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UBC Theses and Dissertations

Compositions 2000 through 2005 Gillespie, Yvonne 2005

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COMPOSITIONS 2003 through 2005 by YVONNE GILLESPIE B.Mus., The University of Victoria, 1994 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC In THE FACULTY OF GRADUATE STUDIES COMPOSITION THE UNIVERSITY OF BRITISH COLUMBIA April 2005 © Yvonne Gillespie, 2005 ABSTRACT This thesis includes compositions written by Yvonne Gillespie during her Master studies at the University of British Columbia from September, 2003 through April, 2005. The works are grouped according to genre beginning with orchestral works, followed by chamber works, and then vocal works. i i TABLE OF CONTENTS Abstract ii Table of Contents iii ORCHESTRAL COMPOSITIONS 1 1. Illuminations 2 2. Endless 22 CHAMBER COMPOSITIONS 35 1. Razzle 35 2. Sleeves of Green 48 3. CatNip 64 4. Square Peg, Round Hole 84 5. Take a Note 99 6. Continuosity 121 VOCAL COMPOSITIONS 143 1. Alive 145 2. A Ripple to my Thoughts 153 3. ... of Losing You 157 iii ORCHESTRAL COMPOSITIONS 1. Illuminations 2. Endless... ILLUMINATIONS for Orchestra 2 By Yvonne Gillespie (2003) INSTRUMENTATION: 2 Flutes 2 Oboes 2 Clarinets in B Flat 2 Bassoons 4 French Horns 2 Trumpets 3 Trombones lTuba Timpani Percussion Bell Tree Chimes Tambourine Vibraphone Windchimes 9 Violin 1 8 Violin 2 7 Viola 6 Violoncello 5 Contrabass DURATION: 6 minutes PROGRAM NOTES: Have you ever wondered what a sunrise would sound like? How would you hear that which you can only see. This was the inspiration for the composing of this single movement orchestral work. The experience of gradually increasing light has been transferred into a parallel experience of sound which emulates the progressive visual intensity through the continual thickening of the orchestral texture and the expansion of range and dynamic. The goal was to create a subtly everchanging soundscape which gradually increases in density and intensity until the realization of the sunrise at the conclusion of the work. S C O R E I N C O N C E R T P I T C H } = 52 Flute 1/2 Oboe 1/2 ILLUMINATIONS Bi Clarinet 1/2 Bassoon 1/2 French Horn Trumpet 1/2 Trombone 1/2 Trb 3 and Tuba Timpani 4 6 7 8 10 11 12 13 15 19 20 21 ENDLESS... for Orchestra By Yvonne Gillespie (2004) INSTRUMENTATION: 2 Flutes 2 Oboes 2 Clarinets in B Flat 2 Bassoons 2 French Horns Percussion Bass Drum Suspended Cymbal Vibraphone 9 Violin 1 8 Violin 2 7 Viola 6 Violoncello 5 Contrabass DURATION: 5 minutes PROGRAM NOTES: This single movement orchestral work endeavours to musically create an impression of endlessness by presenting an uninterrupted six note chord which is slowly and continually modulating while avoiding any sense of resolution. The notes of this everchanging harmony are sustained for differing durations by the strings and the unpredictable