Catalogue
Click on a subcategory below to see full list of Catalogue
For more information on our catalogue and our full library of perusal scores, click below or search 'McGonigal' on www.SheetMusicDirect.com
Music for Brass
For more information on our catalogue and our full library of perusal scores, click below or search 'McGonigal' on www.SheetMusicDirect.com
345 (Brass Quintet) 4'
345 is a jaunty piece written for the Martineau Brass Quintet. It is three very short movements for five instruments, hence the name 345. The melody is passed between the instruments with pairs or trios providing interjections and accompaniments. It's an uplifting piece, with a lyrical slow movement, suitable for concerts, functions, busking or outdoor concerts. Duration 4'. Scored for Brass Quintet. See Perusal Score.
Cirque de Neige (Brass Quartet) 3'30"
Cirque De Neige celebrates the thrill and awe of the mountains. Chamonix is surrounded by mountains, dominated by Mont Blanc with its snow dome a permanent feature all year round. The town band adds musical colour to this magnificent setting. This arrangement for brass quartet captures the joy and exhilaration of the mountain landscape. Duration 3'30". Scored for trumpet, horn, trombone, tuba. See Perusal Score.
Fantasie A Toi La Gloire (Brass, Organ) 4'10"
This Fantaisie A Toi La Gloire turns Handel's melody, Hail The Conquering Hero, into a joyful piece for brass quartet. It opens with a contrapuntal section, building up to the big tune. All four parts have a piece of the action, yet it is playable by early intermediate instrumentalists. It is fun to play and always well received by audiences. Duration 4'10". Scored for trumpet, horn, trombone, tuba. See Perusal Score.
Four And A Bit (Brass Quartet) 2'
Four And A Bit is a chirpy piece where the melody passes between all four parts, against a simple, rhythmic riff. Duration 2'. Scored for trumpet, horn, trombone, tuba. See Perusal Score.
Four And A Bit (Tuba Quartet) 2'
Four And A Bit is a chirpy piece where the melody passes between all four parts, against a simple, rhythmic riff. Duration 2'. Scored for tuba quartet. See Perusal Score.
Lost But Not Forever (Brass Quartet) 4'28"
A reflection on the loss of a relationship with a child and the hope of regaining that love. The four instruments make a sonorous texture, with a lyrical modal melody weaving through lush chords. There is hope at the end as the tempo picks up and the mode becomes brighter. Duration 4'30". Scored for trumpet, horn, trombone, tuba. See Perusal Score.
Lost But Not Forever (Brass Band) 4'28"
A reflection on the loss of a relationship with a child and the hope of regaining that love. The instruments make a sonorous texture, with a lyrical modal melody weaving through lush chords. There is hope at the end as the tempo picks up and the mode becomes brighter. Duration 4'30". Scored for brass band. See Perusal Score.
Trumpet Minute (Trumpet) 1'
A quick blast on the trumpet, with flair and vibrancy. The single line creates rhythmic vibrancy and harmonic texture. Lasting just 1 minute, it's perfect as a clarion call or a 'sorbet' in a longer programme. Duration 1'. Scored for solo trumpet. See Perusal Score.
Music for Choirs
For more information on our catalogue and our full library of perusal scores, click below or search 'McGonigal' on www.SheetMusicDirect.com
#TheBoyWhoLived (SSSS) 2'30''
This song is about a miracle. Liam was born in December 2018 and was without oxygen for fifteen minutes. Normally, that is fatal. In Liam's case, he lived but he had no sight, no hearing, no touch and no brain activity. He was given days to live and his parents took him home to talk to him, sing to him, be with him in his first and last few days. Days passed and Liam didn't die. Day by day, his face lit up, he could see, he could hear, he could feel and his brain came alive. Now he is a happy toddler, with an innocent smile and a miraculous radiance. See Perusal Score.
Ave Maria à 10 (SSSSAATTBB) 2'30''
This evocative setting of Ave Maria was written for the Choir of Holy Redeemer in Chelsea and workshopped by the BBC Singers with Judith Weir. The vocal lines intertwine, creating constantly moving harmony, like the acoustic in a big cathedral. The varied textures allow each part to shine, with sections for upper and lower voices. Ideal for many liturgies (where there is a Marian prayer) and a concert programme of lush choral music. Scored for SSSSAATTBB. See Perusal Score.
Ave Maria à 8 (SSAATTBB) 3'30''
This 8-part setting of Ave Maria has subtly shifting tonalities, like sliding doors between different harmonies. The simple chanted lines allow the words to shine effortlessly, while the melodic lines weave through the texture. Scored for SSAATTBB. See Perusal Score.
Ave Maris Stella Takes Flight (SSAATTBB, Alto Sax) 3'10''
Layering the voices with the alto saxophone soaring over the top, Ave Maris Stella Takes Flight is a palimpsest. Starting with the plainsong hymn, the lines build up, using the acoustic of the cathedral to create rich and luscious harmonies, while the solo line fills the vaulted ceiling. It features on the album Palimpsest with Sam Corkin (sax) and Canterbury Cathedral Choir available from Amazon, Presto and Spotify. Scored for SSAATTBB and alto sax. See Perusal Score.
Ave Verum (SATB) 3'30''
Ave Verum takes 16thC polyphony into a 21stC sound world. The rich choral resonances are created layering the simple motifs of Byrd's famous setting of the Ave Verum some 500 years earlier. In the final section, the oscillating figures for O dulcis and O pie create a soft bed for the soaring melodies of O Jesu Christe and miserere mei. Scored for SATB. See Perusal Score.
Birth in a City Park (SATB) 2'50''
Birth in a City Park was written with poet Euan Tait as an alternative contemporary perspective on Christmas. Joe, a homeless boy, shelters Jesus in a modern city. The voices swell with joy and pain, building to a climactic refrain and finding peace. This four part setting for SATB is within reach of amateur choirs and sounds glorious sung by professional singers. See Perusal Score.
Chiswick House (SAB) 2'
Written for CoMA Voices, Chiswick House sets the guide book to music. It opens with the address of the house, a little history, and then a tour through all the rooms. Each room has a different chord which alternate on repeat at the end as we get lost looking for the toilets. It's fun to sing and entertaining for the audience. See Perusal Score.
Domine Tu Mihi Lavas Pedes (SSATBB) 4'30''
Domine Tu Mihi Lavas Pedes is the antiphon for the washing of the feet on Maundy Thursday, Lord You Wash My Feet? It was written for the Choir of Holy Redeemer in London. It has a plainchant feel with flowing melodic lines and rich harmonies built up from the plainchant riffs. It ends with a beautiful soprano solo (sung at the first performance by Sophie Bevan). It is suitable for Maundy Thursday, Holy Week or any service themed on service, sacrifice or love. See Perusal Score.
