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UBC Theses and Dissertations

Compositions Olive, Derek Andrew 2003

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COMPOSITIONS by DEREK ANDREW OLIVE B.Mus., McGill University, 2001 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC  in THE FACULTY OF GRADUATE STUDIES (School of Music)  We accept this thesis as conforming to thf Required standard  THE UNIVERSITY OF BRITISH COLUMBIA April 2003 © Derek Andrew Olive 2003  In  presenting  degree freely  at  this  the  thesis  in  partial  fulfilment  University  of  British  Columbia, I agree  available for  copying  of  department publication  this or of  reference and study.  thesis by  this  his  for  scholarly  or  thesis for  her  m  The University of British C o l u m b i a Vancouver, Canada  Date  DE-6 (2/88)  flp.:l 2^  may  representatives.  financial  2Qd^  the  requirements that the  for  an  advanced  Library shall make  I further agree that permission for  purposes  permission.  of  of  It  gain shall not  be  granted  is be  by  the  extensive  head  understood  that  allowed  without  it  of  my  copying  or  my  written  ABSTRACT - MUSIC COMPOSITIONS BY DEREK OLIVE This thesis is a collection of original musical compositions composed over the course of my Masters at U.B.C. THE PERSISTENCE OF BEING (Chamber and Orchestral versions) The basis of this piece is drive and rhythm! The opening sees the slow unfolding of the melody almost note by note, on occasion interrupted by a few darker motives. Under this unfolding is an ever elongating accompaniment in the strings until the melody is freed and the development of the main theme begins. The melody moves in and out of different grooves until we reach the first high point of the piece. After this high point we finally have a moment of stasis, time to catch our breath before we must once again persist on. This time as the momentum builds, however, there is a new theme, but on our trail are some of the darker elements from the first section. Before closing there is a brief moment of calm, a little reflection where many of the melodic elements make a last little appearance before the piece closes with its initial drive and energy. The chamber version was first performed on February 1, 2002 as part of the West Coast Student Composer's Symposium. The symphonic version was performed by the Vancouver Symphony Orchestra on May 29, 2002 for the Jean Coulthard Readings. Following the reading session the Vancouver Symphony commissioned me for a new work for there 2003/04 concert season.  SIX PIECES FOR JAZZ CELLO, GUITAR OR BANJO These pieces were written with jazz cellist Eric Longsworth in mind. I first heard Eric's solo CD in the last year of my undergraduate degree at McGill, it changed my life. His mix of pizzicato and bowed playing cover the gamut, and he acts as bass, cello, and violin in one. Thus I wrote these pieces for Eric and I to perform. The written scores are a mix of a few notational styles, j a z z , classical, and some notational ideas of my own to explain some of the non standard guitar techniques I use. There are large improvisational sections in each work allowing the musicianship of the performer to come through, something that has been lost in classical music. The recording took place in Montreal on June 8, 2002.  