 3

3

3 3 3 3 3

3 3

3 3 3 3 3 3

3

3 3 3 3

3 3 3 3 3

3 3

3 3 3 3

3 3 3 3

170

piùp

60

p piùp p

mp piùp p piùp p piùp

p

63

piùp piùp p piùp p piùp

p piùp

piùp pp

66

p piùp pp

dim. pp

p mp p mp p mp cresc.

Allegretto h = 78II.

p mp p mp cresc.

p mp cresc.

171

mf espress. p

7

mf mp p

mf mp p

cresc. mf

12

cresc. mf

mp p mp p mp p mf

p

18

p

espress. mp

mp p mp p mp

23

mp p mf p mp piùp

mp p mf p mp piùp

3

3

3 3

3

172

mf p mp p

29

p

p

mp mf mp

accel.34

mp p

p

f mf dim.

Più mosso h = 86

38

f mp

mf mp

mp dim. p

43

mp espress.

p

3 3

3

3

3

3

3 3 3

3

3 3 3 3

3

3

3 3 3

173

49

p

piùp

p cresc.

54

mp p cresc. mp

p cresc. mp

mp cresc.

59

p mp

dim. p

mf

64

cresc. mf

cresc. mp

3 3 3 3 3

3

3 3 3 3 3

33

3 3 33

3 3 3 3

3

3

3 3

3

3 3 3 3 3 3

3

3

3 3 3 3

3 3 3 3 3 3

174

mp

69

mp espress.

p mp espress.

cresc. mf

74

mf p

mf mp

mf cresc. f

79

mp cresc. mf

mf cresc. f

ff mf

84

ff

mf

3

3

3

3 3 3 3 3

3 3

3

3

3 3

3

3 3

3

3 3

3

3 3 3 3 3 3 3 3

3

3 3 3 3 33 3 3 3 3

175

mp cresc. f mp

89

mp cresc. f

p cresc. mf mp

mf mp p

94

mp mf mp

dim. p

99

piùp mp espress.

piùp

103

p piùp

dim.piùp

33 3 3 3

3

3 3 3 3

3

3

3

3

3 3 3

3

33

176

p cresc. mp mf

Tempo I h = 78

107

pcresc. mp

p mp p mp p mp mf

mp pmp

piùp

113

mf p mp p

p mp piùp

mf

118

mf

p mf

mp p

122

mp p

mp p

177

cresc. mf f

126

cresc. mf f

cresc. mp f

mf

130

mf

mf

dim.

134

mp

dim.

p

137

dim. p

p

3

3

3

3

3 3 3

178

f mp

Risoluto q = 106

III.

fmp

f mp

f mf mp

8

f mf mp

f mf mp

p mp p

16

mf p

p

cresc.

accel.22

cresc.

cresc.

3

3

179

mp

Poco Più mosso q = 120 accel.29

mp

mp

mf


mf mp

cresc. ff

accel. h. = 8045

cresc. ff

cresc. ff

mf f mp mf

rit. Tempo I q = 106

53

mf f mp mf

mf f mp mf

180

p mp

61

p mp mf

p mp

p mp p f mp f

68

p mp p f mp f

p mp p f mp f

mp cresc. f mf cresc.

accel.76



f ff


f ff

f ff

181

mp p

rit.89

mp p

mp p

fmp

f

Tempo I q = 10696

f mp f

f mp f

mf f

104

mf f

mf f

mp mf p mp


p mp p mp

p mp p mp

182

mf f

rit. A tempo rit.