Dream Piece (6+ Voices) 3' - 6'
I dreamt this piece and had to write it down as soon as I woke up. It's all about the engagement between the singers, which creates the harmony. It's suitable for any number of singers, from 2 to 200. A larger group would best be split into a number of 'choirs' to facilitate the engagement between singers. The homophonic texture starts quietly, then builds and accelerates before the climactic final chord. See Perusal Score.
I Carry The Light (SSAA) 4'
The words for I Carry The Light were written specially by poet Euan Tait, reflecting on the flickering light of love, passed to the world. The rich harmonies burst into chords from a single note, creating clouds of light. The two upper parts (soprano) create a duet of interweaving melodies and can be sung by soloists, semi-chorus or full choir. It's piece where the beauty shines through. It is suitable for almost any amateur choir as the lower parts are simple and it sounds fabulous with professional voices. See Perusal Score.
In The Beginning (Sop Solo, SSAATTBB) 3'30''
In The Beginning was commissioned by Fever Pitch, keen to have new material to sing in their regular Christmas concerts. It was premiered at a major charity event at St Paul's Covent Garden in London and performed two weeks later at Southwark Cathedral. The words - In the beginning was the Word: the Word was with God and the Word was God - have rarely been set to music, but they are perfect for a Christmas programme or liturgical service. Big choral textures are created from small beginnings, with climactic chords on 'God'. The second half is a soprano solo singing a long, lyrical melody over rhythmic and chordal patterns in the choral parts. See Perusal Score.
Loddon Sparkles (SAB, Piano) 3'35''
This piece sparkles, like the River Loddon which inspired it. From the twinkling figuration in the piano to the flowing melodies in the voices, this is pure uncomplicated joy in music. It's fun to sing and fun to play. See Perusal Score.
Mass for Hengrave (SATB) 2'20''
The Mass For Hengrave is a simple Missa Brevis for congregational use with SATB choir. There is beauty in its simplicity, yet there is melodic, harmonic and rhythmic interest. See Perusal Score.
Minsteracres Compline (SATB) 9'
The Minsteracres Compline was written for Monastic Music Hours, a musical retreat in the beautiful Minsteracres in Northumberland. It is a simple setting of the Night Prayer, drawing on the long tradition of liturgical music for the Office Hours. The psalm tones and responses are intuitive for the congregation, with the SATB choir providing modal 4-part harmony. The Nunc Dimittis open up to contrapuntal treatment, yet still retaining a simple, reflective quality. See Perusal Score.
Missa Et Incarnatus Est (SB soli, SSAATTBB, Small Orchestra) 18'40''
The Missa Et Incarnatus Est is the triumph, emerging from thirty years of crise créative. Not wanting to write modernist music (the hegemony of the 1970s), I found my voice with Missa Et Incarnatus and with it the confidence to create a major work for 8-part choir, 3 soloists and an 8-piece instrumental ensemble. The work has many inspirations - Gregorian chant, Messiaen, Poulenc, Janacek, Bach, Victoria, Machaut. It comes from a deep love of liturgical music and a desire to create something that adds to the repertoire. The Credo has a novel structure. Instead of a series of movements of roughly equal text, the apogee (the words, Et Incarnatus Est) are extended to become the centrepiece, bookended by repeated fanfare-like Credos and the acts of faith ('I believe...') set to a modern, modal psalmtone. The work ends with a peaceful Agnus, where the final cadence ('Dona nobis pacem) is a final resolution of the underpinning modality. Scored for SSAATTBB choir, SAB soloists, organ or ensemble of clarinet, oboe, bassoon, trumpet, trombone, violin, cello, bass. See Perusal Score.
Night Song (SSSSSS) 5'
Night Song was commissioned by Janet Oates for the inaugural concert by Philomel, a vocal ensemble of six sopranos singing repertoire from Hildegaard von Bingen to specially commissioned works. The words were written by poet Euan Tait about a woman carrying water in the darkness, accompanied by birdsong. The six voices are layered to create rich harmonies, building to a cascade of sound as 'the birds sing sudden rainfall'. The piece was workshopped by the BBC Singers. It is for professional or advanced amateur singers, but well worth getting six sopranos together to create an exciting choral texture. It works with solo voices or chorus. See Perusal Score.
Nunc Dimittis (SATBB) 1'40''
This is a psalmody setting of the Nunc Dimittis, the canticle for Evensong or Compline. The top line is largely static, with the harmonies becoming increasingly rich underneath. The voice leading ensures that it is easier to sing than it sounds. See Perusal Score.
On The Beach (6+ Voices) 3' - 6'
On The Beach takes its inspiration from waves, lapping on the beach, overlapping and creating undercurrents. There is always movement, revolving around a rhythmic and harmonic constant. The melodic fragments allow the singers to paint their own picture, one brush stroke at a time. Written in open score, there is a randomness, determined by the performers overlapping and interacting. Duration 3' - 6' (depending on the conductor). See Perusal Score.
Reproaches (SSA) 4'
The Reproaches are traditionally sung at the Good Friday service, remembering the suffering of Jesus at the hands of the people. This setting has simple, yet powerful harmony, capturing the anguish of the words. The psalmtone has an elaborate cadence, accentuating the words. Duration 4' (if all verses are sung). See Perusal Score.
Reproaches (SSAATTBB) 4'
The Reproaches are traditionally sung at the Good Friday service, remembering the suffering of Jesus at the hands of the people. This setting has simple, yet powerful harmony, capturing the anguish of the words. The psalmtone has an elaborate cadence, accentuating the words. Duration 4' (if all verses are sung). See Perusal Score.
Rhythm Herd (SSSS, Recorder) 9'30''
Rhythm Herd is a celebration of rhythmic energy in words and music. Euan Tait's poem harnesses the stampede of whinnying horses, the crackle of the fire, thundering south and gives the singers the power of nature's forces. The four sopranos keep constant pulse passed between the voices as the quavers are herded into chords, melody, phrases and whole movements. Their warm tones are punctuated by riffs on the recorder, building up to an extended obbligato fughetta. Finally, the heart dissolves to ashes, the pulse of the sopranos slows, while the recorder maintains the rhythmic riffs, now in time with the human heart. Rhythm Herd was commissioned by Philomel and first performed by them on 24 November 2018. See Perusal Score.
Romney Marsh Cries (SSATBB, Brass Quintet) 6'
Written for JAM in the Marsh, Romney Marsh Cries gives voice to the land donated by the sea, enclosed by a cliff and a canal, fertile and remote. Here, generations have made their lives over hundreds of years, from the land and the sea. The voices of the choir and the brass quintet strike out with rough waves of sound, cascading over each other, through a reclamation of calm in the middle to a resigned peace of the lost beauty once sung here. See Perusal Score.
Rorate Caeli (SATB, Organ (opt)) 2'40''
Peter Tranchell was an inspirational composer, academic and teacher. He was a great inspiration to me as a student, giving insight into music through architecture and literature. Rorate Caeli is an opportunity to repay that inspiration several decades later. The single phrase countertenor solo is a reminder of the all male choir at Gonville and Caius College, Cambridge, which was such an important part of Peter's life. See Perusal Score.
