JULIE HERNDON
MOVE YOU MOVE for guitar and percussion
2019
GUITAR TUNING high (1) to low (6)
MATERIALS Stereo PA (4 channel mixer, 2 speakers) 2 electroacoustic guitars
r. gt
E to A to F# D A to D
rc.
pe
Contact mic Bass drum
1 2 3 4 5 6
3 superball mallets Sine instrument (or vibraphone)
L out to spkr 1 (drum) R out to spkr 2 (guitar) see below
TECHNIQUES smooth gliss. halting, gritty gliss. intensity (speed, pressure, volume): less to more (applies to gliss. in mvt. i, ii; feedback in mvt. iii.) l.v. let vibrate [mute] damp strings ... riccochet: gently bounce mallet i play with index finger p play with thumb String Positions (mvt. ii)
pan L
L R L
channel 1
2 3 4 mixer
ord. p.s.p. s.p. m.s.p.
STAGING Overview (in mvts. i, ii, iii) spkr 1
spkr 2 (iii.)
bass drum
(ii.) P
sine instr.
(i.)
G
Arrange speaker 1 facing directly in to bass drum, so that it feeds back when played with contact mic (mvt. iii). Arrange speaker 2 so that it can be easily reached for feedback (mvt. iii). Place mixer near guitar to change volume as needed between amplification (mvt. i, ii) and feedback (mvt. iii)
ordinary position over sound hole poco sul ponticello, slightly toward the bridge sul ponticello, toward the bridge molto sul ponticello, nearly striking the bridge
Bass Drum (mvt. iii) open circle: superball mallet position arrow: movement on drum head position and movement are approximate, as mallet type may vary friction response). filled cirlce: contact mic position arrow: movement on drum head positions are approximated, but movement should alternate between two nodes of feedback. Sine Instrument (mvt. iii) LH thumb pressure = volume press for loud, release for silence
MOVEMENT G
body facing direction
perc. w range gtr. range RH position = pitch control t bww high & #w low
stage movement (L) (R) x
x xx
steps: right, left, together
i
DURATION 17 minutes PROGRAM NOTE Katrien Foubert defines mutuality as ““the emergence of a polyphonic flow founded on the forces that constantly make us balance between independence and dependence, nearness and distance.” This piece follows two people, in the world, with or without each other. -Katrien Foubert, Birgit Sebreghts, Julie Sutton, Jos De Backer, “Musical encounters on the borderline. Patterns of mutuality in musical improvisations with Borderline Personality Disorder,” in The Arts in Psychotherapy 67 (2020). POSITIONS SUMMARY Video/call available upon request. 1.
3. 4.
2.
Gtr. on left shoulder. RH: nail/pick gliss. LH: stabilize guitar.
5.
Melt to seated position. Place gtr. on floor.
RH: grasp overhand other guitar neck
6.
Sit comfortably, gtr. and drum within reach.
RH: rotate gtr. counterclockwise to rest bottom on left hip. LH: support.
Gtr. bottom on left hip. RH: gliss. LH: support. 8.
7.
Sit or stand comfortably, gtr. ord.
Sine instrument, sit or stand RH: pitch (up/down). LH: volume (press).
ii.
Move You Move
2 to A 3 to F# 6 to D
for The Living Earth Show
1.
Julie Herndon
Fluid, slow, looking ahead q = 56
i.
i 5 p 6
4 V4
sound hole
Guitar
Voice Body
4 V4
Voice Body G & P Staging
G
gliss.
P
nut
0
w
F P
[hum]
i 5 p 6
sound hole
Percussion
0 0
l.v.
w
0
look toward each other
nut
0
w
[hum]
F P
P
careful steps like the earth is alive
F
look ahead
x x x x
(L) (R)
0 0
gliss.
P
sim.
0
.
x x
l.v.
P
w
h h
[hum]
0
look toward each other
P
careful steps
look ahead
0
x x x x x x
.
