Simon Christensen: Feed Lifting Sound (2013) by Edition·S

Simon Christensen Feed Lifting Sound (2013) for 2 female voices, percussion (zither + electronics) Dur. 50′

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg

and characteristic self-oscillating feedba Simon Christensen Feed Lifting Sound (2013) for 2 female voices, percussion (zither + electronics) Dur. 50′

2) The microphone/combo feedback is c

To locate the interference sounds intend

When the intended sound is obtained, th

interference sound will “stay”. During live

strong pitch will take over – this is the na

The intended feedback sounds are availa

The three combos should be placed dow PERFORMANCE NOTES This music is intentionally full of feedback and is therefore, by definition, risky to perform. Nevertheless, with proper rehearsal time and an understanding of the acoustic behaviour of the location in which the performance takes place, it is possible to achieve the intended result. It is advisable that the zither and the two singers are positioned somewhat away from the combos, thereby avoiding too many unintended signals reaching the hanging microphones.

causing unintended feedback. The level o

The three combos should be placed down on their backs and betwee should be positioned somewhere should not be positioned too close to the microphones causing unintended feedback. The level of the combo depends on the location but as a rule of thumb the level knob should be positioned somewhere between 9 and 12 am.

The microphones should be attached to

the microphone should hang in a straight The microphones should be attached to the ceiling and be able to swing in a straight line, when the curve is completed. The microphone should hang in a straight line from ceiling to combo about 5-10 cm above the combo.

The performer handling the feedback set-up should be confident with the behaviour of the Plague Bearer filter and the feedback behaviour of the spring reverb. Two kinds of feedback are utilised here; one derived from the Plague Bearer filter alone and one derived from the microphone/combo amplifier meeting. 1 . The filter feedback depends on the setting of the knobs. The input level should be set to almost zero. Raising the input level slightly (!) could cause the filter feedback to behave even more strangely than without the level being raised! But ‘slightly’ should be taken literally, raising the input level too much would cause the microphone/combo feedback to take over and this is not intentional with the special and characteristic self-oscillating feedback derived from the analogue filter. 2 . The microphone/combo feedback is controlled at the input level of the Plague Bearer filter. To locate the interference sounds intended in this piece, the input level should be raised very carefully. When the intended sound is obtained, the performer should wait at least 5 minutes to be sure that the beating interference sound will “stay”. During live performance it is possible that the interference sounds will disappear and one strong pitch will take over – this is the nature of feedback and is unavoidable.

The intended feedback sounds are available as sound files on the Edition·S’ website: http://www.edition-s.dk/music/simon-christensen/feed-lifting-sound

The Singers: • Should face each other and not the audience. • Profile should be visible to the audience. • Should memorize the music, no score or note stand on stage! • Should stand so close that it is possible to hold hands! The Percussionist: • Must be able to move around. • Should be positioned behind the singers when playing the Zither.

trumentation:

nstrumentation: Instrumentation: INSTRUMENTATION

2 female singers - also -playing handheld percussion; 2 x beans on percussion; a leash… •female 2 female singers also handheld percussion; 2 x beans on a leash… •• 2 singers - playing also playing handheld 2 2 female singers - also playing handheld percussion; 2 x beans on a leash.

gers also playing handheld2percussion; beans on a leash… aying- handheld percussion; x beans on 2a xleash…

•

Percussionist playingplaying Zither Zither and handling the electronics • Percussionist and handling the electronics

Percussionist playing zither Zither left the side: Zither leftelectronics side: terplaying and handling the electronics and handling the andZither handling electronics: Zither left side:

•

Zither Zither right side: right side:

Zither right side:

Percussionist playing Zither and handling the electron

e: Electronic set-up: Electronic set-up:

Zither right side: Zither right side:

• 3 x• plague bearer,bearer, filter (flight of harmony) 3 x plague filter (flight of harmony) Electronic set-up: • Zither 33xx•Plague a-119, preamp (doepfer) 3 Bearer, x a-119, preamp (doepfer) filter (Flight of Harmony) left side: Input / Envelope Follower (Doepfer) • 13xx•A-119, mx-61, mixer (analogue solutions) 1External x mx-61, mixer (analogue solutions) 1 x MX-61, Mixer (Analogue Solutions) x A-199, spring reverbreverb (doepfer) 1Spring x A-199, spring (doepfer) ght• of1filter harmony) 1 x•A-199, Reverb (Doepfer) earer, (flight of harmony) er) eamp (doepfer) ue solutions) mixer (analogue solutions) doepfer) pring reverb (doepfer)