entrances of new notes ensures the obscuring of any fixed pulse. Within the veiled texture, certain pitches are made more prominent through slight crescendos or heterophonic doublings in the woodwinds, while others pitches are merely blended constituents of the musical fabric. Complementing the gradual harmonic change is the continuous expansion of register coupled with a thickening of the overall texture. SCORE IN CONCERT PITCH J = 42 Serenely ENDLESS... Flute 1 Flute 2 Oboe 1 Oboe 2 B(,Clarinet 1 Bi Clarinet 2 Bassoon 1 Bassoon 2 French Horn 1 French Horn 2 Percussion 1 Percussion 2 Violin I Back Stand Only (vnl) Violin II Viola Violoncello Back Stand Only (vc) Contrabass con sordino. pp sempre VIBRAPHONE BASS DRUM (circles with brushes ) PP SUSP. CYMBAL (brushi fit) p sempre J = 42 Serenely I.V. ? t I.V. PP-=^_ l v. ' P con sordino/gentle vibrato/staggered bow changes PP \sordino/gentle vibrato/staggered bow changes con sordino/gentle vibrato/staggered bow changes 3? PP con sordino/gentle vibrato/staggered bow changes 23 mp PP P ' con sordino/gentle vibrato/staggered bow changes mf PP PP con sordino/gentle vibrato/staggered bow changes .ST PP con sordino/gentle vibrate/staggered bow changes m sordino/gentle vibrato/staggered bow changes <> J i PP 25 Fl. 1 Fl. 2 Ob. 1 Ob. 2 CI. 1 CI. 2 Bsn. 1 Bsn. 2 Hn. 1 Hn. 2 Perc. 1 Perc. 2 P P PP mp PP niente s PP mp niente] SUSP. 4=± PP Vn. I Q/iSS. mf PP \Z^1. mf = d - J - It' ~w5— i |— Vn. II P P Va. mp P P P P Vc. Cb. mp mp P P P P 26 27 28 29 30 31 32 37 Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 Cl. 2 Bsn. 1 Bsn. 2 Hn. 1 Hn. 2 Perc. 1 Perc. 2 PP PP PP PP mp PP mp PP pp mp — PP f P PP n. pp pp pp SUSP. 4=± 3Ta PP Vn. I mp PP mf PP Vn. II m p : PP mf PP PP Va. Vc. Cb. mp o pp pp mp PP m p m p m p PP PP PP \ 33 34 44 Fl. 1 Fl. 2 Ob. 1 Ob. 2 Cl. 1 Cl. 2 Bsn. 1 Bsn. 2 Hn. 1 Hn. 2 Perc. 1 Perc. 2 mp mp PP mp PP mp PP mp PP mp PP mp PP mp PP L3 ? i : 7 3 ? 33 mp PP i I I 7 mp o o pp mp o 44 o o <> o o o Vn. I mp PP mp PP Vn. II mp PP mp PP Va. mp PP mp PP vc. 7 f 7 ^: mp PP Cb. J J U J j ' J 1 mp PP 35 RAZZLE By Yvonne Gillespie (2004) INSTRUMENTATION: Piano Solo DURATION: 7 minutes PROGRAM NOTES: Razzle began quite simply with six notes; two three-note groupings comprised of the interval set of a minor second, an augmented second, and a perfect fourth. From these, an ostinato was created which provides the impetus for the continual variation and development that dominates the entire work. The ostinato is extremely rhythmic and driving and its expansion or contraction produces misplaced downbeats and unexpected accents. Quartel harmony predominates especially in the sustained six note chords that interrupt the quick sixteenth note activity and through the use of the interval of a fourth for canonic entries of the ostinato. The incessant activity in the first half of the work dissipates into a more ethereal