118

mf f

mf f

mf f mf mp

Poco meno mosso q = 92

124

mf f mp

mf mp

mf mp p mp


p mp mf p

p

p mp p piùp

rit.134

piùp

piùp

3

3

3

183

Ross James Carey

Toccatina (Elegy) for Two Violins, Viola and Violoncello

Ross James Carey

Toccatina (Elegy) for Two Violins, Viola and Violoncello

Composed in February 2010

Premiere: 29 August 2010 (Australian String Quartet (ASQ), ASQ National Composers’ Forum,

Elder Hall, University of Adelaide, Adelaide)

New Zealand premiere: 26 October 2015 (Aroha String Quartet, St. Andrews on the Terrace,

Wellington)



PROGRAMME NOTE

Toccatina (Elegy) (2010) for string quartet was composed directly after the passing of Australian

singer-songwriter Ruby Hunter in February 2010. Ruby Hunter was one of Australia’s most beloved

indigenous singer-songwriters. I heard Ruby perform alongside her partner Archie Roach as part of

the ‘Black Arm Band’ at the 2009 Melbourne International Festival of the Arts and was struck by her

charismatic and powerful performance. Upon hearing of Ruby’s death a few months later and reading

the inspiring story of her life, I composed this work dedicated to her memory.

The piece is in ternary form. The A section features a hocket-like texture from which impassioned

melodic lines spiral ever upwards. The B section features melodies over gently moving triadic

harmonies. The piece concludes with a sense of affirmation and hope in a G Major tonality.

The premiere of the work which was broadcast around Australia by ABC Classic FM was given by

the Australian String Quartet (ASQ) at the first ASQ National Composers' Forum, in the Elder Hall

of the University of Adelaide on 29 August 2010. A subsequent performance broadcast by Radio New

Zealand Concert was given by the Aroha String Quartet at St. Andrews on the Terrace, Wellington

on 26 October 2015. The latter performance along with a studio recording of the work was made in

conjunction with the Centre for New Zealand Music (SOUNZ) and Radio New Zealand Concert.

Prior to the public performances of the piece members of the Auckland Philharmonia Orchestra

(APO) had given a semi-public performance of the work at a ‘Friends of the APO’ gathering in

Auckland on 11 June 2010.

Toccatina (Elegy) is published by the Centre for New Zealand Music (SOUNZ), Wellington.

INSTRUMENTATION

2 Violins, Viola, Violoncello


Violin I

Violin II

Viola

Violoncello

p

Con Moto q=108

p

p

p

3

5


Toccatina (Elegy)to Ruby Hunter

for 2 Violins, Viola and Violoncello

189

7

mp

9

p

11

mp

190

mp

13

p

p

15

mp

mp

17

p

191

p

19

cresc. mf

mp

21

p

f subitop

23

mf p

mf p

mf p

192

espress.

25

27

29

193

mp p

31

33

mf p

35

mp

194

cresc. f

37

f

p cresc. f

mf

mp

39

espress. mf

espress. p

p

41

p mp

mp

mp

195

mf p

43

mf p

mf f p

mf p

mp p mp

45

mp p mp

mp p mp

mf f

47

mf

mf

mp mf p

196

subitop

49

p

p

51

cresc.

53

197

mp cresc.

55

mp cresc.

mf

57

mf

mf p

mf p

mp f

60

mp f

mf

mf

3

3

198

mf p

63

mf p

decresc. mp p

decresc. mp p

p sotto voce, flautando

Meno Mosso. Dolce e cantabile q=9066



mp

70

3 3 3 3 3 3

3 3 3 3 3 3

3 33 3 3

3

3 3 3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

3 3 33 3 3 3 3

3 3 33

199

74

78

mp


81

3 3 3

3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

3 3 33

3

3 3 33 3 3

3

3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3

3 3 3 3 3

3

3 3 3

3 3 3 3 3

3 3 3

3

3 3 3 3 3 3

3

3 3

3 3

3 3 33 3 3 3

200

mp p

Rall. A tempo84

mf p

mp p

mp mp

87

mf

91

mf

f

mf

3 3 3 3 3 3 3 3 3

3 3 3

3 3 3 3 3 3 3 3

3

3

3 3 33 3

3 3 3 3 3 3

3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

3 33 3 3 3

3

3

3 3 33

3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3

3 3

3 3 3

3

3 3 3

201

decresc.