Salve Regina (SSSATTBB) 2'10''
Written for the Choir of Holy Redeemer, Chelsea, this Salve Regina makes the most of the 8-part vocal texture with rich harmonies and different voice groupings. The fluid lines are reminiscent of Gregorian chant while the close canonical writing builds into rolling cluster chords. It ends with a beautiful harmonic resolution in the final cadence (similar to the ending of the Missa Et Incarnatus Est). See Perusal Score.
Sanctus (2007) (SSATBB) 1'
This short setting of the Sanctus from the Mass makes the most of the six voices. It is loosely based on the Gregorian chant Mass XVIII (traditionally sung during Lent, Advent and at funerals). The characteristic opening falling phrase is layered to create rich cluster chords that are surprisingly easy to sing (and enjoyable). See Perusal Score.
Sea Welcome - Alone (Soprano Solo) 1'
Sea Welcome celebrates the power of friendship to overcome personal depression. It was written for Snamhai Saste and the inspirational June Curtin who swims every morning at Spanish Point in the West of Ireland with up to 800 fellow 'happy swimmers'. It opens with a lone voice swimming alone, dancing in the deep peace of the waters, then joined by unknown friends who laugh and love in the waves. It is both beautiful and poignant, hearing the power of the human spirit to heal. See Perusal Score.
Sea Welcome - And They All Heard Me (SSSS) 2'
Sea Welcome celebrates the power of friendship to overcome personal depression. It was written for Snamhai Saste and the inspirational June Curtin who swims every morning at Spanish Point in the West of Ireland with up to 800 fellow 'happy swimmers'. It opens with a lone voice swimming alone, dancing in the deep peace of the waters, then joined by unknown friends who laugh and love in the waves. It is both beautiful and poignant, hearing the power of the human spirit to heal. See Perusal Score.
Sea Welcome - Love Laugh (SSSS, Tin Whistle) 4'
Sea Welcome celebrates the power of friendship to overcome personal depression. It was written for Snamhai Saste and the inspirational June Curtin who swims every morning at Spanish Point in the West of Ireland with up to 800 fellow 'happy swimmers'. It opens with a lone voice swimming alone, dancing in the deep peace of the waters, then joined by unknown friends who laugh and love in the waves. It is both beautiful and poignant, hearing the power of the human spirit to heal. See Perusal Score.
Sea Welcome (SSSS, Tin Whistle) 7'
Sea Welcome celebrates the power of friendship to overcome personal depression. It was written for Snamhai Saste and the inspirational June Curtin who swims every morning at Spanish Point in the West of Ireland with up to 800 fellow 'happy swimmers'. It opens with a lone voice swimming alone, dancing in the deep peace of the waters, then joined by unknown friends who laugh and love in the waves. It is both beautiful and poignant, hearing the power of the human spirit to heal. See Perusal Score.
Set Me As A Seal (SATB, Organ (opt)) 2'
Set Me As A Seal is perhaps the most famous text for weddings. This setting celebrates a Golden Wedding, quite an achievement and a time for celebration. It marks the occasion with a moment of reflection and wonder, capturing the beauty of timely union. The lush harmonies underpin beautiful flowing melodies in each voice, all parts marking the occasion together. See Perusal Score.
Some Stranger Somewhere (SATB) 3'30''
Sarah is kindness itself and it's no surprise that her best friend, June Curtin, wrote such beautiful words about the power of kindness to a stranger. The music captures the tenderness and strength of kindness with beautiful flowing lines and a fitting climax of vocal counterpoint. June Curtin is known for Snámhaí Sásta, the daily swim in Spanish Point which has given wellbeing to thousands across Ireland and the rest of the world. See Perusal Score.
Song of Penitence (ABarB) 1'30''
A reflective piece bringing out the beauty of poet Euan Tait's words - I am calling out to you, afraid: but I know the journey is mercy. All three parts intermingle with melody and harmony intertwined. Song of Penitence was commissioned for liturgical use (Ash Wednesday, Lent, penitence), but is effective as a reflective moment in a concert programme. Scored for ABarB or SSA or TTB. See Perusal Score.
Song of Penitence (SAB) 1'30''
A reflective piece bringing out the beauty of poet Euan Tait's words - I am calling out to you, afraid: but I know the journey is mercy. All three parts intermingle with melody and harmony intertwined. Song of Penitence was commissioned for liturgical use (Ash Wednesday, Lent, penitence), but is effective as a reflective moment in a concert programme. See Perusal Score.
Song of Penitence (SSA) 1'30''
A reflective piece bringing out the beauty of poet Euan Tait's words - I am calling out to you, afraid: but I know the journey is mercy. All three parts intermingle with melody and harmony intertwined. Song of Penitence was commissioned for liturgical use (Ash Wednesday, Lent, penitence), but is effective as a reflective moment in a concert programme. See Perusal Score.
Spode Compline I (Unison Voices, Organ) 11'
The Spode Compline was written for Spode Music Week, a week of music that started in Spode House. This is a simple setting of the Night Prayer, drawing on the long tradition of liturgical music for the Office Hours. The psalm tones, responses, Nunc Dimittis and Salve Regina are easily readable. The psalmtones have a pleasing flow from verse to verse. The final Marian anthem, Salve Regina, is a particular favourite. Scored for unison voices and organ, the Spode Compline is a pleasure to sing at the end of the day. See Perusal Score.
Spode Compline II (Unison Voices, Organ) 11'
The Spode Compline was written for Spode Music Week, a week of music that started in Spode House. This is a simple setting of the Night Prayer, drawing on the long tradition of liturgical music for the Office Hours. The psalm tones, responses, Nunc Dimittis and Salve Regina are easily readable. The psalmtones have a pleasing flow from verse to verse. The final Marian anthem, Salve Regina, is a particular favourite. Scored for unison voices and organ, the Spode Compline is a pleasure to sing at the end of the day. See Perusal Score.
The Butterfly (Singing) SSATB 1'10''
The Butterfly is joyful in a burst of life. Euan Tait's words celebrate the exuberance of singing. Dominic McGonigal's music brings it to life with a beautiful, flowing setting, building the textures of different combinations of voices. This is full of the joy of life. It is set for five voices, SSATB and can be sung by a consort or a choir. See Perusal Score.
The Lamb (SSAATTBB) 3'50''
The Lamb captures the wonder, power and timelessness of William Blake's famous poem. Rich harmonies and strong melodies build to a contrapuntal climax and an ethereal ending. See Perusal Score.
The Owl (Peace) SSATB 1'10''
The Owl is at peace and so are we. Euan Tait has captured the serenity of the owl and Dominic McGonigal's music matches that with pleasing harmonies and a calm melodic line. It is set for five voices, SSATB and can be sung by a consort or a choir. See Perusal Score.