middle section of chords which present the ostinato in a dramatically augmented form. The quietude is shortlived as the ostinato reappears, this time with the two three-note groupings reversed, and the musical energy winds back up, driving to the end of the work. 1 36 37 38 39 41 42 43 45 46 47 48 SLEEVES OF GREEN By Yvonne Gillespie (2005) INSTRUMENTATION: Flute Piano DURATION: 6 minutes PROGRAM NOTES: Sleeves of Green was a commissioned work by the American flutist, Jessica Raposo, for inclusion in a concert being presented on St. Patrick's Day. In keeping with a theme of "green", she requested a work based on the traditional song "Greensleeves". The theme from this work became the seminal material for the creation of Sleeves of Green. The melody appears in an extremely augmented form but still can be heard subtly in the background while the original modal scale is utilized throughout. The work begins with the music gradually emerging out of the past and this is followed by a lively and rhythmic interplay of the flute and piano. Folkloric drones appear in the piano during the middle section which coincide with the thematic presentation of the chorus from Greensleeves. The verse is presented again which eventually fades as the music returns from whence it came. SLEEVES OF GREEN 49 4 J = 112 Air only key clicks with gentle air Flute PP Piano PP RH pluck string inside piano mp i> 50 51 22 Fl. 0 ur 0- 0, subito ^ \>0-- 0-^f-/?ofe5 on piano keyboard m j 1 Pno. 7 r * * ^ <> o o Fl. Pno. IL, |S f I [ j i g ^ * 7 Pno. 52 38 hj > > • m Jr3 > reTr . / I r¥Tfr¥f 1 - Pi • 5= tflr rj — 1 a 1 L i i r p — r ^ / f p 1 h 4 I f sfz — _TTj i»J-« 1 ' um f 7 C ? > _ y f3- h ^ i L r n b sfz J ff-— — * 3 — — > > > > 53 Fl. Pno. 54 55 56 57 58 59 60 105 ^ \l r j f . F~~»—n? —9-m t r —K—£ L . W — ! ^ J 7_ — * — i — $ ! TI J 7 [>• # • = ± ^ = » ^ -Fr*f-—2—J ^ * 7 1. —— 7 • 7 • • ""^ k 61 114 Fl. 9_ Pno. 117 rr- LYffJ?T% —1» r— • 1*"!*-*f _ . * " > tea- J J " *> 7 5:-^ T > > f ^ f* • 1 1 • JJi7 1 — c * — ~~* * 7 *< • 7 * ~ - > 1 — 2 £ = r = H * = 0 ^ -^*>^  / i * ^ « > -4 J 7 2 $ M. M + • 4 *> Pno. Fl. Pno. 62 63 Pno. 133 , i j i t t e r CATNIP 64 By Yvonne Gillespie (2004) INSTRUMENTATION: Flute Violoncello Piano DURATION: 7 minutes PROGRAM NOTES: CatNip was inspired by the crazy antics of the composer's cats following their exposure to catnip. A fast tempo fuels this highly rhythmic single movement work with the flute presenting a constantly changing and somewhat unpredictable melody which continues from beginning to end. This is supported by the violoncello and piano which complement the flute's antics with a lively accompaniment and frequent interjections or interruptions. Contrasts between duple and triple time are exploited while articulation, accentuation, and dynamic changes all contribute to the energetic presentation. Harmonically, the composition utilizes primarily triadic structures, usually minor and diminished which are juxtaposed with the major triad. B flat major, G major, and especially D major become the tonal centers to which all other triadic progressions lead. Additive rhythmic presentations contribute to the feelings of the unexpected, with groupings of two, three, or four notes throughout. 