F P
w
l.v.
h h
[hum]
Gtr.
Voice Body
Perc.
Voice Body G. & P. Stg.
4 V4 4 V4
sim.
x x x x
looking ahead sim.
l.v.
w
0
look toward each other
Œ
careful steps like the earth is alive
(L) (R)
P
P
look ahead
w
.
x x x x x x G
0
F
.
l.v.
P
0
w
[hum]
look toward each other
P
careful steps
look ahead
x x x x x x G
P
.
P
0
w
[hum]
F
l.v. 0
w
sim.
x x x x G
P
P
audience
rit. 16
0
on other guitar, perfectly in sync (mute>)
U
Œ
F
P
l.v. rotate body right 45º
x x
x x xx x x
.
F xx G
Slower, charged
.
P
F
x xx x x x
.
l.v.
0
rotate body right 45º
x x xx x x
.
P
l.v.
P
F
P
G P
-1-
F
x xx x x x
0
G
P
l.v.
.
l.v.
x xx x x x
U
.
F
G
P
U P
x x x x x x P
l.v.
.
F
l.v.
P
Œ
.
P
G
F
Œ
l.v.
(mute>)
P
3.
2.
4.
a tempo
on own guitar 31
Gtr.
(L) (R)
Body
Perc.
(L) (R)
Body
4 4 4 4
mute
(mute) step back, looking ahead
x
x
x
x
F
P
x x
step forward looking at perc’s gtr
x
x
.
x x x x
x
.
x
x
x
mute
(mute) step back, looking ahead
x x x x x x
P
F
step forward looking at gtr’s gtr
x x x x x x
.
P
P G
2 4 4 Œ4 2 4 4 Œ4
RH grasp step backward other gtr. holding gtr.
RH grasp step backward other gtr. holding gtr
x x x x
.
G
P G
x x
x x
*4 sound hole
U
2 4
P
bridge
rotate gtr. L to L hip
*4 sound hole
U
2 4
pp
bridge
rotate gtr. L to L hip
U
U
4 4
4 4
1 4
pp
rit.
P
46
Perc.
4 4
4 4
P
pP
P
Œ
p mute
pP
pP
Œ
U
Œ
G P slightly angle to aud.
G. & P. Stg.
Gtr.
1 4
U
Œ
sim.
pp
Œ
Œ
Œ
continuous sound
p mute
pP
*note staff change to reflect guitar position -2-
p
sim.
Œ
pp
Œ
Œ
Œ
U Œ
take 0 superball mallet
U Œ
take 0 superball mallet
4.
ii.
59
Gtr.
Perc.
5 6 fric tion
4 4 4 4
Gtr.
Perc.
p
look to gtr.
4 4
p
look to gtr.
look ahead
5 6 fric tion
gliss.
p ...
...
4 4
.
l.v., sim.
... .
p
l.v.
G
p
sim.
look ahead
look to perc.
gliss.*
F
P
G. & P. Stg.
69
Sonorous gestures, flexible rhythm (q = ~50)
P
Œ Œ
p
l.v. sim.
p
F Œ Œ
...
Œ
P
sim.
p
l.v.
...
F
p
P
P ...
Π...
Œ
F 7.
78
Gtr.
5 :Π4
...
4 4
F
:
repeat, gradually shorten gliss. to attack only ad lib.
P
move toward speaker slowly, as if the earth is alive
5.
Perc.
G. & P. Stg.
4 4
Œ
... :
F
5 4
Œ:
repeat, gradually shorten gliss. to attack only ad lib. move toward drum slowly, as if the earth is alive
P P G
*Spatial length of gliss. on guitar may vary depending on mallet, strings. Prioritize resonant sound over exact mallet placement or rhythm.
-3-
G
6.
P
f
p
5 4 ...
f
Gtr.