The Racehorse (Running) for SSATB 1'10''
The Racehorse is just happy to be alive, running for joy. Joy is the key word in Euan Tait's poetry, brought to life by Dominic McGonigal's music. There's a pulsating rhythm running through, with different textures from the different combinations of voices. It ends with pure joy. It is set for five voices, SSATB and can be sung by a consort or a choir. See Perusal Score.
The Spaniel (Rescue) for SSATB 1'10''
The Spaniel is lost, dying, but found and saved. Euan Tait's words are of hope for an animal abandoned. Dominic McGonigal's music brings it to life with a beautiful, simple setting, allowing each of the five voices to shine through, coming together for a glorious climax as the spaniel is saved. The final 'You found life' is an expansion of the opening 'I found you'. It is set for five voices, SSATB and can be sung by a consort or a choir. See Perusal Score.
Ubi Caritas (SATB) 3'30''
Ubi Caritas is a contemplative setting of the words Where There Is Charity, There Is God. Like the famous Durufle setting, it is based on the Gregorian chant, with the beautiful flowing melodies set against a pedal note. The harmonic colour is accentuated by the use of the words Ubi Caritas as a refrain. It is scored SATB Choir a capella and can be rehearsed by a professional quartet in about ten minutes. It is suitable for general liturgical use (especially communion and Holy Week), as well as in concert programmes. See Perusal Score.
Vegetable Soup (6+ Voices) 2' - 4'
Vegetable Soup was written at the very formation of CoMA Voices, the first CoMA vocal ensemble, mirroring the instrumental ensembles which were already established by then. The opening scoring and semi improvised writing make it suitable for any group of singers and it was a success from its first outing. Melodic catches introduce the ingredients over a low, rhythmic pedal. The free writing allows the voices to interact and build to a climax of dynamic and texture. See Perusal Score.
Where Music Touches Spirit (SATB, Piano) 4'20''
Where Music Touches Spirit celebrates the joyful and mystical power of music to touch our spirit. The spirit is at times ethereal, at other times exuberant, with words by poet Euan Tait capturing this duality - 'what is written on my life, scored…in music, seeing a stranger face...oh, constant friend, choired self, orchestra of sufferings'. The refrain, 'here, the music touches spirit' develops into an exstatic coda, rising higher with each iteration of themes for music and spirit. Finally, the mystic and the joyful are united in a powerful cadence. See Perusal Score.
You Are (SAB) 2'40''
Euan Tait (poet) has really tuned into adolescents' struggle with identity and their need of friendship. The music is joyful, celebrating the exuberance of friendship and joie de vivre. It is scored for soprano, alto, baritone so easy to sing for most community choirs and church choirs. See Perusal Score.
Music for Early Ensembles
For more information on our catalogue and our full library of perusal scores, click below or search 'McGonigal' on www.SheetMusicDirect.com
Chateau Bordiau (Vln, Vla da Gamba, Theorbo) 11'
Celebrating the joy of friendship, Chateau Bordiau takes its name from a home in Brussels filled with conversation and laughter, accompanied by wine and food. It was written for the Merum Ensemble which was born from the friendship of its members. Scored for violin, cello, theorbo. See Perusal Score.
Pachamama Regina Caeli (Tenor, Guitar) 5'15''
There's musical unfinished business here. Colonisation of South America suppressed indigenous music. Pachamama Regina Caeli celebrates both indigenous and European cultures side by side in a diptych. It starts with two ancient melodies, one to Pachamama, the Mother Earth who provides everything, the other to Mary, Mother of God. These two themes grow into a celebration for the tenor and baroque guitar to enjoy the shared melodies, harmonies and rhythms. The two musicians work in canon and counterpoint, responding to the joy of the musical lines. Scored for voice and piano. See Perusal Score.
Singing Our Fire (2 Sopranos, Theorbo) 2'
Singing Our Fire celebrates the beauty of friendship. The two sopranos delight in the sheer joy of their friendship with soaring melodies, cascading scales and glorious harmonies. Euan Tait's poetic words come to life in wonderful exuberance. Singing Our Fire was written for Janet Oates, Felicity Hayward and Toby Carr as part of the Theorbo Today project. See Perusal Score.
Theorbo Chaser (2 Theorbos) 1'50''
Written for Toby Carr and Sergio Bucheli, Theorbo Chaser is a rarity - a theorbo duet. Perhaps rarer still, the melody is a canon in the bass. The theorbo has beautiful resonant bass strings and Theorbo Chaser exploits this resonance with delicate colour in the upper strings. The canon is at the second so the melody appears to be climbing on itself as each theorbo comes in above the other. Thus the harmony emerges from the melody, rising up to the colourful treble strings and then settling back to a bass ostinato, when the two instruments become one. See Perusal Score.
You Are An Alleluia (Soprano, Vln, B.Viol, Hpd) 2'30''
You Are An Alleluia was written for Morcia and perfectly captures her ebullient character and joie de vivre. The soprano soars over a bubbling piano part building to a wonderful climactic extended alleluia at the end. The middle section is a more reflective and affectionate homage to loving friendship. Scored for voice, violin, cello, harpsichord, theorbo. See Perusal Score.
Music for Keys
For more information on our catalogue and our full library of perusal scores, click below or search 'McGonigal' on www.SheetMusicDirect.com
A Ukrainian Haven In Ireland (Tenor, Piano) 2'
In 2021, thousands of Ukrainians fled the war and found peace in Ireland, their welcome contrasting their pain of leaving behind a life with friends and family. A Ukrainian Haven In Ireland welcomes with the Swallowtail Jig over which the singer mourns the loss of his love and his country. It is a joyful song, wearing a smile against tragedy. See Perusal Score.
Autumn Hawk (Baritone, Piano) 1'30''
An elegant setting of a beautiful poem by Euan Tait. The piano captures the sparkle of the raptors overhead as the singer poses questions of love and friendship. The question is answered in the harmony of singer and pianist. See Perusal Score.
Autumn Hawk (Soprano, Piano) 1'30''
An elegant setting of a beautiful poem by Euan Tait. The piano captures the sparkle of the raptors overhead as the singer poses questions of love and friendship. The question is answered in the harmony of singer and pianist. See Perusal Score.
Dialogues With Ancestors (Tenor, Piano) 19'
Dialogues With Ancestors is the result of working with tenor Rafael Montero, a native Latin American who founded El Parnasso to celebrate indigenous South American music. Dialogues With Ancestors is a dialogue between pre-colonial South American culture and contemporary Europe. The song cycle, for tenor and piano, takes us from Nature, through Love, Loss and Justice to Peace. Eleven indigenous songs are the starting point for an evocative duo between tenor and piano, beginning with Wik'unita, marking the wild exuberance of the South American lama, ending with the beautiful serenity of Kkochus al Espíritu Santo. The climax comes with Kkochu al Machula de Tuana, the angry god who seeks vengeance, met with the powerful plainchant Dies Irae. Dialogues With Ancestors will be premiered in Cologne on 4 October 2024, by tenor Rafael Montero and Ukrainian pianist Anastasiia Haisiuk. See Perusal Score.