Zit

ctronic set-up:

3 x plague bearer, filter (flight of harmony) 3 x a-119, preamp (doepfer) 1 x mx-61, mixer (analogue solutions) 1 x A-199, spring reverb (doepfer)

• • • •

Soundcard (min. 6 inputs & 6 outputs) • soundcard (min. 6(min. inputs & 6 outputs) • w/MaxMSP soundcard 6 inputs & 6 outputs) Laptop ➔ output 1+2 • laptop w/max-msp depending output 1+2 3 x•Guitar Combos w/tubes – size the location of performance laptop w/max-msp onoutput 1+2 Mics like Shure Beta 58a – cardioid or hypercardioid pattern required • 333xxx•Identical guitar combos w/tubes – size –depending on theon location of performance. 3 x guitar combos w/tubes size depending the location of performance. In-ear wireless systems • 34xExtension mics like shure beta 58a – cardioid or hypercardioid patternpattern required with switch on/off • identical 3 xsockets identical mics like shure beta 58a – cardioid or hypercardioid required x• in-ear wireless systems & 6• outputs) 3&x 6in-ear wireless systems min. 6 3inputs outputs) 4 extension sockets with switch on/off on/off put• 1+2 • output 4 extension sockets with switch x-msp 1+2 s – size depending ondepending the location performance. mbos w/tubes – size onofthe location of performance. re beta 58a – cardioid or hypercardioid pattern required mics like shure beta 58a – cardioid or hypercardioid pattern required s Routing of cables: eless systems Routing of cables: switch on/off sockets with switch on/off

• •

Microphone 1  -1 A-119A-119 (1) Audio In • Microphone  - (1) Audio In Microphone 2  Soundcard In 2 / Soundcard Out 4 Out  A-119 (2) Audio In • Microphone 2  Soundcard In 2 / Soundcard 4  A-119 (2) Audio In

Routing of cables: Microphone 1 ➔ Soundcard in 1 / Soundcard out 3 ➔ A-119 (1) Audio in Microphone 2 ➔ Soundcard in 2 / Soundcard out 4 ➔ A-119 (2) Audio in Microphone 3 ➔ Soundcard in 3 / Soundcard out 5 ➔ A-119 (3) Audio in A-119 (1) out ➔ Plague Bearer (1) in / Plague Bearer (1) out 1 ➔ Combo 1 A-119 (2) out ➔ Plague Bearer (2) in / Plague Bearer (2) out 1 ➔ Combo 2 A-119 (3) out ➔ Plague Bearer (3) in / Plague Bearer (3) out 1 ➔ Combo 3 Plague Bearer (1) out 2 ➔ Mx-61 in 1 Plague Bearer (2) out 2 ➔ Mx-61 in 2 Plague Bearer (3) out 2 ➔ Mx-61 in 3 MX-61 out ➔ spring reverb in / spring reverb out - soundcard in Notes on equipment:

Extension The Plaguesockets: Filter should not be replaced by any other kind of filter, since it is not really a normal filter… Each combocould should an extension socket connected. The mixer be have replaced by any kind of hardware mixer, the A-199 preamp is also replaceable with any kind of hardware preamp. The final extension socket is the master socket controlling all combos.

When performing Feed Lifting Sound only the hardware should be “played” with and adjusted if needed, the laptop should not be used as a live instrument during Feed Lifting Sound.

NOTES ON THE EQUIPMENT The Plague Filter: Notes on the performance: Should not be replaced by any other kind of filter, since it is not really a normal filter.

The singers: - should face each other and not the audience. The mixershould could be be visible replaced by any kind of hardware mixer, the A-199 preamp is also replaceable - profile to the audience. - should memorize the music, no score or note stand on stage! with any kind of hardware preamp. - should stand so close that it is possible to hold hands!

When performing Feed Lifting Sound only the hardware should be “played” with and adjusted The percussionist: if-needed, should not be used as a live instrument during Feed Lifting Sound. must bethe ableLaptop to move around, - should be positioned behind the singers when playing the Zither. - should memorize the music, no score or note stand on stage!

