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.
Item contains the flute part for part 4 of Nasca Lines in standard notation. Item also includes a copy of the last two pages of the full score for part 4, which have graphic notation. The flute part features extended techniques, including quarter tones and multiphonics, and has frequent meter changes.
Item is a complete conductor's score for part 4 of Nasca Lines, predominantly in standard notation with the exception of the last two pages, which are in graphic notation. Part 4 uses pitch-class set sequences and features the wind ensemble (flute, oboe, clarinet, trumpet, and bassoon) with significant inputs from piano and percussion. The time signatures change regularly and include some mixed meters.
Item contains the oboe part for part 4 of Nasca Lines in standard notation. The oboe part features extended techniques, including quarter tones and multiphonics, and has frequent meter changes.
Item contains the percussion part for part 4 of Nasca Lines in standard notation. Item also includes a copy of the last two pages of the full score for part 4, which have 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 second violin part for part 4 of Nasca Lines in mixed standard and graphic notation. Item also includes a copy of the second last page of the score for part 4 in graphic notation.
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (yellow for the wind quintet) and flashcards that indicate improvisational styles via graphic representations of geoglyphs from the Nazca Desert, Peru. The score also features phrases from Alan Davies' texts.
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (yellow for the wind quintet) and flashcards that indicate improvisational styles via graphic representations of geoglyphs from the Nazca Desert, Peru. The score also features phrases from Alan Davies' texts. «
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (blue for the string quintet) and flashcards that indicate improvisational styles via graphic representations of geoglyphs from the Nazca Desert, Peru. The score also features phrases from Alan Davies' texts.
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (yellow for the wind quintet) and flashcards that indicate improvisational styles via graphic representations of geoglyphs from the Nazca Desert, Peru. The score also features phrases from Alan Davies' texts.
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation used by the guitarist for the premiere performance. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (blue for the string quintet) and flashcards that indicate improvisational styles via graphic representations of geoglyphs from the Nazca Desert, Peru. The score also features phrases from Alan Davies' texts.
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation used by Don Palmer for the premiere performance. Palmer played soprano saxophone in B-flat for this part. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (red for the saxophone quartet) and flashcards that indicate improvisational styles via graphic representations of geoglyphs from the Nazca Desert, Peru. The score also features phrases from Alan Davies' texts.
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation, used by the electric bassist in the premiere performance. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (green for the rhythm section) and flashcards that indicate improvisational styles via graphic representations of geoglyphs from the Nazca Desert, Peru. The score also features phrases from Alan Davies' texts.
Item is a coloured copy of the full score for part 5 of Nasca Lines in graphic notation, used by the drummer in the premiere performance. The score includes representations of the flashcards used by the conductor for this part of the score, including colour flashcards that indicate instrument groups (green for the rhythm section) and flashcards that indicate improvisational styles via graphic representations of geoglyphs from the Nazca Desert, Peru. The score also features phrases from Alan Davies' texts.
![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)
![Nasca lines : part 4 : [full score]](/uploads/r/dalhousie-university-archives/7/e/9/7e9a2e030b2bf286df50e1759cdb848a520d2df18d21ee1b81baba816d01e369/MS-5-16_OS3_15_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/b/d/3/bd3048621a58740a8b45a6c1ace968b4c0aa760df661b1188a5487c66d90c459/MS-5-16_OS7_7_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/8/9/1/89108535f36db6fa8aec15eca84d665284c1f46a64e07737086f7a1b76d3ba6a/MS-5-16_OS8_7_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/3/8/a/38a947f577873c117279a8e3f39d9d784436dfd858ab943522f2598b2c60c811/MS-5-16_OS14_7_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/5/1/e/51e9fcb19bdffda8c27f077f3f5663a2aa78cfe4674a92b83f99c3ab77d9416e/MS-5-16_OS6_7_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/d/1/9/d1965dc30f8944c06a818b3fcd7b33376692f79e0bb30347301e87f12c14ec97/MS-5-16_OS18_7_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/a/1/a/a1a7da5c340582a73ff1691f1773e3975a55b00d742e136bd393dba505ffe703/MS-5-16_OS19_6_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/0/3/d/03de8253cb3071065de4a9fc711658f8e6e1849244030566012232ad3c4b96b8/MS-5-16_OS23_5_access_142.jpg)
![Nasca lines : part 5 : [full score]](/uploads/r/dalhousie-university-archives/f/3/c/f3c12702aae7d56304d68157f56f70149e8086ee13efbbda39babbff4f7fc770/MS-5-16_OS24_5_access_142.jpg)