Barrabul-la Voices part 2. Score: mm.1- 67. Studio rec: 4:05;

Brenda Gifford plays the Barrabul-la chant melody in a similar mood and tempo to the vocal interpretation in prt.1. Brenda, an Indigenous Yuin nation woman, describes her saxophone as a ‘women’s didge’. In the second section of part two (mm.40- 62) the saxophone accentuates sounds didgeridoo-like tones in low registers.

The Barrabul-la chant is re-composed into a 6/4 metre (mm.38; std.rec 1:53) In the metre of 6, the text has natural syllabic rhythm:

The descending chant melody is re-composed into the lydian mode (mm.52; std rec. 3:07). The Barrabul-la chant sounds relaxed, calm even romantic in the lydian mode.

Guyanaylung Bayui (No.4)

Score: mm.1- 44; Studio rec: 7:26 ; Live performance: 6:27

Guyanaylung Bayui is an improvisation on the composed musical statements in the previous pieces of the Yabun Yaguna, Wuganmagulya series. The three Sydney chants are not sung from the transcriptions, but rather are improvised by singer Richard Green. Richard has given this piece its title, Guyanaylung Bayui, which means ‘the old people and our future’. His spoken words in each performance generally describe natural elements of the environment and the change when the large canoes mari nawi of the first fleet started arriving in Sydney Harbour in 1788.

The score for Guyanaylung Bayui consists of musical cues for each improvised section, notated in the order they appear in the performance. The cued sections are the musical themes previously heard in songs 1-3. The tempos and harmony are set in the score, though variations in the harmony occur in each performance. The durations, pitch and text of each section changes with each performance of Guyanaylung Bayui .The musical imagery in Guyanaylung Bayui is similar to pieces 1-3 in Yabun Yaguna, Wuganmagulya series.

Cue 1: mm. 1- 6 The environmental imagery of song No 1 Ancient & New is repeated in Guyanaylung Bayui with the extreme ranges of the Stuart piano create the natural, abstract ambience. The setting up