The 5/8 metre is returned to later in the piece when the ‘Love Our Light’ theme is restated. The Stuart piano and vibraphone also improvise on elemental – environmental subjects. Sonorous bi-tonal triadic clusters are improvised over the distinctive indigenous communicative phrase adopted by the Europeans ‘coo-ee’. The Coo-ees are sung by the European singers.

Re-composed Barrabul-la chant

Score: mm. 53-64; Studio rec: 4:39 ; Live performance footage: 04:42

Piano & Vibraphone improvisation
Score: mm. 65 Studio rec: 05:57 Live performance footage: 05:48
The improvisation of the piano and vibraphone is agitated, and leads to a dissonant bi-tonal triadic cluster chord , of two disparate keys, Eb and E major. This pre-empts the sounding of Bennelong’s Barrabul-la chant transcription of (1793). The sound of the Stuart piano sustaining the Eb major triad over an E major triad combines with the vibraphone, and holds a suspended stable sustain of the dissonance. The Eb & E cluster is used to accompany the original chant Barrabul-la.

Barrabul-la chant transcription.
Score: mm. 69 Studio rec: 06:27 Live performance footage: 06:17
The Edward Jones’s transcription of the Barrabul-la chant as sung by Woollarawarre Bennelong and his young kinsman Yemmerawanne in 1793 is sung in the studio recording of Ancient & New by the male European singers starting at mm.5 of the Collins transcript. The piano accompaniment of the chant melody consists of four sustained double triad chords. The dissonance of the accompaniment chords is compounded further when the female European singers join in. (mm.77; std.rec 6:56; perf 6:43)

Traditional chant Chant Score: mm.98 Studio rec: 06:27 Live performance footage: 07:43
Pierre-Francis Bernier’s transcription of Chant in Sydney harbour in 1802, is sung by the female European singers. The notated Chant is set chorally more harmoniously than Barrabul-la in Ancient & New, and followed by a tranquil improvisation on the Stuart piano, at mm.106; 09:18 rec, and 08:56 in the live performance.

‘Love Our Light’ Score: mm.109 Studio rec: 06:27 Live performance footage: 10:07
T metre of 5/8 introduces a European spiritual aspect of ‘light’, sung by supernatural beings. As this theme develops, clapping sticks are added to the theme at mm.163.

Harry’s (Coorangie) Chant mm.166 Std.rec: 09:32 perf 11:52
Harry’s chant transcribed by Barron Field in Sydney and published in 1822, is blended with the Love Our Light Christian theme. The chant melody is played in the left hand, whilst the right hand plays the main melodic riff of the Love Our Light theme. Harry’s Chant is played as a solo piano piece in the studio recording and sung by Clarence Slockee in the live performance.