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Pno. 73 113 i i mp mp Vc. 1=1 I I \j mf mP - mf mm 3 ^ Pno. m f mp do 117 11 F f i v FEES! t i n r i 3=jE f < f f F _ <tr~~~ j r " » ctr-"~~'~ . > . > . > >:V-rr rT.. r r F, f Vc. / f Pno. / f subito mp JUL 7 n» Vc. h i tfTlit griilr lLta-H.'i m p m f m p mp Pno. m f > m f 7 7 m 74 78 186 -fik, n i l . _ T : M f 4 PI i n *• f l ^ 7 • — p — 1 » — - f t 2 ' -4 -? ' mf -=-Y*rH p—1*>-- - f l — * i H ^ 7 nf i - 4 — « / -P > —b • K " f t ' - ^ i—^- t -. - - f t — - - ? — 1 nf I 3 —*—5 f ' , > -^4—™ i mf B — » - --a ' fi y ± J L _ -4—« 4 4 ^ — • --ft 79 199 p mp arco p/zz arco Vc. 3"^ m f 5 % <t—* mp -Pno. 204 i 4 LEf'tfilj ^ r Hi pizz. 7 •) f] l^ Tl J Vc. m p f subito m p > Pno. f > subito m 3=^7 K 3 3 — K z: 208 i i . - ] - r f f l f f r K r p ^ j t f • * r - 4 4 ^ - = [g J , , p • p^p « f M * P > f --ft * 4 m f U s L s — --ft 1 -4 m f ,d ^ J h« 1 a *• ** 4 -ffi-a • ? < ltd * , n cj f f ) =-H=4 --) , —s— — « j — — $41 *—1—3 2 A mf | J 4 5 r— "—k lJ 3 a ) 7 -1 1 1 ' A Vc. 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Vc. 7 1 > > o /ST > p/zz. * p 7 7 Jill -7—*-> > tt t =£5 Pno. > > 84 SQUARE PEG, ROUND HOLE By Yvonne Gillespie (2003) INSTRUMENTATION: Saxophone Quartet: Soprano, Alto, Tenor, Baritone DURATION: 7 minutes PROGRAM NOTES: If you have the feeling when listening to this single movement work that the melodies and their accompaniments do not quite seem to fit a typically regular recurring beat, then the objective behind its creation has been realized. This is an offbeat and playful composition which explores the displacement and augmentation or diminution of motivic, rhythmic, and melodic ideas in order to achieve irregular and constantly changing rhythmic groupings of two and three notes. Accents and sudden changes of direction contribute to the metric diversity and complement the offbeat environment. All of the instruments play an integral part in presenting the musical material and each must insure their synchronized participation in the overall musical texture. Despite the unpredictability of the metrical presentation, the music still manages to achieve a lively and unified presentation which bumps and bounces to the end. 85 CONCERT PITCH Square Peg, Round Hole J = 104 fr—V Soprano Saxophone Alto Saxophone Tenor Saxophone Baritone Saxophone mp mp pp pp > mf IP mf mf mp > f 10 86 22 • J 4 ^ • mp I f f _ _ f mp 87 88 mp mp P mp mp Bif 1 J > mf mp mp 60 c5 * V J - Itp u [ i i ] mf > ff * tip r r?r »•> . D — HT i tf*tt * " mp ~ mf .