NOTATION

r j w g 1/81/8tones tones + = d D 1/41/4tones tones Zither tuning

Duration: approx. 50’

Simon Christensen

F e e d

L i f t i n g

Sound

GUIDELINE SECTION 1 . Tutti: The dynamic level of the singers in section 1 should be somewhat lower than the feedback. . Voices: All pitches should be hummed throughout section 1. . The click track is a piano track with the exact same pitches as the singer should hum. . The two singers should follow their individual click track and create their own ostinato, using inhalation with open mouth as a kind of upbeat to the main pitch. Example:

& 34 ˙ .

hum

¿ œœ

inhale hum

. The inhalation should be somewhat exaggerated and only last an eight note as a maximum (!), and should not be much louder than the hummed pitch. . The singers hum/inhale throughout Section 1; no pause at all! . The singers choice: The sound character of the inhalation: normal or pitched or in-between. Variation of ostinato: ad lib. / Character of ostinato: simple and persistent . Percussionist: . The setting of all speakers should be prepared before takeoff. . The electricity for all speakers should be off using their corresponding sockets; master socket is ON. . Hit the footswitch and turn the electricy for combo 1 ON. . During Section 1 the percussionist should lift the cable slightly, this way new partials might emerge; the input level at the corresponding Plague Bearer Filter knob could be turned up a bit as the cable is being liftet, but it's dangerous ground and sudden change in the volume/feedback should be avoided by all means. . Add a light swing to the cable also adds delicate variation to the feedback sound. . When a "new" sound appears the feedback knob of Doepfer Reverb could be raised to emphasize this.

SECTION 1

& 34 .. n ˙ .

q = 104

˙.

Voice 2

5 rœ. œ & 8 ..

(e= 217)

Voice 1

& b˙.

Voice 1

q. q = 43

Voice 2

5 . & 8 rœ œ

Voice 1

5 & 8 rœ. œ

Voice 1

& b˙.

Voice 2

œ. œ

œ.

n˙.

Voice 2

5 rœ. œ &8

˙.

Click-track voice 1: Strong accent on the first beat and soft attacks on the following quarter notes

˙. œ

œ.

œ ˙.

œ. œ

4 ˙ 8

5 œ. 8

œ.

Click-track voice 2: Strong accent on the first beat and soft attacks on all the following eight notes.

œ.

˙. œ.

œ.

˙.

œ.

˙. œ.

œ.

4 ˙ 8

˙.

œ. ˙.

˙.

œ.

4 ˙ 8 ˙.

4 ˙ 8

˙.

˙ ˙.

5 œ. 8

˙.

˙. ˙

˙.

5 œ. 8

Simon Christensen: Feed Lifting Sound (section I) - 3 -

œ.

˙.

5 œ. 8 ˙.

˙.

œ. ˙.

œ.

4˙ 8

4 ˙ 8

˙ ˙.

˙. ˙ ˙.

.. ..

2 Voice 1

.. b ˙ .

Voice 2

+ œ . rœ œ & 58 .. ( )

Voice 1

˙.

œ. œ

œ.

˙.

œ.

˙.

4 ˙ 8

! ! NEW PITCH - 1/8 RAISED PITCH D AT REPETITION, SEE BRACKET ! !

n˙.

Voice 2

& 58 r œ . œ

Voice 1

& b˙.

Voice 2

5 . & 8 rœ œ

Voice 1

& n˙.

Voice 2

. & 58 r œ œ

˙. œ.

œ.

. & 58 r œ œ

Voice 1

& n˙.

œ.

! ! NEW PITCH ! !

rœ. œ

Voice 2

& 58

Voice 1

& b˙.

Voice 2

5 . & 8 +œ œ

Voice 1

& n˙.

œ.

! ! NEW PITCH ! !

& 58 w œ . œ

˙. œ

œ.

˙. œ.

! ! NEW PITCH ! !

Voice 2

œ. œ

& b˙.

Voice 2

˙.

3 Voice 1

˙.

Voice 1

& .. n œ

Voice 2

rœ & ..

˙.

œ.

˙.

œ.

bœ

rœ

˙.

4˙ 8

œ.

4 ˙ 8

˙.

Summing-up 1

˙.

4˙ 8

˙.

4˙ 8

˙.

4˙ 8

˙.

œ.

˙.

œ.

˙.

4˙ 8

5 œ. 8

˙.