STRING QUARTET NO. 1, FIRST MOVEMENT This work was composed with a rhythmic motive I had used in an older piece, The Optimistic Stumble, that I felt needed more development. This rhythmic element that starts the pieces is used throughout and goes through many different transformations. The idea of the piece was to try find a balance between development and repetition that the average listener could follow. The closing section of the first movement is laced with the style of jazz cellist Eric Longsworth that supports the meandering of the closing.  BANJO CONCERTO NO. 1, FIRST MOVEMENT Conceived with the intention of having a final performance by the great banjo player Bela Fleck, this is a draft of the first movement. The idea of the concerto is to show the possibilities for the banjo, an amazing instrument with a beautiful and unique tone. I have found that the banjo is still forced into a category of being an unappealing instrument and wished to try and change this opinion by putting it into a serious environment like a concert hall and calling it a concerto. I also don't take it too seriously as it still is a banjo, strings over a drum head really is rather odd.  iv  TABLE OF CONTENTS Abstract  ii  T a b l e of C o n t e n t s .  iv  THE PERSISTENCE OF BEING (CHAMBER VERSION)  1  THE PERSISTENCE OF BEING (ORCHESTRAL VERSION)  50  SIX PIECES FOR J A Z Z CELLO, GUITAR OR BANJO From Sea to Sky In P u r e E t h e r Pas T r o p M a i s J u s t e A s s e z Counting the Days Stretching the Eyes Under the Horizon.  124 128 131 134 136 140  S T R I N G Q U A R T E T N O . 1, F I R S T M O V E M E N T  143  B A N J O C O N C E R T O N O . 1, F I R S T M O V E M E N T  158  1  cu u c G J P (/) • «H  01 CL  C/3  CD  +->  fi  O  t/3 fi  C D  Q  fc  3 T3  a  o  </)!  •o 09  a o O so §5  a  60  o  E  S.I  Q  •a E  •S 5  £ I 6 T3 "5 2 i E  ©  3 8 DO  .is t;  •c  •s -  s  11  O  U  O O  CM  •s  D  "O  • i-l  OJ CO  O T3  OJ  *j 3  OJ  8 3  u c  4-J  t/1  •H  .2 C  3  c S  £ l  C  to  O  -a  OJ JZ f—  11  cj -a £ £ '« JB  B.  r  t/1 £_ OJ CL  O  b co  !. 3E =' S. ' •  U5  u  2 , H -5 ! J=  S h &  E  ^  : w _ . .o .E . u  E  4_)  5  ILI  t w o . O « « JC 3 t/i 03  J3  <  3  5  6  7  8  9  10  11  13  14  19  21  22  23  26  27  31  34  39  42  43  45  46  50  The  Persistence  of Being  for Symphony Orchestra  Derek Olive  51  Derek Olive The  PQrsistencQ  o f BQina  (2002)  Instrumentation: Piccolo 2 Flutes 2 Oboes 2 Bl> Clarinets Bass Clarinet 2 Bassons Contra Basson 4 Horns in F 2 Trumpets in C 3 Trombone Tuba Timpani Percussion 1: orchestra bells, marimba (with mdium mallets), snare drum, djembe (or conga) Percussion 2: vibraphone, motor off with medium mallets, snare drum with sticks, African (or standard) claves covered with 220 grit sandpaper, muffled bass drum