< b M — f 0 L ' i J — - H ft ' - _ -}•-> r—i — A L . J | J -f-mf ' > -3 » ITA > > r > > f . > . > —A K—m 0 \flm ff Id f P n P f P Y mf ff 89 90 91 92 93 94 97 98 99 TAKE A NOTE By Yvonne Gillespie (2004) INSTRUMENTATION: Sopranoe Saxophone Violoncello Piano Percussion: Snare Drum DURATION: 6 minutes PROGRAM NOTES: Take a Note was written for inclusion in the Sonic Boom Workshop in Vancouver in March, 2004. The work explores an ensemble relationship which consists primarily of the instruments playing either alone as soloist or accompanist, or in duos or trios. The layering of voices creates fluctuations in texture as instruments enter and exit depending on their role at the time. The rhythmic and driving first section is followed by a sudden switch to a more homophonic texture where the instruments all contribute equally. This is short-lived as the instruments suddenly change back to a more individualistic approach and the work drives to a dramatic end. 100 CONCERT PITCH TAKE A NOTE 1.-80 Energetic and playful «h = «h Saxophone Violoncello Percussion Piano • 7 \9Q n _ 1 mp P J3 7 \j- \j J»7 j I IT i f e _ 3 SNARE DRUM (no snares) > > it, PP P 1 7 7 P ^ — ^ P i ^ F 7 P 7 P _ 1 P I77p 3 ^ 11 JP > JJ J 1 J' —[ ird 1* r rb* "> r> bJTn^ * 4 j * — ' — —* * f-if-f-1-r LJ I ^ J jj ^ J % 1 1—j— P > > > "FT—fc *?—Ft* *?—fts *? — _ 4 i *n _ _ _ _ _ .up ' p ' p ' = mf mp P 2 farrrv . > i PP - ' p7 ' * =i i Ql h 1 1 1 ' 5 i ) mf Vf --3 p fi 7 C» r P --—7 7—k 7 7 Sax. Vc. Perc. Pno. 101 Sax. *> Iii > mf mp arco \ 7 7 Vc. Perc. > > 7 1 p»p 7 7 | 7 7^fl 7' nfi 7 |£B= /np mp i-mp — r r f i — 7 7 tg-/ 7 7 —jml , 3 -Pno. Sax. Vc. Perc. [] 7Qj*p*; 7p*l n 7 7 i 7fj*f 7 CJ* p i 7 7 ^ ^—+ Pno. yfi7C/7 7 ^ 'P 7 7^--7—? 102 103 104 31 \\ if f « p " — pizz. 11 -—^ :3- * - - ? - = - T 7 7 -4 - 7 > Jr m—s-frs— f —' [) 1 1 X %, — - 4 r - 7 ^ /T ^ft- T ft-—-UP f, IT ' :4 ' p 7 p "^-p- t i in ' B_T ' y_f= __ j —• U ' p ' p IJHb , r p fcj IT j mp f > • r — i — ( • — -9 -\ > f > r fi P i . « h LJ LJ h - T — u -_4 -fl- - 4 4" Sax. 35 arco > m > mp > Vc. mp mf mp D ii7 rrr7 err I ^  ^ 7 err7 err i 7 p Perc. mp Pno. He ^ 7 7 105 Sax. 39 ^ T b J K 2 = Vc. Perc. [] 7 pj»p ^ Qrr I i f / f 7 Qj*f I 7 7 ft 7 7 ft 14 Pno. p > mf 43 Sax. > 3 j r TT ft - 2 - ft r -V 1 * "1 7 8 8 1 P --4 --9-^ i ^ *r « « ^ ^ ^ ^ — 4J—* -7? >y w— w P PP - G > r V •f - » : — -4 -9 / -^r-7" »> -f—— ^ = - - f t - 7 — ^ . p ^. 7 •* --4 — * — < -~ f i — h 1 L J . J 1 9 7 7 - 4 • , -a-» 7 7 « -Vc. Perc. Pno. 106 47 Sax. ) 'P v i iii[|rriirrrr t?i mf > f > mp Vc. E5p Y mf p Perc. ft /np m f Pno. 50 Sax. — ~~~ m f : / " P _ " : " > > > 13* p "^p * P Iii Vc. > > > /np fl H r Ifi7 7 rrr i» * Perc. 7 P 1 P 7 P /np m n * E 3 Pno. m p s i -7—^-> 107 54 > . Sax. 1 > i > mf f > r p f - p f . , - m . I IZA VC. Perc. v-fi r r r [ r r i f { mf ^ ^7—7-> mf f>P 0 ft 7 ££f7 LI 1 * 1 7 7"pl 7 7 "pl 7 7'P H 7P7P7j /nF mp /f fi S T " f «r —m r P m P 1 > F—I mf 4): r, , \ 7 -M 3 ^ i — 