www.jasonthorpebuchanan.com
walkside, lost for Slagwerk
Den Haag
Commissioned by Gaudeamus Muziekweek by
JASON THORPE BUCHANAN Text by
DARCIE DENNIGAN
First Draft Copy – August, 2015
Copyright © 2015, Jason Thorpe Buchanan All Rights Reserved
EQUIPMENT:
P. I frame drum plastic (cereal lining) 2 marbles metal chain hard plastic container desk bell bicycle freewheel superball box with microphone overhead lamp w/footswitch
Tech: 1 HDMI Projector 2 USB Webcams 1080p HD 2 USB extension cables 1 HDMI extension cable 3 Power Strips (Surge Protectors) with footswitch 3 overhead lamps 2 DPA or similar (more inexpensive) micro-condenser microphones mounted inside Box 1 and 3 1 Shure SM58 or similar handheld microphone for Perc. II 1 small speaker mounted inside Box 2 Macbook Pro with Max/MSP/Jitter Minimum 4 channel audio interface with at least 3 outputs
___________________________________ A single long table for the performers that can accommodate all equipment.
P. II
2 ceramic cups beer bottle, water, straw bucket w/rocks
*due to drastic changes in lighting during the work, very focused stand lights for paper score(s) or iPads/tablets are recommended for the performers’ visibility.
triangle beater yarn mallets
**This equipment list is preliminary, August 24, 2015.
creaky box with speaker SM58 mic (handheld) overhead lamp w/footswitch
P. III small tam/china gong metal canister styrofoam cup flowerpot thick rubber band plastic comb PVC pipe drum stick bass bow box with mechanical crank & microphone overhead lamp w/footswitch
Recommended footswitches (3): https://www.electronet24.com/NL/6-voudige-stekkerdoos-met-voetschakelaar.html *or* https://www.electronet24.com/NL/stekkerdoos-met-voetschakelaar-en-led-indicatie.html
Text by Darcie Dennigan Let’s take a walk. … … … I said, Let’s take a walk. (there are no sidewalks) I would, I said. But But? But! They took the sidewalks. They took the sidewalks? They took sides. The walkside lost. What? What? What? I was balking. I was sighing. Are there sighed walks now? Miss-take. You’ve been mistook. There are no sides on which to walk. Then how am I to stalk you? You dog! How am I to walk you? (I will now speak the word walk.) They really walk the walk now don’t they. Yes they do. They do not! They car it. Carrot? No, stick. Very strict punishments. What do you need a walking stick for? Pedestrianism has gone to the dogs. (Gone this side of the unicorn.) Did you say prostitution has gone to the dogs?
Yes, but in French. Pas de faire de troittoir. Streetwalkers use sidewalks? Not anymore! Then where will the dogs shit? Where will the horses trot? Pas de troittoir. They took the dogs’ paws too? They took all the oirs. Even the boudoirs? Shit. (Where will I sulk?) Not on the sulkwalk. You’re in luck. Boudoirs are private. (They like boudoirs!) (They are quite taken with boudoirs.) What’s that? You like my privet? A good privet hedge, what’s not to like? Without sidewalks, you’ll not get close enough to lick it. (An elegy, then, for sidewalks… Livestock? They’re turning the forest into sidewalk! I will now speak on sidewalks But (you’re) not allowed. (You got a ticket? For what? Sidewalking! There’s a war on sidewalks!) Not on them—on them. He who takes sides dies. Sir, we’re at crosstalks. They took the crosswalks too! Where will the chicken cross now? There’s no chicken to cross—they wok’d it. They took the other side too! Devil’s advocate? Village idiot! I’ll march to that!
It’s the ides of march—remember? No sidewalk! Remember that story “A Walk”? I know it like the back of my hand. (Remember walking hand in hand?) Without walking, he says, I am lost. But how silly, if he walks not, he’s right where he started. Right where he was. Sidebar: He’s wrong—These sallies keep diverting – sir! There is no di to vert from. They took the sidewalks. Said who? Said I. I said, it’s a lie. Lie down, sir. I am lost. I am. Without a leg to stand on. A tined fork. Nighthawk. Livestock. Died off. Pious talk— Poppycock. Cyclops. One-eyed shark. Fido barks. Okay, stop. Mind your talk. I ought to. I’d ought! All for naught. I- aw Aww, I— I’d uh etc!
walkside, lost for Slagwerk
Text by Darcie Dennigan q = c34-48 molto, molto, molto rubato
V O X
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CLOSED
U^ ..
ts
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(s)
III
CLOSED
box with crank+mic, small tam/china gong, metal canister, drum stick, styrofoam cup, flowerpot, thick rubber band, plastic comb, bass bow, PVC pipe, overhead lamp w/footswitch
001
Elec.
ª V O X
I
‰
6
(container)
OPEN
P
!
(p)
^
( # $ # $ ) change direction freely and violently
^
(f)
lip pop into mic
tongue stop
ƒ
œ " œ
Œ
walk œ
P
6
‰.
® >œ œ œ œ Œ
‰
Í
"
œ
d
F Œ ß
©
005
take œ
003
F
!!!!!!
Œ
Œ
said,
I
œ
œ
poss.
5
(P)
" Œ
‰
a (P) œ
walk œ
# ˙ }}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}} œ " (P)
(P)
!!!!!!!!!!
le
^
(F )subpp
^r ^ t's
^
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‰
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muttering unintelligibly into box
!
‰. ‰.
œ œ œ œ œ œ œ œ œ œ ‰ æ æ æ æ æ æ æ æ æ æ (P) 5 5 Rub comb across edge of box rhythmically
OPEN
‰
5
(
3
œ
œ œ £££££
^
5
7
Slowly drag superball across top of box
006
‰
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
a
R
(
let's œ
5
P
"
p to P ad libitum) take
P
tongue stop
Styrofoam Cup rub vigorously on box
loudly tracing letters of spoken Rub table w/both hands word on the table
" ££ >˙ œ ££££ *Low sound, smack table (F ) 6 F P
))))))))))))))))))))))œ ££ R 6 ! ƒF
Crank
increase amplification of mic 1
Bicycle Freewheel, ratchet as slowly as possible
!
Œ
œ
!!!!
‰.
6
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
whispered with very little air but mouthed with great intensity:
Rub two ceramic cups together
5
^( f ^)
^
CLOSED
œ
004
UŒ
‰ ‰
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
OPEN
‰
Snap rubber band on box
ã !!!!!!!!!!!!!!!
" " ® Œ
5
percussive with very little air, into closed box: 5
Œ
6
" œ ˙. F
possibile
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
5
‰
F œ
F
5
Probe speaker inside of box with microphone to generate controlled feedback loop
wait for 5th rotation from Perc 1
OPEN
œ
(P) take ‰ œ
3
!!!!!!!!!!!!!!!!!!!!!!!!
>œ œ œ œ œ " 5
loudly tracing letters of "walk" on the table £££
œ (F )
)
5
U
;I "
Œ
cover mouth with hand œ
!!!!!!!!!!
(F ) 5
*hold
˙
U
008 August, 2015 Copyright © 2015, Jason Thorpe Buchanan All Rights Reserved
UŒ
5
œ Œ R
(F ) 5
hold close to mic in box
poss.
‰
ƒ
Œ
cover mouth with hand
would, " I œ
Œ
œ
(F ) 5
Œ
(P)
©© p
U‰ .
p œ
%
OPEN !!!!!!!!!!!!!!!!!!!!!!!!
Small tam w/metal canister
ß
" Œ
7
Styrofoam Cup
Œ
r ( œ
7 œ
œ
œ
œ
œ
"
But there are no sidewalks
" £££££££££ œ œ 5 (P) rub vigorously on box
œ
)
c. 2"
spoken "off the breath", softly and casually 5
3
Crumpled plastic (cereal lining)
took
lean inward and react to sounds coming from box
" "‰ œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
;
‰.
