The Architect (2014) - Lee Westwood by Lee Westwood

LEE WESTWOOD

THE ARCHITECT (2014)

FOR CHOIR

www.lee-westwood.com

ÂŠ 2014 Lee Westwood copyright control. All rights of this material reserved. Unauthorized copying or reproduction of this material in any form is prohibited.

THE ARCHITECT FOR CHOIR (2014) On writing a new work for the choir MusArc, who have a strong affiliation with the CASS School Of Architecture, I began to realise the role of the architect is comparable to that of the composer: they are both a thinker, a dreamer of ideas, who then have to mould this idea into a conclusive and meaningful form, still within the imaginary realm. The contours of this piece follow the journey of a creative process familiar to my own experiences... From out of the great humdrum of the subconscious, a single idea suddenly emerges. It is the seed of an idea. It grows in magnitude and seeming importance, being turned over and over in the mind, until this initial inspiration runs dry. There is a subsequent period of uncertainty during which creative direction is lost - static, ambling, unconfident. Eventually, a purpose becomes clear again, and the mind begins developing it, deconstructing it, reforming it, reinventing it, exploring its nature, and searching for its ultimate form. Finally, something clicks and things begin to sink into place - the idea is realised in its conclusive state, at rest, and ready to be brought into the physical world. L.W. 'The Architect' was commissioned by MusArc, under the Sound And Music 'Portfolio' scheme.

Score in C DURATION: c. 8'30â&#x20AC;?

CHORAL LAYOUT

PERFORMANCE NOTES

•

The layout of the choir shown above should be used to fascilitate the conductor's cue which sweeps across the choir from high to low (left to right). These cues are indicated by an arrow crossing the staves in the score.

•

All pitch and rhythm is approximate. The line of the stave represents the comfortable centre of the range of the singer. Anything above this is high, anything beneath is low. The distance of the note from the stave gives a rough visual indication of how high or low. In both phrases of the example above, the singer starts high, and moves steadily through to the bottom of their range.

•

Follow the written contours visually, and start each phrase on the conductor's cue. In the above example, the first box requires that a constant stream of rapid, descending notes is sung. The second box shows the same, except that the notes should get longer/less rapid, giving the impression of gradually getting slower. It is preferable, unless otherwise specified (e.g. rehearsal mark WW through to the end), for each person to perform the phrases in their own unsynchronised manner (without an overall pulse uniting the entire choir), thus creating the impression of a great swarm.

•

Straight lines between notes (as in the example above) indicate a gradual, even rising or sinking in pitch (glissando).

•

Arrows with dotted lines denote a gradual change, e.g. from staccato to legato, or from one vocal sound to another.

•

Throughout the piece, all boxed phrases are to be repeated until the end of the subsequent arrow. In the above example, the first boxed phrase is repeated until the conductor gives the cue to start the next boxed phrase.

•

At the beginning and at the end of the piece, the choir is required to produce a Shepherd's Tone (the illusion of a constantly-descending pitch). During these phases it is preferable for the middle range of the descending note to be the loudest, and for the ends to fade in and fade out (see above example).

•

X-noteheads are simply there for the sake of clarity, marking the beginning of phrases and the beginning of glissandi in the middle of a phrase.

•

At the end of the piece, a unison is required for the first time. In this case, it may be most practical to nominate one singer (a tenor) who will act as a guide pitch for others to follow.

•

Guidance on how to pronounce the vocal sounds used in the piece are given below the stave as they appear. Where no syllable is specified, the singer is to continue using the previous sound until a new one is indicated. Copyright © 2014 Lee Westwood 07504 033641 lee-westwood@hotmail.com www.lee-westwood.com

for MusArc

The Architect

THE SUBCONSCIOUS

* repeat your phrase independently, creating overall sonic chaos. Stop dead

c. 15"

Soprano 1

° & ¿

. ¿ 3

‰

du dud (as in dummy)

. ¿

q = c.90 on conductor's cue (B). Alto 1 should continue alone after the cue ff

Lee Westwood (Brighton, August 2014)

AN IDEA

c. 3"

‰

dud

Soprano 2

(as in too)

.j ¿ &

Alto 1

lu (as in love)

‰

& ¿

Alto 2

ne ne (as in never)

.j ¿

lu (as in love)