4 4 * p ' * mf P — •> ' 7 7 • > 7 7 fi * 7 7 -4 4 i Pno. 60 > ±3E Sax. Vc. Perc. [] .Dp K,np ^ Pno. PP .Hp 7 7^p 7 7-^p 7 ^ 108 109 110 Sax. fe m » m • rj m 3 C mp arco 4+ T T - ft II " r p Vc. Perc. 7 f f f Pno. 80 > > , > Sax. mf Vc. > > C "r in > m f > [_T T LT u 'p 7 'p 7 t:p 7 ui - mf Perc. m p Pno. I l l 112 90' Cs J = 5 4 Sax. ^con * 1 sordine -4; 1^ • & 1 - i r 1 -i 1 -4-1 PP sotto voce Vc. Perc. PP f7s Will 3=2 Pno. b J 1 ^ una corda 113 Sax. 98 }.= 80 m p senza sordino mi Vc. PP "n " 1 1 Perc. PP 1 4 3 tj»3 fwlf Pno. rit. wz PP tres corda 103 Sax. — " • ^ > m f . > V _ /7/ZZ. J: ft P 7 7 1 T 7 1 £ 7 ^ Vc. -7—*- 7 7 ft 7 ^7 fj*f7 ? rrl p 7=7=£ Perc. 7 7 f rff 7 3 m p 7 l\> ; 7 7 ^ S3 -7-7- :2=2= Pno. m p -7—7- -7-7-114 107 Sax. mp arco 3SE Vc. n 7 ^ f 7 7 [ f l P 7 7 * Perc. |» 0 0 1 P f f -Pno. 7 7 Sax. I l l fin mp :3 m? u " mp L ilp7 p r Q = I Vc. Perc. 7 7 I 7=¥ 7 7 PP P 7 t f P 7 E I7 7 t f F 7 nJ Pno. mp i i \ i 3* \>, i i h 7 115 116 117 Sax. 127 in arco > SP » P » III Vc. Perc. mp Pno. > > > 1. > 131 Sax. mp .* ii TI r~*p i * i i£f Vc. Perc. mf mp 0 ft 7 r^j ?-£j-f- 7 ^ 7 mp 7 np£Ef p 7 ccrccr ij ^ r r r • ? m ^ ^ ^ —-U——1 1 — V 3 " — ilsi L-LrLLr > 4 • > J Pno. 118 135 Sax. mp > . > * i : L' >1 p — 7- Wi j0 > i . r y \ v \ = } bp =^ -+- mf 1—t V C . Perc. D 7 7 "ft 7 7 ffft |j{ mp p "r p 3EEE3E Pno. mf - T _j L r _j z : ^ 138 h} hu_j \VrQ$li lis Sax. L J J L j III Vc. Perc. pp m z z j^. z p f ; > - > 0 — • Pno. H P 7 7 119 121 CONTINUOSITY By Yvonne Gillespie (2005) INSTRUMENTATION: Flute French Horn Violin Violoncello Piano DURATION: 5 minutes PROGRAM NOTES: Continuosity was written for inclusion in the reading session provided by the Ensemble Contemporain de Montreal who were visiting the University of British Columbia in March 2004. The work exploits continually changing relationships amongst the instruments within an animated texture where motivic ideas are continually being passed from one instrument to the next. An important musical element is the use of additive rhythmic structures where combinations of two or three eighth notes provide an environment of asymmetrical pulse groupings. This produces an off-beat effect which contributes to the energetic and playful interactions of the instruments. 122 SCORE IN CONCERT PITCH CONTINUOSITY Flute Violin Violoncello French Horn Piano f 1 fi ^  pftg.f-^ f_=fe [$" 1 t\ i r m rT3| -#-= = = —-4 u - p - =j -ft 4 -6 H -fi -4 -fc—; ^ JP". bfc l i L - j --fi i f -R ^ Vn. Vc. FH. mp (>) I I lff=F JW. JW- • J&- JW-Pno. /np ii j J 1 ii J J 1 j 123 11 3 ^ * ' ' p 7 > A --5-* ^=1 7 h i — 7 ~ i ; — -~?t~f' —t—*—*— > 7 >— * — * — * 7 — -* '— -t 7 -— — f t ^1 g - ^ 1 V ' *  > *— * i >— f i 7 J P - 5 >• •< — ^ <— — ' — f t -T< f — ? — * — - t 7 * - f t — * —«U--7— \l 7 V I n 1 1 L -j-• • > f - i n h * > — P _^ i "1 T ~ — 1 — H - ^ - 7 > f ""3 *4 ^ - f t — ~ 5 , np \ » » > 4 7 _ i - ^ - f t P 7 16 i n r - — = — • :> -?