Œ
!!!!!!!!!!!!!!!!!!!
009
ª
But?
" œ££££££££ Swirl marbles in palm of hand
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
007
spoken with very little air, scarcely audible acoustically but directly into microphone:
œ
catch marble
5
increase amplification of mic 2+speaker box
" said. ‰ .
‰.
!!!!!!!!!!!!!!!!!!!!
œ.
Flowerpot w/stick
P
^r
2 box le from P.
III
‰
"
Bottle w/triangle beater
œ
"
OPEN
Œ
take marb
ƒ
œ
ã !!!!! V O X
"
let's
‰
5
box
œ
II
P Œ œ
suh!
(feedback)
‰
(F ) ( P )
ble in P.2
Œ
spoken with very little air, but great intensity:
a
‰
P
6
"
a
5
@ ‰Hard . plastic container œ
6
place mar
V O X
5
r
˝
^r Œ
5
ã !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5
^
"
¿ > ß
002
^
ah
ƒ
(f)
video fade in
vocal fry, whisper into box
^
Small tam or China Gong flat on table w/metal canister
ã tttttttttttttttttttttttttt œ !
(p)
U^
U^ c. 6"
vocal fry, whisper into box
‰
V O X
Crank side of box
‰.
©©©©©©©©©©©©© hold microphone up to bottle F
sub
open and close rapidly, filtering bell
scrape along table with high pressure, like a chisel
Slowly drop metal chain
damp "P ‰.
Desk bell
Beer bottle filled with water, blow into straw
>œ opposite hand w/rattan R F pp
c.7"
œ
6
possibile
Œ
walk!
œ
Wooden Box w/yarn mallet
5
U
‰
August 2015
l.v. )))))))))))))))))))))))))))))))))))) >x Œ 6 (P) ß
to P.1
creaky box with speaker, SM58 mic (handheld), yarn mallets, 2 ceramic cups, beer bottle, water, straw, triangle beater, bucket w/rocks, overhead lamp w/footswitch
hold close to mic in box
!!
pursed lips, very narrow passage for air to emphasize sibilant sounds/high partials almost whistling
CLOSED
(P)
OPEN
f
Upside down frame drum
££££££££££££
b le
le
^ ^
Swirl marbles in palm of hand
" tick ‰ . œ
place marble inside frame drum, lift, and swirl counter clockwise five rotations
cro ss t a
II
^ ..
sub
Ï
c. 6"
le a
^
r , (F ) pp
œ
(5 rotations)
ar b
!extremely breathy, no pitch
U
U
"
tock!
œ
©©©©©©© p !!
V O X
U
c.5"
Crumpled plastic (cereal lining)
w
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Jason Thorpe Buchanan
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box with mic, frame drum, plastic (cereal lining), 2 marbles, metal chain, hard plastic container, desk bell, bicycle freewheel, superball, overhead lamp w/footswitch
‰.
tack
lm
I
take!
r ol
All:
Den Haag
Commissioned by Gaudeamus Muziekweek
violent stage whisper highly aspirated
010
CLOSED
Ø
2 ‰.
(plastic)
I
x
‰
V O X
©©© œ
‰
5
‰.
p
œ
Hard plastic container ape scr
^
p
5
( ff )
But!
R F
5
dr
5
!!!!!!!
(F )
˝R
ß
5
ã
x
poss.
¿
‰
‰
O
‰.
¿
‰.
3
‰
œ
Œ
(P) 7
what? . œ
(P)
7
‰
Œ
(frame drum)
‰
V O X
‰
II
œ
7
‚ ‚
what? . œ
7
‚
(7F )
‚
‚ ‚
(P) 7
Œ
(F )
‰
‰.
‰
what?
!
‚
Œ
‚
"
"
what?
7
Œ
7
‚
7
7
‚
œ
!
‰ ‚
7
(styrofoam cup)
ã !!!
œ
glitchy
fa
p œ
"
"
œ
d wh– œ
"
x x
P
x
5
Œ
^
^R Œ
P
7
7
spoken delicately, casually:
œ
(F )
"
(x
" Œ
side
UŒ
‚"
(there are no sidewalks) Ø CLOSED
‰.
Œ
(F )
‚
U "Œ
019
" œ 3
J
7
c. 11"
"The
Œ
‰
!
P
7
7
"
walk - side œ
œ
(P) 3
œ
5
" lost.
‰
œ
3
(F )
O
x
They took 3
Œ
J
P
"
x
the 5
Tam with back of stick
x x x)‰
side - walks?
‰.
>x
ß
"
U‰
Œ
‰.
(F ) g
Crank side of box
œ
œ
p
6
6
5
‰.
Œ
what? œ
7
7
t T " t)))))))))))))))))))))))))))))))))))))))))))))) Frame Drum w/superball
drag as slowly as possible around edge producing high overtones
!!!!!!!!!!!
c. 3"
" œ
"
open and close, creaking
ããããããããããããããããããã Œ
(F 7 )
3
poss.
5
"
"
œ
d
" "
œ
fa
"
7
œ
sh– a œ
" "
œ
b
U " ‰ c. 3"
tttttttttttttttttttttttttt ! CLOSED
œ 3
violent stage whisper highly aspirated
what? ‰ (F )
Œ
"‚
Œ
œ
7
‚. J
rim of cup along length Styrofoam Cup bow to produce a small amount of pitch
‚
Ø7
gradually open box
013
6 6 6
poss.
‰
‰.
Œ
‚
7
‚
!!!!!!!!!!!!! OPEN
014
rub top of closed box with two fingers of each hand moving in opposing motion
(F )
percussive with very little air, into box: 7
œ
O ( P7)
slowly close creaking
‰
O
7
F
"
what?
Frame drum w/wooden dowel
.
"
spoken with very little air, scarcely audible acoustically but directly into microphone:
o ‰.
whistle
Π6 6 6 6
6
5
6 6 6 6
6
5
7
6
015
‰
balk! œ
sƒ
Œ Œ
6 6 6 5
whispered with very little air but mouthed with great intensity:
whispered muttering with very little air but mouthed with great intensity, scarcely audible, completely unintelligible
!
‰
roll marble across inside lid of box against palm of hand " slowly œ. œ " œ. œ " œ.
(P)
OPEN
" .
5
5
œ " œ.
5
5
œ
œ
œ " œ 5
U
ª
P
c. 17"
5
( P ) Miss - take
œ
ing balk I was king balk was I balk king I was bal -(exh.)- I was
Marble in box
017
016
œ ‰.
pickup to downbeat (stage whisper):
Upside down frame drum
Mis-
place two marble inside frame drum, lift, and swirl counter clockwise six rotations
! ( Pœ ))))))))))))))) " )
!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!
senza tempo
c. 11"
what? œ
c. 3"
œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5
c. 11"
!o
O
U
j
x x x x xR x x x x xR xR x x x x x x x x xR x x x x " Ó
!
c. 2"
"
startled by P.3, "drop" mic into left hand holding plastic bag
œ >f
5
Œ
>
x
££££££££££££££££££££ " œ ˙. ( &)
‰
!
œ
I was balking. I was sighing. Are there sighed walks now?
‰.
P.2 holds microphone up to P.3 tam, probing sounds from PVC pipe
put down mic next P.2 box
x
x
x
xR
5
(F ) œ
œ
lift tam to stand upright Tam with back of stick on table press down into table with pressure
erratically open and close box and change distance from microphone to maximize timbral contrast
5
ß
.
(exh.) 5
>
®x Œ Ï
(inh.) œ
5 œ
œ
œ
.
œ
PVC (plastic) pipe on Tam *PVC pipe should be rosin'd
" œ . slow scraping,œhigh"friction œ. p
5
(F )
œ " œ.
