Keep still, the city can see you - for violin, synth and electronics [2022] by Matthew Grouse

MATTHEW GROUSE

Keep still, the city can see you for violin, keyboard and live electronics

(2022)

Keep still, the city can see you Matthew Grouse (for violin, keyboard and live electronics) 2022

Instrumentation: Violin (amplified and processed in Max MSP) - with foot pedal (MIDI or bluetooth) to trigger electronics Synthesizer (programmed in Max MSP) – with foot pedal (MIDI or bluetooth) to trigger electronics Live electronics

Memorisation: As the piece hinges on a particular performative situation where players attempt to hold eye contact with their partner without breaking focus, the piece should be performed from memory. It may be advisable to add your own audio reminders to your click track part. If doing so, remember to replace the click track audio file in the Max patch.

Notation explanations: (all other non-standard notation is explained in the body of the score / with footnotes) . Continue to loop / proceed with the boxed material until the end of the arrow . Unmetered bars (senza misura)

. Overpressure (o.p.) – x-noteheads direct the violinist to apply pressure with the bow to create a slightly distorted timbre. Half pitch, half noise. . Deranged laughing or crying in bar 69 –rhythmically free, lasting the notated duration. Extremely over the top

Max patch and electronics: Instructions for Max Patch usage are written in the patch itself. Some editing maybe be required to make sure the data streams of the MIDI or Bluetooth pedals are registered by the patch.

Equipment / props / staging: . Laptop running Max 8 (or newer) . MIDI Keyboard - 25 key (USB connection) e.g. Arturia Mini lab . Audio interface (minimum 2 ins, 6 outs) . PA – stereo pair of speakers, mixer, audio cables . 2x MIDI foot pedals OR page-turning Bluetooth pedals (MIDI pedals are preferable due to lower latency) . Violin microphone (DPA 4099 or similar) . Wireless transmitter (2 channels) for click tracks / audio scores . 2x wireless belt pack receivers . 2x pairs earphones – visually inconspicuous and with a little noise bleed as possible

Duration: ca. 10’

Stage plan and signal flow Performers should stand maximum 1 meter apart, facing eachother. They should be illuminated with focussed lighting, with a large enough spot to cover both stage positions (depicted by the yellow oval). Keyboard player clutches keyboard to chest (keys facing the violinist). Chords are played with the left hand (highest key of keyboard) and the high sounding E natural is played with the right hand (highest key of keyboard)

Position 2: Seated (facing audience)

Vln.

Kbd.

(w/pedal)

(w/ pedal)

Position 1: Standing, facing eachother as close as possible with colliding

Vln.

Speaker 1

Kbd. xv Speaker 2

STAGE

AUDIENCE

Input

Audio interface ins

Audio interface outs

Routed to

Main Audio from Max Synthesizer from Max

USB connection (or other) laptop-interface USB connection (or other) laptop-interface

Outs 1&2

Mixer ins 1 & 2 > Main outs > speakers Mixer in 3 > Main outs > speakers

Violin mic

Input 1 (with 48v phantom)

(DPA 4099 or similar)

Click track audio from Max

USB connection (or other) laptop-interface

Other peripherals MIDI Keyboard MIDI foot pedals

Laptop Connected via USB Connected via USB

Wet signal > Out 3 (mono – panned in Max) Wet signal > Out 4 (mono – panned in Max) Outs 5 and 6

Mixer in 4 > Main outs > stereo speakers

> wireless receivers (ch 1 and 2) > belt packs

Other info

It is important that the mic is unidirectional and doesn’t significantly pick up sounds external to the violin Use earphones that avoid noise bleed and are inconspicuous visually

Keep still, the city can see you Matthew Grouse b.1996 SI TUATI ON: Performers stand perfectly still, facing eachother, as close as possible. When given the notated 'eyes open' symbol, performers stare intensely into eachother's eyes, trying not to blink (like a staring contest). Performers should as far as possible avoid looking elsewhere (e.g. at their instrument, the sheet music, the foot pedal) 4 x q click countin

q = 50 (with click beating in q) EYES CLOSED

° & 32 Violin Foot pedal (triggers electronics)

EYES OPEN

o w-

sine tone synth

∑

™™

Foot pedal (triggers electronics)

™™

3 2

∑

3 2

∑

™™ ™ ™

3 2

∑

G.P.