œ.

˙.

˙ ˙.

˙.

5 œ. 8

˙.

5 œ. 8 ˙.

5 œ. 8

˙.

5 œ. 8

˙.

œ.

˙.

œ.

˙.

œ.

˙.

œ.

˙.

œ.

˙. œ

œ.

s e c t i o n 1:

nœ rœ

b œ .. .. b œ 2

nœ

bœ

r œ .. .. + œ r œ (r œ ) r œ

n œ .. b œ 3

rœ

1/8 raised pitch at repetition (see bracket)

.. r œ

Simon Christensen: Feed Lifting Sound (section I) - 4 -

nœ bœ nœ rœ

4˙ 8

˙.

4˙ 8

+œ w œ

4˙ 8

˙.

˙. ˙ ˙.

˙.

.. ..

˙.

˙. ˙

4'30''

SEGMENT 1

Fe e d L i f t i n g S o u n d

GUIDELINE SEGMENT 1 . Voices: . Rest through segment 1. . But stay in position and hold the tension. . Percussionist: . Finalize the feedback manipulation fairly quickly and go to the Zither . The electricity for combo 1 should remain turned on. . Hit the footswitch to start the click track - the tempo changes randomly at every eightnote! . Segment 1 should have a maximum duration of 3 minutes; repeat 3 times.

& 64 .. Zither

Zither

? 64 .. n œ nœ F & ˙ ?

œ œ

rœ

π rœ.

nœ. nœ.

nœ nœ

œ œ

sempre simile

œ œ

nœ nœ

rœ nœ

jœ œ

œ. œ.

rœ nœ

rœ

n˙ n˙

œ œ

rœ.

nœ nœ

nœ. œ rœ nœ. œ nœ

œ œ

nœ nœ

jœ œ nœ nœ

œ. œ.

Simon Christensen: Feed Lifting Sound (segment 1) - 5 -

œ œ

rœ.

rœ

nœ nœ

nœ. œ nœ. œ

œ œ

nœ nœ

rœ nœ

œ. œ.

jœ œ

.. ..

Fe e d L i f t i n g S o u n d

SECTION 2 GUIDELINE SECTION 2 . Tutti: The overall level in Section 2 is quite loud, but the singers should be somewhat lower than the feedback. . Voices: . Repeat Section 1 as written, but without repetition! . With open mouth on any self chosen vowel, no humming. . The sound character of the inhalation: normal and not pitched. . The singers choice: Variation of ostinato: ad lib. / Character of ostinato: simple and persistent . Percussionist: . Hit the footswitch and turn the electricy for combo 2+3 ON. . During Section 2 the percussionist should lift the cables slightly on any self chosen combos, just like section 1.

2'45''

Summing-up

& 34 n œ 1

Voice 1

Voice 2

4 rœ &8

bœ

rœ

s e c t i o n 2:

nœ rœ

bœ

rœ

bœ

+œ

nœ rœ

bœ

rœ

nœ rœ

bœ

rœ

Simon Christensen: Feed Lifting Sound (section 2) - 6 -

nœ rœ

bœ

+œ

nœ wœ

SEGMENT 2

Fe e d L i f t i n g S o u n d

GUIDELINE SEGMENT 2 . Voices: . Rest through segment 2. . But stay in position and hold the tension. . Percussionist: . Hit the footswitch to start the click track - the tempo changes randomly at every eightnote! . Segment 2 should have a maximum duration of 1 minute.

& 64 Zither

Zither

e = 80-120

rœ π

? 64 n ˙ n˙ F & ˙ ? Ó

rœ.

n˙ n˙

rœ.

jœ

œ. ≈n nœ.

œ œ

n˙ n˙

rœ

œ.

r˙ n˙

jœ œ

rœ

rœ r˙ n˙

rœ.

œ œ œ

r˙ n˙

. œ nœ œ nœ.

n˙ n˙

rœ.

jœ

n˙ n˙

rœ

jœ œ

n˙ n˙

œ.

Simon Christensen: Feed Lifting Sound (segment 2) - 7 -

˙ Ó

rœ.

n˙ n˙

œ r˙ n˙

rœ.

gœ

nœ. ≈ nœ.

