Item is a copy of the score used by the accompanying instruments (clarinet, bassoon, tenor sax, baritone sax, bass clarinet, electric bass, electric guitar, double bass, and synthesizer) for part 2 of Nasca Lines, in graphic notation.
Item is a copy of the score used by the accompanying instruments (clarinet, bassoon, tenor sax, baritone sax, bass clarinet, electric bass, electric guitar, double bass, and synthesizer) for part 2 of Nasca Lines, in graphic notation.
Item is a copy of the score used by the accompanying instruments (clarinet, bassoon, tenor sax, baritone sax, bass clarinet, electric bass, electric guitar, double bass, and synthesizer) for part 2 of Nasca Lines, in graphic notation.
Item is a copy of the score used by the first violinist, Mark Fewer, for part 2 of Nasca Lines, in mixed graphic and standard notation. Sections of notated music are interspersed with improvised moments, and the violinist employs extended techniques like circular bowing.
Item is a complete conductor's score for part 2 of Nasca Lines, featuring a string quartet and voice, with occasional contributions from the rest of the orchestra. Part 2 begins with approximated pitches and rhythms, where each instrument's part is written in relation to two outer staff lines and rhythmic values are relational (i.e. no clear metric structure). Some specific pitches are given starting on page 6 and five-line staves are used on pages 10 to 13 and 16. Sections of notated music are interspersed with improvised moments, and the string and wind instruments use extended techniques like circular bowing and multiphonics.
Item is a copy of the full score for part 2 of Nasca Lines, in mixed graphic and standard notation. The voice part is entirely improvised in this section, with some basic directives from the composer, e.g. "react to st[ring] qu[artet] articulations."
Item is a copy of the score used by the second violinist for part 2 of Nasca Lines, in mixed graphic and standard notation. Sections of notated music are interspersed with improvised moments, and the violinist employs extended techniques like circular bowing.
Item is a copy of the score used by the violist for part 2 of Nasca Lines, in mixed graphic and standard notation. Sections of notated music are interspersed with improvised moments, and the violist employs extended techniques like circular bowing. A section of the viola part from page 13 is taped to the top of page 14 and below the viola line on page 16.
Item is a copy of the score used by the cellist for part 2 of Nasca Lines, in mixed graphic and standard notation. Sections of notated music are interspersed with improvised moments, and the cellist employs extended techniques like circular bowing.
Item contains a colour copy of the score used by the wind quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured yellow for the wind quintet.
Item contains a colour copy of the score used by the wind quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured yellow for the wind quintet.
Item contains a colour copy of the score used by the wind quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured yellow for the wind quintet.
Item contains a colour copy of the score used by the wind quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured yellow for the wind quintet.
Item contains a colour copy of the score used by the wind quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured yellow for the wind quintet.
Item is a complete conductor's score for part 3 of Nasca Lines, in graphic notation. The conductor uses the score in conjunction with coloured flashcards associated with each instrument group (string quintet; wind quintet; saxophone quartet; and percussion, synth, and guitar trio). These flashcards are lost and not part of the Music Score Library. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre. Some of the pages are in colour.
Item is the graphic notation score used by the rhythm section for part 3 of Nasca Lines. The score was used by the drummer for the premiere performance. As the drums are tacet for the first page, this page is not included.
Item contains a colour copy of the score used by the rhythm section for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured green for the rhythm section. This copy of the score was used by [Jim Faraday] for the premiere performance.
Item contains a colour copy of the score used by the rhythm section for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured green for the rhythm section.
Item contains a colour copy of the score used by the rhythm section for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured green for the rhythm section.
Item contains a colour copy of the score used by the saxophone quartet (including the bass clarinet) for part 3 of Nasca Lines in graphic notation. The score lists the players by name, rather than instrument: Don Palmer [alto or soprano saxophone], Paul Cram [tenor saxophone], Dawn Hatfield [baritone saxophone], and Jeff Reilly [bass clarinet]. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured red for the saxophone quartet.
Item contains a colour copy of the score used by the saxophone quartet (including the bass clarinet) for part 3 of Nasca Lines in graphic notation. The score lists the players by name, rather than instrument: Don Palmer [alto or soprano saxophone], Paul Cram [tenor saxophone], Dawn Hatfield [baritone saxophone], and Jeff Reilly [bass clarinet]. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured red for the saxophone quartet.
Item contains a colour copy of the score used by the saxophone quartet (including the bass clarinet) for part 3 of Nasca Lines in graphic notation. The score lists the players by name, rather than instrument: Don Palmer [alto or soprano saxophone], Paul Cram [tenor saxophone], Dawn Hatfield [baritone saxophone], and Jeff Reilly [bass clarinet]. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured red for the saxophone quartet.
Item contains a colour copy of the score used by the saxophone quartet (including the bass clarinet) for part 3 of Nasca Lines in graphic notation. The score lists the players by name, rather than instrument: Don Palmer [alto or soprano saxophone], Paul Cram [tenor saxophone], Dawn Hatfield [baritone saxophone], and Jeff Reilly [bass clarinet]. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured red for the saxophone quartet.