5 4

˙- ™

-˙ ™

˙ 2 4

∑

3 4

∑

3 4

5 4

∑

2 4

∑

3 4

noise + low freq. saw tooth

Field recording: Train station ambience

2 4

∑

3 4

™™ 5 ˙ ™ 4

(different frequency oscillations & noise ﬁlterings with each repeat)

Do not blink!

≥ -˙™

3 4

2 4

click stops

≥ -˙™ ° 3 ¢& 4

∑

2 4

5 4

1 9

3 4

∑

Field recording: Train station ambience (different recording with each repeat)

Vln.

∑

2 4

5 4

......

Electronics

3 4

{

∑

EYES OPEN

° ¢& 32 w &

G.P.

2 4

5 4

Sounding

5 4

™ ™

mf 3 2

EYES CLOSED

Keyboard

™™

-˙o ™

4 x x click pickup

œo

≥ -˙™

click begins

pppp

G.P.

2 4

∑

3 4

Do not blink!

Kbd.

° ¢& 34

-œ -œ R ‰™ R ‰™ 7

-œ -œ -œ -œ -œ R ‰™ R ‰™ R ‰™ R ‰™ R ‰™ 9

-œ -œ R ‰™ R ‰™ 14

pppp

G.P.

2 4

Xœ

∑

3 4

C#m

Sounding

Elecs.

{

& ?

3 4

F#7

r ™ r ™ r ™ œ ‰ œ‰ œ‰ ## œœ- ## œœnn œ-œ r ™ r ™ r ™ #œ- ‰ œ- ‰ œ- ‰

r ‰™ b œœœ r nœ- ‰™

Am7

r ™ r ™ œ ‰ œœ ‰ œ-œ # œr ™ r ™ œ- ‰ œ ‰ -

Edim7

F#m7

r ™ r ™ r ™ œ ‰ bb œœœ‰ œ ‰ n œœœ# œœr -œ ‰™ Œ #œ- ‰™ R

X ∑

2 4

∑

3 4

2 4

∑

3 4

ﬁeld recording + speaking voice

3 4

∑

Xœ

2 4

∑

3 4

ambience in a coffee shop

Speaking voice: Personal reﬂections discussing moving to a new place, and the difﬁculties of adjusting / settling (randomly chosen from a bank of responses)

Staring intensely into eachother's eyes, keeping as still as possible. Try not to blink for as long as physically possible. When you have to blink, press the right pedal on your bluetooth pedal in time with your blink (explained in more detail at the bottom of the page) BLINKS: When you can no longer physically resist the urge to blink, close the eyes tightly for ca. 1" before immediately reopening the eyes widely to stare into your par tner's eyes (this makes the blinking slightly more visually obvious) Violin: Every time you blink, stop brieﬂy to tune your E string down a tiny bit (approx. 10-15 cents each time) before joining in again on the next possible downbeat (again trying not to blink for as long as possible). Keyboard: When you blink try to continue playing entirely uninterrupted. Maintaining the musical ﬂow is the goal.

Vln.

14 ≥ -˙™ ° 3 ¢& 4

≥ -˙™

pppp

-œ -œ -œ -œ -œ -œ -œ -œ -œ ° R ‰™ R ‰™ R ‰™ R ‰™ R ‰™ R ‰™ R ‰™ R ‰™ R ‰™ ¢& 34 pppp 17

Kbd.

{

° ¢& ° ¢& 19

Vln.

Kbd.

{

Kbd.

Vln.

r ‰™ r ‰™ bb œœœœ # œœœ r ? Œ #œ- ‰™

° ¢& ° ¢&

{

& ?

