hunger fragments (2015) by Jason Thorpe Buchanan by Jason Thorpe Buchanan

www.jasonthorpebuchanan.com

hunger fragments for 16 solo voices

Commissioned by The New York Virtuoso Singers World Premiere by The New York Virtuoso Singers, Harold Rosenbaum, Conductor

JASON THORPE BUCHANAN Text by

DARCIE DENNIGAN

First Draft Copy – October 18, 2015

CHARACTER OF THE VOICE: It is critical that the delivery of speech is not over-dramatized, rather delivered with sensitivity to the meaning of the text, context within the composite texture, and additional indications. Singers should act and respond accordingly to the text surrounding their own lines. The general character should be somewhat subdued and cold, yet retaining dramatic “quiet” intensity. Almost always “dark” as opposed to “bright”, with the exception of moments that should clearly leap to the foreground. The marking “off the voice” refers to a manner of speaking that is halfway between “voiced” and “unvoiced” (whispering). This should result in a more gravely or sultry tone, with a hint of vocal fry ad libitum. GENERAL PERFORMANCE DIRECTIONS:

Many of the techniques in this work are employed explicitly to destabilize pitch, produce microtonal beatings, or distort the timbral qualities of the voice, and thus require relatively detailed notation. Once the character and intent of these techniques and their context within the work are understood, it may be possible (and preferable) to perform more freely within this syntax with a more organic, or even improvisatory character. The performance should not be constrained or adhere too rigidly to what is written on the page, but rather flow fluidly and naturally. Barlines and events serve as a means for synchronization; in performance, bars, bar division, or event numbers should not be noticeable. The result should generally be of elastic simultaneities rather than explicitly synchronized lines. Beginnings of bars do not necessarily indicate stress, and speech that crosses over the barline should be delivered organically without interruption. In sections marked “Senza Tempo”, events are organized using numerical indications with arrows. These should be managed by the conductor by using a standard, unobtrusive beat pattern, e.g. four events will be treated like a measure in 4/4, 5 events in 5/4, and so on, effectively with a fermata on each beat. The conductor then controls the length of each event, reacting to how much time is taken by the singers to perform the material and prescribed durations where applicable. This allows for a great deal of freedom and for measures to be easily stretched or compressed based on the conductor and ensemble’s preferences and manner of playing.

OTHER MARKINGS: All passages inside event boxes are to be repeated ad libitum with a consistent pulse that is independent of the ensemble’s pulse. These are usually accompanied by additional instructions, such as accel. or decel., change of pitch, regularity, etc. DYNAMIC & TEMPORAL INDICATIONS: All dynamic markings should be considered relative,

indicating the extremes of each voice while utilizing a given technique. For example, the maximum amplitude (dynamic level) possible with a breath sound is much lower than that of a sung pitch, or a whisper is naturally softer than a spoken text. It should be understood that the dynamics indicated apply to the upper and lower dynamic range of whichever particular technique or context within which it exists. In the same way, all temporal indications, such as accel. or decel. markings (below), are completely relative to the rate of rearticulation directly preceding or succeeding the indication. If there is no rate specified, it is left up to the discretion of the performer to determine a musically appropriate interpretation. PITCH NOTATION:

Series of quarter-tones (one semitone = 100 cents (ct), one octave = 1200 cents):

Three-quarter-flat Flat (-150 ct) (-100 ct)

Quarter-flat (-50 ct)

Natural (0 ct)

Quarter-sharp (+50 ct)

Sharp Three-quarter-sharp (+100 ct) (+150 ct)

Series of sixth-tones: (arrows may also be used in conjunction with quarter tones to approximate smaller inflections):

6th-tone lower (-133 ct)

6th-tone higher (-66 cents)

6th-tone lower (-33 cents)

6th-tone higher (+33 cents)

6th-tone lower (+66 cents)

6th-tone higher (+133 cents)

TEMPORAL NOTATION:

Indicates a sustained tone for the duration specified.

There is certainly some information that has been omitted from this initial draft of the score, so please do not hesitate to contact me with any questions at: jasontbuchanan@gmail.com

NOTATION FOR VOICE: Individual vocal parts need not always be synchronized precisely between one another, the rhythms indicated exist rather as approximate simultaneities or suggestions for temporal placement, but are governed by the character and flow of each individual phrase and text. Because of this, there is great freedom built into the possible interpretation of the work. The score therefore is a guide or point of departure and is not necessarily meant to be executed verbatim; it is one possible realization of the event streams that make up the skeletal structure of the work. There should always be a sense of fluidity or elasticity in the interpretation of the notated rhythms and alignment points. Parenthetical dynamic markings refer to the intensity of the breath in unvoiced sounds (whispering, etc.); an (ff) can therefore be balanced by a voiced p or even pp. Whispering should in general be executed very intensively (“stage whisper”); where (fff), (ff) or (f) is prescribed, a strong stream of breath is to be used; at (p) and (pp) the intensity of the breath depends on two factors: 1)! If voiced sounds or sung lines occur simultaneously in another voice, the unvoiced sounds must be sufficiently intensive so as not to be completely covered. 2)! The acoustics of the room and the noise level of the audience are decisive; (p) and even (pp) must still be clearly audible. Only at the designation “niente” should whispering become inaudible. The entire piece should be performed very expressively, at places with exaggerated expressiveness and correspondingly heightened mime and gesture. The barred and “senza tempo” sections are to be performed in an equally free manner; since the bar lines serve only as orientation for synchronization, no essential differentiation should be made between the character of the “senza tempo” and that of the “a tempo”. Sung lines may be performed with drastic timbral changes, always churning and shifting ad libitum. Feel free to experiment with colors and timbres in an unconventional manner, always taking into consideration the aesthetic context withing the piece, semantic content of text, and avoiding strict adherence to conventions in choral and classical singing.

Muttering/murmuring (“mezza voce”), as low as possible Breathing (unvoiced but very intensive)

inhaling

exhaling

hunger fragments

Text by Darcie Dennigan

Commissioned by The

senza tempo

Soprano 2

Soprano 3

Soprano 4

↓

‰.

Alto 2 Alto 3

‰.

( Œ)

Alto 4

nœ œ

(m)

port.

® ‰. th

- subtle variations with each repetition nœ #bœ #

senza vib. (sempre) possibile

‰

rhythm & tempo cont'd ad libitum,

(q = c40)

senza vib. (sempre) Ø

bœ.

p Ø

possibile

port.

(m) 2

↓

œ # nœ œ #

possibile

sub

(lu) lu lu lu lu lu lu lu

poss.

spoken, piously:

↓

seal mouth w/ length of finger

& bœ &

P®

And inspect the snow?

voiceless, short, percussive:

(q = c38)

c.1.5"

What?

Alto 1

c.2.5"

2 ↓ P 5spoken, somewhat defiantly: ↓ ‰ # ãããããããããããããããããããããããããããããããããããã ‰

October 2015

New York Virtuoso Singers

c.11" Soprano 1

Jason Thorpe Buchanan

So it will

ad libitum ( )

gradually open/suddenly close prestissimo possibile, cont'd ad libitum

poco

poco port. / dynamic swells ad lib.

prestissimo possibile (inh.) whispered/unvoiced, percussively with ( ) 5 little air, but mouthed w/great intensity

snow sah

Tenor 1

↓ Ø

p Ø

seal mouth w/ length of finger

Tenor 2

Tenor 3 Tenor 4

Bass 1

V nœ V V ?

sub

possibile

↓

ad libitum ( )

gradually open/suddenly close prestissimo possibile, cont'd ad libitum

↓

poco port. / dynamic swells ad lib.

(lu) lu lu lu lu lu lu lu

(exh.)

ha--- (voiceless) 1

↓

no explicit pitch, only puckered lips and higher frequency, sibilant air noise

? (exh.) p

(inh.)

poco cresc., poco accel

ha--- (voiceless)

? (exh.)

constrained breathing

Bass 3

(inh.)

poco cresc., poco accel

ha--- (voiceless)

Bass 4

(exh.)

↓

quasi-whistle

constrained breathing

Bass 2

poss.

possibile

(inh.) |

++++++++

very low, almost no definite pitch

( b) b b b b b b b b

(

poco

) cont'd ad libitum

hunger fragments

c.3" 1

S.1

S.2

S.3

S.4

c.2"

c.2.5"

q = c44 2 3 ↓ P 4 ↓ ↓ ↓ . & # ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã 2

& ‰.

‰.

( Œ)

tongue stop

(dt)

ha--- (voiceless)

& &

rhythm & tempo cont'd ad libitum, subtle variations with each repetition

2 8

poco accel.

poco

2 8

poco

A.1

& ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

2 # 8

A.2

2 8

A.3

& ( Œ)

↓

T.1

T.2

T.3

T.4

(q = c48)

imagination

that I offer you.

% (closed5 mouth)

dœ œ œ œ œ œ

2 8

(mn)mn mn mn mn mn

nah

(inh.)

wha

↓ V ( Œ)

↓

( Œ)

(inh. nose)

(exh.)

spect ah

tha

n– d 3

↓

ãããããããããããã

Ahem.

tongue stop ( )

¿ ‰.

( Œ)

(dt)

V ( Œ)

( Œ)

↓ ? o.

f–

↓

no,

possibile

2 8 humans have

Whenever

progressed beyond

( Œ) possibile

2 8 p

sub

possibile

(exh.)

ha--- (voiceless)

sub

↓

p œ

ppp

2 œ .. 8 #

2 8

B.3

B.4

2 8

spoken, matter of factly:

ããããããããã

It has (

(

inh.+exh. rapidly

®ãããã

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

B.2

poco cresc.

(m)

↓

ããããããããã

Then again,

↓ spoken, "off the voice":

falsetto:

b˙

sub

2 8

cont'd ad libitum

spoken softly, delicately:

sub

(inh.)

2 8

B.1

↓

poco

(inh.) (exh.)

↓

a proletarian life and a princely

It's not time for me to know each crystal in the details the world values . . . %(inhalation) ( F)

A.4

c.2"

2 Œ 8

hunger fragments

senza tempo

S.1

↓ &‰

c.2.5" 5

c.3"

(q = c48) (closed mouth)

S.2

&+œ

S.4

A.1

ad libitum (6 x )

(but speech belongs to the one who decides,

( ‰) b >œ

.P)

sub

spoken, with intensity: (

,↑

# ‰.

(q = c48)

B.2

B.3

B.4

port.

percussive, unvoiced ↑ (P ) 5

5 8 even

for

? (Œ) ?

(

r y y #R ‰

th (exhale, complete breath) dark, low

ha--- (voiceless)

sa k

y yR ‰

(Œ) 5

ad libitum (6 x )

5 Œ 8

↑

but the cemetery,

th– k

r‰ y s

P) ! 5

k t v

y yr # yR ‰ R

b th

(exh.) (inh.)

®p+

y y # yr

percussive, unvoiced (

stop the

poco cresc.

