Eastman STAY ON IT for C instruments

Julius Eastman

STAY ON IT for various instruments

Performance Score – C Instruments

From the G. Schirmer Rental Library

Date of Printing________________

Music Sales Corporation New York, NY

Julius Eastman STAY ON IT for various instruments

Performance Notes:

Instrumentation is open, although traditionally voice(s), piano, and mallet percussion have been a part of most performances.

The ‘chordal’ part (Main Theme) may be played by the piano and/or mallet percussion. Alternatively, players of single-line instruments may choose to play one of the lines in the Main Theme that falls in a register that is comfortable and will lend itself to balance within the ensemble.

Players may choose to play and repeat the layered cells at their own discretion. It is possible to move between the chordal and layered elements, but the Themes must be repeated throughout each section by at least one player.

Each element (Theme, Cells) may be repeated ad lib. Cues to move to each next section may be visual, or a pre-determined musical cue.

The piece may begin with the poem. Optionally, the players may choose to improvise using materials from the main body of the composition. This should begin quietly and sparsely, building intensity as the poem progresses, leading to the entrance of the Main Theme as the poem ends.

duration circa 25 minutes

Music Sales Corporation New York, NY

STAY ON IT (1973)

Com’ on now baby, stay on it. Change this thread on which we move from invisible to hardly tangible.

With you movin and groovin on it, making me feel fine as wine, I don’t have to find the MEANING, because you will have filled in his most invisible and intangible Majesty’s place; But only if you stay on it. You Dig Although his majesty does stay with it, he can’t stay on it. (Does that move you?)

Ties that move and break, disappear, and return again, are not ties that stay on it. They are sometimy bonds. These bonds cause screens like the Edge of Night, with Ivory snow liquid to appear.

This is why baby cakes, I’m ringing you up in order to relay this song message so that you can get the feelin

O sweet boy

Because without the movin and the groovin, the carin adn the sharin, the reelin and the feelin, I mean really.

—Julius Eastman