La Fleur des Eaux (Tenor, Piano) 6'40''
La Fleur des Eaux is inspired by Chanson's setting of Le Temps des Lilas, both evocative poems by Maurice Bouchor. It has the same scoring as the Chanson - tenor and orchestra or piano - and it plays on the excitement of love coming with the waves, followed by the grief of losing love as the waters recede. The piano paints a colourful and emotive backdrop to the singer's journey. It was written for tenor Dominic Bevan who premiered it at the Leonardslee Proms with the Bernardi Music Group conducted by the composer. See Perusal Score.
La Mort des Amants (Soprano, Alto, Piano) 1'30''
La Mort des Amants is a wedding piece written for Dr Richard Longman and Dr Helen Abbott, who is an expert on the musical settings of Baudelaire. It is a simple piece reflecting Baudelaire's poem of love. It is set for soprano, alto and piano. See Perusal Score.
Lentedag (Accordion) 1'
As part of Vox Novus' Fifteen Minutes Of Fame project, accordionist Stas Venglevski was looking for fifteen 1-minute pieces to put together as a medley work. Stas is a virtuoso on the Bayan accordion, offering huge sonic possibilities. It is almost three instruments in one, with four and a half octaves in both bass and treble, plus four banks of reeds. Added to that, the bellows give huge expressive qualities to each note. Lentedag is Dutch for spring, celebrating the joyous burst of life as the ground warms up and plants spring to life. Scored for Bayan accordion. See Perusal Score.
Loddon Sparkles (SAB, Piano) 3'35''
This piece sparkles, like the River Loddon which inspired it. From the twinkling figuration in the piano to the flowing melodies in the voices, this is pure uncomplicated joy in music. It's fun to sing and fun to play. See Perusal Score.
No Me Mueve (Voice, Piano) 3'15''
No Me Mueve is a religious sonnet. Perhaps an oxymoron. We can't imagine Shakespeare's sonnets having a religious angle. But it's a beautiful love song, celebrating unconditional love. It was certainly inspired by St John of Avila. We don't know who wrote it but the style points to late 16thC Spain, probably Jesuit. It was first published in 1628. This setting marries the chanting of the voice with harmonic poetry of the piano. Each verse (4, 4, 3, 3) has a slightly different treatment. The final coda captures the essence of the poem, te amara, I love you. See Perusal Score.
Rorate Caeli (SATB, Organ (opt)) 2'40''
Peter Tranchell was an inspirational composer, academic and teacher. He was a great inspiration to me as a student, giving insight into music through architecture and literature. Rorate Caeli is an opportunity to repay that inspiration several decades later. The single phrase countertenor solo is a reminder of the all male choir at Gonville and Caius College, Cambridge, which was such an important part of Peter's life. Scored for SATB a cappella or optional organ. See Perusal Score.
Set Me As A Seal (SATB, Organ (opt)) 2'
Set Me As A Seal is perhaps the most famous text for weddings. This setting celebrates a Golden Wedding, quite an achievement and a time for celebration. It marks the occasion with a moment of reflection and wonder, capturing the beauty of timely union. The lush harmonies underpin beautiful flowing melodies in each voice, all parts marking the occasion together. See Perusal Score.
Singing Our Fire (2 Sopranos, Piano) 2'
Singing Our Fire celebrates the beauty of friendship. The two sopranos delight in the sheer joy of their friendship with soaring melodies, cascading scales and glorious harmonies. Euan Tait's poetic words come to life in wonderful exuberance. Singing Our Fire was written for Janet Oates, Felicity Hayward and Toby Carr as part of the Theorbo Today project. Originally written for two sopranos and theorbo, I have arranged it here for two sopranos and piano. See Perusal Score.
So-Fe (Organ) 3'
So-Fe is a short organ voluntary written for the christening of my god-daughter, Sophie Armour. It was first played as the introit, repeated several times because Sophie arrived late for her christening! The title, So-Fe, comes from her name, and the notes So (G) and Fe (F#) which are the starting point for the melody and the harmony. The Lydian mode (with the sharpened fourth) has a lovely bright sound, over the top of strong contrasting movements in the bass. See Perusal Score.
Spode Compline I (Unison Voices, Organ) 11'
The Spode Compline was written for Spode Music Week, a week of music that started in Spode House. This is a simple setting of the Night Prayer, drawing on the long tradition of liturgical music for the Office Hours. The psalm tones, responses, Nunc Dimittis and Salve Regina are easily readable. The psalmtones have a pleasing flow from verse to verse. The final Marian anthem, Salve Regina, is a particular favourite. Scored for unison voices and organ, the Spode Compline is a pleasure to sing at the end of the day. See Perusal Score.
Spode Compline II (Unison Voices, Organ) 11'
The Spode Compline was written for Spode Music Week, a week of music that started in Spode House. This is a simple setting of the Night Prayer, drawing on the long tradition of liturgical music for the Office Hours. The psalm tones, responses, Nunc Dimittis and Salve Regina are easily readable. The psalmtones have a pleasing flow from verse to verse. The final Marian anthem, Salve Regina, is a particular favourite. Scored for unison voices and organ, the Spode Compline is a pleasure to sing at the end of the day. See Perusal Score.
Where Music Touches Spirit (SATB, Piano) 4'
Where Music Touches Spirit celebrates the joyful and mystical power of music to touch our spirit. The spirit is at times ethereal, at other times exuberant, with words by poet Euan Tait capturing this duality - 'what is written on my life, scored…in music, seeing a stranger face...oh, constant friend, choired self, orchestra of sufferings'. The refrain, 'here, the music touches spirit' develops into an exstatic coda, rising higher with each iteration of themes for music and spirit. Finally, the mystic and the joyful are united in a powerful cadence. See Perusal Score.
You Are An Alleluia (Soprano, Piano) 2'30''
You Are An Alleluia was written for Morcia and perfectly captures her ebullient character and joie de vivre. The soprano soars over a bubbling piano part building to a wonderful climactic extended alleluia at the end. The middle section is a more reflective and affectionate homage to loving friendship. See Perusal Score.
You Are An Alleluia (Soprano, Vln, B.Viol, Hpd) 2'30''
You Are An Alleluia was written for Morcia and perfectly captures her ebullient character and joie de vivre. The soprano soars over a bubbling piano part building to a wonderful climactic extended alleluia at the end. The middle section is a more reflective and affectionate homage to loving friendship. Scored for voice, violin, cello, harpsichord, theorbo. See Perusal Score.