↓

b t

ãããããããããããããããã

salt morsels

y y y # y y # yr ‰ y #y #R‰ y #y

wha– f

5 #n œ 8 (mn)mn––

percussively with great intensity, unvoiced: P ) r

(but what else have I?)

8 Two crystals of

percussively with great intensity, unvoiced:

(

ããããããããããããããããããããããããã

5 # ãããããããããããããããããããããããããããããããããããããããããã (‰)

↑

, (whispered: P)

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã (

> >

ãããã

5 ‰ nœ #œ. # nœ œ bœ. 8 (m) Ø # b œ . n œ œ n œ . # 5 cont'd, dynamic swells and rhythmic variation ad libitum 8

ããããããããããããããããããããã (cumb, cumb, succumb,

↑

(Œ)

only now just occured to me that this room overlooks not the street

? (Œ)

5> 8

(

spoken, "off the voice":

bœ œ nœ œ nœ. R

↓

frantic muttering:

‰

5 8

(m)

> >

5 8

ããããããããããããããããããããããããããããããããããããããããã (crumb, a crumb, for a crumb, ven for a crumb)

if you were to succumb

poco decel., as if being stretched

muttering ad libitum

?↓

(Œ)

nœ œ # J

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

# n œ- œ #

p ) cont'd ad libitum

‰.

V¿

(‰)

↑

↓

↓ 5 V ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã ‰ ® + the mere struggle for physical existence? p ( subØ poss.

nœ œ

↓

B.1

bœ.

(m)

cont'd, dynamics and durations ad libitum

sub

ad libitum (6 x )

j bœ œ

5 8

pen

d >œ

dœ œ J

sub

(dt)

T.4

↓

dœ œ

tongue stop ( )

sub

ppp P pp O#P > >

p O

5 8

p) cont'd ad libitum

poss.

I open again . . .

5 #+œ 8 not the one who suffers) (mn)mn––

poco accel.

pen

I offer you, in a great show of generosity, not even a crumb for me,

ãããããããããããããã ããããããããããããããããããããããããããããããããããããããã ããããããããããããããããããããããããããããããããããã

T.3

↓

ãããããããããããããããããããããããã

P pp cont'd, dynamics and durations ad libitum

sub

pen

( subØ poss.

P ppp

poco

œ #

nœ J

port.

‰

spoken:

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

(m)

↓ &#

A.3

T.2

nœ

T.1

stage-whisper: (

5 ‰. 8

↑

so I can keep opening to this digression...

A.2

A.4

↑

(mn)mn mn mn mn mn

S.3

↓ ↓ .P ããããããããããããããããããããããããããããããããããããããããããããããã ( ‰ .) ãããããããããããããããããããããããããããããããããããããããããããããã ( ‰)

spoken:

Thankfully the world contains everyone,

senza tempo q = c48

c.0.5"

c.3.5"

! n

" k

5 ® y. 8 ah

P)(inh.)

5 # 8 ah--(

‰

! v

5" 8g

® y.

ããããããããããããããããããããããã

and all this time

# y

y‰

tongue stop y

inhalation

(voiceless)

! t

! mn

cont'd ad libitum

hunger fragments

c. 4" 1

S.1

S.2 S.3 S.4

c.3"

3 ↑ 2 ↓ p & ↓ ↓ ↑ & ‰ ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã (Œ )

& &

ad libitum (6 x )

(‰.)

spoken, somewhat insistently:

ãããããããããããããããããããããã

Pick up your pen!

↑

dynamic swells and rhythmic variation ad libitum

# bœ nœ

pen

( Œ) ↓

&ãããããããããããããããããããããããããããããããããããããããããã ( #) ããããããããããããããããããããããããããã to suc-cumb, were to suc-cumb, if were to)

(mn)mn––

(q = c48)

bœ.

port.

(m) 1

‰

nœ œ

T.3

T.4

cont'd ad libitum

pen 4

↓

↑

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

abandon myself to the entire catastrophe of Ø

(Œ)

possibile

p Ø

bœ

↑

ad libitum ( )

poss.

open/close prestiss. poss., cont'd ad lib.

ad libitum (5x ) 5

↓

sub

(lu) lu lu lu lu lu lu lu

poco decel., as if being stretched gradually insert more space between each repetition

↓

matter-of-factly: ↑P

(Œ) ↓

ãããããããããããããããããããããããããã

...so much the better.

O spoken, P "off the voice":

ãããããããããããããããããã

Whenever

# ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã (Œ)

ad libitum (6 x )

poco

(Shabby, shabby!

always nervous, thin,

am I shouting?)

cont'd, dynamics and durations ad libitum

bœ.

nœ

port.

(m) &

↓ ? ‰.

↑

↓

ããããããããããããããããããããããããããããããããããããã

off the voice: y ypop ® yr ‰ P ããããããããããã ‰

(Factions:

(exh.) exhalation

ããããããããããããããããã

job vs. writing

# bœ

↑

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

O ( P)

# ããããããããããããããããããããããã (‰) eating vs. hunger

P) # ( ããããããããããããããããããããããããããããããããããããããããã merely schematic vs. greatness)

senza vib.

(m)

(o)

cover mouth with hand

#œ

(Œ)

gradually open mouth, still sealed w/hand

panting rapidly

# (

↓

I might have been out there among the stones, what?

ha--- (voiceless)

poco accel., poco cresc.

↓

panting rapidly

(

↑

(‰)

(inh.) lip

(

I have been at the window,

?® y ?#

poco cresc.

B.4

‰

stomach's putrefaction

cont'd ad libitum

seal mouth w/ length of finger

T.2

dœ œ œ œ œ œ

↑

poco dim.

V ããããããããããããããããããããããããããããããããããããã (Œ)

B.3

pen

n œ n œ-

doubtless

poco port.

T.1

B.2

ããããããããããããã ( ‰ . )

I would,

but she cannot read!

n œ- œ # b œ ↓

↓

B.1

ãããããããããããã

cont'd ad libitum

&+œ œ œ œ œ œ

( ‰)

A.2

↑

spoken, with desperation:

I would ice the conscience and anoint the tongue,

(sis, per-sis, ual per-sis, tance ual per-sis, tin tance ual per-sis, tance con-tin-ual per-sis con, science)

these dubious charms

Rather,

(

b œ n œ n œ- . ↓

↑

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

poco decel., gradually insert space between each repetition

% &

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

dynamic swells ad libitum poco accel. with each repetition

↓

( ‰)

c.0.5"

muttering, prestissimo possibile unvoiced/whispered percussively with little air but mouthed with great intensity:

&ãããããããããããããããããããããããããããããã

A.4

Why this continual persistence to grease the conscience?

A.1

A.3

c.2.5"

(Œ)

Ø gradually close

(m)

hunger fragments

c.4.5"

c.3"

S.1

S.2

↓ & (Œ)

ããããã

and,

‰

S.3

ããããããããããããããããããããããããããããããããããããããããããããããããããããã

A.3

n œ.

(this tance con-tin-ual per-sis)

% #& n œ n œJ œ œ # port.

>œ

sub

>œ .

>œ

cont'd ad libitum

‰

nœ

>œ .

>œ >œ .

>œ

whispered muttering:

T.2

T.3

cont'd, rhythmic variation ad libitum

T.4

nœ >

B.2

B.3 B.4

sub

↓ ‰

↓

? ?

bœ.

port.

sim.

(mn)mn––

y# y‰ y y ‰. R y t

bch

th f

& &

y y ‰.

st k

(Œ) rŒ y

↓

nœ nœ bœ . nœ nœ bœ nœ nœ œ &

nP œ

senza vib.

#œ

snow

turned

↓

eat - ing the memorial wreaths? ( F)

(

r y # yR Œ

(inh.)

inhalation

ah--- (voiceless)

(Œ)

(m)

ããããããããããããããããããããããããããããããããããããããããããããããããããããã

muh

gain

(Œ)

(dt)

↓

# r #. ‰ y

>œ

y stop R

↓

>œ .

gain gain a-gain

poco dim.

port.

↓

>œ >œ

bœ

#œ

sub

cover mouth with hand, extreme dynamic swells ad libitum

j œ œ œ œ œ œ œ œ œ ®n œ b œ . n œ œ œ œ œ œ œ œ œ œ œ œ œ (Œ)

percussively with great intensity, unvoiced:

P pp cont'd, dynamics/durations ad libitum

↓tongue

ha--- (voiceless)

(Œ)

scraping off lichen for a snack?

r y ‰.

gain gain a - gain

ãããããããããããããããããããããããããããããããããããããããããããããããããããããã

(inh.)

(mn)mn––

poco dim., poco accel.

? (Œ)

b >œ .

(mn)mn––

(

(Œ)

sub

% P pp

nœ

↓

quasi-whisper, nearly voiceless: #P ãããããããããããããããããããããããããããããããããããããããããããããããããããããããã

spoken:

(her eyes were still full of sausage as she turned

↓ ? (Œ)

P pp cont'd, dynamics/durations ad libitum

dynamic swells and rhythmic variation ad libitum

↓

port.

gain

nœ

gain a-gain

% j

dynamics and rhythm ad libitum

↓

B.1

(m)

(Œ)

humans have progressed beyond the mere struggle for physical existence

j n œ œ #n œ œ œ # J

rt.

↓

V ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã VŒ

jP po

er-ber-ate erber - -ate

↓

T.1

port.

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

dynamics and rhythm ad libitum

# #n œ b œ n œ ‰ n œ b œ n œ #

>œ

(m)

A.4

ad libitum (6 x )

(mn)mn––

(Œ)

The best thing would be for me to be destroyed as quickly as possible.

& bœ nœ nœ . bœ nœ nœ . bœ nœ nœ . 5

Again!

#n œ œœ œœ œ

↓

being a poet?

>œ

ãããããããã

(m)

&ãããããããããããããããã (Œ) &

(m)

which is swallowd again by the snow.

œ œ #b œ #

f ↓

(Œ)

ããããããããããããããããããããããããããããããããããããããããããããããããã

P pp

& n >œ

port.

↓P

↓

‰.

c.3"

dynamic swells and rhythmic variation ad libitum

↓

A.2

c.2"

to the reverberate hills, hallo your name...

A.1

F↓

↓

(m)

S.4

cont'd ad libitum &ããããããããããããããããããããããããããããããããããããããã ‰. (q = c40)

c.3"

c.2.5"

r y‰

(Œ)

↓

(exh.)

ãããããã

exhalation

ha--- (voiceless)

(Œ)

frantic muttering:

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããã (stroyed, stroyed, de-stroyed, be de-stroyed, to be de-stroyed,

hunger fragments c.3.5"

c.2.5"

S.1

S.2

S.3

S.4

# ããããããããããããããããããããããããããããããããããããããããããããããããããã (Œ) It's not time for me to know...

A.2

O jp jp nœ bœ p.ort. œ # nœ bœ port. nœ

œ œ- .

↓

jsim. ad lib. nœ bœ œ .port. nœ 5

cont'd ad libitum

toward me)

(Œ)

> >

↓ V‰

↓

! J

(exh.)

gah

.P # ããããããããããããããããããããããããããããããããããããããããããããããã port.