Y™ & ææ ‹ rrr ff

Tenor 1

(rolled) ff

& ¿ ‹ de

Tenor 2

de de de... (as in definite)

Bass

‰

bo (as in bottle)

* gradual shift from erratic entries to something more rhythmical and continuous. No synchronisation between singers

* gradual increase in percieved speed, and shift from staccato to legato

* gradual morphing from "lu" to "le"

E accel.

c. 6"

c. 4" staccato

.j ¿ ‰ Œ

° Sop. & 5

legato

.j .j .j .j ¿ ‰ ¿ ‰ ¿ ‰ ¿ ‰

(as in love)

.j Œ ¿ & lu ‰

.j .j .j .j ¿ ‰ ¿ ‰ ¿ ‰ ¿ ‰

staccato p

Bas.

lu lu lu lu lu...

p * as if slowing

.j ¿ ‰ Œ

legato

.j .j .j .j ¿ ‰ ¿ ‰ ¿ ‰ ¿ ‰

(as in love) staccato

le le le le (as in lesson)

le le le le...

(as in lesson) mf

& ‹

lu lu lu lu lu...

p * as if slowing

(as in love)

Ten.

legato

staccato

Alt.

.j ¿ ‰ Œ mf

(as in love)

lu lu lu lu lu...

le le le le... (as in lesson)

.j .j .j .j ¿ ‰ ¿ ‰ ¿ ‰ ¿ ‰

* as if slowing

legato

p * as if slowing le le le le...

(as in lesson)

G ° & ¿

Sop.

lu lu lu lu lu lu lu lu lu...

Alt.

& ¿

lu lu lu lu lu lu lu lu lu...

Ten.

& ¿ ‹ lu

? ¿ Bas. ¢

lu lu lu lu lu lu lu lu...

lu lu lu lu lu lu lu lu lu...

le le le le...

lu lu lu lu lu lu lu lu

le le le le...

* start the phrase on cue as conductor's hand sweeps from left to right (unmeasured). Descend through your range at an even, and gradual rate. At the end of the phrase, take a deep breath and start again. The beginning and end of the phrase should be very gentle, not marked!

(p)

° Sop. & 15

¿ lu lu lu lu...

& ‹

Ten.

¿ lu lu lu lu...

Bas.

c. 15" p

Alt.

¿ lu lu lu lu...

rit.

I °&

* pulse gradually begins to slow c. 15"

PULSE SLOWING

* conductor sweeps hand from left to right to cue long, descending note c. 15"

c. 20"

SING JUST ONCE

SING JUST ONCE p p mf

uuu (as in under)

PULSE SLOWING

niente

uuu

SING JUST ONCE

uuu (as in under)

PULSE SLOWING

SING JUST ONCE

SING JUST ONCE p p mf

SING JUST ONCE

& ‹

uuu

uuu (as in under)

PULSE SLOWING

* very slow, even descent

niente

uuu

SING JUST ONCE p p mf uuu (as in under)

SING JUST ONCE

uuu

STATIC

c. 8"

c. 5"

° &

c. 10"

Sop.

c. 5"

* whistle gently

Alt.

* whistle gently

* sparse, soft

* gently oscilate anywhere within a short, low range (approx. a minor 3rd wide) - follow pp visual contour in your own time, ad lib.

.j ¿ ‰ Œ p

& ‹

Ten.

Bas.

mmm (hummed)

° &

Alt.

Bas.

Y Y

Y -

mf -

Y Y Y Y

mmm

* settle on a steady pitch, and hold. Gradually morph from one sound to the other as your mouth widens c. 12"

c. 10"

* gently oscilate anywhere within a short, low range (approx. a pp minor 3rd wide) - follow visual contour in your own time, ad lib.

* gently oscilate anywhere within a short, low range (approx. a minor 3rd wide) - follow visual contour in your own time, ad lib.

mmm (hummed)

& Y ‹ ¢

mmm (hummed)

Ten.

c. 5"

Sop.

mmm (hummed)

* gently oscilate anywhere within a short, low range (approx. a pp minor 3rd wide) - follow visual contour in your own time, ad lib.

mmm

o (as in or)

mp aaa (as in ask)

aaa (as in ask)

mp aaa (as in ask)

niente

∑

S ° & 55

Sop.

