DRAFT 091015

Authors Note
This score for Julius Eastman's Stay On It is a realization based closely on the December, 1973, live recording by the
University of Buffalo's Creative Associates ensemble (New World Records 80638-2, Unjust Malaise). This is a slightly
revised version from the one used by Ne(x)tworks during its first performance of the work on 6/7/06 at ISSUE Project
Room's Carroll Street silo space. Without access to any of Eastman's notes or notation, decisions about formal
procedure, rules for material element inclusion, duration, etc. were left to our informed yet limited interpretation of
the New World recording. We prepared by studying extant examples of Eastman’s original scores, communicating with
Creative Associate musicians who knew Julius and worked with him on this piece, and by doing a lot of listening. We
made sure to maintain awareness of the music's spirit and that of the Creative Associates generally. By doing so, the
level of freedom given to the musicians section to section is fairly broad, even when the primary material seems
severely circumscribe. As the piece "devolves" formally and materially, these freedoms increase. The result is
explosive yet surprisingly controlled. Ne(x)tworks found these moments of organized chaos the most challenging to
effectively create, and they are the core of performing Stay On It.
Cornelius Dufallo and Chris McIntyre

Performance Notes
General note about instrumentation
The instrumentation on the 1973 recording is voice, piano, violin, clarinet, two saxophones, marimba, and xylophone.
With the exception of voice, piano, and mallet percussion (which we feel should be included in every performance),
the instrumentation of this realization is quite free. Consideration should be given to overall ensemble timbre, balance
of register, and to generating a powerful group sound.
Layering Cells
The layering cells can be superimposed upon the main theme with a large degree of freedom regarding timing,
repeats, phrasing and dynamics. With the exception of the “deconstruction” sections, it is advisable for the layering
cells to maintain a rhythmic relationship to the main theme. During the “deconstruction” sections the cells may be
used to break away from the established pulse.
Solos
Solos can be “outside” the established rhythm and harmony of the ensemble material. It is generally preferable for the
solos to maintain some motivic relationships to the layering cells or the main theme.
Deconstruction
The deconstruction process (sections 4-8) begins with one player (in section 4 it is the piano) moving slightly out of
phase with the other instruments. Gradually other instruments also begin to leave the group pulse, bringing in
previously executed material from the layering cells and other sections. The music should devolve slowly from tight
ensemble playing to disjointed, quasi-chaotic juxtapositions of materials from previous sections of the piece.
Other notes
Cue into Section 4: in the recording a long and fairly loud sustained note appears to act as a cue into section 4. This
cue may be conducted as a visual cue, or simply played as an aural cue. The ensemble must devise a reliable system
of cues, appropriate to the preferences and needs of the individual players.
Section 4: Please note that the piano initiates the deconstruction process in this section.
Section 10: This is a transcription of Peter Kotik’s performance on the ‘73 recording. The pianist may play this section
as written, or improvise in the style of what is written.
Erroneously, there is no Cell 7
 Stay On It (1973)
Julius Eastman
realized by C. McIntyre & C. Dufallo
for Ne(x)tworks

Main Theme
 = 96 -100 1 tutti
               
            
  
repeat until cue



       
f (only)

Layering Cells

                   
 
Cell 1
(Any octave)

     
Cell 2
 Voice (also 7th) continue...

             
Stay On It Stay On It Stay On It Stay On It
Cell 3

3a 3b 3c

          

 

Cell 4
  
  
sustain 5th , 7th, or tonic


Cell 5
 
  sustain non-chordal pitch

Cell 6
    
    
long decay



2

2
2-3 solos, 1 at a time:
a
                                   
Cells 1 - 4

                                       

repeat till cue

        
    
  


 
     
Cell 7


b 1 solo: Cell 4 - 5

  

          
         
repeat until cue (long pause)

  
    
1 solo: Cell 4 - 5
c
                      
    
     
repeat until cue

   
   
           
               
     
 
   

     
d

                                              
repeat until cue for 2nd ending

             
3 2. 3
       
                                               
    
 
 
 
 
 
 
 
 
 

    

3
     
   
   
repeat until cue
  
  
   
Section 3
• Begins like Section 1, adding Cells 3a, b,
& c immediately
• After approx. 45 seconds, a designated player
interrupts with a new, contrasting yet relative
rhythmic motive. Others join in with "mostly"
diatonic pitches

On cue, Section 4 begins like Section 3

 3

Note: Main Theme remains present

throughout sections 4 - 6
4 Section 4

 
• Begins like Section 3 (Main Theme + Cells 3a, b, &c)
• After approx. 8 iterations of the Main Theme, piano begins
deconstruction (see Perf. Note).
On cue, Section 5 begins like Section 4

5 Section 5
 
 
• Begins like Section 4
• After approx. 6 iterations of the Main Theme, begin deconstruction,
predominantly Cells 4 & 5
On cue, Section 6 begins like Section 4

6

Section 6
 
• Begins like Section 4
 Theme, begin deconstruction
• After approx. 3 iterations of the Main
with extant Cells, including Cells 8 - 12 (below)
On cue, Section 7 begins like Section 4
Cell 8
            
8a 8b


Cell 9

  
Free indeterminate
(Fast)

Cell 10
 
 


Cell 11 non-pitched instrumental sound/snap pizz.
 
  


as high as possible
Cell 12

 
f
4

Section 7
7 • Begins with approx. 1-2 iterations of the Main Theme, then ceases
 in its original form
  
• Deconstruction begins quickly with improvised material based on extant Cells,
predominantly 13a, b, & c (below). Freely improvised sounds also included.
• Ends with high register glissandi
Note: Section 7 has the longest duration and widest variety of material
within the deconstruction sections (4 - 8)
On cue, Section 8 begins like Section 7

 

    
 
 
 
  
  
13a 13b 13c
 
 
 
 
Sustained pitches (forte)


 
slow gliss down

Section 8
8

• Begins with only a vague iteration of Main Theme
   diminuendo, slower moving and
• Ensemble very quickly returns to composite texture achieved during Section 7
• Ends with high register glissandi &
for a much longer duration than before
Piano begins Section 9 ppp, glissandi very slow crossfade (to niente)

   
 
gli

gli

gli
ss.

ss.

ss.

molto poco a poco diminuendo

 5

9 Section 9
 
 
• duration approx. 6 min

• Seconday Theme remains present (as written) throughout Section 9
• Tutti cresc. & dim. over course of entire section
• Pitch material below is added measure by measure ad lib.
• Ends when piano begins Section 10 (ensemble crossfade)

Secondary Theme
 = 66 - 70
             
   
  
pp molto poco a poco cresc. e dim.

                                
    
 
       

                      
    
     
                

          
          
                   
                
                      
   

            
            
    
        
     

                          
 
             

  
         
Repeat until crossfade with Section 10

                  
     
  
pp
6

10 • Piano solo with tambourine Coda

• Transcription of Petr Kotik's 1973 improvisation

                
 
                
                 
                   
        
        


   

         
                 
                   
                     
       
      



                  
        
     
   

                  
                           
      
      



               
   
     
           
                                     
                               


  
       
                
 
                                       
                        
  
  



               
  
tambourine repeat ad lib

   
 
                     ad lib. 
   
                            
             


 
repeat
  
 

crossfade with tambourine