(Œ)

spoken, "off the voice":

F) r

y ‰.

know P pp

(Œ)

nœ > know

↓

n t

3 4 3

p g

↓

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

beyond the mere struggle for human existence

T.4

sub

(Œ)

↓ (Œ)

% Í

>Í

(m)

,n >œ

"off the voice": ?spoken, ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

↓

is it cookies out of corpses' pockets?

? (Œ)

time

↓

possibile

↓

ããããããããããããããããããã

the mere

- -

-sim. ad- lib.

3 4

↓

) #( P ããããããããããããããã (Œ)

3 4

And why not?

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

for whom the newspaper assigns the improbable name

? ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

cont'd ad libitum

(urned, turned, she turned, as she turned, toward, as she turned) ( F)

? ããããã # y k

lip pop

y y #

ããããããããããããããããããã

be de -stroyed

k p

(

(exh.) exhalation

she

# (Œ)

(

t muh

(

panting rapidly

!(exh.) "(inh.) # + (

poss.

!(exh.) "(inh.) + poss.

very low, almost no definite pitch

)

(b)b b b b b b b b––

)

(b)b b b b b b b b––

(

3 4 3 4 3 4

spoken:

There is that story of the Swiss woman,

3 4 3 4

↓ (Œ)

(Œ)

bœ nœ. nœ œ bœ nœ œ. nœ

cont'd ad lib.

3 4

↓

bœ nœnœ.

time

y (Œ) R

(m) 2

cover/seal mouth with hand, irregular chewing/jaw movements timbral changes, dynamic swells, and rhythmic variation cont'd ad libitum

3 4

cover mouth with hand, extreme dynamic swells and rhythmic variation ad libitum

V (Œ)

↓

nœ nœ bœ œ nœ nœ œ bœ.

3 4

(Œ)

sub

3 4

y r y y ®y ®y # J)

sub

b >œ

3 4

percussively with great intensity, unvoiced: panting rapidly (

" J

(Œ)

‰

(inh.)

j nœ œ # œ œ œ œ œ œ # # J

‰.

! J

mah deah

↓ ↓ œ # dynamic swells and rhythmic variation ad libitum

P pp

cont'd ad libitum

T.3

B.4

(exh.)

hea

↓

↓ & (Œ)

B.3

" J

(inh.)

A.4

B.2

↓

! J

sah

(m)

B.1

pah

(exh.)

spoken:

! J

nœ

A.3

T.2

breathy ( (exh.)

c.2"

but you have not progressed

&ããããããããããããã

T.1

ad libitum (6 x )

A.1

↓ (Œ)

↓

↓ & (Œ)

c.1.5"

c.2.5"

c.2"

very low, almost no definite pitch

3 4 3 4 3 4

hunger fragments

q = c48 (

S.1

)

&3 + 4

nearly voiceless:

( b) b b b b b b b b

S.2 S.3 S.4

4 &3 4

ããããããããããããããããããã

A.2

&3 Œ 4

ãããããããããã

Day four

for a breakfast

‰

sold my coat for a feast

‰

#œ

(m) 3

↓

(Œ)

#œ

(m)

(Œ)

subtle microtonal variation ad libitum senza vib.

#œ

cont'd ad libitum

(mn)mn–

( ,)

poco cresc.

T.3

for existence

# Œ

↓ (Œ)

↓

(Œ) ‰

(Œ)

spoken:

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

Day four

↓

sold my clock for a breakfast

4 V3 4

ãããããããããããããããããããããããããããããããã

for h u m a n

ãããããããããããããããããããããããããããããã

sold my coat for a feast

ex -

(Œ)

poco

ãããããããããããããããããããããããããããããããããããã

Better than going begging.

↓ ‰

↓

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

Better than setting out with a bucket,

B.4

ãããããããããããããããããããããããããããããããããã

(m)

T.2

B.3

↓ P

↓

V3 Œ 4

B.2

↓

dynamic swells and rhythmic variation ad libitum

?3 ‰

c.3"

(Œ)

subtle microtonal variation ad libitum senza vib.

4 struggle

(Œ)

ããããããããããããããããããããããã

↓

(Œ)

V 3 ããããããããããããããããããããããããããããããããã

B.1

T.1

T.4

↓

c.3"

spoken:

&3 Œ 4 &3

sold my clock

4 O

A.4

A.1

A.3

spoken, "off the voice":

‰.

poss.

c.2.5"

for what?

(Œ)

poco ? 3 ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã (Œ)

4 Anna Gut,

who tried to survive on light and died,

& & 12

Œ Œ

senza vib.

poco

of course,

of starvation.

n œhand covering closed mouth possibile

gradually open

(m)

senza vib.

bœ

possibile

hand covering closed mouth

gradually open

(m)

hunger fragments c.2"

S.1

↓ & (Œ)

S.2

&‰

S.3 S.4

& &

↓

ããããããããããããããã

Day seven

light

# œ n œ . œ œ ## œ œ n œ . n œ . ## œ 5

A.2

(Œ)

dynamic swells ad libitum

spoken:↓

Mistook small children for sack of potatoes

↑

Sunshine

, nœ

dynamic swells ad libitum

↓

V ããããããããããããã ‰ istence

(Œ)

j variation ad libitum #œ nœ nœ . #œ nœ nœ . œ #œ nœ . nœ

T.4

B.1

dynamic swells and rhythmic

(m)

nœ nœ bœ .

nœ nœ . bœ œ nœ nœ œ bœ . # 5

(m)

↓

r y ‰.

↑

P r y y # R # y ® y ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

T.3

↑

↓

spoken gently:

↓

↑

And herewith my brain trickles q u i e t l y o u t o f m y h e a d . . .

F pp

# n >œ

senza vib.

T.2

(‰)

nœ

(lu)lulu–

percussively with great intensity, unvoiced: (

(‰)

↑

( ) gradually open/suddenly close ad libitum

poco dim.

seal mouth w/length of finger p pp Ø sub

↓

(Œ)

and a little to eat

(mn)mn–

↓

(‰)

↑

poco cresc.

ããããããããããããããããããããããããããããããããããããããããã

(, )

,p nœ

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

dynamic swells and rhythmic variation ad libitum

↓

* angular melodic ornamentation and microtonal fluctuations ad libitum spoken, "off the voice":

(m)

↓ & (Œ)

T.1

#œ J

(Œ)

spoken:

A.1

A.4

c.0.5"

↑

↓

nœ œ # œ * angular melodic ornamentation and microtonal fluctuations ad libitum ↓

sub

c.2.5"

↓

↑

c.3.5"

c.3"

P pp

A.3

c.2"

c.1"

c.2.5"

sub

mouth closed, rapid pulsations with tongue

(mn)mn–

↓ spoken, "off the voice":

(Œ)

↓ ?‰

↓

↑

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

a bit of coal, or no,

ha--- (voiceless)

↓

a cube of meat, what?

(

(exh.)

(dt)dt dt– &

↑

↓

p # ããããããããããããããããããããããããããã (Œ)

↓

(Œ)

staccatissimo

fallen off a truck?

P↑

ããããããããããããããã

...and the

P P F F P ? # ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã spoken:

B.2

B.3

B.4

They say it is something of a fad,

? ?

gradually close

(Œ)

(m)

gradually close

(Œ)

(m)

this light diet, and they are calling it e y e i f i c a t i o n ,

(‰) (‰)

‰

(

(exh.)

ha--- (voiceless)

staccatissimo

(dt)dt dt–

and here I think O

c.3"

hunger fragments

c.2.5"

↓P ↓ # ãããããããããããããããããããããããããããããããããããããããããããããããããããããã & spoken gently, low in the voice:

S.1

S.3

&Œ

S.4

A.1

& &

A.2

A.3

A.4

T.2

3 4

↓

↓ V‰

(Œ)

spoken, "off the voice":

ããããããã

Aha!

ããããããããããããããããããããããããããããã (Œ)

↓

Here on a platter,

(m)

bucket,

Day eight

3 Œ 4 O

(m)

‰

nœ

(m)

swinging,

ããããããã ‰.

ãããããããããããããããããã ‰.

↓

light,

) #( P ãããããããããããããããã

quasi-whisper, nearly voiceless:

(if they are

seal mouth with hand molto legato

quite empty,

n œ # œ œ œD œ n œ

‰

ãããããããããããã

Ready?

3 #Pãããããããããããããã ‰ 4 Day eight spoken:

3 4 ããããããããããããã (Œ)

(mah)

3 4

3 (Œ) 4 I offer this shy and valiant loquacity:

# nœ

↓

‰.

ãããããããããããã

↓

ãããããããããã ‰.

spoken:

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

senza vib.

cover/seal mouth with hand, irregular chewing/jaw movements increasingly violent timbral and dynamic changes cont'd ad libitum

?↓

# Œ

3 4

O $

gradually close

I hear my own

3 4 O

ããããããããããããããããããããããã

3 # 4

(Œ)

spoken, thoughtfully:

dynamic swells and rhythmic variation ad libitum

3 4

↓

poco cresc. cover/seal mouth with hand, irregular chewing/jaw movements increasingly violent timbral and dynamic changes cont'd ad libitum

V ‰.

ããããããããããããããããããããããããã

I hear my own

3 (Œ) 4 full of the symbol of itself,

ãããããããããããããããããããããããããããããããã

ãããããããããããããããããããããããããããããããããããã

oh ho ho,

here we

F F f ? ãããããããããããããããããããããããããããããããããããã 3 ‰ ‰ ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã they are laughing at her,

B.4

dynamic swells and rhythmic variation ad libitum

T.4

B.3

‰

bœ œ nœ nœ œ bœ .

‰.

3 Œ 4

cover/seal mouth with hand, irregular chewing/jaw movements increasingly violent timbral and dynamic changes cont'd ad libitum

B.2

(m)

↓

T.3

B.1

nœ nœ .

3 4

Must feed them

‰ F

T.1

↓

S.2

# ãããããããããããããããããããããããã p ‰

(Œ)

No one as real to me as the poems

q = c66

c.2.5"

? ?

laughing at the followers of this diet with the name they are giving it,

panting rapidly, cover and uncover mouth with hand ad libitum

(ha ah ha ah)–

3 Œ 4

seal mouth with hand molto legato

# b œ n œ= œ + œ b œ + œ

(mah)

c.3"

S.1

S.2

S.3

S.4

hunger fragments

c.4.5"

spoken, breathy: ↓ ( P) ↓ P # ‰ ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã ãããããããããããã ‰ & *unintelligible whispered muttering ad libitum

steps climbing the stairs

↓ ( P)

Here I am

& (Œ)

ããããããããããããããããããããããããããããããããããããããããããããããã

but you have not progressed

P # #œ

(Œ)

ããããããããããããããããããããããã

Look at yourself!