94

f decresc.

mf decresc.

decresc.

mp pmp molto cantabile

97

mf p

mp p

mp p101

mp molto cantabile

3 3

3

3 3 3 3 3 3

3 3 3 3 3

53 3 3 3 3 3

3 3

33

3 3 33 3

3 3 3

3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3

3

3

3

3 3

3

3 3

3

3 3

3

3

3 3 3 3

3 3 3 3

3

3

3

3

3 3

3

3

3 3

3 3

3 3 3

3

3 3 33

202

cresc. mf mp

105

cresc. mf

p mp

109

p

mp molto cantabile p

mf

Rit. Tempo Primo q=108113

mp p

mp p

mp

3

3

3

3

3

3 3 3 3

3

3 3 3 3 3

3

3

3 3 3 3 3

3 3 3 3 3 33

3

3

3

3 3 3 3 3 3 3 3 3 3

3

3

3

3

3 33 3 3

3 3 3 3 3 3 3 3 3 3

3

3

3

3 3 3 3 3

3

3

33 3 3

203

116

p

p

118

120

204

122

124

mp

mp mf mp

126

mf mp

205

mf cresc.

128

mf cresc.

mpmf

espress.

cresc.

mp cresc.

f

130

f

f

f

ff

132

ff

ff

ff

3 3

33

3 3

3 3

3 3

3 3

3 3

33

206

f mp p

134

f mp p

f mp p

f mp p

cresc. f

Rall.139

cresc. f

cresc.f

cresc.f

p

Meno mosso q=72143

p

p

p

207

Ross James Carey

Tuk Tak Dung for S.A.B. Chorus

Ross James Carey

Tuk Tak Dung for S.A.B. Chorus

Composed in 2011

Premiere: 4 March, 2014 (SMK Seafield Secondary School, Subang Jaya) – SMK Seafield Choir,

conducted by Susanna Saw

Further performance: 6 November 2015 (33rd Asian Composers’ League Conference and Festival,

Abelardo Hall, University of the Philippines, Manila) – Himig Sanghaya Chorale, conducted by

Mary Katherine Trangco

Duration: 3’15”


PROGRAMME NOTE

Tuk Tak Dung (2011), a commission from the SMK Seafield School Choir, Subang Jaya and their

conductor Susanna Saw, was envisaged as a work that the choir could take overseas in order to

showcase to foreign audiences a distinctively Malaysian identity. Tuk Tak Dung does this by means of

the voiced and sung imitation of a representative artistic tradition from each of the three main

cultural groupings of the country. These are, in turn, the Malay gamelan, a Chinese folk-like melody

played on the erhu and the vocal performance accompanying the South Indian Bharatanatyam classical

dance. Tuk Tak Dung depicts these three distinctive voices alongside each other, in a celebratory way.

The title of the work, Tuk Tak Dung, refers to some of the vocalisations utilised in the piece to illustrate

various percussive sounds able to be elicited from the kendung, the double-headed drum of the Malay

and Javanese gamelan.

The first performance of the piece was given by the SMK Seafield School Choir at a fundraiser at

SMK Seafield School, Subang Jaya in advance of their visit to Brisbane of 20 - 27 March 2014. A

subsequent performance was given on 6 November 2015 by the Himig Sanghaya Chorale conducted

by Mary Katherine Trangco at the opening concert of the 33rd Asian Composers’ League (ACL)

Conference and Festival, Abelardo Hall, the University of the Philippines, Manila.

INSTRUMENTATION

Soprano, Alto, Bass

PERFORMANCE NOTES

In the Malay section of the piece, selected instruments of the Malay Gamelan are divided amongst the

voices. Each voice is allocated one instrument of the ensemble along with the kendung (double-sided

drum). The kempul (resonant struck gongs) are taken by the basses, the ketuk (a staccato percussive

instrument) by the altos, and the saron (a struck metallophone usually taking the main melody) by

the sopranos.