≥ -˙™ -œ -œ -œ R ‰™ R ‰™ R ‰™ F#m7

r ™ œ‰ œ-œ r œ- ‰™

≥ -˙™ 47

r ™ œ‰ œ-œ r œ- ‰™

Am7

r ‰™ œ # œœr œ- ‰™ E7

r ‰™ b œœœ r nœ- ‰™ C7

r ™ r ™ œ ‰ n œœ ‰ œ-œ # œr r œ- ‰™ œ ‰™ -

Am7

r ™ r ™ r ™ œ ‰ n œœ ‰ œœ ‰ œ-œ # œn œr ™ r ™ -œ ™ nœ- ‰ œ ‰ R ‰ E7

r ™ r ™ œ ‰ bb œœœ ‰ n œœœœ- ‰™ Œ R Edim7

≥ -˙™ -œ R ‰™ 38

F#m7

Edim7

F#m7

{

r ™ œ‰ # œ # œr #œ- ‰™

r ™ œ‰ n œ-œ r œ- ‰™

r ‰™ b œœœ r nœ- ‰™

Am7

F#7

r ‰™ b œœœ r nœ- ‰™ C7

-œ -œ -œ R ‰™ R ‰™ R ‰™ 54

Edim7

F#m7

° ¢&Triggering electronics in time with your own blinks:∑ ° I f you blink ∑ & ¢

Foot pedal (triggers electronics)

r ™ r ™ œ ‰ n œœ ‰ œ-œ # œr r œ- ‰™ œ ‰™ -

Am7

≥ -˙™

r ™ r ‰™ r ‰™ œ‰ œ œ n œœ- bb œœœ# œœr -œ ‰™ Œ #œ- ‰™ R Em

-œ -œ -œ -œ -œ -œ R ‰™ R ‰™ R ‰™ R ‰™ R ‰™ R ‰™

≥ -˙™ -œ -œ -œ -œ -œ R ‰™ R ‰™ R ‰™ R ‰™ R ‰™

≥ -˙™

r ‰™ r ‰™ r ‰™ œ bb œœœœ # œœœ #n œœ-r r Œ #œ- ‰™ œ ‰™ Edim7

r ™ œ‰ œ # œr #œ- ‰™ F#m7

r ™ r ‰™ r ‰™ œ‰ œ œ n œœ- bb œœœ# œœr -œ ‰™ Œ #œ- ‰™ R Em

-œ -œ -œ -œ -œ R ‰™ R ‰™ R ‰™ R ‰™ R ‰™ 49

≥ -˙™ -œ -œ -œ R ‰™ R ‰™ R ‰™

≥ -˙™

-œ -œ R ‰™ R ‰™ Am7

Sounding

F#7

Vln.

3 4

Edim7

Sounding

r ™ r ™ r ™ r ™ œ‰ œ‰ œ‰ œ‰ ## œœ- ## œœ- nn œ-œ b œœ? 3 #œr ‰™ œr ‰™ œr ‰™ nœr ‰™ 4 C#m

Sounding

∑

Foot pedal (triggers electronics)

∑

≥ -˙™ -œ R ‰™ 44

r ‰™ œ # œœr œ- ‰™

r ™ œ‰ n œœœ- ‰™ R

-œ -œ R ‰™ R ‰™ 45

r ™ r ‰™ r ‰™ œ‰ œ œ n œœ- bb œœœ# œœr -œ ‰™ Œ #œ- ‰™ R Em

Edim7

F#m7

≥ -˙™ -œ -œ -œ -œ -œ R ‰™ R ‰™ R ‰™ R ‰™ R ‰™ 57

r ™ r ™ r ™ œœ ‰ bb œœœ‰ œ ‰ œœ# œœr -œ ‰™ Œ #œ- ‰™ R

r ™ œ‰ œ-œ r œ- ‰™

Edim7

F#m7

r ‰™ r ‰™ r ‰™ œœœ bb œœœœ # œœœ -r r ™ Œ ‰ #œbœ- ‰™ Edim7

F#m7

attacca (next page)

I f you blink

As before, except for the following change for violin: Violin: With each blink, stop brieﬂy and alternate between tuning down your E string or D string respectively (approx. 10-15 cents each time) before joining in again on the next possible downbeat (again trying not to blink for as long as possible).

q = 40 (click beating in q) click stops

click begins

4 x x click pickup (into new tempo)

œo

ord.