(Œ)

P # ãããããããããããããããããããããã

(Œ)

nP œ

A.2

A.3

&ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

A.4

going to plumb a word, shouldn't they have begun with diet? molto legato

&= œ # œ d œ n œ +œ

T.2

T.3

T.4

spoken:

B.3

B.4

(Œ)

- it)

poco cresc.

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

(Œ) ↓

↓

Beyond the mere struggle for human existence

molto legato cover/seal mouth with hand, microtonal fluctuations and extreme dynamic and registral swells cont'd ad libitum

n œ b œb œ d œ + œ = œ# œ n œ n œ b œ D œ d œ

(o)

V ãããããããããããããããããããããããããããããããããããããããããã (Œ)

(Œ)

steps climbing up the stairs

molto legato cover/seal mouth with hand, microtonal fluctuations and extreme dynamic and registral swells cont'd ad libitum

poco cresc.

n œ b œb œ d œ + œ = œ# œ n œ n œ b œ D œ d œ

(o)

↓

B.2

ãããããããããããããããããããããããããããããã

He is pale as paper

die -

↓ V (Œ)

B.1

spoken, "off the voice":

cover/seal mouth with hand, microtonal fluctuations and extreme dynamic and registral swells cont'd ad libitum

T.1

diet!

sub

A.1

and here you are

(m)

↓

spoken, "off the voice":

sub

(m)

senza vib.

↓ & (Œ)

↓

senza vib.

spoken, "off the voice":

(Œ)

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

*unintelligible whispered muttering ad libitum

‰.

(Œ)

&ãããããããããããããããããããããããããããããããããããããããã

c.4"

? ãããã (Œ)

↓

ããããããããããããããããããããããããããããããããããããããã

are,

?Œ

me and my empty bucket... (q = c36) ( F poss.)

P ↓

(Œ)

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

which,

? (q‰= c36)( Fy

palatal click poss.)

? nœ #œ nœ +œ +œ

y y y y y y y y

even if it were to be

palatal click

now,

‰

ãããããããããããããããããããã

and if they

5 molto legato cover/seal mouth with hand, microtonal fluctuations and extreme dynamic and registral swells cont'd ad libitum

poco cresc.

(Œ)

11 S.1

c.3"

c.4.5" 1

↓ P n œ ppœ # &ããããããããããããã n œ↑

S.3

S.4

(Œ)

& (Œ) O

n ˙-

(Œ)

A.1

A.2

&‰

n >˙

‰

ãããããããããããããããããã

oh is it a sonnet?

‰

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

I will hang him by the edge of his hunger

"off the voice": ↓spoken, *unsynchronized with T.2

‰

↓

‰

↑

& nœ dœ nœ bœ œ nœ + œ dœ nœ bœ nœ bœ

ãããããããããããããããããããããããããããããããããã

the bucket's being empty

with T.2 #*unsynchronized ããããããããããããããããããããããããããããããããã

(Œ)

quasi-whisper, nearly voiceless:

cover/seal mouth with hand, microtonal fluctuations and extreme dynamic and registral swells cont'd ad libitum

spoken, "off the voice":

hardly can get my hair parted,

‰

possibile

(o)

A.4

& 1

T.1

↓ V (Œ) V

T.3

V (Œ)

B.1

B.2

B.3

B.4

↓

↑

(Œ)

↓ ? ããããããã (Œ) filled,

↑

↓

That is a minor question

‰

(

‰

ããããããããããããããããããããããããã

↑

↓

(Œ) 2

the bucket's being empty,

ãããããããããããããããããããããããããããããããããããããããããããããããããããããã

because to die by vials of silken light, F)

percussively with great intensity, unvoiced: (

y#y‰

r y‰

y ‰ R

y Œ sa

‰

(Œ)

↓

hardly can get my hair parted,

(Œ)

ãããããããããããããããããããããããããããããã

feeling quite feeble

by vials of silken light

↑

(Œ)

# ããããããããããããããããããããããããããããããããããã ‰

(Œ)

let them,

Day nine

because to die

? ãããããããããããããããããããããããããããããããããããããããããã ‰ (Œ) ‰

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

would never be satisfied,

? (Œ)

↓

spoken:

↓

(Œ)

P # ãããããããããããã

‰

possibile

quasi-whisper, nearly voiceless:

ãããããããããããããããããããããããããããããããããããã

are going to laugh,

↓

ãããããããããããããããããããããããããããããããããããã

(Œ)

nœ

↑

spoken, "off the voice":

senza vib.

(Œ)

which to choose...

T.2

T.4

spoken: ‰ P ããããããããããããããããããã ‰

and it's a-

(Œ)

feeling quite feeble

‰

ããããããããããããã

# ãããããããããããããããããããããããããã (Œ)

↓

↑

‰

(mn)mn–

ããããããããããã

how sweet!

b -œ - - - - - - -

port.

‰

cloyingly/patronizing (with humor):

↓

↑

↓ possibile

#œ

sub

spoken, "off the voice":

(Œ)

(ng)

↓

b -œ - - - - - - -

port.

↑

Day nine

P pp

(Œ)

molto legato

(‰)

c.3"

c.2"

↓spoken: #P ããããããããããããã

œ œ .. R

sub

↓ &

bœ

(ng)ng–

↑

sub

nœ n œ-

↓P pp - - - - - - - -O

port.

p , P pp 1

A.3

œ.

sub

S.2

hunger fragments

‰

# yR ‰ t

senza vib.

#œ

possibile

(m) &

↑

↓ poco

ããããããããããããããããããããããããããããããããããããããããããããããããããããã

being so light that even apron strings hitting

ããããããããã

that is,

‰

ããããããããããããããããããããããããããããããããããã

to feast your eyes out, yes,

b th

y ‰

t f

y Œ R

t s

hunger fragments c.1.5" 1

S.1

S.2

(Œ)

↓P

& (Œ)

S.4

& (Œ) &

ãããããããããããããããããããã

(Œ)

A.3 A.4

(Œ)

V (Œ)

B.2

B.3

B.4

(Œ)

↓spoken: P

(Œ)

# ãããããããããããããããã

Day eleven

spoken darkly:

‰

ãããããã

spoken:

ãããããããããããããããããããããããããããããããããããããããã

time takes no time in a poem!

(Œ)

‰

↑

Œ n œr œ + œrœ ‰ . n œ + œr œ . ‰ #n œ 5

5 4

‰

5 4

(m)

(Œ)

ããããããããããã

(Œ)

‰

(Œ)

F #Fãããããããããããããããã # P ããããããããããããããããããããããããããããããããã Day eleven

↓

↑

(Œ) P

nœ

port.

↓

b œ- .

(m)

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

? ããããããããããããããããããããããããããããããããããããããã ‰ #

5 4

ããããããã

5 4

time takes no time in a poem!

F 3

5 4

ãããããããããããããããããããããããããããããããããããããããããããã

lu cuntu nun mutti tempo

The

5 4 5 4

↓

but a poet

ããããããããã

5 4 stage-whisper: ‰ F ãããããããã5 (till 4

œ.

P #ããããããããããããããããããããããã

the bucket's emptiness

that is what that must mean,

port.

↓ ‰.

↓

it might send it flying,

↓

spoken, "off the voice":

cont'd ad lib.

port.

5 4

‰

(Œ)

ãããããããããããããããããããããããããããããããããã

lu cuntu nun metti tempo

↓

spoken, "off the voice": ( )

( # ˙)

? ããããããããããããããããããããããããããã (Œ)

has made it filled with great pride,

‰

cover mouth with hand

ß pp

The

n œ- œ sub

5 4

↑ ããããããããããããããããããããããããããããããããããããããããããããããã

and it would rather stay next to 4

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

t o l i f t t h e veil we wear over our desire and let the eyes eay the light till 4 %

molto legato cover/seal mouth with hand, microtonal fluctuations and extreme dynamic and registral swells cont'd ad libitum

? ?

‰

↓ (Œ)

‰

I write not a poem,

my arms ache so

↓

B.1

(Œ)

↓ spoken:

↓

V # ããããããããããããããããã (Œ)

↓

T.2

(Œ)

ããããããããããããããããããããããããããããããããããããããããã (Œ) (a body being dismembered by the sufferings of ___)

↓ V (Œ)

(Œ)

5 4

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

but a poet

(Œ)

quasi-whisper, nearly voiceless: (

(Œ)

ãããããããããããã

(Œ)

↓

T.1

T.4

↑

(to lift the veil we wear over our desire and let the eyes eat the light)

my arms ache so

T.3

↓

(Œ)

(

& # ãããããããããããããããããã (Œ) &‰

↓

whisper, smoothly

*unsynchronized with T.2

A.2

↓ ‰

(Œ)

(Pick up the pen!)

↓

c.1"

I write not a poem,

quasi-whisper, softly, articulately: (

c.3.5"

# ããããããããããããããããããã

(Œ)

bout...?

c.2.5"

spoken:

↓

& ãããããããããããã

c.1"

↓

S.3

A.1

c.2"

c.1.5"

# n œ d œn œ n œ b œ œ + œ d œ n œ b œ n œ b œ

5 4

(o)

possibile

5 4

q = c48

ß pp senza vib.n ) > (*tune to T.4 G # 5 œ sub

S.1

S.2

S.3

3 4

& 5 ããããããã # Œ

4 cunt!

‰. &5 4

ßsenza pp n >œ ˙ vib.

A.1

A.2

A.3

A.4

T.2

T.3

T.4

B.1

B.2

B.3

B.4

V5 Œ

‰

frantic muttering:

ãããããããããããããããããããããããããããããããããããããããããããããããã

(self, self, itself, y itself, body it-self, in body it-self,

œ ß pp # # >œ

sub

p5 nœ . #œ #œ

seal mouth with hand

‰

(m)

but women cannot have male muses.

3 (‰.) 4 It disgusts me and must be cut out

F pp 5

senza vib. #+ œ d>œ .

3 4

‰

↓

ãããããããããããããããããããã

I shall keep on

sub

V 5 ããããããããããããããããããããããããããããããããããããããããããããããããã seal mouth with hand, nearly unintelligible:

4 tongue such fat meat in my mouth) senza vib.

ß pp(*tune to A.3 E d ) > senza vib. 3 # +œ

3 4

V5 Ó.

(m)

3 Œ 4

4 me on this window sill,

F pp

(*tune to T.4 E + )

#+ œ . > (m)

3 Œ 4

pp ß (*tune >œ . to S.2 C = ) + ‰ 5

↓ ‰

F pp

#= œ >

# n œR

sub

(m)

↓ ããããããããããããããããã

full of itself

↓

‰

(Œ) #

to eat the body itself in one great hurricane of light... f port.

+ >œ

(m)

F pp

#= œ >

sub

(m)

sub

O F> pp

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

ß ppvib. n >œ senza œ (*tune to A.4 B n ) sub

3 4

p # ããããããããã

(m)

sub

spoken, "off the voice":

but

# +œ

senza vib.

provisions scarce... O f

(m)

sub

4 only the body is left and then in an ouroborous 4 maneuver,

ãããããããããããããããããããããã

O ß ppp >

3 4 dipping endlessly into the night air,

spoken, "off the voice":

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

(Œ)

↓

(m)

f P ? 5 ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã 3 ‰ f

O 3

↓

? 5ãããããããããããããããããããããããããããããããããããã ‰.