œ œ

n˙ n˙

rœ

œ.

jœ œ

SECTION 3

Fe e d L i f t i n g S o u n d

GUIDELINE SECTION 3 . Tutti: . The vocals should be louder in this section and the overall dynamic level in Section 3 should be in balance. . Voices: . Repeat Section 1 with repetitions, but without the Ab. . Tempo is different than section 1: Voice 1 approx. q = 94 Voice 2 approx. e = 200 . With open mouth on any self chosen vowel, no humming. . The sound character of the inhalation: normal and not pitched. . The singers choice: Variation of ostinato: ad lib. / Character of ostinato: simple and persistent . Voice 1: . VERY IMPORTANT: OMIT ALL Ab AND REST - FOLLOW CLICK TRACK. . Voice 2: . VERY IMPORTANT: OMIT THE LAST Ab - FOLLOW CLICK TRACK. . Percussionist: . Hit the footswitch to start the click track. . Start the Zither phrase on the first beat. . Release the first cable into a pendulum motion when Voice 1 disappears for the first time. . Release the second cable into a pendulum motion when Voice 1 disappears for the second time. . Release the last cable into a pendulum motion when Voice 1 disappears for the third time. 5'

œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ Play as fast possible (w/plectrum ad lib.) - maximum duration: 1 min.

Zither

9 & 4 ..

ƒ ? 9 .. Œ 4

Arpeggio ad lib. r n œœœ D . ‰ nœ

Summing-up

3 & 4 .. n œ 1

Voice 1

Voice 2

4 rœ & 8 ..

∑

rœ

œœœ œ J

˙˙˙ ˙

œœœ œ

s e c t i o n 3:

nœ rœ

rœ

∑

.. .. ∑ 2

nœ

.. .. + œ (r œ) r œ

∑

rœ

nœ

∑

r œ .. r œ

Simon Christensen: Feed Lifting Sound (section 3) - 8 -

nœ

∑ rœ

nœ +œ

.. ..

Fe e d L i f t i n g S o u n d

SEGMENT 3 GUIDELINE SEGMENT 3 . Voices: . Rest through segment 3. . But stay in position and hold the tension. . Percussionist: . Let all the cables swing until they are almost out of motion - 8-10 minutes at the most. . Set the input level higher on all the Plague Bearer modules during this section, when you feel like it.. . The dynamic level will be very loud and this is the intention. . When the pendulum motion is nearly gone, raise the feedback level on the Reverb to get a even higher volume and disturbing sound image. Repeat this many times! 12' - 14'

Simon Christensen: Feed Lifting Sound (segment 3) - 9 -

SECTION 4

Fe e d L i f t i n g S o u n d

GUIDELINE SECTION 4 . Voices: All pitches should be sung throughout section 4. . The lips should "clap" against each other to create a "water-drop" like sound. (+ = closed mouth/ o = open mouth) . The rhytmic scheme above the actual sung notes is only a suggestion; the rhytmic pattern is chosen by the singer and can be varied ad lib. . The rhytmic ostinato - for the "water-drop-lip" sound - chosen by the individuel singer, should stay simple and persistent, but the overall rhytmic patterns created by both performers should be somewhat (!) complex and polyphonic. . The "water-drop-lip" sound present throughout section 4 and so should the sound of "breath in w/nose". . Section 4 is repeated eight times in all - two times without Zither and six times with Zither! . Percussionist: . Hit the footswitch and on the first beat, turn the electricity for all combos OFF! . Set all the Plague Bearer filters to their self oscilation settings, but still with electricity turned off. . Tutti: . After repetition of Section 4 (vocals only), the singers should sing Section 4 six times without intermission, and the Zither should perform the following pages at the same time. . Zither repeats the last two chords after the singers are through....just for a little while. . Vocals should be fairly low and the Zither should be loud. 6'

Voice 1

& 44 ..

q = 96

+ o + o + o + o + o 5:2

Voice 2

& 44 ..

+ o + o + o + o ˙

Voice 2

Voice 1

Voice 2

˙ ˙

r˙

j˙

+ o + o + o + o + o

Ó r˙

j˙

+ o + o + o + o + 5:2

˙ ˙

j˙ Ó

˙ ˙

+ o + o

˙ Ó ˙

j˙ r˙ ˙ ˙

˙ ˙ r˙

Simon Christensen: Feed Lifting Sound (section 4) - 10 -

6 4 64

etc.

j˙

! breath in w/nose !