° ¢&X 29

Vln.

(click beating in e)

∑

6 4

3 4

œ™ ˙

∑

6 4

3 4

-œ -œ -œ -œ -œ -œ -œ -œ -œ J ‰J‰J‰ J ‰J‰J‰ J ‰J‰J‰ 63

° ¢&X œ

œ™ ˙

pppp

Kbd.

œ œ™ ˙ 64

F#7

Em7

pppp

œ Sounding

{

& ?

Am7

X ∑

∑

3 4

6 4

∑

3 4

∑

3 4

j j œ ‰ œœ ‰ œ-œ # œj j œ- ‰ œ ‰ -

C#m7

Edim7

j ‰ j # œœœ b œœœ n j j œ- ‰ nœ-

j ‰ j ‰ œ b œœœœ œ-œ j ‰ Œ #œ- ‰ ‰

F#m7

j œ # œœj #œ-

‰ œj ‰ œj ‰ œœ # œœ j ‰ œ- ‰ -œ ‰ J

ﬁeld recordings + speaking voice

/X œ

Elecs.

6 4

∑

Park ambience + football match crowd

Speaking voice: Personal reﬂections discussing moving to a new place, and the difﬁculties of adjusting / settling (randomly chosen from a bank of responses)

° œ™ ˙ ¢& œ 34

Vln.

Am7

Sounding

œ™ ˙

œ -œ -œ -œ -œ -œ -œ ° J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ ¢& 72

Kbd.

œ™ ˙

{

j j œ ‰ œœ ‰ n œ-œ # œ? nœj ‰ œj ‰ &

° ¢&

C#m7

j ‰ # œœœ j œ- ‰

j œœ b n œj nœ-

Edim7

j ‰ j ‰ œ b œœœœ œ-œ j ‰ Œ #œ- ‰ ‰

œ œ™ ˙

œ™ ˙

œ -œ -œ -œ -œ -œ -œ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 78

F#m7

j œ œ # œj #œ-

F#7

Am7

‰ œj ‰ œj ‰ # œœ n œ-œ j j ‰ œ- ‰ nœ- ‰

C#m7

j ‰ j ‰ j ‰ œ œ œ # œœœ # œnb œœj j j œ- ‰ œ- ‰ nœ- ‰

œ -œ -œ -œ J ‰ J ‰ J ‰ 84

Edim7

F#m7

j ‰ j ‰ j ‰ œ œ bb œœœœ œ-œ # œœj j Œ #œ- ‰ œ- ‰

Vln.

œ™ ˙

Am7

Sounding

œ™ ˙

œ - - -œ -œ -œ ° œJ œJ œJ J ‰ J ‰ J ‰ ‰ ‰ ‰ & ¢ 87

Kbd.

œ œ™ ˙

{

& ?

C#m7

j j j œ ‰ n œœ ‰ # œœ ‰ œ-œ # œœj j j nœ- ‰ œ ‰ œ ‰ -

Edim7

j j j œ ‰ b œœœ ‰ œ ‰ nb œœœœ-œ j j nœ- ‰ Œ #œ- ‰

œ™ ˙

œ -œ -œ -œ J ‰ J ‰ J ‰ 93

Am7

C#m7

j j j œ ‰ n œœ ‰ # œœ ‰ œ-œ # œœj j j nœ- ‰ œ ‰ œ ‰ -

œ œ™ ˙

œ -œ -œ -œ -œ -œ -œ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 96

j œ nb œœj nœ-

Edim7

Am7

j ‰ j ‰ œ b œœœœ œ-œ j ‰ Œ œ- ‰ ‰

100

C#m7

101

j ‰ j ‰ j ‰ œ œ # œœœ #n œœnb œœj j j œ- ‰ œ- ‰ nœ- ‰

q = 70 (click beating in q)

4 click stops

° œ™ ˙ & ¢ œ - - ° œJ œJ œJ ¢& ‰ ‰ ‰

Vln.