(Œ)

sub

(m)

d >œ

‰

(‰.)

5 r nœ #œ . #nœ #œ œ

Day twelve f

ß ppp (*tune to S.3 G # ) ‰. nœ 5

3 4

↓ # (Œ)

but

seal mouth with hand

senza vib.

port.

ãããããã

#P ããããããããããããã

‰

˙.

sub

pp vib. ß senza #n >œ .

3 Œ 4

ß pp senza vib. b >œ (*tune to S.3 F n )

sub

spoken:

What male ego could

↓

# ããããããããããããããããããããããããããã

ãããããããããããããããããããããããããããããããããããããããããããããããã (‰.) 1

‰

3 (Œ) 4 Light does not tread upon the steps of light more indivisibly than does Ylajali upon my hunger.

↓

& 5 ãããããããããããããããããããããããããããããããããããã Œ 4 only the body is left)

(cut it out)

↓

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

ããããããããããã

c.2"

&5 4

(

stage-whisper:

c.2"

spoken:

‰

c.1.5"

ããããããããããããããããããããããããããããããããããããããããããããããããããããã

4 tongue such fat meat in my mouth

& 5 ‰.

↓

& 5 ããããããããããããããããããããããããããããããããããããããããããããããã (‰.)

3 4 and to other women,

4Women can be muses to men,

ãããããããããããããããããããããããããã (‰.)

sub

T.1

4 3 4

& 5 ããããããããããããããããããããããããããããããããããããããã (‰.)

sub

ß ppsenza vib. = >œ 3 œ

‰.

spoken:

S.4

senza tempo

hunger fragments

c.2.5"

c.1.5"

p↓ n œ- œ

↓

S.1 S.2

&inããããããã one

‰

&ãããããããããããã (Œ)

‰

↓

c.4.5"

(mn)mn––

c.3.5"

↓P 2

#n ˙

#œ.

A.3

&(Œ)

↓

↓ (Œ)

ããããããããããã

I have

dynamic swells and rhythmic variation ad libitum

↓

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã (Not those who inflict the most but those who suffer the most will

I am the cadaver of a madman

When I think of my life before hunger, 2

↓

ããããããããããããããããã

greasy soup

(Œ)

‰

(Œ)

how can I be trusted?

‰.

ãããããããããããããããããããããããããããããããããã

it is someone else's life...

(Œ)

↓ (Œ)

I was writing a

( poss.) tongue stop

(inh.)

ah--- (voiceless) 1

# ããããããããããããããããããããããã (Œ)

y ‰ R

(dt)

↓spoken, p "off the voice":

# ãããããããããããããããããããããã

(Œ) ↓

I was writing a

P) #(ãããããããããããããããããããããããããããããããããããããããããã (Œ) quasi-whisper, nearly voiceless:

(I am the cadaver of a madman)

œ n œ . b œ #n œ n œ . # b œ- œ #

cover/seal mouth with hand, irregular chewing/jaw movements timbral changes, dynamic swells and rhythmic variation ad libitum

T.4

B.1

↓

F pp

nœ > o

spoken, "off the voice":

B.2

B.3

B.4

when I see you,

? ?

↓

sub

p ? # ãããããããããããããããããããããã #

‰.

spoken, "off the voice": ‰ P ãããããããããããããããããããããããããããããããããããããããããã (Œ)

V ãããããããããããããããããããããããããããããã (Œ)

‰

↓

quasi-whisper, softly, articulately:

dynamic swells and rhythmic variation ad libitum

ããããããããããããããããããããããããããããããããããããããããããããããããããããã

dry bun,

spoken:

What male ego could stand being a simulacrum of sepal and petal but never the actual flower?

spoken gently:

↓ Vãããããããããããã ‰.

(Œ)

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

‰

(m)

(Œ)

& (Œ)

5 5 r 5 n œ œ . #œ nœ œ nœ . #œ nœ . # œ

(q = c36)

spoken, with increasing intensity:

# œ- # n œ # œ . # œ # n œ # œ œ # œ . # 5

↓

sub

(m)

(Œ)

cover/seal mouth with hand, irregular chewing/jaw movements increasingly violent timbral and dynamic changes cont'd ad libitum

A.2

T.3

r↓ bœ

(Œ)

how can I be trusted?

take that?

T.2

↓

S.4

T.1

cover/seal mouth with hand, irregular chewing/jaw movements timbral changes, dynamic swells and rhythmic variation ad libitum

& ãããããããããããããããããããããããããããããããã (Œ)

A.4

melodic ornamentation (m) *angular and microtonal fluctuation ad libitum

S.3

A.1

hunger fragments

c.2"

ãããããããããã ‰

Ylajali,

and your collection of quicksilver movements,

P↓

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã #

O↓

↓

(Œ)

ãããããããããããããããããããããããããããããããããããããããããã

it is only light I want to eat.

(Œ)

‰

(

(Œ)

‰

(

‰.

poss.

)

exhalation

ha--- (voiceless) poss.

)

ha--- (voiceless)

exhalation

‰.

15 S.1

S.2

S.3

S.4

hunger fragments

c.3.5"

↓

O ↓ spoken, P with increasing intensity:

no I

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

starve the self so there is no self to die

‰

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

coul d hi s t hought s

(Œ)

conquer)

&# œ

↓

& ããããããããããããã port.

&ããããããããã ‰

stage-whisper:

ãããããããã

(po-et )

‰

p n˙.

# y # ‰.

y ‰

wha

‰

3 4

p 3 # ãããããããããããããããããããããããããã ‰ 4 (Is that a word?)

ãããããããããããããããã 3 Œ (nouissance!) 4

(exh.)

(Œ) p

spoken softly:

ãããããããããããããããããããããããããããããããããããããã

My t heme was nausea

exhalation

(Œ)

3 ‰ 4

↓

↓ spoken, "off the voice": ↓ p ? # ããããããããããããããããããããããããããããããããããããããããããã

(Œ)

ãããããããããããããããããããããããããããããããããã

(what is that word...?)

j bœ

This is the only way

? ?

(q = c40)

(m)

port.

#œ J

↓

(Œ)

ããããããããããããããããããããããããããã

I choose this

‰

port.

(m)

poco accel, poco cresc.

3‰ 4

Œ spoken firmly, relatively low in voice:

ãããããããããããããããããããã

I was not

spoken, "off the voice":

ããããããããããããããããããããããããããããããããããããããããããããããããããã

choose the dry bun, greasy soup,

3 4 3 Œ 4

3 Œ 4

n œ bœ port. n œbœ port. n œ b œport.œ b œJ œ b œJ œ b œJ œ b œJ œ J J J

quasi-whisper, nearly voiceless:

$senza vib.

quasi-whisper, nearly voiceless:

3 nœ 4 (m)

Yl aj al i

ha--- (voiceless)

3 Œ 4

(Œ)

n˙

ha--- (voiceless)

Danc e,

? (Œ)

stage-whisper:

(Œ)

↓

‰

(exh.)

ãããããããããããããããããããããããããã

poem...

‰.

3 Œ 4

V ãããããããããã

hya

spoken, demandingly:

T.2

‰.

quasi-whisper, softly, articulately:

p 3 # ãããããããããããããããããããããããããã ‰ 4 (Is that a word?) 3 & 4 3 Œ Œ 4

T.1

molto accel., compressing

poco decel., stretching

stage-whisper: (

y #

y ‰.

(It must be the events and not the words that rhyme)

↓

B.4

3 ‰ 4

percussively with great intensity, unvoiced:

r# P ®3 ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã #œ 4

port.

(Œ)

poem... 1

B.3

al i ght on not hi ng?

A.4

B.2

port.

(m)

j nœ œ # bœ

spoken, "off the voice":

A.3

B.1

& (Œ)

&‰

T.4

‰ b œjœ .

q = c44

dynamic swells and rhythmic variation ad libitum

(q = c54)

to suffer I

(mn)mn–

T.3

↓

& ãããããããããããããããããããããããããããããããããããã (Œ)

A.2

↓

A.1

c.3"

c. 4.5"

nœ

(m)

‰.

port.

#œ œ R

bœnœ o

hunger fragments

senza tempo c.3.5"

c.3"

S.1

& bœ nœ. F

S.4

port.

(

My body is eating my brain matter for sustenance

# n œ- # b œ

(m)

S.3

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

Day thirteen

)

poss.

& æ *rapidly produce tremolo with hand o (voiceless)

& ãããããããããããã dance!

‰

)

poss.

A.1

A.2

& (Œ) (

exhalation

)

O↓

A.4

spoken:

Is this light a mock light?

T.3

(Nouissance!...

↓

‰

Do I mean jouissance? 3

↓

(Œ)

Is this light a mock light?

(

(Œ)

B.2

(m)

O 5%

#n œ

o(m) 2

↓ P ? ↓ãããããããããããããããããããããããã # (Œ)

(Œ)

?F ãããããããããããããããããããããããããããããããããããããããããã ‰

(Œ)

B.3

My wristwatch for a seedcake!

? n˙ (m)

B.4

poco dim.

nœ œ ‰ nœ. J

The self being born again, 2

port.

J nœ

dynamic swells and rhythmic variation ad libitum

nœ (m)

port.

ãããã

↓

(Œ)

spoken:

ãããããããã

A poet

n œ #n œ œ

ãããããããããããããããããããããããããããããã

just enough out of tune

port.

Here it comes

↓ ‰.

ããããããããããããããããããããããã

↓

a forkful of meat

cover/seal mouth w/ hand

r nœ œ . # nœ œ 5

ãããããããããããããããããã

nœ . ‰ bœ Dœnœ œ œ+œ œ ‰ 5

port.

(m) 3

(Œ)

# ãããããããããããããã #

↓

a fit of light

frantic muttering, whispered: (

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã (sustenance sustenance, matter sustenance, matter for sustenance, my matter for sustenance, eating

‰ bœ œ # port.

‰.

↓

spoken:

↓

the soupcon feast

port.

ãããããããããããããããããããããããããããããããã

(The sickness is its own cure!)

(Œ)

sub

(m)

stage-whisper:

"silent scream" high frequencies, sustained constricted airflow, quasi-multiphonic

nœ

f pp

ãããããããããããããããããããããããããããããããããããããããã

↓

)

(Œ)

‰.

1 poss.

↓

n œ n œ . # b œ- #n œ

senza vib.

spoken, "off the voice":

B.1

↓

(Œ)

‰.

ãããããããããããããããããããããããããããã

(Time takes no time in a poem)

(m)

(Œ)

takes no time in a poem)

ãããããããããããããããããããããããããããããããããããããããã

meant to exist

dynamic swells + rhythmic variation ad libitum

ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

nœ

(Œ)

the fully satisfied spectator of my own hunger O %5 P

(m)

whisper gently:

V ããããããããããããããããã ‰

nœ. #œ œ bœ # 5

↓

senza vib.