—* : T ^ = : -A-h ^ ~ , a.-. . 1 1 1 - r -J ? . - ri r — -4—J—, ••ffir¥fr - f i — fA m— w= 7 ^ 7 J T J J *): 7 P hmii 1 - a -t—i J 3 mp r •4 * — M k *< - - f H 1—: 1 mf : --'AT ^ 1, z. _ _ -4-4— -3—*— r 1 1 *< mf 7 -> > / i J 16 11 ^ — £ : r—s —w -? < * n ' * mi E? n — m jj r •? p 7 ^ --ft * mf 124 125 126 Fl. Vn. Vc. FH. Pno. 47 tti* 7 7 i>r i i I 7 7 mf 3 Vn. Vc. mf I* 3 -A =7=5= =7==5= =7=5= mp mf 3 FH. =7==7=: =JF==AF =JF==3F =7=7= mf £=£ f 47 m P 3 7 7,> ==^ =r=7= =5=ar =i= 3F F^=3^  Pno. mp 1 S F mf f ft 7 J 7 7 r 7 =7=3F 7 7 l>r 7 3 128 Fl. Vn. Vc. FH. 61 ~ ll|»'|t|»ti»-lli»| ttp-p- 6 „ I* \W—5 i -" ( r i r 8 0 fi 3E mp •9 mf 7 J J JJ 7 EES « i # 61 SI Pno. mp mp p y a ^ 7 66 , ETTP r y if t r ^ £ mf 7 r ¥ ia * P 7 EEE^EEJ: Vn. Vc. FH. It mp m mp fi * 7 | 7 IJh J || 66 § E 3 * 1 ^ 7 mp 7 \ Pno. mp mp 129 130 131 91 Fl. Vn. Vc. =g=g mf f mf =P=5=¥ S i mp m E= 3 E FH. 91 Pno. /f Vn. Vc. mf FH. f 7 7 ^ 7 7 1 J 7 7 J 7 7EEEfj 3 mp mf 96 7 7 XJ 7 7=== 7 1.\>>t f E7EEEE 3 Pno. mp mf f 7 7 • 7 -7—7- 7 7 !>•- i f i raz b3 3 132 133 Fl. 109 ^ mp E H ffi tfr p 7 P p Vn. Vc. FH. i 0 r » 90- *-r-r 1 3 = BEE /np ^ I J j l j J 7 7 j j J | % J | f j I, j i j J 7 7 j j J | % J | j j b j j J 7 j^ H^  /np 109 bp r p 7 p g •y p p Pno. mp mf I- u7 7 bJ7 7 b? > 114 * 1 * * _9_ Fl. E S mf b»bp ; P 3 B Vn. Vc. FH. E0 £ ft* mf E ? I mf - : mf E S 114 Pno. mf > 0 0 0 7 7 ^3 7 J J g m b3 > 135 . i f f f-.. = 1 * T5= 7 , , 1 r , -6 '—I •> mf -4^4 . m -9—* , j_7_ = ^ -ft =6 nf V ' -4 -4 « ? >' r mf -A-1 F F = f --2-*-=ft - 7 h -—In nf -* *f st 1 -4-4 1 m n 7 1 • «f f=& 1 tab** 126 • nf —1 7 7 >' « -4 r -ft—*-7 - 1 l> 7?f 7 * -4-4 a n 3 = 1 / h 1 \>* # 5 - 4 mt =3= 136 134 _ ^ ^ ftp ,» y 1 u-f 9- *j .... # ^ "—«? * -4 7 h * J71 -mf V - -7 x L-^. 4, A m mp -for—Ft i m—1 % F ^ « 7 « * * "ft— -7— ' p r _ u - - ' mp r r r—fir ; mf n P mp -4 1 -ft- -ft~ r • — mf Vn. Vc. FH. mp 134 Pno. mp mf, t / i / r P Fl. Vn. Vc. FH. mp i > i P ^ 1 mf a r Pi " 1 J mp 3^ 138 e l f c j t p l t If? mf 3 Pno. mp mf 137 Vn. Vc. FH. Pno. Fl. 147 m te Vn. Vc. FH. 7.# r ; 3 ± mf W uT - m i mp mf mf 8* mf mp mp te f 1= mf Pno. mp - mf mp mp • — WW 139 140 169 mp mf itr 7 7 bf 7 7 Vn. Vc. FH. mf I* Iff 3H 7 7 =7=7:: 7 7 169 mp 7 7, l> 7 7,b Pno. mp mp ({ 7 J 7 7 7 7 /f ins Vn. Vc. FH. 4 [_J p bA 3 [ J * P it mf i f 3F=5= mf bJ /f 173 5BE 3ez 4—2» Pno. mf f 7 7 b. b i 141 Fl. Vn. Vc. FH. 1711 H A 7 t »-a f r r F 1 8, 7 t1» P i» *r *f '*• — 7 -a? 5 j p p *. p ftft p ? » ' U 1 ' ' U p i /, n C r? ± L f n r 1 y . .n i : , i i '•nY i rLHTl L>:/ rr > |* ~ *. *. • —4—1 -ft--? ^ m _• - •_ p plfp ^ ft u p 7 7 *! *1 ^ —-=—i -7 7 7 — ^ — — : — I -»>—= *< 178 1 7 T-F T T ? U 4 8^ ri.].i>p- - V — 7 7 ». «. 