Peru 45 Paul

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Type 1 Type 2 Type 3 Type 4 Type 5 Type 6 Type 7 Type 8 Type 9 Type 10 Type 11 Type 12 Type 13 Type 14 Type 15 Type 16 Singles can be found in various types of company covers APPLE 1 1235 - ANOTHER DAY / OH WOMAN, OH WHY 11235 print centered 11235 print below center APPLE 11362 - UNCLE ALBERT ADMIRAL HALSEY / TOO MANY PEOPLE Peru & 6279 aligned Peru & 6279 not aligned APPLE 11525 - GIVE IRELAND BACK TO THE IRISH / GIVE IRELAND BACK TO THE IRISH (VERSION) TIME: 3’43 on bottom TIME: 3’43 on left APPLE 11741 - HI, HI, HI / C MOON Soul under release number aligned left Soul under release number aligned right APPLE 11835 - MY LOVE / THE MESS 11835 & Soul not aligned, Gramophone & Company on left side of label not aligned 11835 & Soul not aligned, Company aligned to 11835 & Soul aligned Gramophone & Company on the left of Gramophone left side of label aligned on both sides Company aligned to 11835 & Soul aligned the right of Gramophone on A-side only APPLE 01.08.78 - LIVE AND LET DIE / I LIE AROUND APPLE 01.08.174 - HELEN WHEELS / COUNTRY DREAMER APPLE 01.08.235 - JET / LET ME ROLL IT APPLE 01.08.269 - BAND ON THE RUN / BLUEBIRD A & B printed to the right of Music Corp./BMI in last line release number, Beat center aligned with 01.08.269 number A & B printed to the right of A & B printed to the right of release number, Beat left release number, Beat left aligned with 01.08.269 number aligned with 01.08.269 number, Space over Tiempo 5’09 A & B printed over release number A & B printed under release number A & B printed to the right of TIEMPO in last line release number, Beat center aligned with 01.08.269 number APPLE 01.08.333 - MRS. VANDEBILT / NO WORDS Release number and other info printed on right side of label Release number printed on right, Blocked lettering other info printed on left side of label APPLE 01.08.402 - JUNIOR'S FARM / SALLY G Credits on bottom aligned, credits on left side of label not aligned Credits on bottom aligned, Credits on bottom not aligned credits on left side of label aligned .

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In Plain Sight: Aspects of Developmental Process in Sally Beamish’S Seafarer Trilogy
In Plain Sight: Aspects of Developmental Process in Sally Beamish’s Seafarer Trilogy Richard E. McGregor University of Cumbria For a composer who has been described as being ‘at the top of her game and the pinnacle of her profession’, there is currently a complete lack of critical anal- ysis of Sally Beamish’s compositional style and technique.1 Interviews and re- views content themselves with a more or less descriptive approach, while prais- ing her ear for orchestral colour, particularly her affinity with string instruments or with voices. The former is usually explained by reference to her years as an ensemble player with, for example, Lontano and the Raphael Ensemble, while the latter is related back to the fact that her father was an amateur singer, and an aunt had a number of professional singing engagements. There are only so many times that a biography can be repeated, and Beamish is in good company with other well-respected composers such as James MacMillan who suffered for many years from the curse of the biography without analytical content. Interviewed by the author on two occasions, Beamish gave some tentative clues as to the origins of her compositional technique. In 2000 she responded to a question about pre-planning of composition with a hint of late-Stravinskian procedure: I do use [motifs] in a serial type of way with a series of transpositions so that I do make a note square with a 5 note motif and I transpose it and put them all on top of each other and then I have harmonies as well going down.2 Interviewed again during the 2012 Musica Scotica conference in Glasgow, she was somewhat more forthcoming as to the origin and nature of this working method: [Oliver Knussen] showed me a way of manipulating notes.
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KLOS March 30Th 2014 Denny Laine
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