with brushes and mallets, suspended ride cymbal with soft mallets Piano 2 Violins 2 violas Cello Double bass The score is in concert pitch Percussion Botes:  The African claves will be used simultaneously as claves and sand blocks. The bass drum will be laid flat and muffled. Metal brushes and rattan mallets. The rattan mallets will be used on the rim of the bass drum. As one lengthens and shortens where the rattan mallet strikes the rim the "pitch" of the wood of the mallets will rise and fall. Notation shorthands: Bass drum: Strike withfist(s.w.f.) Suspended cymbal: At the bow (a.t.b.) At the cup, also called the bell (a.t.c.)  African claves  -B-f  Normal sound of sandblocks I  1-  '  Bass drum  -J(s.w.f)  African claves coved in sandpaper being struck as claves  Hit the drum head not the rim  Played on the head normally with brushes  r  t Rolled on the rimof the bass drum showing the relative increase and decrease in pitch of the rattan mallets  While playing with the metal brushes the bass drum is struck with the first (s.w.f.)  Suspended ride cymbal  Diembe (or Conga)  r  At the bow (a.t.bow)  Open tone  Bass sound, the lowest tone on the drum  -9  Slap  At the cup, also called the bell (a.t.c)  Approximate duration: 12:30 Copyright © 2002 by Derek Olive  non div.  -6-  -10-  61  -11-  62  -13-  64  -15-  -18Pice.  FI. 1,2  Ob. U  CL U  B.C1.  Bsn.  C. Bn.  Hn. 1,11  Hn. IIIJV  TpL U  Tbn. U  B.Tbn.  Tba.  Perc. 1  Pen:. 2  Vb- I  VTn.2  Via.  Vc.  D3.  71  -20-  125  125 /C  1  -  4  4  ~ 8  4  s  125  2=  4  2=  3 2 8  5 SJ  <>:  *  L,  L  f  £  m  j  =  -  =• 3*2 =  J  J =\  =H j  j i l  j  =^H  n  rn  j  125  2 = 4  § 4 A  i -§  =  -  .  3 4  .  |  2 4  .  |  J  i  -21-  -22139  73  -25-  rit.  76  -27-  78  80  82  195  195  195  Marimba (medium mallets)  mf  JfflJTn/jirTTl  mf  195  mp  -34-  85  213  213  213  3  5 "d?  r—if f  r—. f f r  , f ,  n  [ ii —j  f  soto__  1  1  1  r  r r  r rT r r!r cimr i f ^ r f r p f f  r  F T  ir  p fjTf |  222  -37-  88  -46-  276  97  286  -50-  Vh.2  -51-  102  -52-  103  -55-  106  -60-  111  -63  114  -66-  117  121  r o m  S e a  t o  S  Six pieces for jazz cello, guitar or banjo  by  Derek Olive  Six pieces for jazz cello, guitar or banjo (2002) A few explanations of noteheads and other items:  Means notes are produced by hammering-on with the index finger of the right hand  m  Means hammer-on from nowhere  Means slap harmonic Slap harmomic means that the harmonic is produced by fretting the necessary notes with the left hand and then slapping the strings at the appropriate node which will produce the written harmonic. With the harmonic there will also be a percussive sound. ~  G m a i9  ~,r-  Cmaj9/E  r  Cmaj9(#tt)  Slashes mean the rhythm of the chords is determined by the performer. For the sake of those not well versed in the jazz language there are chord symbols above some notated passages, if you are well versed please feel free to create your own accompaniment and ignore the notated sections with chord symbols. There are almost no phrasing or dynamic markings, this is intentional, ignore whatever you want in any part, use your own judgement to make music. Remember all I did was put these melodies on paper, it's now your job to turn these dots into music. The cello accompaniment parts were transcribed from Eric Longsworths performance of the chord symbols. A n enormous thanks to Eric for all his input into these pieces and for his wonderful performance. A l l these piece are dedicated to him!  