81 T A B
m.s.p. pluck
Calm q = 63
4 4
(finish gesture)
Ó
Œ ‰
p
T A B
4 4
P
0 0
0
0 0 0 0 0 0 7
0 0 0 0 0 7
0 0 0 0 7
0 0 0
0 0 0 0 0 0 7
0 0 0 0
0 0 0
0 0
0
m.s.p. with mallet
Perc.
( h)
j
0 0 0 0 0
0 0 0 0 0 0
Ó
0 0 0 0 0 0
0 0 0 0 0 0 7
0 0
0
0 0 0 0 0 0 7
0 0 0 0 0 7
0 0 0 0 7
0 0 0
0 0 0 0 0 0 7
Œ ‰
( h)
j 0 0
0
0 0 0 0 0 0
0 0 0 0 0
0 0 0 0
0 0 0
0 0 0 0 0 0 7
when both are in position
p.s.p.
88
Ó
0 0 0 0 0 0
Gtr.
æ
æ.
‰
0
0
o
F
p.s.p.
Perc. 0
0 0
0 0 0 0 0 7
0 0 0 0 7
0 0 0
0 0 0 0 0 0 7
( h) ægliss. æ
0 0 0 0 0 0 7
0 0 0 0 0 0 7
0
95
Gtr.
æ
2
4
.... .... ....
o
(p.s.p.)
Perc. 0 0
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
gliss. liss.
7
F
5
5
m.s.p.
0 0 0
0 0 0 0 7
æ
7
( h) æ
o
P
0 0 0 0 0 7
5
0 0 0 0 0 0 7
0 0 0 0 0 0 7
... ... ... ... ... ... ... 0
pp
0 0
0 0 0
0 0
0
æ
gliss.
4
o
s.p.
4
4
j
p.s.p.
æ æ æg æ
æ
æ2
2
0 0 0 0 0 0 7
0 0 0 0 0 0
0 0 0 0 0
0 0 0 0
‰
2
2
j
.... .... ....
0
-4-
0 0
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
æ
10
o
.
0
3
o
ord.
0
æ gliss. æ gliss. æ
0
5
P
( h) æ
æ
æ
5
0 0 0 0 0 0
æ gliss.æ 3
ord.
( h) æ æ
0 0
gliss.
0 0 0
( h) æ 4
0 0 0 0 0 0 7
0 0 0 0 0 7
0 0 0 0 7
æ glissæ
7
.
5
0 0 0 0 0 0 7
0 0 0 0 0 0 7
2
F
j
p.s.p.
.... .... ....
0
æ
5
o
P 0 0 0 0 0 0
0 0 0
0 0 0 0 7
0 0 0 0 0 7
0 0 0 0 0 0 7
0 0 0 0 0 0 7
... ... ... ... ... ... ... 0
0 0
(cont. as gtr. 2 desynchronizes)
CVII harmonics
3 4
102
Gtr.
j
P 7
7
7
7
7
7
F
7
7
7
7
7
P
Perc.
.... .... ....
0 0
0
0 0 0 0 0
0 0 0 0
0 0 0
0 0 0 0 0 0
. 3 .. 4 .. .
0 0 0 0 0 0
0 0
P 0
0 0 0 0
0 0 0
5
5
5
5
5
5
5
5
5
F 5
0 0 0
0 0
0 0 0 0 0 7
0 0 0 0 7
5
5
5
5
5
5
5
5
6
5
5
0 0 0 0 0 70
0 0 0 0 70
0 0 0 0 0 0
0 0 0 0 0 70
0
U
F gliss. mallet on gtr. body, prioritize resonance over timing
5
5
P
.. .. ...
0 0 0 0 0 0
.. .. ...
0 0 0 0 0 70
0 0 0 0 0 70
5
5
5
4
gliss.
3
3
3
3
3
3
3
3
3
3
.. .. ...
3
3
3
3
U
0 0 0 0 0 0
0 0 0 0 70
0 0 0 0
0 0 0
0 0
5
5
5
0
U
larger, slower mvt.
