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UBC Theses and Dissertations

Compositions Laing, Peter James 2002

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COMPOSITIONS by PETER JAMES L A I N G B.Mus., Memorial University of Newfoundland, 1999 A THESIS SUBMITTED IN P A R T I A L F U L F I L L M E N T OF THE REQUIREMENTS FOR THE D E G R E E OF M A S T E R OF MUSIC  in THE F A C U L T Y OF G R A D U A T E STUDIES (School of Music)  We accept this thesis as conforming |):g/ the required sljlindard  THE UNIVERSITY OF BRITISH C O L U M B I A April 2002 © Peter James Laing 2002  In  presenting  degree freely  at  this  the  thesis  in  partial  fulfilment  University  of  British  Columbia,  available for  copying  of  department publication  this or of  reference  thesis by  this  for  his  and study. scholarly  or  thesis  for  her  School  Department  of  .A  MCSIC  The University of British Vancouver, Canada  Date  DE-6 (2/88)  15  Ayr,\  OZ  Columbia  I further  purposes  the  requirements  I agree  that  agree  may  representatives.  financial  permission.  of  It  gain shall not  be is  that  the  Library  permission  granted  by  understood be  for  an  advanced  shall for  the that  allowed without  make  it  extensive  head  of  my  copying  or  my  written  Pg. ii  ABSTRACT This thesis is a collection of six musical works written between the years of 1999 and 2002. Each composition, with the exception of the two marches, is minimal and includes works for concert band, SATB choir and organ, symphony orchestra, and trombone quintet. Continuum is a fanfare for band, which is orchestrated much like a jigsaw puzzle. The fast repeated melodic lines (mainly in the high winds) are sliced into fragments. These fragments are then given to a particular instrumental group and when played in sequence, form a complete musical statement. The notion of looping became my central idea for this piece, where individual lines seem to go on for infinity, thus spawning the title of the piece. The text for the Missa Brevis, or Short Mass, was both an inspiration and elation for me; so much so I felt compelled to set it to paper. The Latin text is quite idiomatic for the voice and the length of each stanza renders itself well for the repetitive nature of minimal music. The text is a modified one, in order to allow for much repetition while at the same time maintaining shorter movements. However, due to this modification the Mass is unfortunately unsuitable for a holy service. The title Bravo Zulu is quite fitting for a military march since the term is both militaresque in nature and meant to instil motivation in the troops. Military signals are sent as letters and/or numbers, which have meanings by themselves or in certain combinations. Therefore, the letters BZ, or Bravo Zulu in the phonetic alphabet, means 'well done'. The style of the march in this piece emulates that of the early 20 century British marches with its minor mode and heroic nature. From Sea to Sea a quick march for military band was inspired by my Canadian heritage. The title originates from the motto inscribed on the Canadian Coat of Arms, " A Mari usque ad Mare." The motto itself is based on Psalm 72:8, "He shall have dominion from sea to sea and from the river unto the ends of the earth." Unlike my previous march, Bravo Zulu, I wanted a more light-hearted feel, which is evident in the first strain with its piccolo solo and quirky bass line. Blanco Nero for symphony orchestra is essentially