102

Kbd.

103

104

œ™ ˙ 105

106

X mf

œ -œ -œ -œ J ‰ J‰ J‰ X

2 8

∑

2 8

∑

Sounding

{

C#m7

Am7

& ?

4xx click pickup

œo

108

8 4

3 2

8 4

3 2

8 4

3 2

8 4

3 2

8 4

3 2

109

Xœ

F#7

j j j j j j œ ‰ œœ ‰ # œœ ‰ œ ‰ œœ ‰ # œœ ‰ œ-œ # œ- œn œ-œ # œ- # œj j j j j œ- ‰ œ ‰ œ ‰ œ- ‰ œ ‰ #œj ‰ - -

X ∑

2 8

∑

2 8

∑

noise + low freq. saw tooth

Elecs.

click begins

107

mf Am7

click stops

4 x x click pickup

œo

ord. 44

click begins

∑

ﬁeld recordings and speaking voice

Xœ

∑

......

2 8

Sim. (new voice)

Xœ

Concert hall chatter from different venues (ﬁltered) Outside restaurant ambience + underground tube station + street party

Speaking voice: Personal reﬂections discussing moving to a new place, and the difﬁculties of adjusting / settling (randomly chosen from a bank of responses)

The rules from sections 2+3 are no longer in effect. Blinks and pedal presses are now notated and ﬁxed. Your pedal press is synced with your par tner's blinks. Only blink at the notated points (in unison with your par tner's pedal presses). I f your par tner accidentally blinks at an unindicated moment, don't react with a pedal press Violin: Between each entrance, tune both the E and the D down (approx. 10-15 cents each time) Keyboard: With the violinist's pedal presses, in addition to the incremental bit-crushing and pitch shifting, the attack of the chords no longer results in the notated pitches sounding immediately. I nstead, the destination pitch of every voice of the chord is reached following a glissando, which begins on a single pitch taken from the previous chord. Each time the pedal is pressed, the length of this glissando between chords increases.

ord.

≥

≥ œ œ JD ° œ ‰Ó & 32 œœ œ œ œ œ … pppp poco a poco cresc. ∑ ¢ 32 50

Vln. Foot pedal

D œ œ œ ™ œ œ œœ œ œ œ œ œ œ œ™ J œ …

BLI NK! **

mute strings

-˙

BLI NK! **

Kbd.

Sounding

Foot pedal

Elecs.

° ¢& 32

{

& ?

-˙

110

-˙

111

112

113

j D˙ ‰ Œ -

114

∑

115

116

j D˙ ‰ Œ -˙ -

117

-˙

118

pppp poco a poco cresc. Em7

Edim7

Am7

3 2

˙˙ ˙-˙

b ˙˙˙ n˙-

b ˙˙˙˙ Ó

˙ ˙-˙ #˙-

˙ ## ˙˙˙-

n ˙˙˙ ˙-

˙ n ˙-˙ n˙-

3 2

........ Œ ‰ ¿.j ¿j ¿.j ¿j ‰ Œ Ó ˘

3 2

/ 32 Ó

........ Œ ¿.j ¿j ‰ Ó

j ¿ ‰Œ

.j ¿ ˘

C#m7

‰

6 J

F#7

˙ ## ˙˙#˙-

F#m7

˙ n ˙˙ ˙-

∑

* - Wildly throw an arm out as if your body has suffered a violent, involuntary spasm and then restrain it immediately (it is completely ﬁne if this looks awkward on account of holding your violin and bow). See score video 2 for an example. ** - Blinks should be exaggerated and almost violent (the eyelids should close and reopen within the space of a e )

molto sul tasto

≥ D ° ≥3 œ œ œ J‰Ó & œ œ œœ œ œ …

D œ œ œ J ‰ œ œ œ œ > œœ ™™ œœ ™™ J … mf p mf p

Vln. Foot pedal

p poco a poco cresc.

j D˙ ‰ ° ¢& p-

Sounding

Foot pedal

{

-˙

120

121

j D˙ ‰ Œ -

122

-˙

123

Edim7

˙˙ ˙˙-

b ˙˙˙ n˙-

b ˙˙˙˙ Ó

˙ ˙-˙ #˙-

˙ ## ˙˙-

j ‰ ¿ /

Œ Œ ¿.j ¿j ‰ Ó

j ¿ ‰Œ

........