Note-heads indicated with a cross are used to imitate both the percussive sounds of the kendung and

certain of the Bharatanatyam vocals in the final section. Passages utilising these note-heads are mostly

shared amongst the three parts and should be sung to the marked syllables as given. They are notated

as being high, medium or low-pitched. These indications should be thought of as approximate only.

Passages in the middle section marked with the indications 'soft ah' and 'full ah’ are to be sung using

a half open and fully opened mouth, respectively.

In the third section at bar 104, one option is for the choir to divide into two, with the clapping part to

be performed as a hocket, each section taking alternate notes, with one on the on-beat note and other

on the off-beat note.


SOPRANO

ALTO

BASS

Steady and sonorous q = 112

Tak

p

tak tak tak

Dong

p

dung dong Dung dong dung

mp

Dong

p

dung dung dong Dung

mp

dong dong dong

p5

tak tak tak tak Tak

p

Dong dung dong dung

Dong dung dung dong Dung dong dong

mf

dung Dung dong dong dung

p8

tak tak tak tak tak tak tak

Dong

mp p

Dung dong dong

MALAY: GAMELAN

Tuk Tak DungWritten for the SMK Seafield Choir, Subang Jaya and their director Susanna Saw

Ross James Carey

(2011)

for S.A.B. Chorus

(Ketuk)

(Kempul)

(Saron)

215

Dong dung dong Dung dongdung dong

mp

Dung dong dung

p11

Tak tak tak Tak tak Tak tak Tak

Dung dong dung Dong

mf

dung

mp

Dung

p

Ah ah ah

mp

ah

mf15

Ah ah

mp

ah

mf

Tak

p

tak tak tak tak tak

Ah

mp

ah

mf

Tak Dong Tak Dong dong tong

Hmmn

p

hmmn hmmn

Flowing q = 128

19

Hmmn

p

hmmn

(Kendung)

CHINESE: ERHU MELODY

(Hum with a nasal sound)


216

mp

hmmn

p

Hmmn

24

hmmn

mp

hmmn

p

hmmn Hmmn

mp29

Hmmn

p

hmmn Hmmn hmmn Hmmn

Hmmn hmmn

mf

hmmn hmmn

decresc.33

mf

Hmmn hmmn

decresc.

Hmmn

mf

hmmn hmmn

decresc.


217

p37

p

Hmmn

mp

hmmn

hmmn

mp

Hmmn

Ah

mp

ah ah Ah ah ah ah Ah

f

ah

42

Ah ah ah ah Ah ah Ah

f

hmmn Ah ah Ah ah ah

f

ah ah

Ah ah ah Ah

mp

Ah

mf

ah Hmmn

p46

ah ah Ah

mf

ah ah

p

Hmmn

Ah

mp

Ah

p

Hmmn

(soft ah) (full ah)

(soft ah)

(full ah)

(soft ah)

(full ah)

(soft ah)

(soft ah)

div.

(soft ah)

218

Tong

mf

dong dung tak dung Tak tong

Very lively q = 14451

Tong

mf

tong dung tak dung Tak tong

Tak

mf

dung dung dong dung dong dung

dung Ta

p

ka- Tak Ta ka- tak

cresc.

tak dung tong

53

dung Ta

p

ka- Tak Ta ka- tak

cresc.

tak dung tong

Tong

p

tong tong

cresc.

tong tong tong Dung tong dung

f

Dung

f

Tak

p

tak tak

cresc.

tak tak dong dong dung dong

Accel.55

Dung

f

Tak

p

tak tak tak

cresc.

tak

Tak

p

tak tak

cresc.

tak tak tak Dung tak Dung

f

dong Tak

p

MALAY: GAMELAN (KENDUNG)

219

dung

f

Tak

mp

tak tak Tong tak

57

Dung dung dung dung Tong tong dung dong

Tak tak tak

cresc.

tak Tong tong Dung dong

Dung

f

Dong dong dung dung dong Tak

ff

Tak tak Tak Tong Tong

q = 152

58

Tak

f

Dong Dung Dong dung dong Tak

ff


Dung

f

Ta ka- Dung tak Dung Dong Tak

ff


A little slower q = 13661

Hmmn

mp

hmmn hmmn

CHINESE: ERHU MELODY

220

Ah

p

ah ah Ah

mp

ah ah

cresc.

ah ah ah ah Ah

f

ah

Rall.

