Graffiti

G R A F F I T I for orchestra

G R A F F I T I

for chamber orchestra

Co-commissioned by the Arizona State University Symphony Orchestra, Oberlin College and Conservatory, and the University of Southern California Thornton School of Music made possible by the Frank Ticheli Guest Artist Endowed Fund.

~ Copyright © 2021 CSJr. Music ~ www.coliversimon.com

PROGRAM NOTE

Both sounds and images can boldly highlight the vibrancy of city landscapes. Specifically, the specialized art form of graffiti (stylewritng/letterbending/aerosol art) can be seen on spraypainted subway cars, tagged bridges, masterpiece & mural-covered walls in cities across the globe. Graffiti has been around for thousands of years in some form and has continuously raised questions on whether it can be viewed as art or as vandalism. While there are several forms of artistic styles of graffiti, this piece seeks to highlight many of the techniques that graffiti artists use: Tags & Throw-ups, Fill-ins, Straight Letters, Scribing, and Masterpieces/ WildStyles. This work is inspired by the countless artists around the world whose self-expression allows their audiences to redefine and reexamine art. Is it art or vandalism?

I. Tags,Throw-ups, and Fill-ins

Tags are usually done very quickly, this technique is meant to be an identifier of the artist. Fast interweaving musical lines followed by jolting pauses predominant this movements. A tag is the signature or moniker of a writer, very stylized, written quickly, usually in one color that contrasts the background with fast interweaving musical lines followed by jolting pauses predominant this movement. This is the foundation of the art and most common type of graffiti. Throw-ups are often made in bubble or blockbuster style that support quick execution and can be filled in thereafter. This technique is stylistically defined and recognizable, unlike pieces that are more personal and technical. Along with a tag, a throw-up is an artist’s logo.

II. Straight Letters

Straight letter pieces (also known as “readables”) are the most basic of forms and focus on the basic structure of the letter employing different colors. A recurring luminous musical idea appears in the various instruments of the orchestra throughout this slow movement displaying a variety of colors.

III.Scribing:

Scribing describes a technique of hand-engraving or scratching a tag into a surface. It can be done anywhere from windows of public transportation to a desk during class, and it is executed in through a variety of tools such as using a key, knife, sandpaper or a scribe tool for the more experienced writers. However common, this method to apply a tag it is generally not considered a developed part of a master writer’s techniques. The string section is featured here playing behind the bridge of the instrument thereby creating a “scratching” tone.

IV. Masterpiece/WildStyle:

Masterpieces are complex, large paintings using multiple layers and colors and often exhibit highly stylized forms of lettering that is often impossible to read by non-writers. In their multitude of connections, arrows, movement, and interlocking pieces, they’re often borderline abstract. They are more difficult to do illegally because of the amount of time that is required to accomplish. This level of artistry can only be seen from masters of the craft. This final movement develops previous musical ideas as well as building the piece to a climatic, syncopated ending.

-Carlos Simon

INSTRUMENTATION

Flute

Oboe

Clarinet in Bb

Bass Clarinet in Bb

Bassoon

Horn in F

Trumpet in C (harmon mute)

Trombone (bucket mute)

Piano

Drum Set

Violin I

Violin II

Viola

Cello

Double Bass

*Strings may be played either a quintet or as a larger complement (6.5.4.3.3). If played as a quintet, solo or tutti should be ignored.

Duration: 15 minutes Transposed Score

DRUM MAP