(q = c.90 - measured)

∑

& Y

aaa

& Y

A.2

Œ Y™

aaa

& Y ‹ aaa

aaa

∑

aaa

∑

T.2

Œ Y™

& Y ‹ aaa

T.1

∑

Œ Y™

A.1

∑

* accents represent explosive, unvocalised consonants

aaa

te te te te... (as in test)

aaa

Y p

∑

aaa

∑

te te te te...

aaa

∑

aaa

U >f

∑

aaa

∑

* accents represent explosive, unvocalised consonants

Bas.

∑

>f ¿

te te te te... (as in test)

∑

te te te te...

Sop.

° & ¿ 64

V Œ

aaa

te te te te...

U ∑

∑

* accents represent explosive, unvocalised consonants

& Y™

A.1

aaa

te te te te... (as in test)

U ∑

* accents represent explosive, unvocalised consonants

& Y

A.2

aaa

& Y™ ‹

Bas.

& Y ‹ aaa

? Ó

* accents represent explosive, unvocalised consonants p f

aaa

te te te te... (as in test)

T.2

te te te te... (as in test)

T.1

U ∑

* accents represent explosive, unvocalised consonants p f

> ¿

U ∑

te te te te... (as in test)

>f ¿

te te te te...

>f ¿

te te te te...

Sop.

° & ¿ 68

Alt.

Ten.

Bas.

∑

U Ó

& ‹

∑

U Ó

∑

U Ó

° & 70

>f ¿

(sim.)

>f ¿

& ‹ ¢

te te te te... (sim.)

>f & ¿

Ten.

>f ¿

Freetime - unmeasured

te te te te...

Bas.

te...

Alt.

U Ó

Sop.

niente

te te te te...

>f ¿

te te te te...

(sim.) p

(sim.)

>f ¿

> ¿

>f ¿

> ¿

° Sop. &

> ¿

>f ¿

Alt.

>f ? Bas. ¢ ¿

>f ¿

> ¿

>mp ¿

> ¿

p mp

> ¿

p mf

>f ¿

> ¿

p mf

>f ¿

& ‹

Ten.

> ¿

p mf

>mf ¿

p mp

= ° & 76

Sop.

Alt.

Ten.

Bas.

niente

U ∑

& ‹

U ∑

* short moans, no attack, and fading swiftly out. Each phrase should be consciously a different note, and should slide about a minor 3rd in the direction indicated. Vowels should become more and more open between AA and DD

° & Y 78

S.1

(h = c.90 - measured)

U ∑

ooo

BB U Ó

∑

waa

∑

CC Yf aah

eee

* a very slow, gradual ascent - take your time between DD and FF

DD Ó

aaa

Slowly p

∑

aaa

(as in ask)

& Y p

S.2

U ∑

Y U Ó mp

∑

aaw

∑

aaa

niente

aaa

(as in ask)

& Y p

A.1

ooo

A.2

& Y Ó ‹ woh p

T.1

T.2

Ó & ‹ huh

? Y Bas. ¢ p

hoo

U ∑

U Y Ó

Y U Ó

doo

noh

sey

U Ó

deh

sah

bei

neh

Y U Ó

U Ó

dee

∑

kee

Y f

Y Y

dei

Ó Y

hee

∑

aaa (as in ask)

∑

aaa (as in ask)

niente

∑

aaa

niente

aaa

∑

aaa (as in ask)

dah

aaa (as in ask)

A DIRECTION

° &

Freetime - unmeasured niente

S.1

* new entries dovetailed, as if interrupting the previous phrase

do do do do... (sim.) (as in hoover)

S.2

& ¿

Alt.

Bas.

do do do do... (sim.) (as in hoover)

Ten.

& ‹

= HH pp

101

& ¿

Alt.

& ‹

Ten.

Bas.

° Sop. &

do do do do... (sim.) (as in hoover)

RÔ

¿ f

RÔ

° & 106

Sop.

Alt.

Ten.

Bas.

¿ ¿

U Ó

ki ki ki ki... (as in key)

te te te te... (as in test)

U Ó

ki ki ki ki...

& ¿ ‹

U Ó

UÓ

ki ki ki ki... (as in key)

U Ó

109

Bas.

U Ó

° Sop. &

Ten.

U Ó

Alt.

U Ó

& ‹

ki ki ki ki... (as in key)

¿ ne ne ne ne... (as in never)

U Ó UÓ

OO 112

Bas.