5:2

˙ Ó

etc.

o + o + o + o + o

r˙

j˙

+ o + o

! breath in w/nose !

5:2

Voice 1

5:2

˙ Ó

˙ j˙

˙ Ó Ó

.. ..

jœ &4 b œ

q = 96

Zither

r g œœ r j œœ nœ

gœ bn œœ

j œ r g œœ . g œ r j œœ nœ bœ ‰ bœ nœ

1 j œ r g œœ r j œœ g œ & b œ nœ n b œœ

j œ r g œœ . g œ r j œœ nœ bœ ‰ bœ nœ

2 j œ r g œœ r j œœ g œ & b œ nœ n b œœ

j œ r g œœ . g œ . r j œœ nœ bœ ‰ bœ ‰ nœ

3 j œ r g œœ r j œœ g œ b & œ nœ n b œœ

j œ r g œœ . g œ . r j œœ nœ bœ ‰ bœ ‰ nœ

4 j œ r g œœ r j œœ g œ & b œ nœ n b œœ

j œ r g œœ . g œ . r j œœ . nœ bœ ‰ bœ ‰ nœ ‰

5 j œ r g œœ r j œœ g œ b & œ nœ n b œœ

j œ ‰ . r g œœ ‰ . g œ ‰ . r j œœ ‰ . bœ bœ nœ nœ

r g œœ b j œœ nœ r g œœ b j œœ nœ r g œœ b j œœ nœ

Dœ r œ j gbœœœ b r œœ ‰ . . nœ ‰ nœ

g œ r j œœ nœ b œ

Dœ r œ j gbœœœ ‰ . b r œœ ‰ . . nœ ‰ nœ

g œ r j œœ nœ b œ

r œ j gbœœœ ‰ . b r œœ ‰ . D œ ‰ . nœ nœ

g œ r j œœ nœ b œ

r g œœ b j œœ g œ r b j œœœ nœ nœ

r œ ‰ . j gbœœœ ‰ . b r œœ ‰ . D œ ‰ . nœ nœ

r g œœ b j œœ g œ r b j œœœ nœ nœ

r œ ‰ . j gbœœœ ‰ . b r œœ ‰ . D œ ‰ . nœ nœ

r g œœ b j œœ g œ r b j œœœ nœ nœ

Dœ r œ ‰ . j gbœœœ ‰ . b r œœ ‰ . . nœ ‰ nœ

6 j œ r g œœ r j œœ g œ ‰ . b & œ nœ n b œœ

j œ . r g œœ . g œ . r j œœ . nœ ‰ bœ ‰ bœ ‰ nœ ‰

r g œœ b j œœ g œ r b j œœœ nœ nœ

Dœ r œ ‰ . j gbœœœ ‰ . b r œœ ‰ . ‰. nœ nœ

7 j œ r g œœ r j œœ g œ . & b œ nœ n b œœ ‰

j œ ‰ . r g œœ ‰ . g œ ‰ . r j œœ ‰ . bœ bœ nœ nœ

r g œœ b j œœ g œ r b j œœœ ‰ . nœ nœ

Dœ r œ ‰ . j gbœœœ ‰ . b r œœ ‰ . . nœ ‰ nœ

8 j œ r g œœ r j œœ g œ ‰ . b & œ nœ n b œœ

j œ ‰ . r g œœ ‰ . g œ ‰ . r j œœ ‰ . bœ bœ nœ nœ

r g œœ b j œœ g œ ‰ . r b j œœœ ‰ . nœ nœ

Dœ r œ ‰ . j gbœœœ ‰ . b r œœ ‰ . . nœ ‰ nœ

9 j œ r g œœ r j œœ ‰ . g œ ‰ . & b œ nœ n b œœ

j œ ‰ . r g œœ ‰ . g œ ‰ . r j œœ ‰ . bœ bœ nœ nœ

r g œœ b j œœ g œ ‰ . r b j œœœ ‰ . nœ nœ

Simon Christensen: Feed Lifting Sound (section 4) - 11 -

r œ ‰ . j gbœœœ ‰ . b r œœ ‰ . D œ ‰ . nœ nœ

Zither

10 j œ r g œœ r j œœ . g œ . ‰ n b œœ ‰ & b œ nœ ‰.