Duration for all six pieces: as long as it takes  123  124  125 16  f  it  I * • * I II J ~ m^rm:—"-«•—•: a 1 1  W a:  g -  f> r r  19  21  2nd  -=-=—'--m \flT3 21  2nd (pizz.) Dmaj7  f  ^  ^  T == —41 -*  J  j  Bm7 Gmaj7  '  •  •  A9  ^  ^  7  y  ;]  Solo section,repeatas desired 23  Dmaj7  Gma j7  /  7=^  y  y  y  y  =7=? y  y  7  7  /  =^  y  y  y  y =^  Solo section,repeatas desired 23  Dmaj7  Gmaj7  y 27  ^ 2 7  V'k  y  y  s  s  y  =7=7 y  Bm9  Dmaj7  / / / /  s  Gma j7  / / s \ / / / ' \s ' s ' \ ' ' ' \ ' ' *  Dmoj7  7 7 7 y \y y  /  B  m  / / |/  Gmaj7  9  /  / /  / /  y  I  y  ^ ^  y  1^  y  y  ^11  126 35  Gma j 7  • 35  37  f  Dmaj7  37  PflP  39  Bm7 S  S  7-  S  39  tri  41  •*-7  *m  v  mmmi  J  m  7  u  i  J  u  Gmaj7  y  y  s  1  y  y  y  41  P 43  *——«r  Bm9  l  Gma j7  y  y  y  y  \  46  y  y  y  y  \  y  y  y  y  Dmo j7  y  y  y  y  y  y  y  y  -  46  y £N  r f > . r > . r  g  y £S  y *N  y £N  #N  ftfttf  11  127  128  In Pure  guitar tunning: E, A, D, G, B, E J  nJ  BVJI  Ether  MM  [ T r i  0 = 120 i. utar  j —  =  ello  9  •m  =i «  1—e  m  i  '  4  |') % I  ^ = — ^  -  __ ~mW ~ —1*—F m  Derek Olive  f - f  *f  •1 ii  =i=p r = ;  :  f3  =i  *  J  J  r*  -  J  •  Emaj9 /  /  /  S  \S  S  /  /  :||  tirnnf ^^[j ifTTfrri i r B  J  J  mF f  m  mf  1  •  1* ?  « — i  ]  u  «  J  « P  1  12  ^  u  r  \—w i—r  j-  p-  j  ^  rj Jlr J J [JJ,1 >f Jlr, ^ = Fni rj j ft j frdfT rj-rTif  r  r  -  r  f  15  •1 J  15  J  —Fsr  [tlf f r 7 |  Swing 1.2.3.  Solo section, repeat 1 ending as desired J. 100 then 2nd ending to exit solos  19  Q|[; / 19  Bmaj(add4)  Emaj9  /  /  /  \ /  /  /  /  |/  /  /  /  /  /  /  /  j|  1.2.3.  Solo section, repeat 1 ending as desired then 2nd ending to exit solos  F#m7  Emaj9 -s ,  Bmaj(add4)  r  \+2  23  C#m9  Emaj9  x  ^  y  y— y  y  y  y  y  y  y  /  /  DJJm7(#5)  /  /  y  y  /  /  -  23  28  ^  Emaj9  28  yfyfy  /  /  y  /  \/  y  y  y  \y  y  J= /20 Straight Swing no  32  32  F#m7  BVII  Em a j7/A  id* uil CJ rE Em—a jJ7/A  1 —  ^B^^i  Straight no Swing (first time only) y n i i J i m u v VIII^ y  y  y  y  Ffrri7/A  Dltm7(85)  FjW/A  Djjm7(jl5)  y  y  y s=3\  130  TO ^  tf  •-.  W »  m 40  IT  *  -  hk  i  r n  9  BK  Lr i c—IT ^ ^  40  ^  ,  r^sj  ^  u  •  si  m  r  F 1  m  «f r  -—r?-F l  !  •  -a  Lr ^  *  ij J ^  »  Lr j—-i  —  —  •  •  —i5  T  — i _. •  1  f  ii  $4  r * ¥ » =  1  t  *  —1  i t~  f m.  1 m  at i  •  •*  !  •  »  2.  BVD  50  3 ^ = 50  *  2  1.  r  Lf  *  =?  d —  J cf  *  47  |  J  .  