U Ó

do do do do... (as in hoover)

? ¿

U Ó

ne ne ne ne...

¿ ° Sop. &

(as in butter)

bu bu bu bu... (as in butter)

∑

de de de de... (as in definite)

bu bu bu bu... (as in butter)

de de de de...

¿ bu bu bu bu...

U Ó

& f

Bas.

de de de de... (as in definite)

U Ó

bu bu bu bu...

ppp

115

& ‹

Ten.

U Ó

ne ne ne ne... (as in never)

Alt.

¿ f

& ‹

U Ó

ne ne ne ne... (as in never) p

Ten.

° Sop. &

Alt.

U Ó

* unifying pulse is broken, the rhythms of each singer become unsynchronised again

* gradually all voices come together in a regular pulse

° Sop. &

119

Alt.

& ‹

Ten.

Bas.

ne ne ne ne... (as in never)

lu lu lu lu... (as in love)

ne ne ne ne... (as in never)

mu mu mu mu... (as in mutter)

ne ne ne ne... (as in never)

mu mu mu mu... (as in mutter)

* gradually all voices slow and come together in a regular semiquaver pulse

° Sop. &

rit.

122

Alt.

ne ne ne ne...

te te te te... (as in test)

& ‹

Ten.

Bas.

¿ p

le le le le... (as in lesson)

te te te te... (as in test)

ne ne ne ne...

te te te te...

te te...

te te te te... (as in test)

le le le le... (as in lesson)

te te te te... (as in test)

* start the phrase in your own time, as long as it begins on the beat. The pulse should strictly remain measured, synchronised with the group

(q = c.90)

Sop.

staccato p

°& ¿ 125

* pulse gradually begins to slow and elongate

Alt.

Ten.

p PULSE SLOWING

& ‹

? ¿ Bas. ¢

do do do do... (as in hoover)

SING JUST ONCE p p mf

c. 6"

niente

SING JUST ONCE

p PULSE SLOWING

niente

ooo (as in hoover)

SING JUST ONCE f

p PULSE SLOWING

* gradually finding a unison with chosen singer p

ooo (as in hoover)

do do do do... (as in hoover)

staccato p

c. 15"

ooo (as in hoover)

do do do do... (as in hoover)

staccato p

ZZ Still, calm

staccato

* conductor sweeps hand from left to right to cue long, descending note

rit.

do do do do... (as in hoover)

c. 20"

c. 15"

A UNISON

A CONCLUSION - SYNCHRONICITY

p PULSE SLOWING

ooo

SING JUST ONCE p p mf ooo (as in hoover)

* gradually finding a unison with tenors p

ooo

* pulse gradually begins to slow and elongate

* conductor sweeps hand from left to right to cue the phrase. The pulse should strictly remain measured, synchronised with the group

AAA

BBB

¿ Sop. °&

staccato p

A UNISON

DDD

CCC

rit.

A tempo (q = c.90)

137

* conductor sweeps hand from left to right to cue long, descending note

Still, calm c. 20"

c. 15"

c. 6"

SING JUST ONCE

c. 15"

PULSE SLOWING

p mf

niente

ooo

do do do do...

Alt.

& ‹

Ten.

staccato p

PULSE SLOWING

niente

ooo

do do do do...

SING JUST ONCE

PULSE SLOWING

do do do do...

p mf

* gradually finding a unison with chosen singer p

ooo

do do do do...

Bas.

SING JUST ONCE

p PULSE SLOWING

SING JUST ONCE p mf p ooo

* gradually finding a unison with tenors p

ooo

EEE

FFF

* conductor opens arms from centre to initiate unison across entire choir Still, calm c. 4"

* conductor sweeps hand from left to right to cue long, descending note c. 20"

° & 149

Sop.

* unison with tenors & basses pp

niente

ooo

& ‹

Bas.

* unison with tenors & basses pp

niente

ooo

niente

ooo

* gradually slowing, finding a unison with chosen singer..Pitch should be singable by everyone

ooo

SING JUST ONCE

c. 6"

ooo

SING JUST ONCE

Ten.

c. 4"

SING JUST ONCE

SING JUST ONCE Alt.

GGG

ooo

* gradually slowing, finding a unison with tenors pp

ooo