j œ . r g œœ . g œ . r j œœ . nœ ‰ bœ ‰ bœ ‰ nœ ‰

r g œœ b j œœ g œ ‰ . r b j œœœ ‰ . nœ nœ

r œ ‰ . j gbœœœ ‰ . b r œœ ‰ . D œ ‰ . nœ nœ

11 j œ r g œœ r j œœ ‰ . g œ ‰ . & b œ nœ ‰. n b œœ

j œ ‰ . r g œœ ‰ . g œ ‰ . r j œœ ‰ . bœ bœ nœ nœ

r g œœ ‰ . b j œœ g œ ‰ . r b j œœœ ‰ . nœ nœ

Dœ r œ ‰ . j gbœœœ ‰ . b r œœ ‰ . . nœ ‰ nœ

12 j œ r g œœ r j œœ . g œ . ‰ n b œœ ‰ & b œ ‰. nœ ‰.

j œ ‰ . r g œœ ‰ . g œ ‰ . r j œœ ‰ . bœ bœ nœ nœ

Dœ r g œœ ‰ . b j œœ g œ ‰ . r b j œœœ ‰ . r œ ‰ . j gbœœœ ‰ . b r œœ ‰ . . nœ ‰ nœ nœ nœ

13 j œ ‰ . r g œœ ‰ . r j œœ ‰ . g œ ‰ . j œ ‰ . r g œœ ‰ . g œ ‰ . r j œœ ‰ . r g œœ ‰ . j œ ‰ . g œ ‰ . r j œœ ‰ . r œ ‰ . j g œœ ‰ . r œ ‰ . D œ ‰ . bœ bœ b œ b œ nœ b n œœ n œ b œ & b œ nœ nœ n b œœ nœ nœ

q = 77

14 jœ gœ b œ r n œœ

r j œœ

15 jœ gœ jœ & b œ r n œœ r œ

gœ bn œœ

j œ . r g œœ nœ ‰ bœ

gœ jœ gœ bn œœ ‰ . n œ r b œœ

g œ r j œœ r g œœ bœ nœ g œ r j œœ r g œœ ‰. bœ nœ

gœ jœ jœ b n œœ ‰ . n œ r b œœ jœ b n œœ

g œ r j œœ nœ b œ

r œ j gbœœœ ‰ . b r œœ nœ r œ ‰ . j gbœœœ nœ

b r œœ b r œœ

16 j œ r g œœ r j œœ . ‰ b & œ nœ

gœ bn œœ

j œ r g œœ nœ bœ

g œ r j œœ gœ bœ nœ ‰. r œ

jœ b n œœ

g œ r j œœ . nœ b œ ‰

r œ j gbœœœ nœ

17 j œ r g œœ r j œœ & b œ nœ ‰.

gœ bn œœ

j œ r g œœ nœ bœ

gœ jœ gœ b œ ‰ . r n œœ r œ

jœ b n œœ

gœ . r b j œœœ ‰ nœ

r œ j gbœœœ b r œœ nœ

18 j œ r g œœ r j œœ & b œ ‰. nœ

gœ jœ gœ bn œœ n œ ‰ . r b œœ

g œ r j œœ r g œœ bœ nœ ‰.

jœ. jœ gœ b n œœ ‰ . n œ ‰ . r b œœ ..

*) Rhythm ad lib.

Simon Christensen: Feed Lifting Sound (section 4) - 12 -

D˙. n˙.

Repeat ad lib.*)

r œ . j gbœœœ ... b r œœ ‰ . nœ.

Fe e d L i f t i n g S o u n d

LONG SECTION GUIDELINE LONG SECTION . Voices: . Repeat the rhytmic scheme of section 1 for 21 minutes, but only on this pitch:

& 34

rœ

. All pitches should be hummed throughout Long Section. . The click track is a piano track with the exact same pitches as the singer should hum. . The pitch changes slightly throughout Long Section - follow the click track! . Hold the two beans-on-a-leash in each hand, just like holding hands. Shake them lightly throughout LONG SECTION. . Percussionist: . Turn the master socket back ON and the feedback is "alive" again. . Hit the footswitch to start the click track. Play ad lib. on the 1/8 raised D, but only on this pitch! . After 20 minutes change the pitch to A - follow the click track! . Feed Lifting Sound ends with the zither playing some A's along with the feedback - no voices.

Simon Christensen: Feed Lifting Sound (section 4) - 13 -