Exam: HSC Flute

Suite for Flute (5 pieces)

RM674 Suite for Flute (5 pieces) Witney FL/PNO
RM674 Suite for Flute (5 pieces) Witney FL/PNO
Printed Book
RM674e Suite for Flute (5 pieces) Witney FL/PNO
RM674e Suite for Flute (5 pieces) Witney FL/PNO
Digital Download eScore
Composer: Paul Witney
Composed: 2010 Duration: 10 mins.
Instrumentation: Flute & Piano Level B, Flute & Piano Level C
Exam Grade: HSC Flute
ISMN: 979-0-720109-72-5 Catalogue: RM674
Level: B, C Country: Australia

Contents: Allemande, Courante, Sarabande, Gigue, Passacaglia

unLokked (16 pieces)

RM672 unLokked (16 pieces) Davidson FL
RM672 unLokked (16 pieces) Davidson FL
Printed Book
Composer: Lachlan Davidson
Composed: 2011 Duration: 20 mins.
Instrumentation: Flute Solo
Exam Grade: AMEB Flute Grade 0 Preliminary,
HSC Flute
ISMN: 979-0-720109-70-1 Catalogue: RM672
Level: A - Easy, C Country: Australia

Contents: Leaping Turtles, Toy Waltz, Crunchy Footsteps, Butterflies Dancing, Figurine, Through My Window, First Climb, Cool Shoes, Clock And Tickle, Proof, Juggling Popcorn, Two Faces, Daisy Chain, Dragon-fly, Only One Cloud in the Sky, Summertime in Venice

Lokked In (8 pieces)

RM690 Lokked In (8 pieces) Davidson FL/PNO
RM690 Lokked In (8 pieces) Davidson FL/PNO
Printed Book
Composer: Lachlan Davidson
Composed: 1994-2004 Duration: 15 mins.
Instrumentation: Flute & Piano Level A, Flute & Piano Level B, Flute & Piano Level C
Exam Grade: HSC Flute
ISMN: 979-0-720109-88-6 Catalogue: RM690
Level: A - Easy, C Country: Australia

Contents: Swing Thing, Jewell in a Stone, Cathy's Dream, A Lane in Wales, One Step at a Time, A Good Time Was Had By All, Duddles Chuckles, Heritage

Swing Thing: This piece began life as an easy saxophone quartet but translates well to flute and piano. Be sure to play the longs and shorts accurately as it really helps it swing. Accent beat 2 and 4 for the same reason. When there is a quaver on the second half of a beat followed by a rest, it should always be short (staccato as marked) it is good to imagine that there is a note on the following beat to help place the last quaver.

Jewel in a Stone: Written for Julia, this is the most recently written of the tunes in Lokked in. Julia decided that she didn’t feel like playing the C naturals that I had written so she played C sharps instead. I liked them so much that I changed the tune. There is much potential for some rubato and a very emotional performance of this piece. Some music turns out that way. Don’t play it too slowly but don’t hurry from one phrase to the next.

Cathy’s Dream: Cathy had Chronic Fatigue syndrome at school and bravely fought through it. Her dream was to be healthy. I played this at her wedding recently where she seemed extremely well. The feel is Latin American influenced and the syncopations can be tricky. Very slow practice with the metronome, thinking in quavers and leaving the ties out can help gain an understanding of the rhythms. This is a good one to practise with the piano part slowly from the early stages of its preparation.

A Lane in Wales: In 1993, on a “round the world walkabout,” I visited my relatives in Wales and went on some long, solitary walks. This tune seems to capture the spirit of some of the lanes I walked along. I enjoy playing this tune and love the more classical feel of it. It suits a more classical sound and a softer dynamic. I love the sound of this piece at a slower tempo too. Be gentle but firm with it. Be aware of when the phrases are one, two or four bars long and be careful not to break it up too much.

One Step at a Time: Named for Steph, to motivate her to practise. Well it didn’t work for her but it is a really fun piece to play with elements of rock in the eighties and a touch of David Sanborn. Thanks Dave.

Dig hard into the groove, the accents and the staccatos to really make it rock. A brighter sound and a generally stronger dynamic will suit this piece. The metronome is your best friend on this one.

A Good Time was Had by All: After a tour to Queensland with the school Stage Band, Yuki, a trombonist, asked me to write a piece for her VCE. I was honoured to do so and this was named as a celebration of the good time everyone had on the trip. It suits the flute just as well as the trombone and should be approached with a simple, not over-jazzy (or too cool) swing feel, emphasising the off-beat quavers and enjoying the fun in the music. The piano part really adds to the party so check it out as soon as you can.

