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slippages – Study Score Carruthers, Deborah 2018

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 01 -01 • oz
 00 -top
Slippages
Deborah Carruthers - Artist-Composer, 2018
Photos - John William, 2018
Instructions for play...
The original score is meant to be presented stacked,
with page 1 on top. Each sheet represents a history,
with the most recent history first
The past influences the present.
It is written in the language of glaciers, informed by
their physics, chemistry, ecologies and philosophy.
The holes in the score reference the holes found on
the surfaces of glaciers.
The language is meant to be read through time. What
is seen through the holes is played in the present and
dominates the past.
This language is subject to movement and influenced
by geography.
ft is recommended that both temperature and mass be
balanced, and that energy be conserved at all times.
Considering stress and strain and deformations, ft is
desirable to crumple score sheets and drop them as
necessary. Solastalgia may be experienced as drifts
emerge.
The number of musicians can be extremely variable.
This piece was originally conceived of as having a
length of 10 minutes.
For large ensembles, such as symphony orchestras, it
is recommended that the work be timed, with each
sheet representing approximately 25 sea
As the time-scale of glaciers is dramatically different
from ours, I would suggest that this too may be
mutable.
About My Graphic Scores...
Graphic scores in general do not have to contain any
musical notation - although some may incorporate
notations in unusual configurations.
My scores contain no musical notation whatsoever.
slippages has no temporal or pitch indications;
although it has a suggestion related to the overall
length of the work to facilitate working with large
ensembles.
It does not include directions as to what kind or how
many instruments are to be used (including voice).
It will produce a unique piece each time it is played.
It will encourage close listening - a necessary thing in
these kinds of dialogues.
It will (hopefully) inspire experimentation.
It is not a free improvisation.
Structured improvisations provide a framework to
examine ideas, themes, and sound.
C
•"UWVO^
 01
Triggers:  I .H
1. Oboe   mm®
|| trumpets BB
violas ^^H
2. Harp or celesta
3. Tpt. 1 (muted)
Connectors:
Tpt. 1 (Muted)
 02
Continuing:
>Trumpet 1
(muted) H
Triggers:   ^H
1. Bassoons &
Tpt 2 (muted)
2. Violin 1/3+6
3. Cello 3+5
4. Viola 2     I
5. Violin 1/2 m
Connectors:
Violin 1/2
Viola 2     1
 03
Continuing:
Violin 1/2
Viola 2
Triggers: ^^H
1. Violin I/3&4
2. Violin II/2&3
3. Flutes/Oboes
4. Tbns & Tuba
5. Via 3
Connectors:
Oboes
Tbn 1    -M
Via 3
 Continuing
04
5. <Timpani
=Tbn1
3.Ja*l6s&
Clarified
Oboes"
2. Principal Desks Strings
Trbn 1      Jj^M
Oboes        ^B
Via 3     f H
1. Trombones &l
Tuba                 I
Triggers: ^B
B1. Trombones &
Tuba
2. Principal    H
B Desks Strings
3. Flutes &
Clarinets    JP
ello 5            |1
4. Cello 5    IB
5.Timpani   IB
Connectors:   1
Cello 5       11
Timpani   H
<H
Trombone 1   1
 05
Continuing:
Timpani
Cello 5 ■
Trombone
Triggers:   ^^B
1. Tbn 1 More m
insense t^BSf
2. Cello 5 more
intensity      mm
3. Percussion B
4. Harp or celesta
5. Vln N/4     f ■
Connectors
Cello 5 I
Vln II/4
 1 2_J    L   1C   .fl- -fl-
ri ..fi.. .fl.....w. JW... .ffL-rt^ ..-Ft .W^.B5 -ffL
2. Percussio
06
Continuing
Vcl5   5;H
Vln 11/4
Triggers:   I^^B
1. Basses/Cellos
4-6
2. Percussion   1
3. Harps or celesta
4. Horns ^^^B
5. Muted Vln II I
Connectors:
Vcl5 J^
Hn3
Perd   H
 07
Continuing:
Cello 5
Horn 3
Percussion 1
Triggers: ^^M
1. Cellos & J
Basses |
2. Violin II &   f
Viola
3. Clarinets and
Flutes      4^.