‰

...naissance!)

Witness me:

F V # ãããããããããããããããããããããããããããããã (Œ)

#œ #

port.

# ããããããããããããã

(Œ)

ennui!...

n˙

port.

ããããããããã

close mouth and cover with hand

T.4

#P ãããããããããããããããããããããããããããããããããããããããã (Œ)

& # ãããããããããããããããããããããããããããããã

T.2

ããããããããããããããããã

ãããããããããããããããããããã

*rapidly produce tremolo with hand (Time

↓ V (Œ)

(

spoken:

O stage-whisper:

&æ

T.1

(Œ)

A.3

blow

stage-whisper:

˙.

‰.

poss.

port.

(m)

ha--- (voiceless)

‰

↓

‰

j nœ

# # œsenza vib.

(

blow

bœ.

–– or is it the brain that eats the body?

poco dim.

poco decel., increasingly legato

↓ ↓ p ↓ # ãããããããããããããããããããããããããããããããããããããããããããããã (Œ)

‰

↓

c.3"

c.2.5"

P ↓

& ããããããããããããã ‰ f

S.2

firmly: ↓spoken F

c.3"

c.3.5"

#œ œ R

dynamic swells and rhythmic variation ad libitum

# n œ- œ # dynamic swells and rhythmic variation ad libitum

# O

hunger fragments

c.3"

↓ & (Œ)

#bœ

S.2

& ããããããããããããããã (Œ)

S.3

& ‰.

A.2

A.3

A.4

‰ P ãããããããããããããããããããããããããããããããããããããããããããããããããã

Day fourteen

my head now too heavy for my body

(

c.3.5"

↓ (Œ)

spoken, "off the voice":

ããããããããããããããããããã

↓

paper scraps

↓ & (Œ)

(Œ)

whispered:

(my skin raisined)

‰.

paper.

senza vib.

# (Œ)

Me,

in the street,

spoken:

ãããã

Me,

ããããããããããããããããã

Day fi ft een

(Œ)

My ski n rai si ned $

(mn)mn––

(m)

‰

↓

ãããããããããããããããããããããããããããããããããããããã

stretching my own hides,

V # ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

‰ 2

spoken, "off the voice":

ããããããããããããããããã

Day fi ft een

(Œ)

n œ # œ n œ œ #n œ # œ œ n œ # (m)

& (Œ)

(Œ)

(

ah--- (voiceless)

y ‰.

) tongue stop

poss.

↑

‰

↓ (Œ)

p ? ããããããããããããããããããããããããããããããããããããããããããããããããããããããããã # ãããããããããããããããããããããããããããã ‰ my matter for sustenance, body eating my matter for sustenance)

spoken:

B.3

ãããããããããããããããããã

Day fourteen

‰

the second of pure

B.4

(m)

nœ

)

gradually open/suddenly close, prestissimo poss., cont'd ad libitum

spoken, "off the voice":

ããããããããããããããã

paper scraps

‰.

joy

↓

ããããããããããããããããããããããããããããããããã

‰

ãããã

↑

↓

wet from the leaky

whispered:

ãããããããããããããããã

(nouissance!)

‰

(exh.) (inh.)

spoken, "off the voice":

ãããããããããããããããããããããããããããããããããããããããããããããããããã

my head now too heavy for my body

cover/seal mouth w/ hand

? # nœdœ nœ œ œ =œ œ ‰

(

(lu)lulu–

spoken, "off the voice":

B.2

Øseal mouth w/lengh p of finger

↓

(lu)lulu–

p (inh.)

↓ ?‰

bœ

)

gradually open/suddenly close, prestissimo poss., cont'd ad libitum

cover/seal mouth w/ hand, microtonal fluctuations, extreme dynamic + registral swells cont'd ad libitum

(

possibile

dynamic swells + rhythmic variation ad libitum

possibile

↑

(Œ)

to disrupt the flight of birds that passed his hideout

↓ Øseal mouth w/lengh p of finger

↓

spoken:

ãããããããããããããããããããããããããããããããããããããããããã

drying out my own skin 3

↓

↑

T.2

(Œ)

‰

constricted airflow, quasi-multiphonic

↓

# ããããããããããããããããããããããããããã (Œ)

sub

V "silent scream" high frequencies, sustained

↑

↓

ãããããã

in a

↓

‰.

ãããããããããããããããããããããããããããããã

spoken, "off the voice":

T.1

B.1

(The poems are

(mn)mn––

‰.

nœ >

whispered:

spoken, "off the voice":

sub

vib. F senza pp

(Œ)

↓

↑

(Œ)

& ããããããããã

# #( P) ããããããããããããããããããããã

gasp (inh.)

(m)

dynamic swells + rhythmic variation ad libitum

& (Œ)

↓

bœ >

F pp

↓

begin tremolo/stuttering, interruption of airflow

T.4

ãããããããããããããããããããããããããããããããã

gasp (inh.)

↓

wet from the leaky

(rupt, rupt, disrupt, to disrupt, to disrupt flight, light, to disrupt flight, light, to disrupt light, a fit, of light, of birds, flight)

T.3

(Œ)

↑

J J ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

c.3.5"

p # ããããããããããããããããããããããããããããã (Œ)

# #

gasp (inh.)

frantic muttering, whispered:

A.1

sub

↑

(m)

spoken:

S.4

↓P

c.4"

↓ nP œ œpp

S.1

c.3.5"

cover/seal mouth w/ hand, microtonal fluctuations, extreme dynamic + registral swells cont'd ad libitum

(Œ)

+++ +++ ++ (b)bbbbb–

(

cont'd ad libitum poco ) very low, percussive, almost no definite pitch

hunger fragments c.2.5"

c.2.5"

c.3"

↓

(Œ)

S.1

&ãããããããã

↓

S.2

& (Œ)

(Œ)

S.3

&ãããããããããã

(Œ)

S.4

(Œ)

ceiling

grapes)

A.1

A.2

& (Œ)

A.3

A.4

T.2

T.3

T.4

I write the walls,

‰.

V (Œ)

(Œ)

‰.

ããããããããããããã

I will know,

‰

↓ (Œ)

ããããããããããããããããããããããããããããã

(I meant hunger not thirst)

‰.

(Œ) ↓

(Œ)

↓

poco

(Œ) &

↑

ããããããããããããããããããããããããããããããããã

↓

ããããããããããããããããããããããããããããã

↓

Now even the sky is mine: ↓

(Œ)

spoken, "off the voice":

stage-whisper:

(I meant hunger not thirst)

‰

(

↓

↓ ‰

↑

ãããããããããããããã

blue paper,

↓

(Œ)

↓

ããããããã

and I,

↑

↓

exhalation

ha--- (voiceless)

(Œ)

bœ

B.1

?↓

B.2

B.3

B.4

ãããããããããããã

ceiling

(Œ)

(Œ) 3

(Œ)

↓

(Œ)

possibile

(

possibile

(

)

(Œ)

)

ãããããã

floor,

p # ãããããããããããããããããããããããããããããã ↓

↓

the blank damp ceiling

possibile

↓ # (Œ)

↑

↓

ãããããããããããããããããããããããããããããããããããããããããããã

write myself out of house and

very little air, as high as possible

(ts)*whistling very softly with tongue+teeth

O O

(lu)lulu–

nœ

↑

I write the walls,

open/suddenly close, (lu)lulu– gradually prestissimo poss., cont'd ad libitum

↓ ‰ ãããããããããããããããããããã ‰

↓

gradually open/suddenly close, prestissimo poss., cont'd ad libitum

possibile

ãããã

seal mouth w/lengh of finger

(Œ)

possibile

poco

(Œ)

to make parchment...

‰

↑

ããããããããããããããããããããããããã

how can a man have

The film stops

↓

which is not your name,

the blank damp ceiling

spoken, "off the voice":

stage-whisper:

&ãããããããããããããããããããããããããã ↓

floor,

p # ããããããããããããããããããã (Œ)

spoken, "off the voice":

Ylajali,

# ããããããããããããããããããããããããããããã ‰

ããããããã ‰

↑ ↓ spoken, darkly, p relatively low in voice: ãããããããã # # ãããããããããããããããããããããããããããã ‰ ↓

(Œ)

c.4.5"

(Œ)

p # ããããããããããããããããããããã

↓

(Œ)

↓ (Œ)

c.5"

c.2"

(Œ)

↓

c.4"

‰

ãããããããããããããããããããã

All food disgusts me

T.1

clear, light state

↓

↑

spoken, "off the voice":

&ãããããããããããããããããããããã 1

↓

c.2.5"

(Œ) (Œ)

whispered:

ãããããããããããããããããããããã

(Y - la - ja - li)

hunger fragments c.2.5"

S.2

c.3"

printed a name onto your face,

S.3

& (Œ)

S.4

ãããããããããããããããã

Day seventeen

↑

↓ ‰

a name that was also,

ãããããããããããããããã

I shall know––

ããããããããããããããããããããããããã

all the while of your life,

# ããããããããããããããããã ‰

Days since I've felt hunger

My notebooks:

↓

(Œ)

*ossia: 8va

bœ

(lu)lulu–

B.1

B.2

home

‰

↓

(Œ)

(Œ) ↓

*quasi-whistling cont'd

↓

? (Œ) ? (Œ)

(Œ)

↓ (Œ)

very little air, as high as possible

‰.

(

)

gradually open/suddenly close, prestissimo poss., cont'd ad libitum

)

gradually open/suddenly close, prestissimo poss., cont'd ad libitum

↓

↑

↓

↓ ?ãããããããã

B.4

nœ

(

↓

(

↑

↓

O 1

B.3

(Œ)

possibile

↓

(your fainting means nothing)

(Œ)

↓whispered: ↓ p V # ãããããããããããããããããããããããããããããããã

T.4

↓

seal mouth w/lengh of finger

hollow while my notebooks stuff themselves.

↓ *ossia: 8va

& ãããããããããããããããããããããããããããããããããããããããããããããããããããããããã

T.3

(Œ)

A poet who unwrites himself

seal mouth w/lengh of finger

‰.

T.2

ãããããã

stuffed

↑ ↓spoken, "offPthe voice", darkly: ↓ ‰. ãããããããããããããããããããããããããããããããã

A.2

T.1

such as it has been

sim. ad lib.