Music for Orchestra and Large Ensemble
For more information on our catalogue and our full library of perusal scores, click below or search 'McGonigal' on www.SheetMusicDirect.com
Cathedral Symphony (2222 4331) 21'
When the London Medical Orchestra commissioned me to write something for their 70th anniversary, neither of us expected a symphony. The inspiration came from cathedral architecture, the grand entrance of the West Door, the Nave that draws the eye from arch to arch, the serenity and peace of the Choir and the magnificence of the Tower. The ideas grew from sketches in my notebook to great arching structures, linking the movements and developing with each iteration. My personal favourite is the 3rd movement, The Choir, with its extraordinary sense of space and intimacy, recalling the peace in the choir of Beauvais Cathedral (still the tallest in the world). It's a great piece to play as well as listen to. Scored for orchestra (2222 4331 tp pc str, plus optional extras). See Perusal Score.
La Fleur des Eaux (Tenor, Orchestra) 6'40''
La Fleur des Eaux is inspired by Chanson's setting of Le Temps des Lilas, both evocative poems by Maurice Bouchor. It has the same scoring as the Chanson - tenor and orchestra - and it plays on the excitement of love coming with the waves, followed by the grief of losing love as the waters recede. The orchestra provides paints a colourful and emotive backdrop to the singer's journey. It was written for tenor Dominic Bevan who premiered it at the Leonardslee Proms with the Bernardi Music Group conducted by the composer. Scored for tenor, 1211 2200 strings. See Perusal Score.
Lost But Not Forever (Brass Band) 4'28''
A reflection on the loss of a relationship with a child and the hope of regaining that love. The instruments make a sonorous texture, with a lyrical modal melody weaving through lush chords. There is hope at the end as the tempo picks up and the mode becomes brighter. Scored for brass band. See Perusal Score.
Missa Et Incarnatus Est (SB soli, SSAATTBB, Small Orchestra) 18'40''
The Missa Et Incarnatus Est is the triumph, emerging from thirty years of crise créative. Not wanting to write modernist music (the hegemony of the 1970s), I found my voice with Missa Et Incarnatus and with it the confidence to create a major work for 8-part choir, 3 soloists and an 8-piece instrumental ensemble. The work has many inspirations - Gregorian chant, Messiaen, Poulenc, Janacek, Bach, Victoria, Machaut. It comes from a deep love of liturgical music and a desire to create something that adds to the repertoire. The Credo has a novel structure. Instead of a series of movements of roughly equal text, the apogee (the words, Et Incarnatus Est) are extended to become the centrepiece, bookended by repeated fanfare-like Credos and the acts of faith ('I believe...') set to a modern, modal psalmtone. The work ends with a peaceful Agnus, where the final cadence ('Dona nobis pacem) is a final resolution of the underpinning modality.
Scored for SSAATTBB choir, SAB soloists, organ or ensemble of clarinet, oboe, bassoon, trumpet, trombone, violin, cello, bass. See Perusal Score.
Music for Strings
For more information on our catalogue and our full library of perusal scores, click below or search 'McGonigal' on www.SheetMusicDirect.com
After Bach (Cello Solo) 2'40''
Inspired by Bach, specifically the Prelude of the first Cello Suite, After Bach exploits the sonorities of the cello with the melody intertwined in chordal figuration. It is mostly in the bright Lydian mode, moving through different modalities and moods. Before the final cadence, there is a more contemplative reprise of the main theme, leaving the listener with a good feeling. It was written for Pablo Tejedor-Gutierrez, who has a beautiful tone on his baroque cello and of course loves Bach. See Perusal Score.
Ave Maris Stella Takes Flight (9 Cellos) 3'10''
Layering the voices with the alto saxophone soaring over the top, Ave Maris Stella Takes Flight is a palimpsest. Starting with the plainsong hymn, the lines build up, using the acoustic of the cathedral to create rich and luscious harmonies, while the solo line fills the vaulted ceiling. It features on the album Palimpsest with Sam Corkin (sax) and Canterbury Cathedral Choir available from Amazon, Presto and Spotify. Scored for SSAATTBB and alto sax. See Perusal Score.
Chateau Bordiau (Vln, Vla da Gamba, Theorbo) 11'
Celebrating the joy of friendship, Chateau Bordiau takes its name from a home in Brussels filled with conversation and laughter, accompanied by wine and food. It was written for the Merum Ensemble which was born from the friendship of its members. Scored for violin, cello, theorbo. See Perusal Score.
Chatelaine (String Quartet) 4'20''
The sound of the bow on strings immediately sparked an idea, an incipit, which hung in gestation, waiting for its moment to emerge. That moment came, sat at a café, a moment of calm in the bustle of the street. My blue pencil sketched out the lines and layered the harmonies in my notebook, like the movements of a baroque bow. I can hear the players building the sound, adding sonorities and creating arches of melody and harmony. I love the way the violin can articulate groups of two or three notes and keep them together in one large phrase. Chatelaine draws on the heritage of the instruments, finding beauty in the contemporary cacophony of life. See Perusal Score.
In Conversation (String Quartet) 17'
Three movements of beautiful polymodal writing, with rich counterpoint and soaring melodies. The opening movement has a dance-like theme, yet with dark overtones. The central slow movement has a haunting tune played in turn by the first violin, viola and cello. The final movement is fast and jolly. Throughout the piece, the four instruments are in conversation, passing thematic material between them, with exciting rhythmic interplay. Lasting about 17', Quartet In Conversation is a contemporary work, respecting the legacy of the great quartets of Beethoven, Ravel, Bartok, Shostakovich and John Adams. See Perusal Score.
Middelbuurt (Viola Solo) 50''
On its own, the Middelbuurt lives above and below the waves, always evolving. Its long history is captured in one short melody, creating its own harmony, rooted in the land and the sea. The viola sings with the resonance of sky and the rhythm of the wind. See Perusal Score.
Rolling In The Shallows (Cello, Guitar) 7'
Rolling In The Shadows was written for the cello/guitar duo, Cameron Smith and Tom Gamble. The unique sound of each instrument gives us a different take on the melodic lines as the material passes between the two players. What starts as an ethereal sound, on harmonics in both cello and guitar, develops into a joyful finale. See Perusal Score.
Singing Our Fire (2 Sopranos, String Quartet) 2'
Singing Our Fire celebrates the beauty of friendship. The two sopranos delight in the sheer joy of their friendship with soaring melodies, cascading scales and glorious harmonies. Euan Tait's poetic words come to life in wonderful exuberance. Singing Our Fire was written for Janet Oates, Felicity Hayward and Toby Carr as part of the Theorbo Today project. Originally written for two sopranos and theorbo, I have arranged it here for two sopranos and string quartet. See Perusal Score.
The Week (Viola Duet) 7'50''
The Week, a set of viola duets for teachers to play with their students, so teacher and student can really enjoy making music together. We are so used to the viola playing a solo, accompanied by a piano, that we forget the beauty of two violas playing as a duet. The two equal parts create so many possibilities in close harmonies and interweaving melodies. I have explored these sounds in The Week. There are five pieces, each with a different mood. The sounds of the instrument are explored further with different bowing techniques creating different feel. I hope students will enjoy this sound world, making the most of the interplay between the two violas. Duration 7'50" (all five pieces). See Perusal Score.
