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Composer: Graeme Koehne Nationality: Australian

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Composer: Graeme Koehne Nationality: Australian

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use of popular music characteristics in a classical/orchestral setting whilst still maintaining traditional elements. his work is characterised by direct communicative style and embrace of triadictonality. Koehne's compositional style gradually started to combine elements of classical and popular music. "His music aims to reinvigorate traditional compositional methods and techniques through their
re-engagement with musical vernacular and the diverse forms of popular culture. (James Koehne 2010). Eg.  Unchained Melody (1991), Powerhouse (1993)," Elevator Music (1997), lnflight Entertainment (1999)

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• | Overlapping ostinatos that build-up interlocking rhythmic layers of accompaniment.
• | Use of traditional rhythmic patterns (e.g. 2/3 clave pattern and swing rhythms).
• | Contrasting sections that reflect existing styles (e.g. Caribbean, Mexican and swing).
• | Features of traditional concerto forms (e.g. cadenza, extended solos with sparse accompaniment).
• | Notated improvisation-like passages (that are extemporised further by the performer at times).
• | Mostly homophonic in texture with a clear main melody supported by accompanying layers.
• | A small number of themes and motivic ideas that are repeated, interchanged and developed.
• | Performance instructions that indicate visual & dramatic impact (e.g. "campana in aria, sway side to side", "molto rubato e schmaltzando").

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Composer:  Nigel Westlake, Australian composer and Lior, Australian- Israeli Classical singer + songwriter

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Composer:  Nigel Westlake, Australian composer and Lior, Australian- Israeli Classical singer + songwriter

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First Performance- 2013

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versatile composer, originally a clarinet player, write his scores "for the performer" (westlake biography). product of a contemporary mind and ear - with resonances of classical, jazz, rock, ethnic and fusion influences.

Eize Hu Chacham is a collection of ethical and moral statements of the Sages taken from "Pirkei Avot" (Ethics of our Fathers). "Pirkei Avot" is a section of the Mishna, one of the fundamental works of the Jewish Oral Law.

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- The soloist subtly enters in bar 43 with the motive of long notes and triplets. This is  sequenced, extended and inverted within a small range. The flutes and violins also enter with high, sustained notes. (TC)
- The trumpet re-enters at bar 166 with an improvisatory-like melody over a cycle of fifths progression played in the accompaniment which continues the rhythmic ideas from the previous passage. The trumpet's final gesture is to play the repeated triplet idea from the introduction. (D)

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- (9-116Meanwhile the accompaniment has layers added, mainly two alternating chords on the beat and also chords played to a rhythm based on a 2/3 clave rhythm. (P, TX)
-  The trumpet plays the new theme at bar 364 together with the low brass and strings while the high woodwinds plays play triplet flourishes. These two ideas are then played loudly against each other within the orchestra.  (TC)

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- The steel drums re-enter in bar 268 and the piece modulates to Db. Dynamic and rhythmic gestures are layered into the accompaniment. (P, TX)
- The trumpet and steel drums enter on bar 483 with familiar, but developed material. (S)
- 455-571 The trombones play a prominent role, echoed by the horns. (S)

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- 783-857 Beginning with the soloist, repeated triplet figures are imitated through different parts of the orchestra, gradually building-up to a thick texture of heavy, low triplets with moments of brightness added through flutter tongued brass notes or high flute triplets. (D, TC, TX)
-  858-end This is followed by a final upward Db -F brass glissando and by the solist before a (uncharacteristically plain) Db major chord is played by the brass and percussion. (P)

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- More layers are added as in a canon, increasing the density of texture to polyphonic. This is underpinned by a constant Bb pedal point. (P) (Bar 342)
- At bar 985, the trumpet soars up  to a higher register while most of the orchestra is playing one of four different rhythmic layers. (Homo-phonic) (P, D)

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- Followed by call-and-response fragments through the orchestra before a descending scale culminates in three timpani hits. (Start)
-  A cadenza where the soloist displays virtuosity whilst playing material based on various themes from the piece. There are still opportunities for extemporisation and improvisation. (P)

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PITCH- (68-115) Woodwinds, trumpet and percussion respond with melodic and dissonant harmonic material from the opening of the movement. (TC, S)

DURATION- (36-57) Longer duration in vocal melody contrasts with staccato quavers in the accompaniment. (TXT)

TONE COLOUR- (28-35) Gb pedal note in clarinet, bassoon, harp and violins.(P)

EXPRESSIVE TECHNIQUES- (58-67) Full orchestra but light texture as au talon (played closer to the nut) strings and woodwinds alternate with syncopated sforzando tutti chords.(TC, TXT)

TEXTURE- (116-134) Texture thickens as the French horns play chordal figure in longer duration (P, D, TC)

STRUCTURE- (135-179) Recapitulation of opening of the movement, with variations.