↓

A.4

ãããããããããããããããããããã

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã (lips, lips, the lips, mah the lips, ve the lips, na, fa the lips)

A.3

‰. ↓

↓

A.1

↓

frantic muttering, whispered:

# ããããããããããããããããããããããããããããã ‰

(Œ)

c.4"

c.2"

(Œ)

spoken:

↓

ãããããããããããããããããããããã

a name invented by his lips,

↓

(Œ)

spoken:

↓

c.2"

c.4"

&ãããããããããããããããããããããããããããããããããããã # # ããããããããããããããããããããããããããããããããã ‰ ‰ ↓

S.1

c.2"

c.3"

(Œ)

↓

(Œ)

↓

spoken, "off the voice", darkly:

ãããããããããããããããããããããããã

work to fill your days,

"scribbling" words from other parts £££££££££££ *begin as they are spoken with retracted pen on score ad libitum

possibile

(ts)*whistling very softly with tongue+teeth (

"scribbling" words from other parts ££££££££££££££££££££ *begin as they are spoken with retracted pen on score ad libitum

c.4.5" 1

S.1

c.2.5"

c.4"

↓

↓ (Œ)

↓

S.2

&ããããããããããããããããããããããããããã ‰

(Œ)

S.3

&‰

‰.

ããããããããããããããããã

S.4

spoken, "off the voice":

ãããããããããããããããããããããããããããã

The traffic is a dab,

hunger fragments

the passerby

c.4.5"

c.3.5"

‰

↓

spoken, "off the voice", gently:

p (inh.)

ããããããããã

specks,

y # tongue stop

3 8

inhalation

ah--- (voiceless)

that was also your deep interior name for yourself, 8

(Œ) ‰.

↓

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

q = c48

(

poss.

)

(dt)

3 ‰ 8 all noise sucked up by blackish molecules

‰.

ããããããããããããããããããããããããããããããããããããããããããããããããããããããã

ãããã

A.1

↓ 2

↓ ↓ & ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã ‰.

A.3

A.4

↓

(born in a book and usually covered in its darkness,

T.2

T.3

T.4

(Œ)

↓

ããããããããããããããããããããããããããããããããããããããããããããããããã

work

3 8

(the horror in the merely schematic) 3

↓

3 ‰ 8

↓

3 ‰ 8

t o fi l l your st omach

p (inh.)

(Œ)

(Œ) 2

ããããããããããããããããããããããããããããããããããããããããããã

↓

(Œ)

↓ ? (Œ)

3 8

whispered:

(Œ)

B.1

darkened by its covers)

& V

(Œ) ↓

T.1

A.2

whispered:

‰

‰.

ããã

(Œ)

(exh.)

3 8 3 8

inhalation

ah--- (voiceless)

↓

exhalation

y # tongue stop poss.

)

(dt)

y # tongue stop poss.

)

(dt)

3 ‰. 8 poem,

ãããããããããããããããããã

t he

ha--- (voiceless) (

p (inh.)

↓

ha--- (voiceless)

inhalation

ah--- (voiceless)

(Œ)

(exh.)

ãããããã

t he

B.2

? £££££££££££££££££££££££££££££££££££££ 3

B.3

B.4

? £££££££££££££££££££££££££££££££££££££ 3

*intermittent scribbling of above text cont'd

*quasi-whistling cont'd

3 8

*intermittent scribbling of above text cont'd

(Œ)

senza tempo

hunger fragments

c.4.5"

↓ quasi-whisper, nearly voiceless:

S.1

c.3.5"

c.3"

legato & ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã ‰

ooh,

↓

lie,

ahh,

lay,

↓ (Œ)

S.3

& ãããããããããããããããããããããããããããããããããã ‰ swirl

in the ether...

) rapid tremolo with hand, slowing

poss.

& æ o

5 8 the deep name you've never uttered?

(

A.2

& ) rapid tremolo with hand, slowing

poss.

& æ o

A.3

A.4

& (Œ)

T.1

(

T.2

T.3

V V

‰

ããããããããããããããããããããã

(maize and beans!)

y ‰.

(Œ)

↓

(dt)

) tongue stop

poss.

(dt)

+++ +++ ++ (b)bbbbb–

T.4

+++ +++ ++ (b)bbbbb–

cont'd ad libitum poco )

very low, percussive, almost no definite pitch

B.1

↓

?↓

ãããããããããããããããããããããããããããããããã

poem desires nothing

‰.

(Œ) ↓

(voiceless)

ãããããããããããããããããããããããããããããããããããããããããããããããããããããã

5 (Œ) 8 poem

ããããããããããã

Their

(Œ) 3

↓

(Œ)

very low, percussive, almost no definite pitch

(

inhalation

5 8 (The merely pleasant is thin and (

↓

(inh.)

(exh.) (inh.) |

5 8 ah---

"scribbling" words from other parts 5 £££££££££££££ *begin as they are spoken with retracted pen on score ad libitum (

(

stage-whisper:

Each person on the street is a

(purslane and sage!)

↓

*whistling very softly with tongue+teeth

ããããããããããããããããããããããããããããããããããããããããããããããã

ããããããããããããããããããããããã

(exh.) (inh.) |

‰

5 8

↓

(Œ)

poss.

5 8

(inh.)

↓

Day nineteen

(Œ)

↓ (Œ)

ãããããããããããããããã

↓ ) y tongue ‰ . stop

(ts)

spoken, "off the voice":

whispered:

(

(Œ)

blow

(exh.)

↓

Ø very little air, as high as possible

(Œ)

there is only

↓

spoken, "off the voice": % # ãããããããããããããããã (Œ)

(Œ)

blow

(exh.)

q = c48

ãããããããããããããããããããããããããããããããããããããããããããã

very little air, as high as possible

A.1

↓

(ts) *whistling very softly with tongue+teeth

(

S.4

↓

spoken, "off the voice":

S.2

c.0.5"

c.3"

5 8 ah---

↓

inhalation

(voiceless)

spoken, "off the voice", gently:

5 ããããããããããããããããããããããããããããããããããã 8None to help me but myself

p ?£££££££££££££££££££££££££££££££££££££ 5 ãããããããããããããããããããããããããããããããããããããããããããããããããããã spoken, "off the voice", gently:

B.2

B.3

B.4

*intermittent scribbling of above text cont'd

? (Œ)

The merely pleasant is thin and

"scribbling" words from other parts 5 £££££££££££££££££££££££££ *begin as they are spoken with retracted pen on score ad libitum (

8 ? £££££££££££££££££££££££££££££££££££££ 5 *intermittent scribbling of above text cont'd 8 *N.B. continue scribbling while speaking 43

senza tempo

c.2.5" 1

↓

S.2

& (Œ)

S.4

stop y tongue ‰. )

poss.

↓

A.2

& (Œ)

A.3

&ãããããããããããããããããã &

My coat for a seedcake

‰

c.3.5"

c.1"

softly, articulately: ↓ ↓ quasi-whisper, p ‰ ããããããããããããããããããããããããããããããããããããããããããããããããã

↓

(...barren with want and hunger, ããããããããããããããããããããããããããã

And now it snows:

multiphonic exhalation, very small

‰

(Œ)

amount of voicing

*highly contstrained exhalation with a hint of voicing/pitch, as if a long sigh from total and utter exhaustion (quasi-multiphonic)

↓

‰

(Œ)

ããããããããããããããããããããããããã

teams of little atomies

)

poss.

‰ ‰.

(

hand against mouth for resistance *hold (without sealing) and blow into hand cont'd ad libitum (full exh.)

↓whispered: p

↓ (Œ)

↓

(blood sausage)

(exh.)

(Œ)

(

ãããããããã

(He

hand against mouth for resistance *hold (without sealing) and blow into hand ;;;;;;;; cont'd ad libitum (full exh.)

ããããããããããããããããããããããããããããããããããããããããããããããããã

I have printed a title onto each figure

(Œ)

exhalation

ha--- (voiceless)

↓

V££££££££££££££££££££££££££££££££££££ *intermittent scribbling of above text cont'd (

stop y tongue ‰.

T.3

T.4

)

poss.

(dt)

(

(Œ)

)

poss.

(exh.)

(Œ)

exhalation

ha--- (voiceless)

B.2

ãããããããããããããããããããããããããã

B.1

whispered slowly:

torsos and limbs: (

T.2

ããããããããããããããããããããããããããããããããã

(Œ)

bloodless)

c.2"

&ãããããããããã ‰

T.1

spoken, "off the voice":

(Œ)

(dt)

c.3" ↓

(Œ)

A.1

A.4

↓

& *quasi-whistling cont'd (

hunger fragments

S.1

S.3

c.2.5"

c.3.5"

↓ ? (Œ)

& 1

↓

whispered slowly:

ããããããããããããããããããããããããã

(blood sausage)

↓

(

↓

hand against mouth for resistance *hold (without sealing) and blow into hand ;;;;;;;; cont'd ad libitum (full exh.)

↓ ( P) ↓ hand against mouth for resistance ‰ *hold ;;;;; (without sealing) and blow into hand cont'd ad libitum (full exh.)

?££££££££££££££££££££££££££££££££££££ ããããããããã bloodless)

*intermittent scribbling of above text cont'd

B.3

?££££££££££££££££££££££££££££££££££££

B.4

?££££££££££££££££££££££££££££££££££££

*intermittent scribbling of above text cont'd

23 S.1

S.2 S.3

S.4

hunger fragments

c.4.5"

c.4"

c.3.5"

↓ ↓ & # ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã who gnawed in the wilderness,

& (Œ) &‰

‰

(Œ)

disfigured...) (

(

↓

q = c36

3 & 4 3 ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; 4 exhalation with a very small amou nt of voicing, like a sigh

* constrained exhalation with a hint of voicing/pitch, as if a long sigh from total and utter exhaustion (quasi-multiphonic)

hand against mouth for resistance *hold (without sealing) and blow into hand cont'd ad libitum (full exh.)

in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum

3 & ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; 4

↓

(Œ)

A.1

&ããããããããããããããããããããããããããããããããããããããããããããã ‰.

A.2

3 &;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;

A.3

& (Œ)

A.4

& (Œ)

(Œ)

sendeth his crystals like morsels)

spoken, "off the voice":

ãããããããããããããããããããããã

Day twenty-one?

spoken, "off the voice":

ããããããããããããããããããããããããããããããããããããã

Me?

Dis-figured?

3#P ããããããããããããããããããããããããããããããããããããããããã 4 What've I in common with the

(Œ)

hand against mouth for resistance 3 *hold (without sealing) and blow into hand ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; cont'd ad libitum (full exh.) (

↓

T.1

3 Œ 4

↓

3*P 4

V ££££££££££££££££££££ (Œ) p

(

) hold hand against mouth for resistance (without sealing) and blow into hand cont'd ad libitum (full exh.)

;;;;

T.2

V (Œ)

T.3

V (Œ)

T.4

3 V ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;

*highly contstrained exhalation with a hint of voicing/pitch, as if a long sigh from total and utter exhaustion (quasi-multiphonic)

quasi-whisper, nearly voiceless:

ããããããããããããããããããã

cheeks so sunk

‰

(Œ)

3 ‰ 4 mouth

ããããããããããããããããããããããããããããããããããããããããããããããã

my tongue now too fat for my

B.1

(Œ)

multiphonic exhalation, very small amount of voicing

↓ ↓ ↓ 3 ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum

p ?££££££££££££££££££££££££££££££££££££ 3 ããããã spoken, "off the voice":

B.2

as low as possible, sighing/breathy, pitch ad libitum (do not match)

B.3

5 ? ££££££££££££££££££££££££££££££££££££ 3 ( ‰) j # ˙ 4 ‡ ‡ poco port.