64

Ah

p

ah ah

mp

ah ah ah

cresc.

Ah ah Ah

f

ah ah

p

Ah

cresc.

ah ah Ah

f

ah ah

Ah

più f

ah Ah

mf

ah ah ah ah

mp

Hmmn

Flowing q = 128

68

più f

Ah

mf

Ah

mp

più f

Ah

mf

Ah ah

mp

Hmmn Ah ah

mp

ah Ah

pRall. Slower q = 112

71

Hmmn hmmn hmmn Ah ah

mp

ah Ah

p

Hmmn hmmn hmmn ah

p

Ah

(soft ah) (full ah)

(soft ah) (full ah)

(soft ah) (full ah)

(soft ah)

(soft ah)

(soft ah)

221

Ta

mf

ka- da- ta ka- da- ta ka- da- ta ka- da- Ta

p

ka- da da- ta ka- da

Lively and bright h = 116

75

Ta

mp

ka- dung dung ta ka- dung Ta

p

ka- dung dung Ta ka- dung

Ta

mp


mf

ka- da- ta ka- da- ta ka- da- ta ka- da-

Ta

mf


p

ka- da da-

79

Ta

mp


p

ka- dung dung

Ta

mp

ka- dung dung ta ka- dung

mf

Ta ka- da- ta ka- da-

ta ka- da Ta

mf

ka- da- ta ka- da- Ta ka- da- ta ka- da-

82

ta ka- dung ta ka- Ta Ta

mp

ka- dung dung

Ta ka- da- ta ka- da- Ta

p

ka- dung dung Ta

mp

ka- dung dung

INDIAN: KATHAK

3 3 3 3

3

3 33

3 3 3 3

3 3

3 3 3 3

3 3

222

ta ka- da- ta ka- da- Ta

p

ka- da da- ta ka- da

85

ta ka- dung Ta

p

ka- dung dung Ta ka- dung

Ta ka- dung Ta

mf


Ta

mf


mp

ka- dung dung Da Ah

cresc.88

Ta

mp

ka- da da- ta ka- dung Ta

mf

ka- da- ta ka- da- ta

mp

ka- da- ta ka

cresc.

- da-

Ta

mp

ka- dung dung ta ka- dung Ta ka- dung dung ta ka- Ah

cresc.

ah

Ah Ta

f

ka- ta- ka- da- Ta ka- Da da- ta ka- ta- ka- da

92

Ah ah Ta

f


ah Ta

f


3 3

3

3 33

3 3 3 3

3 3 3 3

3 3

223

mf

95

Ta

f


mp

ka- da da-

Ta

mf

ka- dung dung ta ka- da Ta

mp

ka- dung dung

Ta

mf

ka- dung dung Ta ka- da Ta

f

ka- da- ta ka- da-

98

ta ka- da Ta

f


Ta ka- da Ta

mf

ka- dung dung ta ka- da


mf

ka- dung dung Ta ka- da

101

Ta

mp

ka- da da- ta ka- da Ta

mp

ka- da- Ta

Ta

mp

ka- da da ta ka- da Ta

p

ka- Ah

Ta

f

ka- da- ta ka- da- Ta ka- da- ta ka- da- Ta

p

ka- Ah

clapping (everyone)

3 3 3 3

3

3

3 3 3 3

33

3 3

3 3 3 3

224

f

Faster h = 128

104

Ta

f


mf

ka- da da-

Ta

mf

ka- da da- ta ka- da Ta ka- da da

Ta

mf

ka- da da- Ta ka- da Ta

f

ka- da- ta ka- da-

107

ta ka- da Ta

f

ka- da- ta ka- da-

Ta ka- da Ta ka- dung dung


mf

ka- dung dung

109


mf

ka- da da- da

p

- Ah

cresc.

ta ka- dung Ta

f

ka- da- ta ka- da- ta

mp

ka- da- ta

cresc.

ka- da-

ta ka- dung Ta ka- da da- Ta

p

ka- Ah

cresc.