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Composer: Ross Irwin Nationality: Australian

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Composer: Ross Irwin Nationality: Australian

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First Performed- 2014

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- When section M begins, the rhythm and pitch are all in unision.
- Alto Saxaphone begins solo in bar 80, playing a maniscripted until the I section. Once the I section begins, the first Alto Saxaphone starts an improvised solo whilst still maintaining the same key signature throughout.
- A consistent grace note chared between the four trumpets in bar 21.
- Unison in terms of melody and rhythm from the B section to the E section between the Saxophones.

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-Intro - Groove is in a Latin feel.
-Distinct sections created through manipulation in rhythm
-This is also aided by the rarely notated drum part, used to synchronize vertically aligned "hits"
-In bar 80, Alto Saxophone begins. In the I section, the solo continues as an improvised line; this continues until the L section.

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Big Band - including vibraphone and guitar.
-Use of mutes in Trumpet section
(A) - cup mute
(G) - Tpt 1 Cup Tpt 2 Harmon
(L) - all tpts in straight mutes
-Tone Colour combinations
Generally grouped as sections (reeds with reeds)
(G) Alto with Tpt (same register different colours put together); Ten with Tpt 3 & 4
(O) Reeds and brass grouped by register
-Sustenance is created with the Vibraphone and Piano in the beginning of the B section.

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- In section F and G, there is a strong use of accents arcoss all the instruments.
- Arpeggiated chords by the Guitar in the A section.
- A consistent use of glissando shared between all instruments as it leads in section Esection as shown in bar 55; additionally, this is shown in bar 117.
- Triplets between the Saxaphones, Vibraphone, Electric Guitar, Piano, Bass and Drums; essentially all the instruments present in bar 59.
- In bar 45, trombones play quavers with staccato.

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Throughout the piece, it maintains a polyphonic, particularly through the saxaphones, trumpets and trombones each having their own melody line.
- Moreover, there are specific bars where the instruments all play in unison, as shown in bar 55 when all the instruments glissando down. This is also shown in bar 142 when all the saxaphones and trumpets play in unison with the same melody and rhythm; except the trombones, piano, vibraphone, electric guitar, bass and drums.

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Detailed drum part when required
"lightly on bell of ride"
"on rims (on cowbell)" Through feel instructions "Groovin' Swing" - implies a light/thin ride "Hard Shuffle" - change tone colour to suit either different combination and/or way it is played. E.g. from ride to closed Hihat "Jazz Waltz" Distinct sections created through manipulation in rhythm. This is also aided by the rarely notated drum part, used to synchronise "hits".
-Distinct sections categorised by different jazz styles, marked down rhythm as score.

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The use of trumpets, saxaphones, trombones, bass and drum kit are highly syncopated creating a sophisticated rhythm - a modern up-beat swing.
During the verses, the instruments are playing very lightly in volume to allow the vocals to be exposed more; still heavily syncopated but subtle.
Moreover, the drum kit is exposed throughly in the piece maintain the rhythm and syncopation beats.
Though this particular arrangement has a modern tone colour, specifically through the use of a SATB choir, the piece still manages to maintain certain
certain characteristics from the 1945 - last 25 years period; such as, swing syncopated rhythm and use of a brass band.
It contains a strong balance between lyrics and scatting vocal work.

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Strong use of harmony along the melodic line through the SATB choir. Moreover, contrast is
created through the use of suspended notes between the men and women; maintaining the
same key signature throughout the piece.
Later use of key change.

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Each note is quite short and detached, hence, keeping the piece "up-beat" and lively. This is shown
throughout the entire piece particularly the vocals, the way they pronounce words, as well as the rhythm of the drum kit.

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Conveys effective tone colour through having a SATB choir; creating contrast with male and female voices - revealing their different portrayal sounds.

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Shaw's Fly Me to the Moon, examines a great in vocal expressions, using crescendo and contrast between forte and piano. Strong use of staccato to emphasise its jazz genre as well as to create a sophisticated syncopation for the piece's rhythm.

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In the beginning of the piece, Shaw conveys a polyphonic between the choir, brass instruments, bass and drum kit. Once the verses starts, it
transitions into a harmonic texture with the SATB choir singing whilst the instrumentation supports
the vocals.

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This piece follows the similar structure as Howard's, however, Shaw decides to insert a turnaround which truly expresses the piece as his own work. The turnaround incorporates highly syncopated rhythm with the instruments and vocals. Moreover, the turnaround includes a "scatting" section.