File contains the performance notes and percussion parts for sections 3, 4, and 7 of the composition. The percussion is tacet in Parts 2 and 6, and there is a note on the folder from Jim F[araday], a percussionist with Upstream, indicating that he took parts 1 and 5 from the folder at some point. Because of the graphic notation in parts 3 and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.
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 is a black and white copy of the full score for part 7 of Nasca Lines in mixed standard notation and graphic notation. This section of the composition revisits material from parts 2, 4, and 6, and includes representations of flashcards used by the conductor, including Veto A, B, and C and flashcards indicating various improvisational styles.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
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 contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
File contains the performance notes and second violin parts for all sections of the composition except part 3A where the second violin is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece.
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 black and white copy of the full score for part 7 of Nasca Lines in mixed standard notation and graphic notation. This section of the composition revisits material from parts 2, 4, and 6, and includes representations of flashcards used by the conductor, including Veto A, B, and C and flashcards indicating various improvisational styles. Two sections from the string parts of part 2 of Nasca Lines have been taped over the score and an extra copy of page 13 of part 2 is also included.
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 black and white copy of the full score for part 7 of Nasca Lines in mixed standard notation and graphic notation. This section of the composition revisits material from parts 2, 4, and 6, and includes representations of flashcards used by the conductor, including Veto A, B, and C and flashcards indicating various improvisational styles. Two sections from the string parts of part 2 of Nasca Lines have been taped over sections of the score.
Item contains a copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
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 black and white copy of the full score for Nasca Lines in graphic notation. The score includes representations of flashcards used by the conductor in this part, including VETO A, B, and C and flashcards indicating different improvisational styles.
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 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 copy of the performance notes for Nasca Lines, including an inserted page of additional notes. The performance notes include instructions for each of the seven sections of the piece; a description of the composition; and diagrams of the orchestra and percussion performance layouts.
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 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 black and white copy of the full score for part 7 of Nasca Lines in mixed standard notation and graphic notation. This section of the composition revisits material from parts 2, 4, and 6, and includes representations of flashcards used by the conductor, including Veto A, B, and C and flashcards indicating various improvisational styles. The score was used by the guitarist for the premiere performance.
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 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 the soprano saxophone part for part 6 of Nasca Lines in standard notation. The majority of this part is improvised with basic directives from the composer, e.g. "more fragmented" or "pitch free."
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 is a black and white copy of the full score for part 7 of Nasca Lines in mixed standard notation and graphic notation. This section of the composition revisits material from parts 2, 4, and 6, and includes representations of flashcards used by the conductor, including Veto A, B, and C and flashcards indicating various improvisational styles.
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 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 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 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. This score was used by the electric bass player in the premiere performance.
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 the electric bass part for part 6 of Nasca Lines used in the premiere performance. This part is entirely improvised with some basic directives from the composer, e.g. "pitch free" and "more fragmented."
Item is a black and white copy of the full score for part 7 of Nasca Lines in mixed standard notation and graphic notation. This section of the composition revisits material from parts 2, 4, and 6, and includes representations of flashcards used by the conductor, including Veto A, B, and C and flashcards indicating various improvisational styles. This score was used by the electric bassist in the premiere performance.
File contains a copy of the performance notes and a complete score for the drummer, with the exception of part 2, page 1 of part 3, and part 4 where s/he is tacit. Part 1 is also not included in Upstream's Music Score Library as the drum player took this part, as indicated in a note on the front cover of the drum folder. Because of the graphic notation in parts 1, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3).
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.
Item is a black and white copy of the full score for part 7 of Nasca Lines in mixed standard notation and graphic notation. This section of the composition revisits material from parts 2, 4, and 6, and includes representations of flashcards used by the conductor, including Veto A, B, and C and flashcards indicating various improvisational styles. The score was used by the drummer in the premiere performance.
File contains correspondence regarding Upstream Music Association's application to the Classical Contemporary/ New Music Organizations Program; Residencies and Commissioning of Canadian Compositions Program; and New Music Program: Targeted Initiatives program.
Item is a poster advertising a concert featuring Upstream Ensemble held at Denton Hall, Acadia University on December 1, 2001 and again at Saint Mary's University Art Gallery on December 2, 2001.
Item is a graphic representation of the condor geoglyph from the Nazca Desert, Peru. The conductor implements this flashcard in part 5 of the composition to indicate that an instrument group (string quintet, percussion, voice, sax quartet, or wind quintet) should attempt to mimic or follow the improvisations of their fellow musicians. The flashcard is double-sided.
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![Nasca lines : part 2 : [full score]](/uploads/r/dalhousie-university-archives/e/4/e/e4e7ababa1cd8b89188acb969090e998f605dfc324a90235c1e1fed7e9204a77/MS-5-16_OS11_3_access_142.jpg)
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![Nasca lines : part 7 : [full score]](/uploads/r/dalhousie-university-archives/5/1/f/51fd12d326a4120e3b49738b3b98489bdc156f0ebb168e4e08a6dec6e7497af7/MS-5-16_OS13_8_access_142.jpg)
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![Nasca lines : part 3A : [full score]](/uploads/r/dalhousie-university-archives/9/b/1/9b1f934063f0364d571cc970b4df09f11283fbab9c37424fec85bf9ce7aaba91/MS-5-16_OS18_5_access_142.jpg)
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![Nasca lines : part 3 : [saxophone quartet]](/uploads/r/dalhousie-university-archives/7/4/4/7444a72422add58d82c222fb2abc52d50f858c130c1186e8d93ff6af05c1be14/MS-5-16_OS20_4_access_142.jpg)
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![Upstream Music Association presents : Tightening the traces : [poster]](/uploads/r/dalhousie-university-archives/e/2/f/e2ffcd0e7f8d7736fbaddba56e7811cd7c546100f4feb09481d2a0cb5daa12ca/9f7f4d18-155f-489b-883e-ecd41c530114-MS-5-16_OS25_004_142.jpg)