The Week (Violin Duet) 7'50''
The Week, a set of violin duets for teachers to play with their students, so teacher and student can really enjoy making music together. We are so used to the violin playing a solo line, accompanied by a piano, that we forget the beauty of two violins playing as a duet. The two equal parts create so many possibilities in close harmonies and interweaving melodies. I have explored these sounds in The Week. There are five pieces, each with a different mood. The sounds of the instrument are explored further with different bowing techniques creating different feel. I hope students will enjoy this sound world, making the most of the interplay between the two violins. Duration 7'50" (all five pieces). See Perusal Score.
Theorbo Chaser (2 Theorbos) 1'50''
Written for Toby Carr and Sergio Bucheli, Theorbo Chaser is a rarity - a theorbo duet. Perhaps rarer still, the melody is a canon in the bass. The theorbo has beautiful resonant bass strings and Theorbo Chaser exploits this resonance with delicate colour in the upper strings. The canon is at the second so the melody appears to be climbing on itself as each theorbo comes in above the other. Thus the harmony emerges from the melody, rising up to the colourful treble strings and then settling back to a bass ostinato, when the two instruments become one. See Perusal Score.
Music for Voice
For more information on our catalogue and our full library of perusal scores, click below or search 'McGonigal' on www.SheetMusicDirect.com
A Ukrainian Haven In Ireland (Tenor, Piano) 2'
In 2021, thousands of Ukrainians fled the war and found peace in Ireland, their welcome contrasting their pain of leaving behind a life with friends and family. A Ukrainian Haven In Ireland welcomes with the Swallowtail Jig over which the singer mourns the loss of his love and his country. It is a joyful song, wearing a smile against tragedy. See Perusal Score.
Autumn Hawk (Baritone, Piano) 1'30''
An elegant setting of a beautiful poem by Euan Tait. The piano captures the sparkle of the raptors overhead as the singer poses questions of love and friendship. The question is answered in the harmony of singer and pianist. See Perusal Score.
Autumn Hawk (Soprano, Piano) 1'30''
An elegant setting of a beautiful poem by Euan Tait. The piano captures the sparkle of the raptors overhead as the singer poses questions of love and friendship. The question is answered in the harmony of singer and pianist. See Perusal Score.
Dialogues With Ancestors (Tenor, Piano) 19'
Dialogues With Ancestors is the result of working with tenor Rafael Montero, a native Latin American who founded El Parnasso to celebrate indigenous South American music. Dialogues With Ancestors is a dialogue between pre-colonial South American culture and contemporary Europe. The song cycle, for tenor and piano, takes us from Nature, through Love, Loss and Justice to Peace. Eleven indigenous songs are the starting point for an evocative duo between tenor and piano, beginning with Wik'unita, marking the wild exuberance of the South American lama, ending with the beautiful serenity of Kkochus al Espíritu Santo. The climax comes with Kkochu al Machula de Tuana, the angry god who seeks vengeance, met with the powerful plainchant Dies Irae. Dialogues With Ancestors will be premiered in Cologne on 4 October 2024, by tenor Rafael Montero and Ukrainian pianist Anastasiia Haisiuk. See Perusal Score.
La Fleur des Eaux (Tenor, Orchestra) 6'40''
La Fleur des Eaux is inspired by Chanson's setting of Le Temps des Lilas, both evocative poems by Maurice Bouchor. It has the same scoring as the Chanson - tenor and orchestra - and it plays on the excitement of love coming with the waves, followed by the grief of losing love as the waters recede. The orchestra provides paints a colourful and emotive backdrop to the singer's journey. It was written for tenor Dominic Bevan who premiered it at the Leonardslee Proms with the Bernardi Music Group conducted by the composer. Scored for tenor, 1211 2200 strings. See Perusal Score.
La Fleur des Eaux (Tenor, Piano) 6'40''
La Fleur des Eaux is inspired by Chanson's setting of Le Temps des Lilas, both evocative poems by Maurice Bouchor. It has the same scoring as the Chanson - tenor and orchestra or piano - and it plays on the excitement of love coming with the waves, followed by the grief of losing love as the waters recede. The piano paints a colourful and emotive backdrop to the singer's journey. It was written for tenor Dominic Bevan who premiered it at the Leonardslee Proms with the Bernardi Music Group conducted by the composer. See Perusal Score.
La Mort des Amants (Soprano, Alto, Piano) 1'30''
La Mort des Amants is a wedding piece written for Dr Richard Longman and Dr Helen Abbott, who is an expert on the musical settings of Baudelaire. It is a simple piece reflecting Baudelaire's poem of love. It is set for soprano, alto and piano. See Perusal Score.
Mathilde (Soprano, String Quartet) 15'
Mathilde is a micro opera, taking inspiration from the words of poet Euan Tait. It tells the story of Mathilde Schoenberg, her husband Arnold and the love of her life, painter Richard Gerstl. The opera opens with Mathilde's loneliness, with joy and then love entering the music as Richard enters her life. The central aria is a love song between the two lovers. It ends in tragedy as their love is discovered and the final lament is reminiscent of Dido's great lament for her lost love. The quartet parts interweave and play with each other. The big melodies are shared between the parts and the dramatic moments capture the audience. Written in a polymodal style, the seven scenes carry the listener from dullness, through ecstatic love to the mourning of a great loss. The story is heard through Mathilde's voice, singing of Richard's inspiration to Arnold and her own love for Richard. Mathilde was commissioned by Pat Halling and premiered by his Quartet Promusica on 26 September 2018. The audience was enthralled. See Perusal Score.
No Me Mueve (Voice, Piano) 3'15''
No Me Mueve is a religious sonnet. Perhaps an oxymoron. We can't imagine Shakespeare's sonnets having a religious angle. But it's a beautiful love song, celebrating unconditional love. It was certainly inspired by St John of Avila. We don't know who wrote it but the style points to late 16thC Spain, probably Jesuit. It was first published in 1628. This setting marries the chanting of the voice with harmonic poetry of the piano. Each verse (4, 4, 3, 3) has a slightly different treatment. The final coda captures the essence of the poem, te amara, I love you. See Perusal Score.
Pachamama Regina Caeli (Tenor, Guitar) 5'15''
There's musical unfinished business here. Colonisation of South America suppressed indigenous music. Pachamama Regina Caeli celebrates both indigenous and European cultures side by side in a diptych. It starts with two ancient melodies, one to Pachamama, the Mother Earth who provides everything, the other to Mary, Mother of God. These two themes grow into a celebration for the tenor and baroque guitar to enjoy the shared melodies, harmonies and rhythms. The two musicians work in canon and counterpoint, responding to the joy of the musical lines. See Perusal Score.
Singing Our Fire (2 Sopranos, Piano) 2'
Singing Our Fire celebrates the beauty of friendship. The two sopranos delight in the sheer joy of their friendship with soaring melodies, cascading scales and glorious harmonies. Euan Tait's poetic words come to life in wonderful exuberance. Singing Our Fire was written for Janet Oates, Felicity Hayward and Toby Carr as part of the Theorbo Today project. Originally written for two sopranos and theorbo, I have arranged it here for two sopranos and piano. See Perusal Score.