5
ba lking was I was sigh ing
" £££ Œ 5
!
(F ) poss.
from friction, rotate w/ max contact
5
‰
p
5 œ
œ
was
œ " œ.
I
œ 5
Œ
" .
Œ
Œ
œ
!!!!!!!!!!!!!!!!!
Œ
" œ p
Crank side of box
!
OPEN
! ( œ)
Rub comb across edge of box
021
022
023
U .
You've been mistook.
silently lay Tam down
sim.
senza tempo
P
whispering gently
U
c. 17"
‚. " 5 P "feedback" screeching
‰
!!!!!!!!!!!!!!!!!!!
5 œ
slowly whispered with very little air but mouthed with great intensity: œ
loudly tracing letters of "Miss-take" on the table Rub two ceramic cups together
!!!!!!!!!!!!!!!!!!!!
ing
020
P
spoken softly, delicately
slowly and evenly "crinkle" plastic bag around microphone wind screen
sƒ yelling somewhat loudly towards box, from a distance, non-falsetto
!!!!!!!!!!!!!!
018
œ
"
Two rocks
‰
it is critical that the pianissimo whispers are of equal physical and expressive intensity freeze, calmy put down cups, then slowly raise microphone to P.1 light with right hand
it is critical that the pianissimo whispers are of equal physical and expressive intensity œ
œ
violent stage whisper highly aspirated
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!
œ
s
spoken with very little air, scarcely audible:
t "U Œ
(F )
7
what?
k
"
œ
create "feedback" type screeching sound from friction while rotating with maximum contact points
‰
si–
œ
!!!!!!!!!!!!
Ceramic cups (matched pair)
ã
V O X
‰.
Œ
what?
!
>œ slowppscraping w/pressure P ß
!!!!!!!!!!!!
‰
œ
what?
7
ã
III
7
5
Œ
sub
T t t ))))))))))))))))))))))))))))))))))))))))))))))))))))))))
I
012
‰.
what?
‰.
®P ^^ pp
pursed lips, very narrow passage for air to emphasize sibilant sounds/high partials almost whistling sub
Œ
ß
Tam w/canister
!!!!!!!!!!!!!!!!!!!!!!!
(F ) p
®
œ
whispered with very little air but mouthed with great intensity, scarcely audible acoustically but directly into microphone in box: 3
OPEN
))))))))))))))))))))))))))))))))))))))))))
Rub comb across edge of box
011
ª
x
7
x P
5
®g"
œ
took They sides.
p
whispered into box:
b ru
Œ
>
took
œ
spoken delicately, casually:
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!
]æ
Snap rubber band on box
V O X
7
Bottle w/triangle beater
‰
" œ ‰. > ß 5
exhalation, tremolo with finger
Œ
III
Wooden Box w/yarn mallet
‰.
œ > ƒ
op
" .
V O X
ƒ
‰.
walk
7
}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}} œ
tock c. 2" (f)
œ
Bucket w/rocks lift
ã
‰
‰
5
Bicycle Freewheel, ratchet as slowly as possible
stage whisper highly aspirated
Œ
II
(F )
c. 2"
x " œ
!!!!!!!!!!!!!
V O X
" the
They
walkside, lost
percussive with very little air, into closed box:
spoken with very little air, scarcely audible:
whispered into box:
024
‰
c. 17"
œ
increase speed
5
5
œ p
"
poco cresc.
"
V O X
U‰
q = c32 voice, breathy: c. 4" off the P
‰.
œ
took
sighed œ
" )))))))))))))))))))))))))))))))))) > O (F ) œ ã !!!!!!!!!!!!!!!!!!! poss.
"
œ
.
(inh.)
7
p œ
œ
p
rock plastic container back and forth (left/right) rhythmically on lid of box
œ
œ
(F )
" sighed .
‰
œ
œ
œ
"
œ
(P)
‰.
6
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 7
7
P
‰
there are no sides on which to walk. œ
5
œ
œ
6
œ
5
poss.
O
œ
toooo
œ.
Œ
œ
œ
CLOSED
œ
creaking as much as possible 6
ã
3
Œ
" "
‰
whispered with very little air but mouthed with great intensity, scarcely audible acoustically and towards mic resting on table:
( p ) " now
Œ
œ
6
"
(inh.)
"
3
p œ
œ
are (p) œ
Large Sheet of Paper hold up and tear paper lengthwise as slowly as possible
Ú
Ú
Ú
( & ) hold close to microphone, left on table
3
‰.
gradually move container to side of box while opening lid to side
. £££££££££££££££ very slow elliptical scraping on lid of box
˙
O ( &)
"
œ
U
whispered with very little air but mouthed with great intensity, scarcely audible acoustically and towards mic in closed box:
‰
c. 4"
continue cranking rapidly, suddenly begin slowing down to nothing
œ (F )
ã
"
O
set comb down, take styrofoam cup
(F ) œ
5
‰
now?
F
(p) œ
high to low ® >œ >œ >œ >œ ( ) ( )
Box w/yarn mallet
Ú " R F
Ú
5
˝
(into box):
thumbnail tooth click
Œ
xR
(F )
5
Œ
‰
poss.
Œ
lip pop into mic
3
(F )
‰
ã
5
5
‰
spoken "off the breath", softly and casually into box:
œ
.
œ
P
p
‰
"
œ
. creaking as
*(timbral shift from high (side) to low (center)
‰.
‰
"
œ
Carrot?
"
‰
‰
p
‰
.
5
5
Œ œ
‰.
j
œ
œ
loudly tracing letters of "The do not!" on the table
‰ ££££ ‰
They car it.
‰
(F )
7
5
‰
Ceramic cups
>
x
(F ) poss.
œ
œ
h–
5
P
t
Œ
œ
"
O
œ )))))))))))))))))
‰
7
‰
very slow elliptical motion on lid of box
(P)
œ
œ
They do not!
‰.
"
®
5
p œ
(F )
œ
poss.
®œ œ P
r œ
PVC pipe
Œ
6
open
much as possible 6
Œ
5
"
r Œ œ
œ
F
‰
stick. œ
032
œ ß
"
‰
loudly tracing letters of "I will now
silently lay mic on table speak the word: walk" on the table
œ
££££££££
(F )
3
!!!!!!!!!!!!!!! 5 " p
œ
.
increase speed and intensity 5
"
Tam with back of stick
"
Flowerpot w/PVC pipe
x x
> > F
‰.
œ
Styrofoam Cup
How am I to walk you?
Œ
‰
5
œ
" #œ
bowed, shuddering
Œ
OPEN
P
6
030
029
very narrow passage for air between teeth and lips to emphasize high partials, almost whistling
What do you need P. a walking stick for?
‰
P œ œ
.
œ
‰
œ
" >œ Œ
5
Œ
3
"
ß
high pitched strike w/dowel
6
œ
œ
œ
®Œ
Very strict punishments. (!)
‰.
P
f–
Frame drum w/wooden dowel
OPEN Ceramic cup
5
(F )
Œ
"
‰
> ‰
poss.
¿ J
scrape
‰.
>œ
ß
6
(exh.)
7
œ
œ
t
t
œ
œ
œ
œ
Œ
"
side of box,
Small Tam lift tam slightly off table (both hands) and drop flat Comb like a guiro dro p
7
x
F
7
!!!!!!!!!
034
Œ
æ
œ
œ
œ
t p k to
b
"
ß
7
"
"
O
‰
loudly tracing letters of "Gone this
Probe speaker inside of box w/ side of the unicorn" on the table 7 mic to generate feedback loop
(
" ££££££
œ.
(F )
p to P ad libitum)
.
P
spoken delicately: 5
Strike Tam (flat, damped) with PVC pipe
3
o
!!!!!!!!!!!!!!!
