copyist services — notation examples

In 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 — in line thickness and general style — in the scores and with each other.

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.


Click on the following images to enlarge.

mathias spahlinger — éphémère (1977), for piano, percussion and 2 veritable instruments
percussion, graphic and spatial notation; scored in 2002. to see more pages from this score, download this PDF.

mathias spahlinger — éphémère (1977)

jef chippewa — “…unless he senses when to jump” / violin (2012), for alto sax, accordion, violin, cello, piano and drumset
notation of actions to be performed that do not always result in a sound; scored in 2013.

jef chippewa — without: spalt (violin)

james saunders — six pieces / ii (1997), for oboe and flute
notation stylized after composer’s handwriting; originally scored in 2002, updated in 2014.

james saunders — 6 pieces: ii (1997)

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.

jef chippewa — …without… (2008)

The following examples can be downloaded by clicking on the title.

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.

allan crossman — la fille du pêcheur (1980), for voice and guitar
vocal and guitar notation; an impressive example of dense “beethoven” 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.

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