4. Muted - B
Trumpet and I
Bassoon     ^M
5. Percussion
Connecting:
Cello 3    I
Vlnll/5 Muted
 08
Continuing: H|
Cello 3
Violin 11/5 muted
Triggers: ^H
1. Cellos H
2. Violin II    I
3. Percussion
OwnttrS
Bowed crotale
 09
Continuing:
Bowed Crotales
Triggers:  ^^H
1. Violin I       I
2. Clarinet   H
3. Trombones |
4. Violas & Tuba
Connectors:
Violas
 10
Continuing:
Viola
Triggers: ^B
1. Violin I,
increase pitch
and give to fl
2. Percussion
3. Bassoon i,
4. Flutes to I
trombones fl
5. Violas     **
6. Horns
Connectors:
Horns
 11
Continuing:
Horns
Triggers   ^^H
1. Stopped Horn
2. All except
Percussion and
Heavy Brass fl
Connectors:
Oboe 1 i
Horn 4    H
Viola 1 a
 12
Continuing:
Horn4 ■
Oboel ■
Viola 1a
Triggers     flfl
1. Violin I
2. Basses lead
to        f       1
3. Percussion
(Fills in on next
page)
Connectors
Via 1b  I
Vln ll/5a
 13
Continuing:
Via 1b  I
Vln ll/5a
Triggers:    fl
1. Principal I
strings inner
circle       ^^m
2. Percussion
3. Trumpets
Connectors
<Hn1 I
<Vlnll/1a&b +
Via 1a
 14
Continuing
Hn1
Vlnll/1a&b +
Via 1a
Triggers:
1. Violin II
2. Cello       I
3. Percussion
4. Horns and
WW   f
5. Trumpets
Connectors
<Horns fl|
<Vlnll/5lfl
 15
Continuing:
Horns     9
Vlnll/5
Triggers:  ^fl
or celesta
1. Harp 1 note
2. Percussion
3. Horns  flfl|
4. WW     J ■
Connectors:
<Vln II 3&4 I
muted   ^^^
<Hn1&2   S
 16
Continuing:
Vln II3&4
Hn 1 & 2 I
Triggers: F9
1. Violin II
moving to Violin
2. Trumpets
3. Oboes fl
4. Clarinets
<Percussion
<Vla5
<Clarinetsfl
<Violin I/4 fl
 17
Continuing:
Percussion
Via 5
Clarinets
Violin I/4   \\
Triggers: ^fl
1. Violin II   I
2. Oboes ^M
3. Bassoons
4. Timpani  I
5. Bass      I
6. Percussion
Connectors:
Violin I/4
Violin 11/1 a
Cello 3
Percussion
 18
Continuing:
Violin 1/4
Violin 11/1 a
Cello 3
Percussion
Triggers:    I
1.0boe1to
2. Violin I    fl
3. Celesta
4. Percussion
Connectors:
Concertmaster
Flute
Trumpets
 19
Continuing:   I
Concertmaster
Flute
Trumpets   9
Triggers:     R§
1. Flutes/Obose
2. Clarinets/
Bassoon
3. Trombones/
Trumpets      9
4. Percussion
5. Violin I/5     §
6. Bass
Connectors: p
Concertmaster
Viola 3
Trombone 1
 20
Continuing:   I
Concertmaster
Viola 3 1
Trombone 1
Triggers:       I
1. Flute l/Oboel
2. Trombone fl
3. Percussion
4. Cello/Tuba fl
5. Violin 1/2,4,6
6. Violin 11/4
Connectors:
Percussion
Cello
Violin 11/4
 21
Continuing:
Percussion
Cello I
Violin II/4 fl
1. More cello,
add basses
2. Trumpets
3. Horns flfl
4. Clarinets I
5. Percussion
6. Celesta
7. Violin 11/1,2
Connectors:
Percussion
Horns   flj
Trumpets I
 22
Continuing:
Horns I
Trumpets I
Percussion
1. Violin II tfl
2. Violas
3. Trombones
4. Trumpet  I
5. Horn        §$
6. Flute I/Ob I/
Bnl/CI1 9
7. Percussion
Connectors:
Via 1a
CM
Flute I   ■
Hn1
 Continuing:
23
1. Horns/
Percussion
2. Clarinets/   I
Bassoons      fl
3. Flutes/Oboes
4. Violin 11/1 and
Viola 1
5. Cello 2&3
6. Violin II then I
7. Trumpets ^|
Connectors:
Vcl3a
 24
Continuing:
Vcl3a
1. Violas 3 & 4
2. Vcl 1
3. Vln I/3 Muted
4. Vln II Muted
5. Celesta    H
6. Clarinets & I
Horns I ^^H
7. Bowed ^^9
Crotale
Continuing
Vcl 3a
Bowed Crotale
 25
Connectors: 9
Bowed Crotale
Vcl 3a
Sound should
start from cello
and rotate ^9
circular
Horns fl^fl
Percussion I
Violin 1/5    I
Finally Cello/
Bassfiuba
 26
  M,=

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