copyist services — notation examples

In 2009, three excerpts of jef chippewa’s work were published in Theresa Sauer (ed.), Notations 21 (New York: Mark Batty Publisher): the first page of his own 2007–08 work, …without…, as well as two pages from mathias spahlinger’s éphémère (PEERMusic) and the first of Brice Pauset’s Trois canons, works were scored by him.

In all the examples found below, house fonts have been used for all noteheads, articulations, accidentals, flags, percussion symbols, arrows and various objects (scissors, hands, bottles). These fonts have been custom designed to ensure total graphic coherence — line thickness and general style — in the scores and with each other.

Click on a title to open a PDF example.

• mathias spahlinger — éphémère (1977), for piano, percussion and 2 veritable instruments
  percussion, graphic and spatial notation; scored in 2002.
• jef chippewa — …without… (2008), for electric guitar, piano and drumset
  many “non-sounding” actions from the first section and a high level of text explanations; scored in 2009.
• sebastien claren — after blinky palermo (2002), for solo cello and orchestra
  entire part shows a variety of notational issues such as spacing in a dense score, multiple voices in a solo part and more; scored in 2007.
• james saunders — six pieces / ii (1997), for oboe and flute
  notation stylized after composer’s handwriting; scored in 2002.
• allan crossman — la fille du pêcheur (1980), for voice and guitar
  vocal and guitar notation; an impressive example of dense “Beethovenian” notation that does not look at all cluttered; scored in 2002.
• andré hamel — à huit (2001), for saxophone octet
  spatial notation and some simple graphic elements; scored in 2002.