(m) "chewy"/stretchy sound

as low as possible, sighing/breathy, pitch ad libitum (do not match)

B.4

$ p 5 ? ££££££££££££££££££££££££££££££££££££ 3 j # 4 ˙

poco port.

(m)"chewy"/stretchy sound

‡ ‡

*N.B. continue scribbling while singing or speaking

hunger fragments

senza tempo c.3"

S.1

c.1"

c.3"

c.2.5"

↓

ãããããããããããããããããããããããããããããããããããããããããããããããã

The poems hide behind these people

c.1.5"

↓spoken, ↓ p "off the voice": # (Œ) ããããããããããããããããããããããããããããããããããããããããããããã &

c.2.5"

They are revealing themselves to me

(Œ)

ãããããããããããããããã

(Œ)

↓

only to be

S.2

& (Œ)

S.3

&;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;

S.4

&;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;

(Œ)

spoken, "off the voice":

ãããããããããããããããããããããããããããã

(was it my own bawl?)

(Œ)

in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum

A.1

↓ (Œ) &

↓

spoken, "off the voice":

ãããããããããããããããããããããããããããããããããããããããããããããããããããããã

Howling as I swallowed a few crystals of snow

↓ (Œ)

(Œ) ↓

(Œ)

(

↓

hand against mouth for resistance *hold (without sealing) and blow into hand ;;;;;;;;;;;;; cont'd ad libitum (full exh.)

spoken, "off the voice":

A.2

&;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;

A.3

&ããããããããããã

A.4

&;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;

hungry?

(Œ)

ããããããããããããããããããããããããããããããããããããããããããããããããããããã

I've hardly anything in common with myself

(Œ)

ããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã

(haven't I long since eaten my ululating

‰

hand against mouth for resistance *hold (without sealing) and blow into hand ; ; ; cont'd ad libitum (full exh.)

in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum

T.1 T.2

V (Œ)

T.4

B.2

‰

whispered slowly:

ããããããããããããããããããããããããã

(Abject failure)

in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum ( P) "scribbling" words from other parts (Œ) ££££££ (Œ) *begin as they are spoken with retracted pen on score ad libitum

cont'd ad libitum (full exh.)

in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum

V ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; 1

B.1

hand against mouth for resistance V*hold (without sealing) and blow into hand ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; (

T.3

↓ ↓ ↓ ↓ ↓ ↓ V ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;

in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum

↓ ↓ ? ;;;;;;;;;;;;;;;;;;;;;;

‰

(Œ) ↓

↓ (Œ)

↓

whispered slowly:

(Œ)

ãããããããããããã

(Ylajali!)

p ?£££££££££££££££££££££££££££££ ããããããããããããããããããããããããããããããããã ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã (Œ) Must dissolve the concreteness of my own

shirt collar pinches my neck

B.3

? cont'd ad libitum

B.4

? cont'd ad libitum

£££££££££££££££££££££££££££££

££££££££££££££££££££££££££££££ 51

(Œ) (Œ)

↓

c.3"

hunger fragments

c.3"

↓

c.2"

c.3.5"

↓

↑

S.1

&ãããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããããã ‰ (Œ)

S.2

&Ó

S.3

&;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; #

S.4

&;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; #

↓

dragged b ack t o t hei r masks when I am i nt errupt ed b y my b ody.. .

multiphonic exhalation, very

# #

small amount of voicing

multiphonic exhalation, very

small amount of voicing

*highly contstrained exhalation with a hint of voicing/pitch, as if a long sigh from total and utter exhaustion (quasi-multiphonic)

poco dim

in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum

poco dim

in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum

pppØ

possibile

pppØ

possibile

↓

↑ ↓ ↓ ↓ poco dim ↓ pppØ &;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; # possibile

A.1

A.2

(Œ)

&ããããããããããã (Œ) parts?)

(Œ)

inhalation

(dt)

ah--- (voiceless)

pppØ

&;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; # poco dim

A.3

(Œ)

tongue stop ( poss.)

(inh.)

possibile

in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum

pppØ poco dim &;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; # possibile

A.4

↓

pppØ

↓

↑

T.1

V ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; #

T.2

# V £££££££££££££££££££££££££££££££££ *intermittent scribbling of above text cont'd

↓

poco dim

possibile

↓

poco dim pppØ V ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; # possibile

T.3

in texture, interrupt and restart airflow with tongue *articulations i.e. TV/radio static, white noise, rhythms ad libitum

pppØ poco dim V ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; # possibile

B.1

B.2

B.3

B.4

↓ ?Œ ?‰ ?Œ ?Œ

(exh.)

↓

(

exhalation

ha--- (voiceless)

ãããããããããããããããããããããããããããããããããããããããããããã

W hpa t i s t h e l a s t w o r d ?

ha--- (voiceless)

↓

(inh.)

↓

(

œ#

inhalation

(dt)

exhalation

(

(Œ)

ãããããããããããããããããããããããããããããããããããããã

What is that word?

(inh.)

inhalation

exhalation

(inh.)

ah--- (voiceless)

tongue stop ( poss.)

œ#

(dt)

ah--- (voiceless)

↑

tongue stop ( poss.)

(Œ)

ha--- (voiceless)

(exh.)

ah--- (voiceless)

spoken, "off the voice", gently:

(exh.)

tongue stop ( poss.)

(inh.) inhalation

œ#

(dt)

Bergen, Norway --- October 18, 2015

T.4

hunger fragments is an assemblage of texts for sixteen solo voices that were initially stripped from the libretto for the multimedia opera Hunger by Darcie Dennigan and Jason Thorpe Buchanan. These texts have been woven together to create a new work, independent from the opera, that functions as an impression of its essence. The stripping away of narrative leaves only a bare and visceral refraction, alluding to themes of psychological deterioration, fragility, and fragmentation of self or multiplicity. Poet Darcie Dennigan writes: “After reading accounts of writers who nearly starved for their writing, like Knut Hamsun’s Hunger and Mavis Gallant’s “Hunger Diaries,” I became interested in the line between physical hunger endowing a kind of clarity of mind in a writer and physical hunger overtaking, muddying the mind. I, like this multi-threaded piece, am of approximately eighteen minds. Gertrude Stein is one. What am I doing but making a stage for language to improvise upon? Virginia Woolf is at least two others, one of them always untangling threads of consciousness, the other tangling them up again. But perhaps my other fifteen minds are occupied with living, with making money so that my family can eat, sleep, have warm coats, etc. The trope of the starving artist is well-known, but I wonder how good the work can be, and how it can be sustained over time, when one's mind is overtaken by thoughts of where/how the next meal. I wonder if we are comfortable with this trope because it allows us to continue to undervalue creative work. How much my life would be worth to me if I did not have the space (i.e., the physical capacity; i.e., enough food) to question and play with the nature of consciousness? Jason Thorpe Buchanan is an American composer of operatic, orchestral, chamber, and electroacoustic music and multimedia. His works have been described as “an unearthly collage of sounds”, “sharply-edged”, and “free jazz gone wrong”, commissioned and performed internationally by ensembles such as Alarm Will Sound, Ensemble Interface (Germany), Ensemble Nikel (Israel), Ensemble Linea (France), Insomnio Ensemble (Netherlands), Slagwerk Den Haag (Netherlands), MIVOS Quartet, Iktus Percussion, the [Switch~ Ensemble], The Industry, wild Up, OSSIA, Fiati 5 (Italy), Eastman Musica Nova Ensemble, BlueWater Chamber Orchestra, and the TAD Wind Symphony (Japan), among others. One of five composers under 30 nominated for the 2015 Gaudeamus Prize, his works were presented by Insomnio, New European Ensemble, and Slagwerk Den Haag at Gaudeamus Muziekweek in September 2015. Scenes from his Multimedia Opera Hunger have received performances at Darmstadt (2014) with Ensemble Interface, The Industry’s FIRST TAKE Opera Workshop in Los Angeles (2015) with wild Up, and the MATA Interval 8 Series in New York City (2015) with the [Switch~ Ensemble] on a concert of new works for Ensemble & Multimedia. Los Angeles Times critic Mark Swed writes: “Jason Thorpe Buchanan's Hunger is a kind of training session in mental disintegration… An ungodly opera needs ugly music, singers who produce primal sounds, an electric guitar that sounds scraped raw, a [sic] wailing orchestral effects, cuts the ear like a knife. Buchanan delivers.” Honors and awards include a Fulbright Fellowship (2010-11) at the HfMT Hamburg (Germany), Artist-in-Residence USF Verftet/City Council of Bergen, Norway (2015), American-Scandinavian Foundation Grant, ASCAP Morton Gould Award (2014 & 2015), Howard Hanson Orchestral Prize, Winner of Iron Composer (2014), Winner of newEar Composer’s Competition, 2nd place American Prize, commissions from Mizzou International Composers Festival, International Horn Society, Tzlil Meudcan Festival (Tel Aviv), Chamber Music Campania (Italy), German/American Fulbright-Kommission, the NYC Electroacoustic Music Festival, Gaudeamus Muziekweek, and others. Jason is Executive Director of the VIPA Festival in Valencia, Spain, and Artistic Director of the [Switch~ Ensemble]. He has served as assistant conductor for Eastman’s Musica Nova Ensemble with conductor Brad Lubman, and Graduate Teaching Assistant/Course Instructor for the Eastman Computer Music Center, as well as board member of OSSIA as a Ph.D. candidate at the Eastman School of Music. He holds degrees in Composition and Music Technology from San José State University and the University of Nevada, Las Vegas, where he taught courses in composition and theory (2008-2010). Current projects include Hunger, a multimedia opera with libretto by award-winning poet Darcie Dennigan, and commissions from Peter Ferry (percussion) and electronics (Chicago, 2016), The New York Virtuoso Singers (NYC, Nov.2015), and Eklekto Geneva Percussion Center (Switzerland, Nov.2015). Darcie Dennigan's recent writing has been called "a Beckettesque epic" and poetry that "can horrify, shock, gross you out, turn you off," and the poet herself has been described as wanting "a world that is as human and raw and subversive and vulgar as she is." Her work includes three poetry collections: Corinna A-Maying the Apocalypse (Fordham U Press), Madame X (Canarium), and forthcoming in 2016, Palace of Subatomic Bliss (Canarium), as well as a short play (forthcoming April 2015), Dandelion Farm, a collaboration with artist Carl Dimitri that takes place "in the darkened jewel-box theater of the skull." Her work has received awards from the Poetry Society of America and Discovery/The Nation, and fellowships from the Breadloaf Writers Conference and RI State Council on the Arts. Since 2010, she has worked as an assistant professor in residence at UConn. In 2011, she co-founded Frequency Writers, a community nonprofit based in Providence that she continues to co-direct. She is currently working on her first full-length play, Animal Land. For more information or to contact the composer, please visit www.jasonthorpebuchanan.com