3 3 3 3

3

3

3 3

33

3 3

3 3 3 3

225

112

Ah Ah Ah Ah Ta

f

ka- da- da ta ka-

Ah ah Ta ka- da- ta ka- da- Ah Ah Ta

f

ka- da- da ta ka-

Ah Ta ka- da da- Ah Ta

f

ka- da- da ta ka-

Ta ka- da Ta ka- ta- ka- da Ta ka- ta- ka- da Tak

116



ta

cresc.

ka- ta- ka- tr r- r- r- ta- ka- da Tak tak da Hi

ff

yo!!-

118

ta

cresc.


ff

yo!!-

ta

cresc.


ff

yo!!-

3 3 3 3 3 3

(rolled) (shout)

(rolled)

(shout)

(rolled) (shout)

226

© 2016 Ross James Carey

Flute 1

Flute 2

Flute 3/Piccolo

Oboe 1

Oboe 2

Clarinet in B 1

Clarinet in B 2

Bassoon 1

Bassoon 2

Horn in F 1

Horn in F 2

Horn in F 3

Horn in F 4

Trumpet in B 1

Trumpet in B 2

Trumpet in B 3

Trombone 1

Bass Trombone

Tuba

Triangle

Tubular Bells

Glockenspiel

Harp

Celesta

Violin I

Violin II

Viola

Violoncello

Contrabass

Allegretto = 50

Allegretto = 50

I Fanfares

A B C D E F G

div.

pizz.

5

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 4

Tpt.1

Tpt. 2

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

più

8

più

più

più

più

più

più

più

più

6

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Trngl.

Hp.

Vln. I

Vln. II

Vla.

Vc.

Cb.

13

più

più

più

più

7

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Trngl.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

A19

cresc.

cresc.

cresc.

poco marc.

poco marc.

poco marc.

poco marc.

A

poco marc.

poco marc.

cresc.

cresc.

pizz. arco

arco

8

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

più

26

più

più

più

decresc poco a poco.







div.sul pont.

div. sul pont.

9

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

34

mute

mute

nat.

unis.nat.

10

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Glock.

Hp.

Vln. I

Vln. II

Vla.

Vc.

Cb.

B41

dim.

dim.

dim.

dim.

dim.

B

B D

sul pont.

sul pont.

sul pont.

pizz.

pizz.

11

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Trngl.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

47

ten.

ten.

ten.

mute

12

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Trngl.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

C52

Cpizz. div.

pizz. div.

arcounis.

arco

13

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

B. Tbn.

Tba.

Tub. B.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

56

cresc.

cresc.

cresc.

unis.arconat.

nat.

div.

div.

14

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

più

61

più

più

più

più

più

più

più

più

più

più

più

dim.

dim.

dim.

dim.

cresc. dim.

cresc. dim.

nat.

nat.

B D G

arco

15

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 3

Tpt.1

Tpt. 2

Tbn. 1

B. Tbn.

Tba.

Trngl.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

D67

più

più

D

più

pizz.arcodiv.

div.arco

div.

div.

16

Fl. 1

Fl. 2

Cl. 1

Cl. 2

Trngl.

Glock.

Vla.

Vc.

Cb.

marc.

73

marc.

marc.

marc.

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

E F78

marc.

marc.

marc.

marcato

F

marcato

E G B B G

nat.

nat.

17

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

83

marc.

marc.

marc.

marc.

nat.

E F G B E E

unis. div.