Singing Our Fire (2 Sopranos, String Quartet) 2'
Singing Our Fire celebrates the beauty of friendship. The two sopranos delight in the sheer joy of their friendship with soaring melodies, cascading scales and glorious harmonies. Euan Tait's poetic words come to life in wonderful exuberance. Singing Our Fire was written for Janet Oates, Felicity Hayward and Toby Carr as part of the Theorbo Today project. Originally written for two sopranos and theorbo, I have arranged it here for two sopranos and string quartet. See Perusal Score.
Singing Our Fire (2 Sopranos, Theorbo) 2'
Singing Our Fire celebrates the beauty of friendship. The two sopranos delight in the sheer joy of their friendship with soaring melodies, cascading scales and glorious harmonies. Euan Tait's poetic words come to life in wonderful exuberance. Singing Our Fire was written for Janet Oates, Felicity Hayward and Toby Carr as part of the Theorbo Today project. See Perusal Score.
Unknown Sounds (Soprano Solo) 3'30''
Written for soprano and composer, Janet Oates, Unknown Sounds reflects on the beauty and mystery of the music not yet heard. Searching for the unknown sounds, the singer creates beauty in the melodic lines, overlaid to bring in tonal depth and harmonic movement. This is one of a series of pieces for sopranos (solo and ensemble). See Perusal Score.
You Are An Alleluia (Soprano, Piano) 2'30''
You Are An Alleluia was written for Morcia and perfectly captures her ebullient character and joie de vivre. The soprano soars over a bubbling piano part building to a wonderful climactic extended alleluia at the end. The middle section is a more reflective and affectionate homage to loving friendship. See Perusal Score.
You Are An Alleluia (Soprano, Vln, B.Viol, Hpd) 2'30''
You Are An Alleluia was written for Morcia and perfectly captures her ebullient character and joie de vivre. The soprano soars over a bubbling piano part building to a wonderful climactic extended alleluia at the end. The middle section is a more reflective and affectionate homage to loving friendship. See Perusal Score.
Music for Wind
For more information on our catalogue and our full library of perusal scores, click below or search 'McGonigal' on www.SheetMusicDirect.com
A Minute For Three (3 Bassoons) 1'
Written for Laurence Perkins during the Covid lockdown, this is a cheeky little piece to cheer everyone up. It can also be played as a solo (first bassoon part). See Perusal Score.
Ceci N'Est Pas Un Oiseau (Flute Solo) 3'10''
Having discovered that audiences invariably associate the flute with birds, James Brinkmann challenged composers to write a solo piece that overturns that pre-conception. Ceci N'Est Pas Un Oiseau is the answer, a lyrical work where the single line creates harmonies, especially in the warm tones in the lower register of the instrument. See Perusal Score.
Chapman's Pool (3 Bassoons) 4'
Written for Laurence Perkins, Chapman's Pool is a beautiful, serene melody accompanied by the other two bassoons with gentle, overlapping waves. It is inspired by Chapman's Pool, a beautiful haven on the Isle of Purbeck in Dorset, England. See Perusal Score.
Chazal (Clarinet Solo) 4'
Written for Vittoria Ecclesia, Chazal plays with the three distinct sounds of the early clarinet. Vittoria was researching the performance possibilities of the early 19thC Müller clarinet. The lowest register, the chalumeau, has a dark, woody sound. The middle register is called the clarion because of its similarity with the trumpet. The highest register is the altissimo, which has a pure, sweet tone, perfect for the lyrical melodic themes in Chazal. Polymodal in style, the monody creates a three part texture between the three timbres, even though there is obviously no polyphonic writing. It takes its name, Chazal, from the metro stop in Brussels where the sketches were written en route to a New Year's Eve party! See Perusal Score.
Cirque de Neige (5 Parts, Flexible) 3'30''
Cirque De Neige celebrates the thrill and awe of the mountains. Chamonix is surrounded by mountains, dominated by Mont Blanc with its snow dome a permanent feature all year round. The town band adds musical colour to this magnificent setting. This arrangement for brass quartet captures the joy and exhilaration of the mountain landscape. See Perusal Score.
Cirque de Neige (Wind Band) 3'30''
Cirque De Neige celebrates the thrill and awe of the mountains. Chamonix is surrounded by mountains, dominated by Mont Blanc with its snow dome a permanent feature all year round. The town band adds musical colour to this magnificent setting. This arrangement for brass quartet captures the joy and exhilaration of the mountain landscape. See Perusal Score.
Cirque de Neige (Wind Band) 3'30''
Cirque De Neige celebrates the thrill and awe of the mountains. Chamonix is surrounded by mountains, dominated by Mont Blanc with its snow dome a permanent feature all year round. The town band adds musical colour to this magnificent setting. This arrangement for brass quartet captures the joy and exhilaration of the mountain landscape. Scored for trumpet, horn, trombone, tuba. See Perusal Score.
Four And A Bit (Clarinet Quartet) 2'
Four And A Bit is a chirpy piece where the melody passes between all four parts, against a simple, rhythmic riff. See Perusal Score.
Four And A Bit (Flute Quartet) 2'
Four And A Bit is a chirpy piece where the melody passes between all four parts, against a simple, rhythmic riff. See Perusal Score.
Four And A Bit (Sax Quartet AAAA) 2'
Four And A Bit is a chirpy piece where the melody passes between all four parts, against a simple, rhythmic riff. See Perusal Score.
Four And A Bit (Sax Quartet AAAT) 2'
Four And A Bit is a chirpy piece where the melody passes between all four parts, against a simple, rhythmic riff. See Perusal Score.
Four And A Bit (Sax Quartet AATT) 2'
Four And A Bit is a chirpy piece where the melody passes between all four parts, against a simple, rhythmic riff. Scored for trumpet, horn, trombone, tuba. See Perusal Score.
Hall of Mirrors (8 Recorders) 7'20'
Hall Of Mirrors has three short movements played without a break (although they could be played separately if desired). The opening fast movement has a minimalist feel with the recorders dancing around each other. The central slow movement is a beautiful long tune, arching over a pulsing accompaniment. The final movement is a fast fugue, full of energy, with stretto, augmentation and inversion. It ends with a short reference to the slow movement melody. It is best suited to professional or advanced amateur players, although it sounds harder than it actually is to play. Scored for 8 recorders - 2 soprano, 2 alto, 2 tenor and 2 bass. See Perusal Score.
Musical Offering (Oboe, Clarinet, Bassoon) 5'
Three musicians playing beautiful melodies and then improvising over a lively accompaniment. Each player has their own melody while the other two instrumentalists provide a rhythmic base. The piece explores different modes and allows the players to embellish to suit their own playing style. Duration 5' - 7' (depending on the length of the improvised solos). See Perusal Score.