an orchestrated melody with the exception of the introduction. The introduction is a color transformation from dark to light using only the notes that appear in the melody. The melody employs the minimalist technique known as an additive procedure, whereby a melodic fragment is repeated and every so often a new note is added. The piano is the driving force behind the piece while the rest of the orchestra plays only the notes that are directly inline with the melody in varying ranges and durations. What makes this compositional technique interesting is that other melodies are produced in other instruments. Trancesendence for trombone quintet is no spelling mistake; its root actually comes from a genre of techno music known as Trance. By definition when listened to for extended periods of time, Trance depletes one's consciousness of reality and lures one into a relentless metaphysical stupor, much like minimalism. The form of the piece is through-composed. I chose this particular form to emulate a Disc Jockey technique known as beat-matching, whereby one song flows fluently into the next without interruption. th  Pg. iii  TABLE OF CONTENTS  Abstract  ii  Table of Contents Continuum for Symphonic Wind Ensemble (2000) Missa Brevis for SATB Choir and Organ (1999) I. II. III. IV.  Kyrie Gloria Sanctus Agnus Dei  iii 1 33 35 44 50 58  Bravo Zulu Quick March for Military Band (2000)  67  From Sea to Sea Quick March for Military Band (2001)  87  Blanco Nero for Symphony Orchestra (2002)  108  Trancesendence for Trombone Quintet (2001)  127  Pg. 1  CONTINUUM FOR  S Y M P H O N I C  PETER  ©Copyright 2000 Printed in Canada  W I N D  JAMES  E N S E M B L E  LAING  All Rights Reserved  Pg.2 Performance Time 4'52  130 Energetic with Drive  Continuum for Symphonic Wind Ensemble  Peter James Laing  Pg4  •nfrff mf  L.V.  Pg. 5  P  r  p  r  f  £  rj . L J  f  f  i ^ i i  Pg.6  Pg7  rTf , frrff , fr  r  P  r  P  f:  r  f  r  fe^'LJ  fe  r  fe  Pg.8  Pg. 11  Pg. 12  Pg. 13  Pg. 14  Pg. 15  Pg. 16  Pg. 17  Pg. 18  Pg. 19  if  r I  ^ 4  p  p  p  1> "  r  r r  7  mf  p  = p = p =  r  r  ; ; ; PP r  r r  r  J== f r r—r  f  r  r J  r  CP  f  r  r  r  r  fe= C  r  C  r  C  C  r r  p = f c = f  i  i  1  f  1  g  '  p  1  1  1  Pg. 20  is T *i f  f  f  f  | = i = fi 1  f 1  r r r  r  r  P=^P r i==  P  r  P  [  P  r  r=F [  f ^ £ = s  c  P F F r [ r  f = ^FF  [ \  F_J  F^E=  Pg.21  ih ~  v  = p p—p—t -e- 1 " p p p p—-p •-p-- - P — p — p — p — \ — % — f c r r r r r =c r c r c r r r r " r r r  f  r  f  r  f  r  f r  4= f  r==  r  f  f p F E=  r  r  r  r  =t=  Pg. 22  >= j, P p p F p p p P P f f=p= p p p p p=g= p p p p p=p= F P ;  ^  f  r  r  r  r  =f=r  r  r  r  r  r =r  r  r  r  r  r  — r  r  r  r  r  $  = R  R  i  LJ  ^=g=  t  r  Pg. 23  *>:, e  c  ^ Li  c  e  LJ  c  g  g  r  L J LJ  g  e  c_r  g  r =e  p  L_r  t  c  i  r  t  c  t  r  jg  S  c r  S  c  g  r  g  g  c r  p  [  p  r  p [  g r  .  p  s  C r  Pg. 24 | E | Tranquil  1=  ih  r  » LJ  LJ  I L ^  LJ L J L J 1 LJ L J L J l U  LJ  LJl  Pg. 25  m l #—t-  §85=  l  £•  Pg. 26  Pg. 27  Pg. 28  Pg. 29  Pg.30  Pg. 32  Pg. 33  &WEib Choir an6 ©rgan  for  1 1, ©loria III Sanctus  "peter Jfamee ©Copyright 1999 Printed in Canada  tCaing  All Rights Reserved  Pg. 34  Kyrie eleison. Christe eleison. Kyrie eleison.  Lord, have mercy upon us. Christ, have mercy upon us Lord, have mercy upon us.  Gloria Gloria in excelsis Deo, Et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, Adoramus te, glorificamus te. Gloria in excelsis Deo.  