Item contains a colour copy of the score used by the string quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured blue for the string quintet.
Item contains a colour copy of the score used by the string quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured blue for the string quintet.
Item contains a colour copy of the score used by the string quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured blue for the string quintet.
Item contains a colour copy of the score used by the string quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured blue for the string quintet.
Item contains a colour copy of the score used by the string quintet for part 3 of Nasca Lines in graphic notation. The graphic notation is taken from an aerial representation of an area of the Nazca Desert in Peru, featuring the condor geoglyph in the centre and coloured blue for the string quintet.
Item is a complete conductor's score for part 3A of Nasca Lines, a vocal cadenza, in graphic notation. A rectangle in the centre of the score features the same image as part 3, an aerial representation of an area of the Nazca Desert in Peru with the condor geoglyph in the middle. Radiating outward from the central rectangle are seven sections, each featuring a graphical representation of one of the Nazca Lines geoglyphs and phrases from Alan Davie's texts and/or a tone row. The geoglyphs included are the hands, pelican, spider, monkey, condor, and two unidentified glyphs.
Item is a black and white copy of the full score for part 3A of Nasca Lines in graphic notation. A rectangle in the centre of the score features the same image as part 3, an aerial representation of an area of the Nazca Desert in Peru with the condor geoglyph in the middle. Radiating outward from the central rectangle are seven sections, each featuring a graphical representation of one of the Nazca Lines geoglyphs and phrases from Alan Davie's texts and/or a tone row. The geoglyphs included are the hands, pelican, spider, monkey, condor, and two unidentified glyphs. Item also includes a copy of the five tone rows used in this part of the composition, extracted from the full score.
Item is a copy of the full score for part 3A of Nasca Lines in graphic notation. A rectangle in the centre of the score features the same image as part 3, an aerial representation of an area of the Nazca Desert in Peru with the condor geoglyph in the middle. Radiating outward from the central rectangle are seven sections, each featuring a graphical representation of one of the Nazca Lines geoglyphs and phrases from Alan Davie's texts and/or a tone row. The geoglyphs included are the hands, pelican, spider, monkey, condor, and two unidentified glyphs. Item also includes a copy of the five tone rows used in this part of the composition, extracted from the full score.
Item is a copy of the full score for part 3A of Nasca Lines in graphic notation, with annotations by the guitarist for the premiere performance. Item also includes a copy of the five tone rows used in this part of the composition, extracted from the full score. Item also includes a copy of the five tone rows used in this part of the composition, extracted from the full score.
Item is a black and white copy of the full score for part 3A of Nasca Lines in graphic notation. A rectangle in the centre of the score features the same image as part 3, an aerial representation of an area of the Nazca Desert in Peru with the condor geoglyph in the middle. Radiating outward from the central rectangle are seven sections, each featuring a graphical representation of one of the Nazca Lines geoglyphs and phrases from Alan Davie's texts and/or a tone row. The geoglyphs included are the hands, pelican, spider, monkey, condor, and two unidentified glyphs. Item also includes a copy of the five tone rows used in this part of the composition, extracted from the full score.
Item is a black and white copy of the full score for part 3A of Nasca Lines in graphic notation. A rectangle in the centre of the score features the same image as part 3, an aerial representation of an area of the Nazca Desert in Peru with the condor geoglyph in the middle. Radiating outward from the central rectangle are seven sections, each featuring a graphical representation of one of the Nazca Lines geoglyphs and phrases from Alan Davie's texts and/or a tone row. The geoglyphs included are the hands, pelican, spider, monkey, condor, and two unidentified glyphs. Item also includes a copy of the five tone rows used in this part of the composition, extracted from the full score.
Item is the tenor saxophone part for part 4 of Nasca Lines in standard notation. Item includes a copy of the last page of the full score of part 4, which has graphic notation.
Item is the tenor saxophone part for part 4 of Nasca Lines in standard notation. Item includes a copy of the last two pages of the full score of part 4 in graphic notation.
Item contains the bassoon part for part 4 of Nasca Lines in standard notation. The bassoon part includes microtones. Item also includes a copy of the last two pages of the full score for part 4, which have graphic notation.
Item contains the clarinet part for part 4 of Nasca Lines in standard notation. The clarinet part features extended techniques, including quarter tones and multiphonics, and has frequent meter changes. Item also includes a copy of the last two pages of the full score for part 4, which have graphic notation.