‰. >œ J F
o
whistle
.
‰
œ
k p oo
f
7 œ
strike drum with dowel (rim)
œ
æ P
5
œ
œ >œ >œ >œ >œ ‰
roll dowel between membrane and palm of hand
œ
poss.
"
œ
scrape one ceramic cup across table Ceramic cup with rattan before striking the other with rattan
" ¿.
O (F )
5
œ
ª
extremely percussive "pop" with very little air, into box:
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
F
7
5
033
remove microphone
(P)
extremely percussive "pop" with very little air, into box:
spoken "off the breath", matter-of-factly:
5
5
!!!!!!!!!
No,
F
œ
œ stick in right hand p *hold while cranking to ease transition
>œ whip‰ rattan of mallet ‰ . on table ® >œ ‰ . 7 ß ß
Rattan
œ
œ
Then how am I to stalk you?
spoken delicately, casually:
œ
"
You dog!
!!!!!!!!!!!!!
P
Crank side of box
O
‰
3 "
3
!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
031
œ
® >œ . ‰ 5 F
R F
bite teeth together
œ one rotation (F ) 5
exhale through pipe sealed w/mouth produce low growl with throat
(p)
5
Œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Œ
3
3
spoken "off the breath", softly and casually
‰.
Frame drum w/wooden dowel
poss.
F
œ
tongue stop against teeth
5
œ
P drag as slowly as possible around
5
"
028
spoken softly:
p
Œ
fingertips on table, impatiently
"
x
}}}}}}}}}}}}}}}}}}}}}}}}}}}}
Styrofoam Cup
ã
œ
(Yes they do.)
They really walk the walk now don't they.
(bowed styrofoam cup)
III
!
5
5
3 R
spoken with very little air, somewhat percussively and with great intensity:
Œ
O
5
Œ
walks
Flowerpot w/PVC pipe
gradually increase speed and intensity
Bicycle Freewheel, ratchet as slowly as possible
P
"
‰.
027
"
poss.
!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
"
V O X
6
x
ã
II
6
o
whistle
œ
)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))) œ R Small tam w/finger tip > 3 P 5 > P F F
‰.
‰
o
"there ‰ (p)
026
ª
V O X
‰.
‰
Flower pot w/thumb
025
I
œ
circular swirling motion on lid of box
!!!!!!!!!!!!!!!!!!!
V O X
are (p)
Styrofoam Cup
"
œ
edge producing high overtones
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
V O X
‰
Frame Drum w/superball
Œ
5
Œ
k
3
I will now speak P the word: walk.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
œ
slowly clos e
set cups down
III
‰
3
U
(F )
II
œ
(exh.)
spoken "off the breath", softly and casually into box:
spoken "off the breath", softly and casually
c. 4"
heavy exhalation
V O X
"
walks
6
suddenly begin swirling rapidly with one hand gradually slow to nothing 5
I
"
walkside, lost percussive with very little air:
mouthed with little or no air/sound:
œ
Pedestrianism has gone to the dogs
"
J
OPEN
O
‰
"
7 œ
œ
Gone this side of the unicorn violently rub hair
œ œvery quickly slow to almost no movement
with both hands
3
F
&
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
035
036
4
spoken with very little air, somewhat percussively and with great intensity:
V O X
!
"
"
5
œ
œ
g
œ
th
œ
s
fa
n b ch fa
"
6 6 6 6 6 6 6 6 6 6 6 6 6 6
"
5 œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
d sa ya pa
"
t
g
th sh d
(F ) 5
5
poss.
ã
Œ
P
Œ
6
P
‰
6
‰
œ
III
.
slowly close creaking as much as possible
OPEN
ã V O X
.
Œ
Did you say prostitution has gone to the dogs? CLOSED
"
II
"
œ
œ
( P3 )
" ˝
lip pop into mic
percussive with very little air, into box:
" ‰
3 œ
poss.
b
spoken softly, into box:
‰
œ
Yes, but in French.
3
"
(P) 6
ã
P
ß
6
>
x
"
5
P œ œ
.
5
"
They took the dog's paws too?
(F )
"
œ
th
5
œ
œ
œ
œ
5
œ œ
œ
œ
Not anymore!
"
œ
œ
œ
Where will the hor- ses trot?
( # $ # $ ) change direction freely and violently
"
(F )
‰
ppp
5
ÚÚ >> ß
Œ
possibile
" —
—
(m)
Œ
t!
Œ
œ
(P) 5
œ
R F œ
5
rock plastic container back and forth (left/right) rhythmically on lid of box
œ
œ
œ
œ
œ
œ
5
" Œ
Œ
œ
(de/fair/de/pas/de/troi/de/tor/de/pas/de)
‰
guh (P) œ
"
pp
unintelligible muttering, ad libitum sub
œ
Pas de troittoir. ( de/pas/de/troi t/p/s/d/o)
" Œ
open and close creaky box rhythmically
7
>œ >œ >œ
Bottle w/triangle beater
7
poss.
!!!!!!!
P
spoken "off the breath", becoming irritated:
Œ
unintelligible muttering, ad libitum
"
6
(F )
7
7
P
spoken casually, coldly: low, guttural
7
F
œ
O
falsetto:
Rub two ceramic cups together
Table w/yarn mallet
r
5
œ
Œ
œ
Then where will the dogs shit?
F
Œ
CLOSED
‰
slowly clos e OPEN OPEN
"
£££££££££££££££ ‰ .
p
5
5
6
Tam w/canister
Styrofoam Cup rub slowly on box
Crank side of box
(Fttttttttt )
039
p
5 œ
œ
ah
F
6
"
" . £££££££
loudly tracing letters of "pas de troittoir" on the table
(F ) poss.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
040
042
041
slowly increase speed
5
œ
‚
œ
7
‚
‚
( P ) 7create "feedback" type screeching sound from
ã
‰
short and percussive:
œ
Even the boudoirs?
‰
Œ
creaking
‰.
5
CLOSED
R (p)
5
P
‰.
œ
Shit.
" "
‰. Œ
po
whistle
5
oR ‰
‰
œ œ
5
OPEN 5
.
They took all the oirs.
‰
"
# œ
‰
Styrofoam Cup
(F )
5
bowed, shuddering
Œ
r
5
œ.
œ 5
"
œ
Œ
‰.
p
(p)
"
5
x
> ß
‰
œ
" Œ
"
You're in luck
"
‰
5
.
6
(They like boudoirs)
‰.
6
œ
O
Desk bell
"
x>
‰.
œ
œ
What's that?
"
l.v. open and close rapidly, filtering bell
F
O
!!!!!!!!!!!!!!!!!!!!!!
.
5 œ
Boudoirs are private
Œ
Œ
Œ
" œ Œ
follow marble with microphone
6
catch marble
Table w/yarn mallet 7
‰
x
> ß
5
P
"
matter of factly
wha loudly tracing letters of "Where will I sulk?" on the table
‰
££££££££ Œ
(F )
5
œ
.
Not on the sulkwalk. smack table for low sound
7
046
!___
through nose (inh.) (exh.)
>Ú
F
"
ß
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
045
Marble drop into box
roll marbles between both hands near box
œ
œ
P7
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
poss.
044
5
poss.
£££££££££
5
(low)
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
043
‰.
!
Œ
(F )
7
Œ
!!!!!!!!!!!!!!!!!!!!!
fingertips on table, impatiently (next to microphone)
5
œ
‰
œ
silently nod head in affirmation 5
œ
k
P
friction while rotating with maximum contact points !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
P
5
œ
s
o o
whistle
P.2 to
" ‚
Ceramic cups
œ
p
R
OPEN
‰
œ
t
po
le
de/fair/de/tor/de/pas t/p/s/f/d/o)
œ
!!!!!!!!!!!!