Glory to God in the highest, And on earth peace to all those of good will. We praise Thee. We bless Thee. We worship Thee. We glorify Thee. Glory to God in the highest.  Sanctue Sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra Gloria tua. Hosanna in excelsis.  Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. Amen.  Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest.  .  Lamb of God, who takest away the sins of the world, have mercy upon us. Lamb of God, who takest away the sins of the world, grant us thy peace. Amen.  Pg. 35 Total Performance Time 13'40 Performance Time 3'20  Missa Brevis for SATB Choir and Organ  Pg36  Pg.37  Pg38  f  poco cresc  Ky  -  -  -  ri  Ky  e  Ky  e  Ky  e  poco cresc  Ky  -  poco cresc  Ky  -  poco cresc  Ky  Org.  n  -  Ky  e  n  -  e  poco cresc  ©  J?M  $ " .  -  -^rjyb  o:,  —*—^,  1  =^ .  f  kI ™L  li>iKjt~]  _fu.-  J  n j  j  4^n  J  J  Jl J J j  Org.  —  *  —  w  fc  j  .  '  —H  J  . -  J  H  \ •  =  JUl  J =i  HN—j— J  j;  j;  #q  i~  juJ  J  J J  J  H ^  Pg. 39  Chris - te  e - le - i  Chris  - son.  te  / Chris - te  e - le - i  -  Chris - te  son.  e - le - i  -  son.  i»—i—<> Chris - te  Chris - te  Org.  e - le - i  -  e - le - i  Chris  - son.  Chris - te  son.  e - le - i  te  son.  iv.  W  D  subp  erase poco cr poco  Ky - ri - e  Chris - te  subp <~ ~> cresc poco a poco 3  Ky - ri - e  subp i-^—i  c r e s c  Chris - te  P  oco  a  P  o c o  Ky - ri - e  subp  Chris - te  3—i crescmco a poco _  r p r ii  r  •* cresc poco a poco  rr  Chris - te  Ky - ri - e  subp  _  Chris - te  Ky - ri - e  1—3-1  i'J  Org.  -  -  LJ > J  J  Chris - te  Ky - ri - e  i—-»—i  Chris - te  Ky - ri - e  r  1-3—i  v  r  Ky - ri - e  ir >  rr Chris - te  Pg. 40  Pg. 41  fe  EM-  EM*=  E ^  r r cr  r  K LIT  r  r p  Ky  -  ri  E ^ Ky  Ky  Ky  Ky div.  KyKyJuj.  J-  ----e  Ky  i <i  Ky  EM5  5T  1  mm  7  •IF  r  m  m 3  Pg. 42  fe Ky  Ky  ]\ |J  J  Ky  Ky Ky^  e  KyjWj-  ' 3 W  e  Ky  aft  J  Lrir^  r  ^ Ky  K  y  >  Pg. 43 Ky  Ky  e  o  ri  Ky  Ky  -  ri - e  Ky  ri  Ky  -  ri - e  Ky  Ky  m Ky Ky  1 1  -  Ky  C  Ky, Ky^J.-  KyJ.  r  Ky  Ky  Bj]yi3fflf  4^  —  * ~  P  T f ~  P I  p  le  -  i  son.  le  le  e  -  i  son.  e  •  *  •  •  r  Pg. 44 Performance Time 3'05  II. Gloria  J.  i.-72  ™P  Stagger Breathe  m^Ln^L^m  ff  Soprano  Glo  n  -  Glo  - a  n  -  - a  TTVp Alto rgrGlo  -  ri  *r—  - a Glo - ri -  a  Glo - ri - a  HPIP Glo  -  -  ri  ri - a  Glo  Glo - ri  -  a  Glo - ri - a  Glo  -  Glo  -  -  ri  ri - a  Glo - ri  -  a  Glo - ri - a  ttyp  ri  Glo  -  a  Glo  -  ri  -  a  © Glo - ri - a  in ex-eel  Glo  -  ri  Glo  -  ri - a Glo - ri -  •m'  ri  Glo  -  a  Glo  a  -  Glo - ri - a  ri  -  Glo - ri - a  Glo-ri-a  De  a  Glo-ri-a  - o, tnp  m  Glo-ri-a  ©  Glo - ri -  in ex-cel  sis  Glo - ri - a  a Glo-ri-a  De  {EES Glo - ri -  Glo - ri -  Glo-ri-a  a  0 ffffF sis  De  -  sis  o,  Glo - ri -  a  in ex-cel  De - o,  Glo - ri - a  in ex-cel  Glo - ri  Pg. 45  © o,  Glo  ri - a  ter  et  -  ra pax  ho - min  mf  nn¥ jjJIr n ^ i et  ter  in stagger breathe  et  -  m  ter  in  J  -  ra  jv  si^IY  7  pax ho - min  ra pax  ter  in  -  ra pax  jPii  ho - min p  et  1  ,  -  p^  ho - min  © bus  4  bo - nae vol - un  -JJJJl j  7  7  bus  r r r  bo - nae vol - un -  -  J M  -  sis De - o,  1  0 0 0-  sis De - o,  - tis  ta -  -  Glo - ri - a  riJJl  7  - tis  7  in  i j j J  7  Glo - ri - a  -  - tis  Glo - ri - a  in  ta -  -  - tis  Glo - ri - a  in  J-  Lau - da - mus  te,  wm  Lau - da - mus  7  nJj-  LLrCTJ* [liCET  