P  ft" cJ  •  rr f f f r r r  131  Pas Tropn  Mais  Juste Assez  Derek Olive  guitar tunning: D, A , D, G, A , D  1-134  1  Guitar  M f  i  lh  m^^W ff  i—I Play 2nd time only ~P>zz-  F  arc©  WLm.  r»  Cello  I n f r  pizz. arco  ff^T  I S  s i  ij?  ri  « H [ J  4  tin  n  1 r  2  TI-T..  n  ,  =  r-  T  d  I"-  4i "  .  f  PL2Z.,  •  i.  f  'J  .  t  i »  P - 1 i »  -  H  I-I  1  r r ?r  r  i  g  *  nr.  *>in  r  liUHim  H .  .  r  1 I J * ^ ^ : ^ p » i EEES U U P  L  :  r  -  • -  u  J  ^Jl  m.  :E  *—  /to  17  ft "  J  J  1,  . f j f ,  f  > |0  j g- — J -  •  0  1L  •J-  'j  E l  J  J  *  J  17  *> i H :  if  —u—J  21 |  J  H  »  .  •  P  .  I n r3' 'J  21 *>=tfjl I f  ^  1  ^  Lrr"r  i-  '••J  J  U  ffr J  -  3  ~  =PFf * = ¥  n  1  —bi  n  — n — - ff r - • a ™ ff r |^ a *^ • -  \iT±  J  P~f» r  * — r  ? T |  — « • -  1  J-a-  —  132 iJitii ft  r n j  1  J  J  r  f  i—(•— J  ^  [ f ' ~  J  — ^ - +  L  >  26  30  J  * J  •-—• r p r  1  : m: m ' -m ^fJJ  n 1'  ^  »  i  •  ^ f f n . C  = = »  —i n «»" -«-«[-«-«i r  s 3  4i  '3  •P 9 f jS  ii  -*•  4j ' 4l  ! — i r * ( — * T — I '~  I  5 J S 3  1  35  w w w •> r  fj_rrrrfr-i  'i  H 38  1TI.I.  p  m.i. f  ft " 4 it  i m  *  p  38  *  § 3x  r*_  —  *  H  --»" 5  r"1 * —  -X—X-  •xi -xi i m 3x — |  •  «  <> 9-  4  m* i  •  1- i — L pizz.  arco  "f* * — ~ - * — | -  _  •—•-  133 51  n  1  (fo  ft  51  —  —  1  P f  P r  r r  ,  "T" *  LJ—L—C-  ^^"5  P  r  Solo section  4  jr  1  Cr  *0  Cr  m  J=» »  1  d  J  Repeat until soloist queues to move to next section -,  m.l.  11 j ~ | 6ttlMk  55  P i «  f=y—r  ^  ^IIL-!—J  n .  —  r  -  i  m  Repeafuntil soloist queues to D_ m„a -7j / move to next section  Solo section  ;  i Repeat until soloist queues to  m.l.  II: X  1"  •  ^  w  Amaj7  1  I 4 *  -* -m -m  f 66  7  f  /  1 /  *  1—  V  f1*f  *  *  T 1  •[  M  r"  Dma j7 *  =j  3  Bm11 i  /  * Repeat aind"F ade'  134  Counting  Derek Olive  t h e days  guitar tunning: E, A , D, G, B, E Ebmaj9(#ii)  J=60 Guitar  pizz.  o  Ill I*  *v  Cello  FfpH4>J  Si.——-  i  '*  V-1  #  9-^- 9-  9—^ m  1 9-^r m9_^ 9  J  ===d  El»majl3(#ll)  .  4  m  *  f  *r f  f> —  Ji  •  r g f f i Efri K • rl-  ==  1  i rrrrrrrfr 10  —i—  y  y  y  JT  m L  El>majl3(#ll)  Gmll  10  —  T=5E=  1|?|  El>rnaj9(#ll)  y  m  - J» .  m  <•  — i * * -  y  -> i  y  •  y  •>  t?l  /  J»-  • •ft.  y  •  •  L  If cello solos guitar plays this 13  #  =  J  • J  »  »  II  r  p-r_j-r  i  13  i -^4  w  p f r  F  P  j'  •^  J  rrriT-r£fe£M Li  1 N  -i r i —  :  Gm9 -  #  ^  1  «1  135 Gm9  16  El>maj9(#n)  p  9  / ///1 // / /|  If guitar solos cello plays this 16  Ebmaj9  Gm9  20  F9  El>maj9(#il)  Gm9  s  s  Dm7/F  U  LLP  s s  m±  rrj r  Gm9  35 3®=  i  •St  20  i i  53  El>ma j9  i= 4  23  pi .—W-  1  b  s=*-»  i 3 =  • —  »— 0' — r m. :  m. ' • — •—*< , m— - 4 •m> J F -  =h= 1  p  p  ,  •  •  *  *  j  -j  m  "m  F  P~F-1  — i —  0  Jr  25  =El>majl3(#ll)  Gmll ^  2 5  v  V  Fmaj9(#l  30  N  f X  J  *J  c~i J  «  *  *~  —C p r r  a — i W  i  —  H  T  "  ?  •—n  r  N• 3 0  * X  y-  r  "  --L_*  '  -t^F  pP" P  l?p  28  *  r  |  2 8  y  -  r  • — F  pi r  F  r  ] m j n J * n | rn nr.  Fmoj9(*  ww^ m  r  ]  <  * _  —  m  v  i  r r jrJUCT f f f - f f f J  •  i  P»  J-*  "T  P_.  