![Nasca lines : part 2 : [accompanying instruments]](/uploads/r/dalhousie-university-archives/4/2/9/4293dfc89ce539eed02bd9e04cd6fb365a1e77143ed634f0c784542553b6b142/MS-5-16_OS16_3_access_142.jpg)
![Nasca lines : part 2 : [accompanying instruments]](/uploads/r/dalhousie-university-archives/f/d/8/fd8eb787ee53b292071274d29658f14caab614556c9edc4099689a1e37c9eb3d/MS-5-16_OS10_3_access_142.jpg)
![Nasca lines : part 2 : [accompanying instruments]](/uploads/r/dalhousie-university-archives/7/7/2/772b92724a72b1a704157e7626489ae60c31ac850bed99049b62e2e73568cb07/MS-5-16_OS20_3_access_142.jpg)
![Nasca lines : part 2 : [full score]](/uploads/r/dalhousie-university-archives/9/8/8/98800a042e13ca377f01ec5ca5c287d26c5a87ab4ba10ffe9128465c069b3ac1/MS-5-16_OS12_3_access_142.jpg)
![Nasca lines : part 2 : [full score]](/uploads/r/dalhousie-university-archives/3/b/c/3bc20363bf8b8e2e6603904ed4137484bab44d6c66b1b82f713bacbe03f27182/MS-5-16_OS3_12_access_142.jpg)
![Nasca lines : part 2 : [full score]](/uploads/r/dalhousie-university-archives/e/4/e/e4e7ababa1cd8b89188acb969090e998f605dfc324a90235c1e1fed7e9204a77/MS-5-16_OS11_3_access_142.jpg)
![Nasca lines : part 2 : [full score]](/uploads/r/dalhousie-university-archives/4/b/9/4b96eb2dc6cc8bac9ea5841fc267a60b6d513ae5321771815b40b7c33f6f548b/MS-5-16_OS13_3_access_142.jpg)
![Nasca lines : part 2 : [full score]](/uploads/r/dalhousie-university-archives/e/e/8/ee803905ed50c25a1afe3859c7e94de717d53b6816ad3534c9e9931c118cefe2/MS-5-16_OS14_3_access_142.jpg)
![Nasca lines : part 2 : [full score]](/uploads/r/dalhousie-university-archives/9/b/9/9b929e9898def7e33890e2a929a20766212663c62e67a83c8b799e5b1d53baa4/MS-5-16_OS15_3_access_142.jpg)
![Nasca lines : part 3 : [full score]](/uploads/r/dalhousie-university-archives/0/b/e/0be2f2425c4a9ee5034b8c6b13d4e099381d8209f0e659670d35295522df9bce/MS-5-16_OS3_13_access_142.jpg)
![Nasca lines : part 3 : [saxophone quartet]](/uploads/r/dalhousie-university-archives/9/2/3/9237dd7d1c171b482b517a268d006cdcb79bc39612b54b2e5785cad8954519a6/MS-5-16_OS19_3_access_142.jpg)
![Nasca lines : part 3 : [saxophone quartet]](/uploads/r/dalhousie-university-archives/7/4/4/7444a72422add58d82c222fb2abc52d50f858c130c1186e8d93ff6af05c1be14/MS-5-16_OS20_4_access_142.jpg)
![Nasca lines : part 3 : [saxophone quartet]](/uploads/r/dalhousie-university-archives/2/3/8/23876e18b3645d619fbfa0778d434287c6bace74da306fc79ae4630e676e5055/MS-5-16_OS21_4_access_142.jpg)
![Nasca lines : part 3 : [saxophone quartet]](/uploads/r/dalhousie-university-archives/a/9/6/a96b489ca32bba87045dd0644afbeb23d74a096212ed56f5668ab06ed22d6801/MS-5-16_OS22_4_access_142.jpg)
![Nasca lines : part 3A : [alto saxophone in E-flat and soprano saxophone in B-flat]](/uploads/r/dalhousie-university-archives/6/6/4/664205322a35ed91a42f7e319fceb2055d95bc5ec0eb9d1e630d209574d7640b/MS-5-16_OS19_4_access_142.jpg)
![Nasca lines : part 3A : [full score]](/uploads/r/dalhousie-university-archives/d/e/3/de34baf43520d7ca9acdef5a343cbb30d4b2378310eae8b48eaadcf807a63474/MS-5-16_OS3_14_access_142.jpg)
![Nasca lines : part 3A : [full score]](/uploads/r/dalhousie-university-archives/6/f/d/6fde65159c5c0f75d16a8f3e2dd6cd15dfe405b6b0973f64d1cd8ad29661db5d/MS-5-16_OS4_4_access_142.jpg)
![Nasca lines : part 3A : [full score]](/uploads/r/dalhousie-university-archives/4/7/3/4736d8fe2cd6c6579e19af4c2f05a8d08f10e7cceec011950c7894dc697a68da/MS-5-16_OS7_5_access_142.jpg)
![Nasca lines : part 3A : [full score]](/uploads/r/dalhousie-university-archives/9/b/1/9b1f934063f0364d571cc970b4df09f11283fbab9c37424fec85bf9ce7aaba91/MS-5-16_OS18_5_access_142.jpg)
![Nasca lines : part 3A : [full score]](/uploads/r/dalhousie-university-archives/3/2/e/32e7595a9fd51148a602a6db79a30020c272b9cbdfa41502db2a78ce1d313f58/MS-5-16_OS6_5_access_142.jpg)
![Nasca lines : part 3A : [full score]](/uploads/r/dalhousie-university-archives/e/9/6/e961aa29c02be249f5af5799c4ddfe450a469986a9d3dd13936fe084c429cc07/MS-5-16_OS5_4_access_142.jpg)