ta -  r J J J-  rjJjj  in  1LT LIT [LT 1  Lau - da - mus  >• J J j' sis De - o,  sis De - o,  -  -  rjJiil  7  -  bo - nae - vol - un -  bus  p* cel  rjJj]  [EfLLT CU 'LLTClP  11'* r  eel  7  bo - nae vol - un  bus  eel  i j J  ta -  te,  Lau - da - mus  mus  Lau - da - mus  u^i Lau - da - mus  Lau - da - mus Lau - da -  S0 Lau  - da - mus Lau - da - mus  Pg. 46  Pg. 47  ©  Broad  mus  mf  CJ U J  te, Glo - ri - fi  ca - mus te,  Glo  ri - fi - ca  te, Glo - re - fi  ca - mus te,  Glo  ri - fi - ca  1  t J J J ' CJ LTJ J  T  mus te,  do  T  a - do  mus te,  do  mf  F P' CJ ULT CP  1  a - do  1  m  Org.  mf  te, Glo - ri - fi  ca - mus te,  Glo  ri - fi - ca  te, Glo - ri - fi  ca - mus te,  Glo  ri - fi - ca  cJLfjrr te, te,  r P' CJ U J CJ J J ' ^ t J J J V p ^ p 1  7  a - do - raa - do - ra  te, m  Org.  a - do - ra-  te,  m  a - do - ra  Pg. 48  ©  JJ] Jte,  Glo - ri - fi  ca - mus  te,  A] Glori-a  Glori-a  Glori-a  Bring out  te,  Glo - ri - fi -  -  -  ca - mus  'rjrjLIJP£/LITr mus  ©',mus  ©^  'J  fP  a  te,  -  -  - do - ra - mus  g p a m m m.  j  inex-cel  do - ra - mus  te,  sisDeo,  sisDeo,  te,  Glori-a  inex-cel  p  D  Glo  ri  Glo  -  a  Glo-ri - a  in ex-cel  -  Glo  -  Glo-ri - a  Glo-ri - a  sis De-o,  Glo  ri  Glo-ri - a  Glo-ri - a  in ex-cel  -  -  ri  -  a  Glo-ri - a  -  sis De-o,  Glo  Glo-ri - a  Glo-ri - a  m  Pg. 49  poco  rit.  mf  USUI Glo  Glo =  mf  aGlo mf  Glo-ri - a  Glo-ri - a  ••  Glo-ri-a  rr\  Glo-ri-a  Glo - ri  J-J  j.  Glo-ri-a  Glo-ri-a  f  m  0t  0 \in ex-cel  a  Glo  -  Glo-ri-a  sis De-o,  in ex-cel  -  -  sis De-o,  Glo-ri-a  m Org.  mf  Glo  Glo  ri -  -  Glo  Glo-ri-a  -  Glo-ri-a  a  a  Glo-ri - a  f7\  Glo  Glo-ri-a  -  ri  -  a  Glo-ri - a  Glo-ri-a  • in ex-cel  Org.  -  sis De-o,  Glo-ri-a  in ex-cel  -  -  -  sis De-o,  1  Glo-ri-a  Pg. 50 Performance Time 3'25  J ,  III. Sanctus  54  Yearning  Organ  1  mf o  © 3  , Sane  tus  Sane  tus  Sane  -  Sane  tus  Do - mi - nus  tus  Do - mi  -  Sane  tus  nus  Sane  Org.  i  9  ^ O  Sane  Pg.51  Pg. 54 37  B  mp  1  tit  ,  3-  Sane  it  mp  1  _ ® J  i  -J  Org.  Sane  tus  ±  ±  r rrrr Fr r r r r T  ffiE  mp  .9.  ML  ML  ML _9  »  » Mh_  9  k  ML  ML  ML  . t»» V-9  0  ®  ft '  ft  9  V-  -  tus  0  cresc  tus  ft  -9  3fc Sane  tus cresc •  Sanc J  -  -A—*Sane  Sane -  /  Ple  ni  sunt  el  / *  BothX  1 st X only  Pie  Pie  ni  y  -  ni •  tus  F  sunt  •  sunt  J  =ah=d=  [_f_J! L_fJr /  J  3  Org.  .8.  p.  p.  ^5—£-  p.  et  glo  ter  el  -  n  ff  el  sunt  ff  a  ter  5  Pie  ff  —' »- »ff  glo  ter -  Mysterious  .r  -  *—^  i  et  Org.  Pg. 55  »  -»  »  •  ,t  ~3  ff  ff  «  -  i  ff  et  ter  Pg. 56 ®  f  _,  f  =  ri-fi—a.  3  ,  na  Ho  ff  in  ex  eel  -  i  3  Ho  glo  3= Ho  ff glo  a  Ho  tu  r r r r.r ^ r r r r r ^ Org.  .W.  ML  ML  ML  ex - eel  9-  -  sis.  ML-  -ML  Ho  ML  r -r r  rrrrrrrr t.  ML  ML  T  r ^  '•— ff ff  ML  Ho  san - na  Pg. 57  © [I Org.  ±  TI  f f rrrrrrrrr=F  r rr rF  'F F F f  1— i J—1TI 5T r r r_r_j; r r r r r r  :f p f f  t>  -JA  1  1  1  IS  F FF  d  P 1P 1P P1 P f P f = -1 :— r — •  —  ©  (S  3  •  '  3  '  nJ  ,J  =t=i  'r r r r £=M  f f p  — i — i — i — i —  Pg. 58 Performance Time 3'50  IV. Agnus D e i  Pg. 59  Pg. 60  Pg.61  fe no  bis.  -  mis  Ag -  e  bis.  no  mis  -  er  -  nus  -  De  -  -  - er  l,  qui  mis  er  > mis  er -  er  er  . -  -  er  j  e  tol  -  er  r  2  bis  no  no  r - bis  3 3  kM>= bis.  mis  -  er  IP lis  ca  pec  mis  -  er  -  mis  er  -  er  -  er  _»_  mis  -  er -  -  -  er  -  e  no  -  bis  no -  bis  mis  -  ta  Pg. 62  Pg. 63  Pg. 64  r  r do  pa  >  - na -  do  >  J  no - bis  >  J J  pa - cem.  na  do  A - men.  >  -  >  EM>= A  -  >  -  -  >  -  do  >  >  >  no - bis  na  -  - men.  -  >  >  pa - cem.  >  A - men.  >  men. do -  na  >  do -  >  >  no - bis  na  >  >  >  >  >  >  >  >  p ir r  bis  no -  >  pa - cem.  >  A - men.  >  >  >  P  pa - cem. A - men.  >  >  no - bis  na  bis  no  >  >  pa - cem.  >  A - men.  Org.  m  m  m  ® do  EM*  1  >  -  do  >  -  do  no  >  >  >  >  na  no - bis  >  do  na  >  -  >  >  >  pa - cem.  >  >  >  >  na  no - bis  3  3  A - men.  do  >  -  no - bis  na  —  A  -  >  >  men. >  pa - cem.  A - men.  >  P  pa - cem. A - men.  >  3  - cem.  >  >  >  pa - cem.  >  A - men.  Org.  3  -  pa  — > —  >  p ip r  no - bis  na  bis  3  3  3  >  do -  >  na  >  >  no - bis  >  >  pa - cem.  >  >  A - men.  Pg. 65  Pg. 66  Pg. 67  Bravo Quick  March  Zulu  f o rMilitary  Band  S O  Peter James Laing  ©Copyright 2000 Printed in Canada  All Rights Reserved  Pg. 68 Performance Time 3'02  1  Flute  Oboe  Clarinet in Bb 1  Clarinet in Bb 2-3  Alto Saxophone 1-2  Tenor Saxophone  Baritone Saxophone  Trumpet in Bb 1  Trumpet in Bb 2-3  Trombone 1-2  Percussion  Cymbals  120  Bravo Zulu Quick March for Military Band  Peter James Laing  Pg. 69  Pg. 70  Pg.71  Pg. 72  Ob.  Bb Cl. 1  Bb Cl. 2-3  B. Sx.  Bb Tpt 1  Bb Tpt 2-3  Hn. 1 -3  Hn. 2-4  Tbn. 1-2  Tbn. 3  Brtn.  Tba.  Mai.  Cym.  J  I  Pg. 73  Bb Cl. 1  Bb Cl. 2-3  A. Sx. 1-2  B. Sx.  Bb Tpt 1  Bb Tpt 2-3  Hn. 1-3  Hn. 2-4  Tbn. 1-2  Tbn.3  Pg. 74  Bb Cl. 2-3  A. Sx. 1-2  Bb TpL 1  Bb Tpt 2-3  Hn. 1-3  Tbn. 1-2  Tba 3  cresc poco a poco  Pg. 75  Ob.  Bb Cl. 1  Bb Cl. 2-3  A. Sx. 1-2  T. Sx.  Bb Tpt 1  Bb Tpt 2-3  '1$ —  r  r  r  -^-rJT  Hn. 2-4  =  Z Z C Z'  C—  jp^ii —r r r r •  r—  fc  £ f r f  Tbn. 1-2  3  r  p  r" 8r  r  1  f  #r  r  #f  1  r  3  *  f^f  t  3  :  y  1  j  1  Tbn. 3  n  =  JP^ , — —  T  r"  r  P  *  r  «•  . £gff  3 =1^— 1  1  J  5  5=  3 Brta.  3  Tba.  Mai.  ^ -  &'  r  1  =  7  Perc.  Cym.  u  n  r  f  -  r  i  r  r  r  r  r  ^  j . -  r  ••  Pg. 76  Bb Cl. 1  Bb Cl. 2-3  A. Sx. 1-2  B. Sx  Bb Tpt 1  Bb Tpt 2-3  Hn. 1-3  Tbn 3  Brtn.  Mai.  Cym.  Pg. 77  Pic.  Ob.  Bb Cl. 1  A. Sx. 1-2  U  Us  B. Sx.  1 Bb TpL 1  r  L-j-  Bb Tpt 2-3  o2 3  Tba 1-2  Tba 3  Tba.  r Perc.  Cym.  r—r—-  LJ  r—r—  T—r— r—r~  r  r  Pg. 78  Pg. 79  Trio  ,56,  Pic.  te  rk"k ~  te  te  Bb Cl. 2-3  A. Sx. 1-2  B. Sx.  Bb Tpt 1  Bb Tpt 2-3  ^3 te  4t  Hn. 2-4  Tbn 1-2  Tbn 3  Brtn.  Tba.  Mai.  Cym.  tttt  *  Pg. 80  Pic.  Ob.  Bb Cl. 1  Bb Cl. 2-3  A. Sx. 1-2  T. Sx.  Bb Tpt 1  Bb Tpt 2-3  Hn. 1-3  t \  -  ?  =  =  $" ll^  T"  » r  ,  p  7  r  N  Hn. 2-4  ' P 1  .  11  .  ft  =  > gj» f  _Z  mf  »  g=  P  7  -<—]—•—3—  - —,^=i  0:.U  Tbn. 3  » r  ,I  bd—L  T  ft  ,I  T  ' P P » J .. ^ , H! , ft  »  r  ' P  » 7  g=  P  —3—<—J—  , ft , ft  * I* l Is k  *  m  j  *  fff  m  J  •  J  | J  J  = =1 m  m  m  Mai.  Perc.  Cym.  p u  n u  7  r  ^  mf ii  7  p  mf  7  r 7  •<  fr= p  w  7  r 7  f P  7  7  r P  fc  7  r W  p  *  7  J. p  7  r *  7  ^  «/  7  r Sf  ^  7  r  u  p ' p  J. V  7  p  7  r *f  7  J. V  p  Pg. 81  [66)  Pic.  m.  Ai\\f'—f J?  Ob.  r  ^  f  —  • p  f  *  Jft.  «.  J1  x—>•  f  P  $ " P  Bb Cl. 2-3 "Ttir^n—<s  i?  "  1  7  r  f  %t  P  PH  7  '  ri^i  Bb Tpt 1  ij^  i  J =i  J  -  = ^  -  =  •  f  J  —  ••  a2  r >  f  1  J  > •  a2  *•  •  i  4 =  'y  w  ~P i  =  ]  >  d =1=  r  .... —  7  • »•  *  ~w  m  1  6  1  j  Bb Tpt 2-3  p  7  S S S—s— -»  P »  Ah T. Sx. T "  r  i•*  > . —  •  =  r  •  ^  ML  m  Bb Cl. 1  m  •r  ^  w  >  L >  mf  &  [r .7  T" t l  Tba 1-2 Tba 3  .,  =  P  ->^ U):,H J rJM  — 3 —  II - ft  » r > r =  '  P  _5—3  7  = =  J  -J  P  -J—  5—3  . ft . ft p  4  J  w  J-  •  •  -  1— < _  mf 7  Perc.  5  p=  P  7  ;  7  Mai.  '  r—f i— .  7  r  r -  — 3 —  — - p ^  *): L  Tba.  L  *  3  7  L  r  u  Cym. -0  r  f  ^-n—i  . »  j>  7  7  r r r - * — « — ' — n — tt  ^  ?  7  ^  r . *  V  r  r  j —  r  L.V. "f  b 7  r  Pg. 82  ®  ff-  M  f  ft  .ft  Pic.  m  ft  >>  .ft  . 4  •ft  1^  ^ — Z ft •ft*""  ^  •  4  "I*  -  •  1  f  1  ^  —  >  P  r  Bb Cl. 2-3  A. Sx.1-2  -#rW—s—.—-—w— -*  T" ^ ft  Bb Tpt 2-3  Hn. 1-3  Hn. 2-4  Tbn. 1-2  J 1 '-Jhy^—  i  J 3  -  » 7  ,:,U  .  3 fi  ft  . 1  Perc.  Cym.  •f 7  '  T-fh  bd—I  ^  | 1  1  s  LLTE  > f  <— ^—  1  =  1  3  ? ^  — i  1* 1* 1* I* 3  ;M  ft  Brtn.  Mai.  III  3  , LP!  i  J  J  md d,  —i=5L  7  Tbn 3  > I>VL .  -\  1  J  >  7  LJ  r  .......... m.  — -a  -jr-  T  '  ft  V" ' P ' 1 ft "  F—  7  1  ft "  f  =1  >  _3  Tba.  —E  1  >  Bb Tpt 1  = ^  7  p  -  1  g g;  P  ^h^ B. Sx.  T  » r  P 7  ^  ~  -^3— > ^  1  1  L  1  M  r*  £H  Pg. 83  76  /  te 3  3  m  Ob.  f-ff  3  Bb Cl. 1  Bb Cl. 2-3  f-ff  A. Sx. 1-2  B. Sx.  f-ff Bb Tpt 1  Bb Tpt 2-3  Hn. 1-3  Hn. 2-4  Tbn 3  Brtn.  Tba.  f-ff Mai.  Perc.  r  r  choke Cym.  —\-  r  f-ff H » —  f-ff  P  7  P  r  r  p  7  p  r  Pg. 84  • p i  0  >  Ob.  — i — f•  3  f•  >-  Bb Cl. 1  BbCl. 2-3  A. Sx. 1-2  4 ^  r  r  r  t  1*  ft  H  m  3  -f—m  f-=—f M N  3  3  -jM—  "  '  J  3  ft  c  -Jht— '  -  J>  j  l  1  i  1  =  5 l  =1  J  r^-frV—  ' r  P  7  U  1  ••j 7  &  Bb Tpt 2-3  *  JPM  ft  v  *  P  7  r  1  »  J  1  T  Jl  j  7  JI  <  *  a  r  p—0  p  J  J  L U 3 C. / r~ A ^—w  1  J  f-ff  j  si  3  3  C '  r  P f j . J% -3—  p 'p  f  5  >  0  j:  i-' » ^  0-  i  r—p—^  d  2.  ^ =  Brtn.  J  Tba.  LLr  i i n  >  7  U  d  f  U s 3  -  f  f  -  r  -  -  L  r  J.  ^  r  r  *—«—^—fi— — t t — * — t t — — f i — * — t t —  m  1  f-ff  3  Perc.  0^  »  Mai. 3  d  3  »  3  •fl  M'  >  Tbn 3  Cym.  ^  1  r  7  ^ =  -i— —3  J  -  7  3  •' -C •Pr  ^  Ll^ > '. ft "  u  1  f  :  J  Tbn. 1-2  -  1  J'  ft  f  •> —  '  ' P 'P  * =  9  B. Sx.  Hn. 2-4  r  I' 'I  I  d  -Jhft—p  Hn. 1-3  #  j  3  3  T  Bb Tpt 1  P ^*  3  0  ¥^  M M ft r  r r  3  3  7  J  j . - — • r 7  r tt  7  tt  Pg. 85  Pg. 86  te  r  te  ff  r  f  Ob.  ,  p.  Bb Cl. 2-3  A. Sx. 1-2  i  T  E  T. Sx.  Bb Tpt 1  Bb Tpt 2-3  Hn. 1-3  Hn. 2-4  Tbn. 1-2  Tbn. 3  Mai.  Cym.  choke —IT  from Sea to Sea Quick march for military Band  <t>»  Peter James Laing ©Copyright 2001 Printed in Canada  All Rights Reserved  Pg. 88 Performance Time 3'42  From Sea to Sea Quick March for Military Band Peter James Laing  Clarinet in Bb 1  Clarinet in Bb 2-3  Alto Saxophone 1-2  Tenor Saxophone  Baritone Saxophone  Trumpet in Bb 1  Trumpet in Bb 2-3  Cymbals  Pg. 89  %  B.Cl.  BbTpt. 1  BbTpt. 2-3  Mai.  Cym.  2nd X Only Play on DS Solo t-  Pg. 90  B.C1.  BbTpt. 1  Bb Tpt. 2-3  Tbn. 3  Tba.  Mai.  tes=  9 k IT L C J T — r  T  Cym.  r  Pg.91  feE^  te fe te  BbTpt. 1  Bb Tpt. 2-3  H a 1-3  te te fe te  Tbn. 3  Mai.  Cym.  mm  Pg. 92  Bb Cl. 2-3  BbTpt. 1  BbTpt. 2-3  Tbn. 1-2  Tbn. 3  Cym.  Pg. 93  Bb Cl. 2-3  Bb Tpt.  1  Bb Tpt.  2-3  Tbn.  1-2  Tbn.  3  Cym.  Pg. 94  Bb Cl. 2-3  BbTpt. 1  Bb Tpt. 2-3  Cym.  Pg. 95  Bb Cl. 2-3  BbTpt. 1  Bb Tpt. 2-3  Tbn. 3  Cym.  Pg. 96  BbTpt. 1 Bb Tpt. 2-3  H a 2-4  Pg. 97  Bb Tpt. 1  h  - ,  —*  M M  —>  Ffff  f—  1  .ft J 3 33 3  3  BbTpt. 