5
5
5
5
U
(s.p.)
Perc.
7
CIII harmonics
5
5
7
U
like a whale song
CV harmonics
107 5
7
desynchronize with gtr. 1
0 0 0 0 0 0
take other mallet
Gtr.
7
7
7
gliss.
s.p.
0 0 0 0 0 0 7
7
7
7
7
ord.
0 0 0 0 0 0
0 0 0 0 0 70
U
0 0
0
CI mute/harmonics
111
Gtr. 3
F
3
3
3
3
3
3
3
3
3
3 3
P
3
3
3 3
3
3 3
3
3
2
1
1
gliss.
p
1
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0
0 0
0 0 0
0 0 0 70
0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0
1
1
1
1 1
1
1
1
1 1
1
1
1
1
1
1
1
1
0 0
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
-5-
0 0 0 0 0 0
p 0
0 0
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0
0 0
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
1
1 1
s.p.
ord.
Perc.
1
1
0 0 0 0 0 0
repeat until perc. resynchronizes barely pitched, percussive mute
115
Gtr.
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
m.s.p.
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
pp tenderly
1
1
1
1
1
0 0
0 0 0 0 0 0
0 0 0 0 0
0 0 0 0
0 0 0
0 0 0 0 0 0
0
0 0
0 0 0 0 0 0
0 0 0 0 0
0 0 0 0
0 0 0
0 0 0 0 0 0
1
1
1
1
1
1
1
1
resynchronize with gtr. 1 pitched, but percussive on wooden bridge
m.s.p.
Perc. 0
:
:
1
1
0
0 0
0 0 0
1
1
1
0 0 0 0 0 0
0 0 0 0 0 0
0 0 0 0
0 0 0 0 0
1
1
1
1
1
1
0 0
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0 1
0 0 1
0 0 0 1
0 0 0 0 1
0 0 0 0 0 1
0 0
0
0 0 0 0 0
0 0 0 0
0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0
1
1
1
1
1
0
0 0
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
1
0 1
0 0 1
0 0 0 1
0 0 0 0 1
1
0 0
pp tenderly 0
0 0 0 0 0 0
0 0 0 0
0 0 0
119
Gtr. 1
1
0 0 0 0 0 0
Perc.
1
0
1
1
1
1
1
1
0 0
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0 1
0 0 1
0 0 0 1
0 0 0 0 1
0 0 0 0 0 1
123
Gtr.
pp 1
Perc.
0 0 0 0 0 0
1
1
Ó
to bass drum with superball mallet
1
1
1
1
1
0
1
1
1
1
1
1
1
1
1
1
0 0
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0 1
0 0 1
0 0 0 1
0 0 0 0 1
0 0 0 0 0 1
1
1
0
1
1
1
1
Ó
1
1
1
0
1
Ó -6-
1
1
1
1
1
1
1
1
1
1
1
0 0
0 0 0
0 0 0 0
0 0 0 0 0
0 0 0 0 0 0
0 0 0 0 0 0
0 1
0 0 1
0 0 0 1
0 0 0 0 1
0 0 0 0 0 1
1
1
1
1
1
1
1
1
Ó
o
Gtr.
= 50 iii.Undulating 4 T A B
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
a tempo
ppp barely touching string 1
1
1
1
1
1
1
1
1
1
t
to sine instrument 1
1
1
1
1
1
F
tw o
sine instrument
131
1
u
8.
Gtr.
1
bass drum superball mallet friction gliss.*
42
Perc.
rit.
h
F
w F
P
o
Perc.
t
136
Gtr.
F
rit. -
22
--------------------
22
l.v. take contact mic
Perc.
t¿ sim.
Perc.
t˙
146
Gtr.
Perc.
f
b˙
= 40
w o
F
U
match feedback pitch
gliss.