Œ
œ
o
r
tab ss cro
œ
œ
x
> ß
" Œ
œ
n
Ø
5
ea
œ
œ
Wooden Dowel 5 whip/slap on table
‰.
spoken: (inh.)
"
‰
œ
(Where will I sulk?)
x
whispered percussively with little air, but mouthed with great intensity, scarcely audible acoustically but directly into microphone in box:
ª
r bl
ws (P) " t th p k (inh.) g wha"
‰
p
˝
"
7
thumbnail tooth click
ma
percussive with very little air:
F
‰.
œ œ
(P)
lip pop into mic
nd l2
P
5
"
whispered with very little air but mouthed with great intensity:
r ol
. }}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}
II
ã
‰
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
œ
œ
III
œ
(P)
‰
œ œ
!
038
Bicycle Freewheel, ratchet as slowly as possible
ã
V O X
œ
œ
percussive with very little air:
silently nod head in affirmation
‰
V O X(
œ
œ
poss.
scrape
ß ß
ª
I
(p) . . Pas de fair de troittoir. 5
‰
5
poss.
037
V O X
o
(inh.)
7
Tam w/canister
Small Tam w/stick
" Œ
œ
5
"
5
P œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
5
Wooden Box bowed
muh! (P) œ
5
‰.
open spoken with very little air, somewhat percussively and with great intensity:
hold microphone up to bottle
spoken delicately, casually:
" ‰.
(inh.)
loudly tracing letters of "pas de fair de troittoir" on the table
poss.
P
5
scrape along table with high pressure, like a chisel
‰.
5
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
wa sa fu d k t uh
(F £££££££ ). 5
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
"
"
‰ " " Œ ©©©©©©©©© (F )
5
‰
ß !
Œ
Beer bottle filled with water, blow into straw 6
œ
5
d
‰.
œ
Hard plastic container
covered with hand:
spoken delicately, casually:
V O X
"
Streetwalkers use sidewalks?
5 (P )
OPEN
whispered with very little air but mouthed with great intensity:
œ
swirl marble inside lid of box against palm of hand
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
5
walkside, lost
spoken "off the breath", with intensity
6
rub top of closed box with two fingers of each hand moving in opposing motion
Œ
I
(inh.)
(inh.)
5
047
Œ
(P)
7
‰
whispered percussively with little air, but mouthed with great intensity, scarcely audible acoustically but directly into microphone in box:
Ø7
low, guttural, as if to vomit
‰ (P) "
>œ
5
buh œ
"
"
Flower pot, strike w/comb
(P)
5
œ
œ
They are quite taken with boudoirs.
O
Œ
‰
Tam w/canister
OPEN 7
ß
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
048
049
050
P
spoken:
‰
V O X
5
œ
.
p
‰.
You like my privet?
puh
h
5
(F )
6
6
6
6
6
6 5
˝
‰.
#
$
(inh.)
10
$
(F )
5
poss.
5
10
(exh.)
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
"
x
F
5
œ
œ
œ
‰
Without sidewalks
œ
œ
œ
P
3
j
œ
‰.
œ
A good privet hedge,
like a guiro
(P)
œ
F
5
Œ
slow ly clo
R
OPEN
œ
what's not to like?
ª
‰
slowly trace tip of stick on tam with pressure to produce screeching
))))))))))))))))))))))))))))))))))))))))))))))))))))) J F ( p to P ad libitum)
V O X
œ
Œ
œ
Œ
I will now speak on sidewalks.
5 4
F
œ
x
‰.
V O X
5
5 Π4
(F )
" "
‰.
Œ
>œ j
Frame drum w/wooden dowel
‰
Œ
poss.
"
o
o
whistle
P
creaking as much as possible
F
^
3
F r
5
^
L
‰.
Ceramic cup scrape along table scrape
. p
F
V O X
5
5
p œ
œ
F
"
5
P œ
œ
You got a ticket?
P
5
4 Π4
Œ
Œ
"
4
(P)
œ
on
5 4
œ
them.
‰.
" "
tongue stop poss.
œ
œ
h
Small tam w/metal canister
"
. p
scrape
j> yy
‰.
Through PVC Pipe Into Box
(P)
Flowerpot w/PVC pipe
F
"
œ
6
"
œ
œ
"
‰
œ
Sir, we're at crosstalks.
‰.
‰.
5
5
Œ
R
>x ‰
ß
œ
OPEN 5
whistle
P
4 4
There's no chicken to cross
5
o
Œ
" ))))))))))))))) ‰ . (
pp to F ad libitum)
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
055
056
live - stock?
>¿ Œ
"
Œ
P
‰
‰.
‰
5
Femphatically . œ
Sidewalking!
.
j
‰.
x
F
>
œ
5
ß
" "
‰
x
5
‰.
OPEN
Œ
6
(F )
‰
˝
lip pop into mic
‰
poss.
œ
œ
‰
œ
. ££££
Devil's advocate" on table
5
(F ) poss.
3 œ
œ
p‚Styrofoam Cup (bowed) ‚ 5
R
d! œ
(P)
5
F
3
5
5 4
Œ
(inh.)
t ng œ
œ
P ß
5
F7
Œ
‰
œ
P
‰
"
5
œ
œ
œ
Not on
them
Wooden Box bowed
5 4
(P)
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
3
Œ
(F ) poss.
P
".
bow rim of cup along length to produce a small amount of pitch
P
5
low pitch
œ
œ
muh
.
"
‰
‰.
F œ
Slap table 5
"
® >y F
‰.
.
Vil-lage
5
"
5
>y ß 058
j
3 œ
œ
It's the ides of march _ remember?
œ
Frame drum w/wooden dowel roll dowel between palm and membrane
‰.
(P)
5
7
" Œ
f œ
œ
œ
I - di - ot!
‰.
‰
7
>Ú ‰
Œ
Box w/yarn mallet
ß
7
P)
percussive with very little air: (
uh
®
Ceramic cups
5
œ
®
ma
‚ R
œ
‰.
5
(exh.)
p œ
‚
( P ) friction, rotating w/ maximum contact
5
create "feedback" type screeching from
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Snap rubber band on box
OPEN
œ
˝R
"b" lip pop into mic
Œ
ª
!!!!!!!!!!!!!!!!!!!!!!!!!
5
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
057
p
œ
They took the other side too
Tam with back of stick
x
thumbnail tooth click
‰
They wok'd it. loudly tracing letters of "
F
percussive with very little air:
" Ú Ú Ú Ú >Ú Œ
suddly rapid and decrease
gradually increase speed
Devil's advocate?
3
CLOSED
5
F
Wooden Box w/yarn mallet
slowly clos e
(into box)
œ
F
œ
p
Œ
œ
There's a war on sidewalks!
Œ
ß
7
œ
!!!!!!!!!!!!!!!!!!!!!!!
œ
palatal click
‰.
‰
œ
O pttttttttttttttttttttt f
F .
5
x
"
5
œ
>
9
P
slow scraping w/pressure
5
"
Bucket w/rocks
œ
5
5 4
054
Wooden Dowel strike table
".
"
P
5
5
œ
6
ß .
Hard plastic container scrape on table
emphatically
OPEN
(inh. multiphonic)
5
Small Tam w/tip of stick
CLOSED
"
o.
‰.
‰
7
slowly open
P
"
œ
‰
£££££ ©©©©©© 4
‰. OPEN
"
œ
For what?
¿ > (F )
!!!!!!!!!!
Wooden Dowel whip/slap on table
Beer bottle filled with water, blow into straw
softly rub hand on table
œ
drop mic into hand
053
œ
Œ
But you're not allowed
(F )
p .
‰
P
spoken delicately, casually:
5
Crank side of box
ch!
œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
(P)
They took the crosswalks too!
O
P
5
percussive with very little air:
œ
They're turning the forest into sidewalk!