Duddles Chuckles: I conceived this tune on the way home from a gig, named it after the unique laugh of one of my students, “Duddles” and arranged it for sax quartet before converting it to flute and piano. Play it with a bouncy swing feel in two, but emphasise (accent) the off-beats where quavers are slurred across the beat. There are some unusual staccatos which add to the character of the tune and make it less groovy or jazzy but more fun.

Heritage: I first took this tune (then un-named) to a gig at Bennetts Lane with unLokked (my jazz quartet) and subsequently recorded it on “A hot night in Burwood” released through Newmarket music. I consider it one of my best tunes. It has an obvious celtic influence but I know that Jan Garbarek and the Disney song, “Colours of the wind” were in the mix here too. This version is a simplified version of the original with far fewer ornaments than I would normally play but it still maintains its integrity and emotion. Play it with strength, commitment and honesty.

Danza

RM775 Danza Rojas FL/PNO
RM775 Danza Rojas FL/PNO
Printed Book
RM775e Danza Rojas FL/PNO
RM775e Danza Rojas FL/PNO
Digital Download eScore
Composer: Daniel Rojas
Composed: 2004 Duration: 4 mins.
Instrumentation: Flute & Piano Level D
Exam Grade: HSC Flute
ISMN: 979-0-720109-46-6 Catalogue: RM775
Level: D Country: Australia

Three Contemporary Studies

RM675 Three Contemporary Studies Witney FL
RM675 Three Contemporary Studies Witney FL
Printed Book
RM675e Three Contemporary Studies Witney FL
RM675e Three Contemporary Studies Witney FL
Digital Download eScore
Composer: Paul Witney
Composed: 2010 Duration: 7 mins.
Instrumentation: Flute Solo
Exam Grade: HSC Flute
ISMN: 979-0-720109-73-2 Catalogue: RM675
Level: C, D Country: Australia

Zodiac (12 pieces)

RM793 Zodiac (12 pieces) Cockcroft FL
RM793 Zodiac (12 pieces) Cockcroft FL
Printed Book
RM793e Zodiac (12 pieces) Cockcroft FL
RM793e Zodiac (12 pieces) Cockcroft FL
Digital Download eScore
Composer: Barry Cockcroft
Composed: 2006 Duration: 20 mins.
Instrumentation: Flute Solo
Exam Grade: AMEB Flute Grade 1,
AMEB Flute Grade 2,
AMEB Flute Grade 3,
AMEB Flute Grade 4,
AMEB Flute Grade 5,
AMEB Flute Grade 6,
AMEB Flute Grade 7,
HSC Flute
ISMN: 979-0-720109-63-3 Catalogue: RM793
Level: A - Easy, C Country: Australia


Mujo

RM792 Mujo Skipworth FL
RM792 Mujo Skipworth FL
Printed Book
RM792e Mujo Skipworth FL
RM792e Mujo Skipworth FL
Digital Download eScore
Composer: Lachlan Skipworth
Composed: 2011 Duration: 5 mins.
Instrumentation: Flute Solo
Exam Grade: HSC Flute
ISMN: 979-0-720109-62-6 Catalogue: RM792
Level: D Country: Australia

RM792 MujoThis piece evokes the sound world of the shakuhachi, a Japanese end-blown bamboo flute. Despite the simplicity of its construction, the shakuhachi can produce a stunning array of tone colours, pitch slides and special effects. This piece incorporates some of these uncommon sounds, while exploiting the technical agility of the western flute. Besides the portamento slide and quarter tone key trills notated on the score, the performer is encouraged to add a short burst of breathy tone quality on notes marked sfp, This can be achieved by using a harder articulation or a less focussed embouchure. The equivalent technique on the shakuhachi is called mura-iki, which means “breath sea sound”.

The piece also features the floating sense of time found in the traditional shakuhachi honkyoku solo pieces. These pieces do not have a beat as such, and the music moves always with the rhythm of the performer’s breath. Great importance is placed on the silences between phrases, each inhalation being as important to the overall shape of the music as the notes themselves. The lack of barlines in the piece reflects this, with dotted barlines appearing only where they indicate a distinct change in mood or place of structural importance. While the rhythms have been notated quite precisely in the score, it is expected that the performer will push and pull the underlying tempo in a manner that gives a sense of a constant ebb and flow to the music. To a certain degree, this can follow the dynamic shape of the phrase, ie moving forward with crescendos and slowing down in the decrescendos, while some additional written indications have been included on the score.

The title mujō refers to the Japanese aesthetic concept of transience, or impermanence. The acknowledgement that all things are in a constant state of flux, including our lives, is a common theme in many forms of Japanese art. In the honkyoku pieces it brings an acceptance that each piece can differ from day to day according to any number of factors, such as the player’s condition or the acoustic of the performance venue. It is hoped that this piece will continue to evolve as a player learns and performs it, therefore embodying the principle of mujō  in itself.