¿ F
feedback
f
F
f
F
bw
w
w
f
F
f
F
¿
141
Gtr.
h
P
P
P
gliss.
bw
w
-7-
¿ u
f
w
F w
f
T A B
hold guitar to speaker so that it feeds back guitar
151
Gtr.
Œ
T A B
1
3
1
4
F
1
1
1
f
F
f
P
159
Gtr.
F 0
0 0
0 0 0 0
0 0 0
2 0 0 0 0
4 0 0 0 0
P
Perc.
165
P 0
P
0 0
0 0 0
0 0 0 0
p
0 4 0 0 0 0
8.
Ó
Perc.
0 2 0 0 0 0
2 0 0 0 0
sine instrument
&
o
2 0 0 0 0
0 0 0 0
0 0 0
0 0
F w
w
0 4 0 0 0 0
P
0
con vib.
F
0 2 0 0 0 0
2 0 0 0 0
0 0 0 0
0 0 0
0 0
0
F
Gtr.
4
4
4
P
F
F
f
Perc.
gliss.
2
F
Ó
4 0 0 0 0
F
gliss.
P ˙
#˙
2 0 0 0 0
Ó
4 0 0 0 0
to sine instrument
o
0 2 0 0 0 0
2 0 0 0 0
0 0 0 0
0 0 0
0 0
0
˙
0 0
0
0 0 0 0
0 0 0
0 4 0 0 0 0
˙
P
#˙
œ
˙
#˙
171
Gtr.
F ˙ 0
Perc.
&
0 0
0 0 0
0 0 0 0
2 0 0 0 0
4 0 0 0 0
˙
F
˙
#œ
P ˙ 0
0 0
2 0 0 0 0
0 0 0 0
0 0 0
4 0 0 0 0
˙
#œ œ œ P
F œ 0
œ
0 0
0 0 0
2 0 0 0 0
0 0 0 0
œ
œ
F
4 0 0 0 0
œ
˙
3
177
Gtr.
P œ & 0
Perc.
0 0
0 0 0
˙
0 0 0 0
2 0 0 0 0
4 0 0 0 0
#œ P
œ
˙
F w 0
œ
0 0
0 0 0
0 0 0 0
2 0 0 0 0
4 0 0 0 0
w -8-
P w 0
0 0
0 0 0
0 0 0 0
2 0 0 0 0
4 0 0 0 0
o
Ó
slowly turn from instr.
V
183
Gtr.
p0 VÓ
Voice
Perc. Voice Body
(L) (R)
0 0 0 0
0 0 0
0 0
2 0 0 0 0
p w
˙
0
[hum]
( h) x
( h)
x
walking away, looking down
0
Ó
0
p
V #w 0
0 0 0 0
2 0 0 0 0
2 0 0 0 0
˙
p w
x
#w
0
[hum]
x
0
p
x
[hum]
[hum]
0 0
0
0
0
x x
x
0 0
0 0 0
0 0 0 0
0 0 0
Ó
0 0 0 0
0 0 0 0
p w
˙
0
sim.
p
#w
0
x x
0
0
x
x
0
x x
x
sim.
G
P
G. & P. Stg.
4 0 0 0 0
audience
189
Gtr. 0
0 0 0
0 0
repeat until perc. off stage
.. .
0 0 0
VÓ
Voice
˙ 0
0
p w
p
V #w 0
Perc. Voice (L) Body (R)
x
x
Ó
0
0 0
..
p
˙
p w
x
#w
0
p w 0
0
0
p
0
x
:
: 0 0
0
x x
x
0 0
:
:
p
0
x
x
0
#w
rpt. until off stage
0
x x
x
˙
:Ó
0
0
:
x x
x
4.
7. gently
Gtr.
U Ó
(Gtr.) Voice
U Ó
195
V
4 4
superball mallet 6 friction gliss.
p
Ó
˙
0
p
gliss.
Π#w
Ó
0
-9-
˙ 0
p
U
Π#w
0
Ó
˙
0
p
U
#w
Π0