" Œ ©©©©© p 5
Slowly drag superball across top of box
&
r
Crumpled plastic (cereal lining)
" £££££££££££ Œ
œ
‰
F
Œ
CLOSED
.
5
Œ
5
P
5
.
Œ
‰
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
F
œ
spoken sharply:
pitched, low, vocal fry
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
thumbnail tooth click
p
An elegy, then, for sidewalks...
‰.
se
052
œ
ã
"
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
P
5
œ
CLOSED
Small Tam 3
‰
œ
&
5
.
5
you'll not get close enough to lick it.
5
‰
"
‰ )))))))))))))))))))))))))) . swirl marble over box 5 (P)
P
5
‰.
051
ã
p
"
5
p p p p p va va va va va ma ma ma ma ma la la la la ka ka ka œ
Comb side of box,
ã !!!!!!!!!!!!
III
s
.
place marble in frame drum Upside down frame drum
spoken "off the breath", softly and casually
#
(inh.)
(exh.)
spoken matter-of-factly, casually:
"
y y y y y ® " p F
ã
OPEN
"
œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
p to P ad libitum)
lip pop into mic
Flowerpot w/comb
II
"
6
œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
V O X
I
6
!
spoken "off the breath", softly and delicately
p
ã
6
5
"
5
dro
F
(
6
Œ
whistle
5
! #
‰
œ
wha
6
o o
"
lah
5
(exh.)
Probe speaker inside of box w/ mic to generate feedback loop
6
"
œ
5
poss.
®
6
p
pursed lips, very narrow passage for air to emphasize sibilant sounds/high partials 5 almost whistling
p
6
percussive, unvoiced:
Œ
‰.
œ
P
5
walkside, lost
P
dro
ã !!!!!!!!!!!!!!!!!!!!!
III
œ
œ
6
I
II
p
(inh.)
rub top of closed box with two fingers of each hand moving in opposing motion
(open/close rapidly)
V O X
F
‰.
Œ
5
‰.
5
F r œ
œ
I'll march to that!
®y " > ß
‰.
5
‰
Œ
Comb
Rubber Band (in or near box)
‰
5
( P ) spread with one hand and £££££
play like a bass with the other
side of box, like a guiro
P
J
F
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
059
060
6
"
V O X
F œ
œ
œ
œ
No side - walk!
‰.
ã
5
CLOSED
"
(frame drum w/dowel)
I
®
"
7
&
®
b œ
k
Œ
œ
œ
(P)
> > > > " y y y y
‰.
F
5
‰.
œ
‚
II
œ
œ
œ
"
œ
Re-member - that sto-ry
‚
(ceramic cups)
(P)
"
œ
"
œ
.
"A Walk?"
L (p)
®
‰
V O X
O
®
œ
œ
"
d
‰.
Ú > ß
œ
"
"
" "
OPEN
b
"
.
®
h œ
Œ
œ
ß
ß
‰
5 œ
œ
œ
œ
n– da
a
s
p
5
P
5
œ
(#$#$) œ
Styrofoam Cup (bowed)
œ
"
OPEN
shuddering
.
p
œ œ
b
n œ
œ
w
œ
k
eh
œ
(p)
œ
œ
right where he was
tapping with fingertips on side of box
(p)
7
œ
(p) " d
‰.
‰
œ
œ
"
ß
œ
.
5
"
loudly tracing letters of "sidebar" on the table
˝
lip pop into mic
7
(p)
i " k n b l t hm n
P
"
œ
œ
œ
œ
œ
œ
œ
5
(P)
‰
"
Slowly drop
f
‰ 5
œ
œ
œ
These sallies keep diverting,
‰
U
off the voice, quasi-stage whisper:
"(p)
œ
But how silly, 5
6
U
P
œ
if he walks not,
œ
P
œ
he's right
r 6 6 > O (F ) p
5
sub
5
Œ
5
r 6 6 > O (F ) p
slowly rub fingers on/inside box
6. p
"
5
P
sub
œ
œ
he says,
‰
œ
œ
P
œ
"
œ
am
I
muttering, whispered percussively with little air, but mouthed with great intensity, scarcely audible acoustically but directly into mic:
c. 2"
lost.
"
(p)
(inh.)
®®
œ
t
œ
œ
b
œ
h
7
‰.
7
"
œ
f
wa œ
" "
œ
k
œ
n
reach into bucket and gently brush hand through rocks
" "
ra œ
"
*lift one rock out of bucket
. " ( pp©©©©©©©©©©©© to P ad libitum) r
5
lean in to microphone (inh.; like a vacuum)
(p) œ
CLOSED
&
‰.
œ
Œ
"
(p)
U
(p) 3
>y
Whip rattan on table
ß5
œ
Sir!
".
OPEN
Π"
"
œ
th
œ
"
Œ
F
"
œ
. (P)
Œ
œ
(#$#$)
œ
va 5
q = c32
whispered percussively with little air, but mouthed w/great intensity, scarcely audible but directly towards box:
‰.
5
‰
. F pp
(p) They took the sidewalks
5
œ
(#$#$)
Hard plastic container scrape along table with high pressure, like a chisel
*lower drum
(
$
r
5
Œ
‰.
063
"
œ
F
sub
.
O
(p) œ
!
whispered softly, slowly, and articulately into box: lean in to microphone
(exh. with "oo" shape)
change direction freely and violently
"
œ
5
œ
.
‰.
said I.
(p)
(inh.; like a vacuum) œ
5
"
œ
(p)
ª 3
œ
œ
Lie down,
softly strike drum with fingertip scrape plastic container slowly along frame drum (still on box), subtly changing timbre with pressure.
® œ. (p)
F
œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
voiceless, percussive
e (p)
"
®
d œ
th
v
œ
œ
"
f œ
"
.
(inh.) œ
p to P ad libitum)
Probe speaker in box w/mic for controlled feedback
‰
!
‰
7
œ
p
quasi-whisper "off the breath", softly but articulately, with moderate intensity:
6
7
œ
c. 2"
Wooden Box bowed bow lid of closed box
5
P ‰
3
.
(exh. with "oo" shape)
P
place rock in Box 2 œ
3
œ
œ
I
am
œ
"
lost.
‚
"
œ
(p)
‰
5
‚
pp to P ad libitum)
5
œ
.
I said,
‚
Ceramic cups (matched pair)
(
!
j
whispered softly, slowly, and articulately into box:
(inh.; like a vacuum)
œ
‰
‰.
lean in to microphone
"
3 œ
œ
It's a lie.
‚
create "feedback" type screeching from friction, rotating w/ maximum contact
rock
y. ££££ " > O F shake vigorously
œ
œ
Side bar:
"
˝
(F )
‰ 5
(P)
r œ
œ
he's wrong
5
"
o o
whistle
off the breath, quasi-whisper into box
‰.
ΠPVC (plastic) pipe on Tam
œ
ß
OPEN
3 Box et in buck
"
(P)
from
"
5
lip pop into mic
et in Box 3 from buck
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
œ
ã
"
voiceless, percussive
rock f r om b
F
poss.
III
‰.
5
p5
(p)
Œ
œ
œ
"
‰
spoken, irrationally, increasingly anxious
Bucket w/rocks
place rock
( P ) (F )
off the breath, quasi-whisper into box
V O X
7
6 6 " 6
6
6
y)metal chain ‰ )) y P )))))))))))))))))))))))))))))))))))))))))))))) *lift drum > (p) F 6
"
ha
ha
quasi-whisper "off the breath", softly but articulately, with moderate intensity:
place
£££ ‰ .
P
7
poss.