18

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

88

cresc.

cresc.pizz.

pizz.

pizz.

19

Fl. 3

Cl. 2

Bsn. 1

Bsn. 2

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

Vln. I

Vln. II

Vla.

Vc.

Cb.

G91

G

mute

mute

mute

mute

unis.arco

unis.arco sul pont.

20

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

Vln. I

Vln. II

Vla.

Vc.

Cb.

95

dim.

dim.

arco

nat.

21

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

Vln. I

Vln. II

Vla.

Vc.

Cb.

99

Change to Piccolo

22

Fl. 1

Fl. 2

Picc.

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Vln. I

Vln. II

Vla.

Vc.

Cb.

cresc.

H103

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

H

marc.

marc.

23

Fl. 1

Fl. 2

Picc.

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Vln. I

Vln. II

Vla.

Vc.

Cb.

107

più

24

Fl. 1

Fl. 2

Picc.

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Glock.

Vln. I

Vln. II

Vla.

Vc.

Cb.

111

più

div.

25

Fl. 1

Fl. 2

Picc.

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Tpt.1

Tpt. 2

Tpt. 3

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

114

dim.

dim.

dim.

senza sord.

senza sord.

senza sord.

C E G

26

Fl. 1

Fl. 2

Picc.

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Tpt.1

Tpt. 2

Tpt. 3

Glock.

Cel.

Vln. I

Vln. II

Vla.

Vc.

117

più

più

più

cresc.

cresc.

div.

27

Fl. 1

Fl. 2

Picc.

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

Vln. I

Vln. II

Vla.

Vc.

sempre ten.

I120

sempre ten.

sempre ten.

sempre ten.

sempre ten.

sempre ten.

sempre ten.

sempre ten.

I

più

Change to flute

unis.

unis.

28

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

Vln. I

Vln. II

Vla.

Vc.

125

sempre ten.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

29

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 2

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

Vln. I

Vln. II

Vla.

Vc.

Cb.

cresc.

129

cresc.

cresc. cresc. cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

div. unis.

div.

div.

30

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Vln. I

Vln. II

Vla.

Vc.

Cb.

J133

più

più

tenuto

tenuto

più

J

più

più

31

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Vln. I

Vln. II

Vla.

Vc.

Cb.

K137

dim. più

dim. più

dim.

dim.

dim.

dim.

dim.

dim. dim.

dim. dim.

div.

div.

32

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

142

B C D E D F

pizz.

33

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

L147

cresc.

L

cresc.

Change to Piccolo

unis.arco

34

Fl. 1

Fl. 2

Picc.

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Hp.

Vln. I

Vln. II

Vla.

Vc.

Cb.

152

dim.

dim.

B G

35

Fl. 1

Fl. 2

Picc.

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tpt.1

Tpt. 2

Tpt. 3

Tbn. 1

B. Tbn.

Tba.

Trngl.

Tub. B.

Glock.

Hp.

Vln. I

Vln. II

Vla.

Vc.

M156

M

Change to flute

Perc. 2 playsTub. Bells to end

To Tub. Bells

div.

div.

pizz.

pizz.

36

Fl. 1

Fl. 2

Fl. 3

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Hn. 2

Hn. 3

Hn. 4

Tpt. 2

Tpt. 3

Trngl.

Tub. B.

Glock.

Hp.

Cel.

Vln. I

Vln. II

Vla.

Vc.

Cb.

162

più

più

più

più

dim.

dim.

più dim.

più dim.

più

più

più

con sord.

con sord.

A E

2 soli

2 soli

arcosolo

arcosolo

solo

Dur. c 10 mins

37

Minerva Access is the Institutional Repository of The University of Melbourne

Author/s:

CAREY, ROSS JAMES

Title:

The use of quoting strategies in my recent compositions

Date:

2017

Persistent Link:

http://hdl.handle.net/11343/191443

File Description:

The Use of Quoting Strategies in my Recent Compositions

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