1  %  i  ' J'tg " o *  1 H  rr® p  II  136  Stretching  banjo tunning: g,C,G,B>D  L  Eyes  r  -J——  fi r r P r _ r r r - n - «  r > r —  z  i  i  r  «.  r  r  j  f  f  r  J LT CJ m  F  m  -  j J LT n n u i  1  »  1  3 * *  Cello  Derek Olive  m  i J H 4II.i  Banjo  the  0U  CJ  1 1  ]  LT ^  [j- ir  r  r  rr f  ri  m 9  Gmaj9  /  /  * J 13  I  /  /  S  /  /-  m 0 I  F  /  /  -/  r  /  /  ir- /  /  /  /  ^ =  y  •  •  =  y  /  /  © —  - f e —  y.  ^  ^  /L  y.  ~  y  y  y  y  1  i  1 • jf  m  g g  m  ~  g  i  m  r  [  1  *>  J  J  J  -  «T  J  J  J 4=M* | :  T—P~r~  £ ^  ^—^—^—^—4  17  ;  /  i r f f r f f f . T | j r r c r r . f i f  17  1  / 7==*  Bm7/D  err_f~r  *i|  /  "i  I-  Em9  s  S  : r r  z_r'  •  137  r f "f r i f  \lt  F  ft r  L  J  *  m  LT -  i m. m  —1»  • r -  -f* 1  i  •  ^  1  p-  1  #1  *• m  a  T—'  u  ^=1  T T ' u  u  21  —i—.  25  ••  rl  IA»J  »—  —  r  i i  r  V*~m<  p—J  1 31  p~~ p _ ' •— • — • — —  • — ,m  p_  Wh  v—«—  m 0—  25 r  7  7  f  r  | r  r  Solo Section •>o _ cello takes first solo Gmaj9 2 9  I ^||: / 29  /  /  Em9  / \/ / / / \y /  /  / \ / / s s\s Em9  Gmoj9  ?  / / / / \ / / S S \ / S  :  / / s\ / / / s  S  / / / S  /  / / / \ s / / s  35 —... -  J^. ^  x  y  -m——^ 35  B  m  7  /  y y y •\ y y y y s s s. • y y y y %  ./•  ./•  V  S  r  S f  /  /  / /  Am9  / // / / / /  s y—7—~7~  y y y y s y r y  41  / / /  y y y y s s r y  Am9 1 r / ** y y y y • y y y y |/ / y y  Bm7  Cmaj9(#il)  V* / / / /  /  Bm7  Cmaj9(#n)  -m—* ' ' '  :  y /  Cmaj9  D  y  41  j ,  yy y y y y y y y y ^ f S ff S r s s  /  / / /  s s s s  J  *  *  *  y  y y y  /  / / /  Am9  /  / / / .\/ / / /  banjo solo Gmaj9  47  / / s s \ / / / / \ l / / Gma j9  47  //]////[// Harm.  // Harm.  Harm.  pizz.  / / / / \s / / / \  52 /P ^  7  4&—s ^  7  / / /  /  *  x y  y s  y s  y s  y X  y s  "f  9  »  —  •m  f — P — I -«  ^  Cma j9  y s  •  (9  y s  |  ? f l f  |  _0  Z_  m—m.  Cmaj9  p  e  r c  /  ^  j  i n  c  r  i  :/  • _  61 "  —  rr* J » p f " P <  —  f f f i  —t* r " i f r ~ p f  1f P  61 JL  y *»  y s  B m7/D  g  y • ff • k>  g ?  Bm7/D ./ s  E m9  Harm.  <>: ft p  57  w-  7  Em9 "  7 ^ — |  M  —  j  —  J  •  t d  f ~ r  P  >  r  m—  139  67  p-  .m.  •ffi  ~T~ p  r P FPP  PP"  -  -  pf  p  >  f f f i  —  r  pF' p  rp  i f  67  P  —  -P—p—— — P —  j  70  1 ^1 «^ f r J"11 r  P^frrrri.Prr £Z7  —  P  —  ^  C9  •  tj  *  — I*  A S H 82  Harm.  £  J  82 _  P  p  Harm. riY.  Under  banjo tunning: g, C, G, B, D  X»4  4x 3-  Banjo  the horizon XII  vV-  VII  Derek Olive  V  IX vii  VII  mm 4x ^ ^ pizz.  Cello  V  CT  .^rri^rn,, ,971.^01 Solo section (11-16) repeat as desired ^  Gmaj9/B  1 2  I 2  Gmaj9/B  Gmoj9/B  .„  Harm.  Dmaj9 Ha ^Hann  D  m a j  9  Harm.  Dmaj9  Q m a j 9 / B  Cjjpj^O  Gmai9/B  Dmaj9  141 Cmaj9(#ii) Em9  15  #  r  r  Em9  15  r r  f  #  ±  1—•  B  r  •  " v  Jul  m  —  '  •-  v—-a  <  •3-  •*  ft 21  r  -=  Gmaj7  •*• *-m-  £4£-p  i-  i  ;  ^ •  ^ *>  •  w~.  ^ ^ ^ •  HI  w  -t  J  —  ^ — — mf  5r-r^  i  Dmaj9  4*  ii»* *  Am11 i-  J  c maj7 ^ .  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