5
ã
(F )
o o
‰
6
‰ . c. 2"
œ
softly rub table with hand, near microphone
place
1
ucket in Box
II
x
whistle
ha
"
œ
5
roll marble between palm and membrane of drum, slowly
drop
"
ck from b
Œ
place ro
V O X
"
>
‰
"
œ
6
Without walking,
>y
ã !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! thumbnail tooth click
ha
#
q = c36
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
p
ucket in Box 1
œ
I
ha
œ
062
5
*place frame drum on box, rightside up
ha
6
Œ
œ R
voiceless, percussive
where he started
6
$
6 6 6 6 6 6 6 6 6 6 6 6 6> 6> 6 6 6 6
6
"
œ œ
6
®
I know it like the back of my hand.
5
œ
ha
"
œ
muttering, whispered percussively with little air, but mouthed with great intensity, scarcely audible acoustically but directly into mic:
œ
ª
‰.
"
œ
(exh.)
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
061
V O X
ha
6
ã !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
(p)
œ
(inh.)
rub hands together, near microphone in box
6
Wooden Box w/mallet
spoken softly, casually:
œ
*Low sound, smack table
III
œ
"
œ
muttering, whispered percussively with little air, but mouthed with great intensity, scarcely audible acoustically but directly into mic: (inh.) ( ) (inh.) spoken "off the breath", 6 softly and casually
"
5
>y
(inh.)
œ
œ
Table w/mallet
voiceless, percussive
(p)
œ
open and close rapidly, filtering bell
ã !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5
œ
(exh.)
‰.
(Remember walking hand in hand?)
voiceless, percussive 7 3
œ
Ù
(p) #
breathe into box
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
p œ
l.v.
ß
7
spoken softly, casually:
V O X
‰
Desk bell
!!!!!!!!!!!!!!!!!!!!!
5
walkside, lost
(p)
spoken "off the breath", softly and delicately:
ha
voiceless, percussive
F
7
p
‰
"
(p)
5
6
œ
œ
œ
œ
There's no di to vert from side of box,
Comb like a guiro
(F )
5
"
OPEN
‰
Œ
œ. Pshuddering œ
œ
!
‰
Styrofoam Cup (bowed)
5
whispered softly, slowly, and articulately into box: lean in to microphone
whispered percussively with little air, but mouthed w/great intensity, scarcely audible but directly towards box:
œ
œ
I
"
3 œ
m
loudly tracing letters of "I am lost" on the table
"
œ
L
CLOSED
065
066
067
068
!
(F )
&
‰ 5
œ
œ
Said who?
££££££ .
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
064
‰ 5
(inh.; like a vacuum) œ
R
(p)
œ
!
whispered:
"
œ
I
slowly open œ
OPEN
Crank side of box slowly
(p)
œ
ttttttttttttttttttttP
069
!!
070
‰.
*lower drum
œ
"
III
w
V O X
"#
‰.
œ
$
(inh.) œ
œ
7
ha hauh
‰.
U Œ
c. 1.5"
(p) v
Πj yy
Ceramic cup scrape
‰
l.v.
P
F
6
(inh.)
"
Bottle w/triangle beater
5
!
œ
œ
œ
œ
A tined
"
fork.
"
g
f
œ
œ
"
!
Œ
œ
5
Œ
(P)
"
œ
" "
d œ
6
‚
‰
(P)
(p)
"
(exh.) œ
œ
5
CLOSED
Died
&
5
F
R
5
"
œ
( p ) (inh.) uh
œ
œ
ha ah ha All for naught.
5
(p)
5
(p)
Œ
(p)
œ
œ
œ
(exh.)
‰
uh
5
œ
5
.
5
Π"
"
5
‰
shift box L/R, rattling rocks
F
(P)
R œ
5
œ
œ
œ
( p ) ( pp ) I'd
œ
œ
œ
œ
5
( p ) ( pp ) uh
œ
œ
œ
œ
œ
œ
5
(p) aw
œ
œ
œ
œ
œ
œ
œ
5
‰.
I'd ought!
‚
7
œ
œ
œ
œ
am
lost.
Œ
(inh.; like a vacuum)
Œ
( pp )
# $
(exh.)(inh.)
" ‚ ‰.
‰.
076
(p) k
œ
5
Wooden Box bowed
(p)
5
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
œ
œ
continue rhythmic breathing, interject unintelligible muttering at irregular intervals, ad libitum
5
c. 13"
cont'd ad libitum
lift, then replace rocks (in+out of box) ad libitum, mechanically at irregular intervals. every so often, place one rock in frame drum until box is empty
ª *freeze. continue low frequency
vibrations and rattling of frame drum without human intervention
O
once box is empty, place one marble in frame drum, continue swirling 2nd, then place in drum (
ppp to p ad libitum)
( &)
R
œ
œ
œ
5
"
œ
5
hold mic up to lamp lean in to amplify breathing
frame drum
.
(inh.)
(exh.)
œ
*freeze
U U
"
loudly trace letters on table
(P) 5
c. 15"
5
5
O
place bucket, then microphone in drum
"
frame drum
5
c. 13"
cont'd ad libitum rocks/ marbles
UU U
c.4" c.5" c.*23"
bucket
rocks/ marbles
frame drum
5
U U
*freeze
Œ
"
œ
# $ ( p )( pp )
(p)
(exh.) (inh.)
6 œ
œ
œ
œ
œ
6 œ
œ
œ
œ
œ
( &)
( pp )3 ( p ) ( pp ) œ
œ
œ
œ
6 œ
œ
d h h h h I aw h h h h awww
I
œ
œ
œ
œ
6
CLOSED slowly open
continue rhythmic breathing, interject unintelligible muttering at irregular intervals, ad libitum (uh, I, Aww, I'd, uh, etc.)
c. 15"
c. 13"
cont'd ad libitum
O
lift, then replace rocks (in+out of box) ad libitum, mechanically at irregular intervals. every so often, place one rock in frame drum until box is empty OPEN *freeze
continue cranking ad libitum, gradually slowing so that the clicks become farther and farther apart
077
®sh
œ
ttttttttttttttttttttttttttttttttttttttttttttttttttt O
!!!!!!!!!!!!!!!!!
"
œ
voiceless, percussive
‰.
‰
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
(p)
Crank side of box slowly
075
œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
‰.
Styrofoam Cup (bowed) high pitched screeching
(p)
(p)
lean in to box
œ
clops
-
c. 15"
m ru
‚
œ
œ
U U
ed
" ‚
‰
" Œ
5 œ
F
place rock in Box 2
5
Cy
5
m
7
œ
quasi-whisper, softly, articulately:
fra
‰
!
.
shift box L/R, rattling rocks
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I
œ
074
lift frame drum with L.H., flip over, and place on top of Box 2
‰
œ
(p)
n
ã !!!!!!!!!!
5
"
(inh.)
œ
i ks oc
œ
‰. F
(exh.)
er ac pl
œ
ought to
œ
rub left hand on table
L.H.
p
œ
Oneeyed shark.
5
place rock in Box 2
5
lean in to box
quasi-whisper, softly, articulately:
‰.
œ
œ
5
( pp )
R.H.
"
7
œ
Œ
œ
Poppy-cock.
(p) ®k ‰
rub side of box with other hand
quasi-whisper, softly, articulately:
!!!!!!!!!!!!
shift box rapidly Left/Right on table, rattling rocks inside
œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Œ
œ
œ
p
5
( & )R.H. cont'd ad libitum swirl marbles in palm of hand (near box/mic) # $ (change direction) # £££££££££££££ )))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))
œ
U‰ .
œ ‰.
Œ
R œ
"
quasi-whisper, softly, articulately: œ
"
5
tly en itt
œ
Œ
(P)
7
5
!!!!!!!!!!!!!!!
quasi-whisper, softly, articulately: lean in to box
m ter
œ
I
‰
very slow elliptical motion on lid of box
senza rall.
!