2-3  ft  ir  =*=  WIT  jMh  ft  w)  >  '  e  y  >  c 4  J—*  .—  *  ^ 1 r  |  I  p  4  J  * J  "P  J  3  .  7  4  J. r  j.  j. 1  J  ' r  j l r  —i  |I-  -LCJ-|  = \  4  i—  =  77J7  ^ l> *  M  =^  -L  mf  r  -  mf 4  [1  b ^  f'J^i,  j r j  7  j  "]  J  #  7 _  J #  -j 4  •  1  S.Dr.  Cym.  B. Dr.  a n  r r r r r r >  D  *  1°  r  _  i  p * p r  r r r  r  >  >  1  r  P * r  7  i  P  r r  r r r r  1  P  r  1  r  P  r  1  r  7  £  p * p r  LLJ  r  r  r  r  •  r  Pg. 98  Bb Cl. 2-3  BbTpt. 1  BbTpt. 2-3  Cym.  Pg. 99  Ob.  BbTpt. 1  m  BbTpt. 2-3  Mai.  n  o Cym.  _ r  _  — A—  r r  r  —  rr  —  / r  ' ?  * — * — — n  > p' p  y  r  r  r  *r  i  r  r r r r 'f / LV _ — —  r  r  r  r  w  1  r  & 7  Mm  M»~  r r  I..V.  1  = r — * • — if  ^  r  r  r r  r  7 T 2  Pg. 100  Pg. 101  66  m  * f  • P*  •f—r p r  i * r*  «  CU  • U l ; mf  rt—  I'  f  r  r  F  F  m  j  s  L X J=  r  E-U=^  — r  L 1 1  —p r  F~H—F—f—T—  LJ"J  f  -  r  = r  i  J  r—r—p— r r==^ r  J  r i  p=  11 | = j \ -J,—^*—j  4K -\  \—TJ  = H p =  = -  -  J  mf  p—p—p—• * * j =  5  ¥=  mf  J  ^ = T ¥=  F  -r  ' '  7  *r  1  J  =H r *r  m  •  m  7  1h>  Lj  =  mf  • >  W=  -j—i  P *  —i  p^  1  ' '  P  i  BbTpt. 1  Bb Tpt. 2-3  J  -  r • r  =P=  ?  =  i  ;  J—TJ J  J  r  i  J  1  r  7  =J r  • p  =  7  r  F  P  r  7  =  P  J  = \  N  ?  «  i  ' J  j m  = = = =  • =  * 7  i ===\ 1  7  J  ^  7  M¥=i  ¥=  4mT  Tbn. 1-2  p  r  7  J  ,iL  =  j  # ^  ?  j  -  J  r  tip  UJI= '  m  r r  i  ¥^ ¥^•*  h —  r—  r—i  ^ >  3 * —3=  f  f  J—.  J,  f  -i—r—i  *  P *  *  3  r—  —  3  ?  •1  —  c—*  Y  P r  P  •"r  r  r  ft  r—  P *  P  3 * 3 ^—f—  ?  P  —3-  / *): ,1,, L  ./ > \ i/f  / *): | k L v L  |-  J  J  7  7  '  j  ' J  7  :  j  ,  «  7  i J  =H 7 •r  1  ' =1  J  Mai.  S.Dr.  n y  Cym.  n y  •* .>  *  P  1  >  P*  P  *  $ r '  r  , P  > *  « * p *  » p  x  \ 1  m  \  P '  mf  • a — '•T  r  r  r  » i P *  P f  r  m  P  »^ f  r Ir  '  r 1  r  r  r  r r P * r  7  r P  Pg. 102  © r  ff  r  E  f  f  f f  f f  rr  r r_r r r_r  BbTpt. 1  BbTpt. 2-3  Tbn. 1-2  Tbn. 3  ^ Cym.  T  —  m  r  Pg. 103  76  ^  r P r. r r r  CM  LU  I  LU r  BbTpt. 1  Bb Tpt. 2-3  Ha 1-3  h ,  1  Tbn. 1-2  Tbn. 3  tU"C_lJ-  T 4-  Cym.  t  —  r  T r  —  r  Pg. 104  Pg. 105  FU  Bb Tpt. 1  Bb Tpt. 2-3  Tbn. 3  Brtn.  Mai.  Cym.  ff  r  t t — r  Pg. 106  Fl.l  \t  r  Y  BbTpt. 1  BbTpt. 2-3  Tbn. 3  r  tc—i  L 1  UP  W  P  J  7  J  -  1-  1  K J  J  u-  1  r  i i  .  >  I P^  c-T  1  P  r~T>  r  r  \  1  7  i  J  7  j  Pg. 107  Pg. 108  5  anco  for < 5 y p h m  o n  y  N\ i e r o Orchestra  P e t e r J ames L a i n g  ©Copyright 2002 Printed in Canada  All Rights Reserved  Pg. 109 C Score  Blanco Nero  Performance Time 5'00  for Symphony Orchestra Peter James Laing  i „  -  4F  —  •  (A - B - C • D) Soft Millcti  m-  80  J  J pp  1  1  *  Pg. 110  Pg. 11 1  Pg. 112  p  Pg. 114  Pg. 116  Pg. 117  Pg. 118  Pg. 119  Pg. 120  Pg. 121  Pg. 122  Pg. 124  Pg. 126  Pg. 127  9  ©Copyright 2001 Printed in Canada  All Rights Reserved  Pg. 128  The piece is for trombone quintet, which includes two alto trombones, two tenor trombones, and a bass trombone. The music was written with careful consideration to the placement of each performer, taking advantage of a quadraphonic surrounding where melodic fragments would seem to be coming from all directions. See below:  Stage  Alto 2  Alto 1  Bass  Seating  Seating  Seating  Tenor 1  Tenor 2  Recorded by the I Tromboni on the 14 of October, 2001. th  Pg. 129 Performance Time 7'40  Trancesendence for Trombone Quintet  Peter James Laing  120 Alto Trombone 1  7Itp  Alto Trombone 2  ™f Tenor Trombone 1  fp  ppp  Tenor Trombone 2  PPP  -  Bass Trombone  © A. Tbn. 1  mf  mp  P  A. Tbn. 2  ff  mf  mp  pp  T. Tbn. 1  ppp  P  o T. Tbn. 2  ppp  B. Tbn.  © m  A. Tbn. 1  mp A. Tbn. 2  TO/ T. Tbn. 1  PPP  T. Tbn. 2  B. Tbn.  -  P  mf  Pg. 130  A. Tbn. 1  mp A. Tbn. 2  m  p  TTVp  P  T. Tbn. 1  PPP  P  T. Tbn. 2  PPP-  P  B. Tbn.  A. Tbn. 1  mf  mf  "if  A. Tbn. 2  T. Tbn. 1  PPP  [PPP  -  T. Tbn. 2  mf  PPP B. Tbn.  A. Tbn. 1  m  A. Tbn. 2  mp  ff  mp  PPP  mf -m_  T. Tbn. 1  mf  "if  — PPP  i l  T. Tbn. 2  PPP  mf  PPP  f  B. Tbn.  Jf  f  m  mp  p  mp  Pg. 131  A. Tbn. 1  ® PPP  mf  ff  m PPP  A. Tbn. 2  P  i TTVp  PP  wvp  X Tbn. 1  pp  mp T. Tbn. 2  _ff_=  k_  mf  P  PP  mp  f  mf  P  B. Tbn.  PPP  A. Tbn. 1  CJ -  mf  a  P  P  "f  PPP  P  M  PPP\  mp  A. Tbn. 2  mf  PP  pp  nyp T. Tbn. 1  mf  P  PPP  T. Tbn. 2 TTif  mp  p  PP  nyp  \ppp  B. Tbn.  PPP  ®  E  A. Tbn. 1  pp  jp  A. Tbn. 2  jp X Tbn. 1  mf  T. Tbn. 2  B. Tbn.  Pg. 132  fpfii  B. Tbn.  _ 1  56  > >  > >>  > >  accel. ;i  A. Tbn. 1  ^  f P f f f  > > >  > >  J= 130  >> >  ^  ityp  mf  /  iff  ff  ff  A. Tbn. 2  T. Tbn. 1  T. Tbn. 2  • '\>\ f  *  ^  ^  JP  pp  PPP  3  -  i  —  ^  iff  , r r ,  f  mf  ppp  B. Tbn.  1 «i  l l t i  ff  i  i.  i  i «>  i  if i i  i *—r  Pg. 133  © A. Tbn. 1  A. Tbn. 2  T. Tbn. 1  3£  T. Tbn. 2  B. Tbn.  A. Tbn. 1  te  m mf  A. Tbn. 2  mf  "if  T. Tbn. 1  mf  T. Tbn. 2  B. Tbn.  A. Tbn. 1  A. Tbn. 2  T. Tbn. 1  r^rr.rr  0  -  0  M  *  *  -  0  -  T. Tbn. 2  B. Tbn.  "» 9 9 » *  f  ff  *  »'  -m ^  *  Pg. 134 ,76 A. Tbn. 1  A. Tbn. 2  T. Tbn. 1  T. Tbn. 2  B. Tbn.  A. Tbn. 1  m te  A. Tbn. 2  T. Tbn. 1  T. Tbn. 2  B. Tbn.  5£  I I1 3*3  A. Tbn. 1  A. Tbn. 2  T. Tbn. 1  T. Tbn. 2  B. Tbn.  7  II ""J •  1 •  7  1  MIIJll  J J J J J J J U J J J J J J S  5 '* 5 5 »  S  S  S  :j  S  S  J  * -*  W  • *  U  JJ  S* *  V  1  «  Pg. 135  A. Tbn. 1  mf  A. Tbn. 2  IIU  |Kt,  M  P  ,  . f f f ,  T. Tbn. 1  -  °  P e  r r ? r r * r f  "  /  mf m  Open  T. Tbn. 2  |*J*  f  f  7 |»  f ' i ' f f f ' y f f  /  mf  B. Tbn.  ®  m  /  f  > >  > >  A. Tbn. 1  A. Tbn. 2  T. Tbn. 1  I—  T. Tbn. 2  B. Tbn.  A. Tbn. 1  A. Tbn. 2  T. Tbn. 1  T. Tbn. 2  B. Tbn.  3$  1  *!  1 I-  r ^ r r f ^ r r  Pg. 136  106  Legato  Muted  A. Tbn. 1  mf Muted A. Tbn. 2  m  te  T. Tbn. 1  r*rff?rr mf  B. Tbn.  5  J •  S  *- *  9  mf A. Tbn. 1  te  A. Tbn. 2  te  T. Tbn. 1  T. Tbn. 2  3^  " 1>  B. Tbn.  A. Tbn. 1  te  A. Tbn. 2  te  I?  mf  Pg. 137  121 A. Tbn. 1  IIP  A. Tbn. 2  -IP  T. Tbn. 1  ,11,  i M 45 n i,  ^ r  p  *): ,l>,L  >  o  p  O  a T. Tbn. 2  7  p"^  f  B. Tbn.  f  7  f f  V  ) /  1  1  1 -J  .ft  f  p |*  '  ff~p^i  A. Tbn. 1  A. Tbn. 2  Luj , U >  7  p=  T. Tbn. 1  -—1 o  o T. Tbn. 2  M/k », (  B. Tbn.  = f"  f  tii .r7>r— 4^—* 7  1  1  1  1  o  f — f = — ^  —Pzf—P f T 7  7  Open A. Tbn. 1  Open A. Tbn. 2  T. Tbn. 1  T. Tbn. 2  B. Tbn.  r r.  r n  r  Pg. 138  136 A. Tbn. 1  A. Tbn. 2  T. Tbn. 1  T. Tbn. 2  B. Tbn.  A. Tbn. 1  A. Tbn. 2  T. Tbn. 1  T. Tbn. 2  B. Tbn.  A. Tbn. 1  A. Tbn. 2  T. Tbn. 1  T. Tbn. 2  B. Tbn.  3S  r f , rf rs, rs  Pg. 139  151 , A. Tbn. 1  m  te  A. Tbn. 2  T. Tbn. 1  T. Tbn. 2  B. Tbn.  A. Tbn. 1  A. Tbn. 2  T. Tbn. 1  Itfr^i -IS-MM.  O-.LL  r r ^ r r ^ r f . tf. rf  T. Tbn. 2  B. Tbn.  A. Tbn. 1  llt?iK> "ff - r IT " v \ ' ~ ll'j^l,  T. Tbn. 1  •/  B. Tbn.  i  t f , t f , rf ?rP.  r f ^r  ?  - J ^ h  A. Tbn. 2  T. 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