124

C#m7

≥3 œ œ D œ J‰Ó œœ œ œ œ œ …

Vln. Foot pedal

j ˙ D ° ¢& 128

Kbd.

‰

Œ ˙

-˙

129

130

˙Ó

Œ ‰ ¿.j ¿j ¿.j ¿j ‰ Œ Ó ˘

j D˙‰ Œ -

131

-˙

126

˙ n ˙-˙ n˙-

127

F#7

F#m7

˙ ## ˙˙#˙-

6 J

‰

j D˙ ‰ Œ -˙ -

125

Am7

œ œ œœ œ œ

˙ n ˙˙ ˙-

∑ ........

.j ¿ ˘

≥

° &

∑

n ˙˙˙ ˙-

poco sul pont. 56

Em7

.j ¿ ˘

Elecs.

Œ ˙

119

Kbd.

> j œ

D J œ œœ ™™ œœ œœ ™™ œ … 5

-˙

132

∑ 6

133

134

135

-˙

j D˙‰ Œ -˙ -

136

Sounding

Foot pedal

{

Em7

Edim7

˙˙ ˙-˙

b ˙˙˙ n˙Œ

b ˙˙˙˙ Ó

˙ ˙-˙ #˙-

˙ ## ˙˙˙-

& ?

j / ¿

.j ¿ ˘

Elecs.

Œ Œ ¿.j ¿j ‰ Ó

ord.

≥ ° ≥ 3 œœ & œœ œœ œ œ 59

Vln. Foot pedal

.j ¿˘

D J ‰ Ó …

j D˙ ° ¢& -

‰

-˙

138

139

6 140

Am7

F#7

n ˙˙˙ ˙Œ ‰

˙ n ˙-˙ n˙-

˙ ## ˙˙#˙∑

6 J

F#m7

˙ n ˙˙ ˙-

........ Œ ‰ ¿.j ¿j ¿.j ¿j ‰ Œ Ó ˘

mf 137

Kbd.

j ¿‰Œ

........

‰

C#m7

> œœ ‰ œj œœ œ œ œ œ > œœ ™™ ˙˙ J ff mf

j D˙ ‰ Œ -

ff mf

-˙

141

142

Sounding

Foot pedal

Elecs.

{

& ?

Em7

Edim7

˙˙ ˙-˙

b ˙˙˙ n˙Œ

b ˙˙˙˙ Ó

˙ ˙-˙ #˙-

.j j ¿  / ¿˘

‰

Œ .j ¿j ‰ Ó ¿ ........

C#m7

˙ ## ˙˙˙-

n ˙˙˙ ˙∑

.j j ‰ Œ  ¿ ¿˘

Final de-tuning (don't adjust tuning after this point)

Ä ° D ‰ Œ & J … Œ ¢ 6 j ‰ Œ D˙ ° ¢& 61

Vln. Foot pedal

‰

Sounding

Foot pedal

{

≥

œ œ œ j œœ ≈ œ œ œ œ œ œ œ œ

-˙

145

F#7

˙ n ˙-˙ n˙6

≥

144

Am7

≥

fff

143

Kbd.

>≤j œ

j ‰ Œ ¿ / ˘

F#m7

˙ ## ˙˙#˙Ó

˙ n ˙˙ ˙Ó

Ó ≥

........

.j ¿

Elecs.

° œ & 62

Vln. Foot pedal

j D˙ ° ¢& 146

Kbd.

> ≥ ≈ ≈ œ j œœ 3 >Œ ‰ Œ

≥

œ ≈ ≈ œ œ œœ œ œ œ œ

(ord.) 3

j ˙ œ ˙

-˙

148

147

Sounding

Foot pedal

{

Elecs.

& ?