‰
5
5
073 q = c32
(p) 5
œ
œ
in
Œ
pour water from bottle into bucket as slowly as possible, relatively low/avoid high frequency
‚
voiceless, percussive
Œ
off.
(p)
Œ
s
5
ah
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
œ
shift box rapidly Left/Right on table, rattling rocks inside Styrofoam Cup
"
œ
slowly roll wooden dowel on membrame of frame drum
!
6
p
‰
œ
(P)
(inh.)
œ
.
‰
œ
‚
5
œ
œ
5
5
œ
.
5
O K stop.
III
‰
luh
n) ow
œ
(p)
Œ
œ
5
( &)
7
œ
‚
fa
œ
5
5
voiceless, percussive
ed
(P)
7
‰
"
p
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
quasi-whisper, softly, articulately:
!!!!!!!!!!
c. 1.5"
Œ
‚
‰
Rub two ceramic cups together
rub both hands in opposing directions on membrane of frame drum, on top of box
quasi-whisper, softly, articulately:
V O X
Œ
"
‰
5
r an
7
Live-stock.
‰
œ
(P)
b em (m
U" .
ã !!!!!!!!!!
F3
5
(p)
‰
x2 Bo
(L.H. on table)
œ
quasi-whisper, softly, articulately:
c. 1.5"
II
"
(inh.)
talk.
"
rub both hands in opposing directions on membrane of frame drum, on top of box
on
‰
shift box rapidly Left/Right on table, rattling rocks inside
"
œ
Pious
rum
œ
œ
d ce
œ
œ
(p)
5
œ
!!!!!!!!!!!!!!
quasi-whisper, softly, articulately: (P ) 7 œ
5 œ
L.H.
Fido-barks
Œ
072
Mind yourtalk.
ã !!!!!!!!!!
V O X
v
"
la
pla
(p)
"
œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!
] o ££££££ o R (p)
(P)
‰
‰.
7
whistle, tremolo with finger
quasi-whisper, softly, articulately:
£££££££££££
7
"
œ
quasi-whisper, softly, articulately:
7
‰.
‰
5
œ
roll marble between palm and membrane of drum, slowly
I
œ
.
071
(exh.)
"
d 7
voiceless, percussive
‰ )))))))))))))))))))))))))))))))))))))))))))))))))))))))) . . 5 (P)
(p)
œ
p
5
Tam w/canister slowly scrape, with pressure
ª
‰
f
}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}}
quasi-whisper, softly, articulately:
‰.
œ
3 in Box ucket
"
V O X am
œ
"
o
Bicycle Freewheel, ratchet as slowly as possible
!!!!!!!!!!!!!!!!!!!!!
( p ) (inh.)
œ
r om b rock f
. (p) p
"
st
œ
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Without a leg to stand on
"
®n
œ
(inh.)
078
079
080
081
082
*simultaneously shut off each stand light/tablet
083
084
Valencia, Barcelona, Paris, Amsterdam --- August 31, 2015
œ
‰
ã
Night hawk.
®
"
place
‚
(cups)
II
œ
œ
5
rum
"
3
place rock
‰
œ
œ
q = c36 poco a poco rall.
quasi-whisper, softly, articulately:
k
ed
!
quasi-whisper, softly, articulately:
V O X
‰ .
®
œ
in Box 1
F
œ
(P)
( & ) ha
(inh.)
fra m
"
*lift drum
®
g
h
voiceless, percussive
quasi-whisper, softly, articulately:
ock s in
I
"
œ
(inh.)
5
(inh.)
lac er
Sir.
®
t
walkside, lost
poco a poco rall.
yp
‰
œ
quasi-whisper, softly, articulately:
t
( pp )
voiceless, percussive
itte ntl
œ
œ
from bucket
V O X
(inh.)
q = c40
(P)
int er m
(p)
voiceless, percussive
walkside, lost – program notes yet to be written…
_______________________________________________________
Jason Thorpe Buchanan is an American composer of operatic, orchestral, chamber, and electroacoustic music. His works have been described as “an unearthly collage of sounds”, “sharply-edged”, and “free jazz gone wrong”, commissioned and performed internationally by conductors and ensembles such as Brad Lubman, Alan Pierson, Jean-Philippe Wurtz, Marc Lowenstein, Alarm Will Sound, Ensemble Interface (Germany), Ensemble Nikel (Israel), Ensemble Linea (France), Nonsemble 6, MIVOS Quartet, Iktus Percussion, the [Switch~ Ensemble], The Industry, wild Up, OSSIA, ensemble39, Brevard Music Center Orchestra, Fiati 5 (Italy), Sound ExChange Orchestra, Eastman Musica Nova Ensemble, BlueWater Chamber Orchestra, TAD Wind Symphony (Japan), among others. Nominated for the 2015 Gaudeamus Prize, his works will be 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 the Darmstadt Contemporary Opera Workshop (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 curated by the composer. 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.” Awarded a Fulbright Fellowship (2010-11) at the Hochschule für Musik und Theater in Hamburg (Germany) as a visiting scholar, he was recently selected as Artist-in-Residence by USF Verftet and the City Council of Bergen, Norway to complete work on Hunger in late 2015, with a grant from the American-Scandinavian Foundation. Additional honors and awards include the ASCAP Morton Gould Award (2014) & Howard Hanson Orchestral Prize (2014) for Asymptotic Flux: Second Study in Entropy (2013) commissioned by the Mizzou International Composers Festival for Alarm Will Sound, a commission from the International Horn Society & ASCAP Morton Gould Award (2015) for Double Concerto (2014) with soloists Jeff Nelsen, Mike Walker, and the Eastman Musica Nova Ensemble with conductor Brad Lubman, antistasis (2014) for the Tzlil Meudcan Festival (Tel Aviv) with Ensemble Nikel, oggetti 1 (2014) as composer-in-residence for Chamber Music Campania (Italy), both winner of the newEar 4th Annual Composer’s Competition (2013), and selection at the NYC Electroacoustic Music Festival (2014) for Asymptotic Flux: First Study in Entropy co-commissioned by the [Switch~ Ensemble] & OSSIA, 2nd place in the American Prize composition competition (2012) for Berlin Songs, commissioned by the German/American Fulbright-Kommission and premiered at the Akademie der Künste (Berlin) during the European Fulbright Conference, and winner of the 2014 International Iron Composer 5-hour composition competition in Cleveland. He has studied composition with R.Zohn-Muldoon, C.Sánchez-Gutiérrez, R.Morris, A.Schindler, D.Liptak, V.Baley, P.Michael Hamel, J.V.Grossmann, P.Furman, M.Stahnke, B.Lubman, G.Aperghis, B.Ferneyhough, R.Cend.o, C.Czernowin, A.Read Thomas, H.Abrahamsen, P.Leroux, C.Gadenstätter, J.María Sánchez-Verdú, and P.Billone, among others. Jason is Executive Director of the VIPA Festival in Valencia, Spain, and Artistic Director of the [Switch~ Ensemble]. From 2007-2012 he served as founder and director of Melos Music, a consortium and concert series in (Chicago, San Francisco, Philadelphia). 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. 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), with highest honors from both institutions. Current projects include Hunger, a multimedia opera with libretto by award-winning poet Darcie Dennigan, a consortium for saxophone, electronics, and video (Andrew Allen, World Saxophone Congress, Strasbourg, 2015), and commissions from Peter Ferry (percussion) and electronics (Chicago, 2016), the New York Virtuoso Singers (NYC, 2015), Blue Water Chamber Orchestra as winner of Iron Composer 2014 (Cleveland, May 2015), Slagwerk Den Haag to be premiered at Gaudeamus Muziekweek (Netherlands, Sept.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
walkside, lost First Draft Copy – August, 2015
Copyright © 2015, Jason Thorpe Buchanan All Rights Reserved