1 J 8 1 -ft—j--b— ffift J« p ^ 7 mp 7 — * -7-2: -0~ ~\r #— H 4f= - M -7 7-—** 1 Pno. Vn. Vc. FH. mp j j 7 7 r= = ^ 0 r 0 Pno. SONG CYCLE By Yvonne Gillespie (2005) INSTRUMENTATION: Soprano and Tenor Piano DURATION: 14 minutes PROGRAM NOTES: 1. Al ive Droplets hang in timeless space reflecting sun's first light suspended in our web of life prism to our sanctum misty shore knows mist once more stealing silently seeping through as morning dew creeping playfully Morning zephyr brushes by gentle in its call raising muse of calmer tides tranquil in its blessing forest floor alive once more bending with each breath softly sways in peaceful play hauntingly bereft Waves of white fall crashing down piercing to the core beating drums of vacant cares hearing our desires Ocean's roar folds in once more boasting boisterously calling out in endless shouts setting spirits free 2. A Ripple to my Thoughts a crimson sky a jade blanket a stony peak a gibber brook on crunching snow on echo's plea on whispering nights on soothing tones in fire's pant in sprig's specter in rainy haze in spring's new tang I see, I hear, I smell time gone I feel my life's faint paths I taste the joy of looking back a ripple to my thoughts 3. ... of losing you of burning cheek of blurry eyes of razing mind of misplaced heart of losing you of losing hope of letting go of life Lyrics by Peter Gillespie 146 147 23 mf /np seep P ing through as- morn - ing dew-mf creeping- play -mp m seep ing through as— morn - ing— dew- creeping— creeping play Pno. 27 J * ful - ly,- play - ful - ly Morn - ing ze - phyr-P p u r c-ful - ly,- play - ful - ly Morn - ing- ze - phyr Pno. mp 3 rT P r . j f —= <* - — 1 = 1, 1 > r P 7 * b.=»: Pno. brush - es, brush - es by 148 149 150 151 65 mp =— mf S. 0 - cean's roar folds in_ mp — -. once more- boast-ing nois -mf boasting 0 - cean's roar- folds in- once more-Pno. T. Pno. Pno. 152 Soprano Tenor \ = 48 2. A RIPPLE TO MY THOUGHTS mp 153 Lyrics by Peter Gillespie 1 — t s t -- ^ i r—i L a aim-son sky /np - pp a aim-son sky E E Piano P PP -JO' bp- p •—1 • — f ip- 1 T 1—i— r r * r 1 r u J — J — jade blan - ket a sto-ny peak F b-1-1 P"-— ' T \ \— * V 1—J— b~-\>m. b: mp PP -."ST-5&* 12 mp ~-s: b J ^ l b mp a gib - ber brook on mp 154 155 31 mf fi re's pant _ mf in sprigs P fi re's pant in sprigs 1 i , f * ;^^ 7 U ^ 5 mf PP fe 3* * — * A A * spec -- ter in rai — ny haze in P rainy haze spec -- ter ny haze in rai ny haze 41 mp 7 I ft in springs new tang I see I smell *< h 1 > 1 $ ' r LT 1 — = J — L J — -U-J 156 46 mp my life's faint _ path I taste the joy n m K *U %t -== mf -% —m"~'m~ " ===— p •n * m - n -w-. t^r-r -np in 1 'xxj r f ' P1 i r" t h u d ! 51 a rip - pie to P my thoughts PP a rip - pie to my thoughts - I k JT- «f at'" p* * 1 2. 7m—r~i—\~t—" ~\>vmm. 1 • PP ' .. f . . f =f—^-J- r r J —7 i 7 — r 1 7 1 1 1 « ; 77 3. . . . O F L O S I N G Y O U 157 Lyrics by Peter Gillespie Soprano Tenor Piano °' (Hold down throughout unless indicated otherwise) of blur -PP i" ' r ' p r burn ing cheek of blur-PT F p i*-f-9- 9', /np J _———-158 159 160 

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