Em7

Edim7

˙˙ ˙-˙

b ˙˙˙ n˙-

b ˙˙˙˙ Ó

. j / ¿j ¿˘

° œ & œ 63

Vln. Foot pedal

∑

Foot pedal

{

150

˙ ˙-˙ #˙Ó

j ‰ Œ ¿ / .j ¿ ˘

j D˙ ‰ Œ C#m7

........

Elecs.

Sounding

o.p. o.p. o.p. D ord. D ord. D ord. o.p. D ord. D ≤ ≤ ≤ œ ™ ¿ œ œ™ ¿ œ œ ™ ¿ ≤ œ œ™ ¿ œ™ ¿ œ œ™ ¿ œœ œœ ™™ ¿¿ œ œ™ ¿ o ê (fff) o ê o ê o ê

j D˙ ‰ Œ ° ¢& &

* o.p.

149

Kbd.

‰

˙ ## ˙˙˙6

j ¿ ‰ Œ ........

.j ¿ ˘

151

j D˙ ‰ Œ -

152

j D˙ ‰ Œ -

Am7

n ˙˙˙ ˙6

˙ n ˙-˙ Œ

j ¿ ‰ Œ ........

.j ¿ ˘

n˙6

153

F#7

j ¿ ‰ Œ ........

.j ¿ ˘

* overpressure bowing (half pitch, half noise)

˙ ## ˙˙#˙6

j D˙ ‰ Œ F#m7

j ¿ ‰ Œ ........

.j ¿ ˘

154

˙ n ˙˙ ˙6

j ¿ ‰ Œ ........

.j ¿ ˘

o.p.

œœ œœ ™™ ¿¿ o ê

j D˙ ‰ Œ -

≤ ord.

5 7

Very fast, erratic, exaggerated blinking (as if attacked by constant camera ﬂashes). Keep going until the end of the thick arrow

D. . . . .

ad lib. durations of both swells and pauses - loop the gestures in any order moving gradually from ord. to overpressure with each swell. ad lib. bow position between sul pont. and sul tasto

, œ¿ ≤ , œ≤ ¿, ≤ , ° ™ í ¢& X ™ R œ ¿ r ˙¿ o êo ê o ê

≤ ,≤ ≤ r , œ¿ œœ ™™ ¿¿ œ œ o ê o êo

Vln.

r ™î ¿ ™ ¿

(Voice) Deranged laughter

(h.)

continue until the end of the arrow

G 32

>) ™

fposs.

ferocious D. .erratic, ... Very fast, erratic, exaggerated blinking (as if attacked by constant camera ﬂashes). Keep going until the end of the thick arrow

° ¢&

155

Kbd.

w- ™

156

w- ™

157

-˙ ™

158

159

Em7

Sounding

{

w w ™™™ w w- ™

Edim7

bw w ™™™ w nw- ™

bb w ww ™™™™ w ∑

Ó™

C#m7

w ™™ w-w ™ #w- ™

˙™ ## ˙˙- ™™ ˙- ™

Ó™

Cacophony of no-input mixer, percussive impulses and chopped up voices

(h.)

Elecs.

( fff)

Vln.

poco a poco trem.

œ≤ œ ˙ ‰ !G J o

3 2

ffff

trem. (as fast as possible)

w æ æ

(Keyboard)

Kbd.

° ¢&

w- ™

Sounding

Elecs.

{

& ?

w- ™

Am7

w™ #w w- ™™ w- ™

w- ™

162

161

160

Ó™ ! í

continue to ad lib. violent open string swells as before

° í ™≤ , ≤ , ™î ™ ¢&X ™ o êo ê 70

>) ™

fposs.

fff

(Voice) Deranged crying

w ™ n w-w ™™ w™ -

w ™™™ #w ww- ™

w ™™™ w w w™

Cacophony continues

! í

TUTTI : Turn head sharply to face audience on beat 1

10"

° ¢& X 74

Vln.

° Kbd. & ¢ X

Using the click-track (notated below), blink in time with the percussive impulses Eyes wide open between blinks

DDDD Æ

D D D D Æ

D Æ

Using the click-track (notated below), blink in time with the percussive impulses Eyes wide open between blinks

DDDD , D D D D , D , Æ Æ

D, D Æ

(notated on the playback stave),

¿.

Three fast clicks before every blink / percussive impulse (speed is Ke at q=155)

Click track

Elecs. Playback

/ /



X , ¿ ¿ ¿ ‰ , ¿. ¿. ¿. ¿. X percussive impulses

,  ¿. ¿. ¿. ¿. ¿.

,  ¿. ¿.

click stops, audioscore instructions begin

TUTTI : Move calmly to stage position 2, sit on the chair, facing forwards and wait for audio-score instructions. Put instrument on your lap. (start moving as soon as you hear the audio score start)

Ä ° ¢&

ca.20"

Vln.

U ∑

ca.20"

° Kbd. & ¢

U ∑

Field recording of a serene forest fades in

Elecs.

/ œo

Timecodes when audio score instructions start

6'58"

U I NSTRUCTI ONS

I NSTRUCTI ONS

(a brief summary of each instruction is given as audio score)

1. When you hear "go", over 7", bring your hands infront of your face, completely covering your features from the audience (for timing each gesture, you will hear a count from 1 to 7, the action should stop ON 7)

Speaking voices enter, layered on top of ﬁeld recording

œ Speaking voices: A series of personal reﬂections on the process of getting acquainted with and feeling at home in a new place (randomly chosen from a bank of responses)

7'09"

° ¢&

(a brief summary of each instruction is given as audio score)

7'19"

Vln.

Kbd.

Elecs.

° ¢& / ° ¢&

2. When you hear "go", over 5", slowly turn your hands outsides revealing your face to the audience

U 2. When you hear "go", over 5", slowly turn your hands outsides revealing your face to the audience

7'29"

3. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

3. When you hear "go", over 5", slowly bring your hands infront of your face again, completely covering your features from the audience

7'39"

Vln.

4. Hidden by your hands, change your facial expression to a mild smile (not showing teeth). When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

5. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

U Kbd.

Elecs.

° ¢&

4. Hidden by your hands, change your facial expression to mild sadness/ disappointment. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

/ 7'49"

° ¢&

U 5. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

7'59"

Vln.

6. Hidden by your hands, change your facial expression to moderate sadness/disappointment. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

7. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

U Kbd.

Elecs.

° ¢& /

6. Hidden by your hands, change your facial expression to a moderate smile (showing teeth). When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

U 7. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

8'09"

° ¢&

8'19"

Vln.

8. Hidden by your hands, change your facial expression to a manic, extreme smile (baring teeth). When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

9. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

U Kbd.

Elecs.

° ¢&

8. Hidden by your hands, change your facial expression to manic, extreme sadness/disappointment. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

U 9. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

/ 8'29"

° ¢&

8'39"

Vln.

10. Hidden by your hands, change your facial expression to one of total confusion. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

11. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

U Kbd.

Elecs.

° ¢&

U 11. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

10. Hidden by your hands, change your facial expression to one of complete disgust. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

/ 8'49"

° ¢&

8'59"

Vln.

12. Hidden by your hands, change your facial expression to something extremely silly. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

13. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

U Kbd.

Elecs.

° ¢&

12. Hidden by your hands, change your facial expression to something extremely silly. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

U 13. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

/ 9'09"

° ¢&

9'18"

Vln.

14. Hidden by your hands, change your facial expression to something contrastingly silly. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

15. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

U Kbd.

Elecs.

° ¢& /

14. Hidden by your hands, change your facial expression to something contrastingly silly. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

U 15. When you hear "go", over 5", maintain the facial expression and slowly bring your hands infront of your face again, completely covering your features from the audience

10 9'29"

TUTTI : Maintain the position until you hear "END" in your audioscore, at which time you can relax

16. Hidden by your hands, close your eyes and return your facial expression to neutral. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

Hold still in this position until the end of the piece

° Kbd. & ¢

16. Hidden by your hands, close your eyes and return your facial expression to neutral. When you hear "go", over 5", slowly turn your hands outwards revealing your face to the audience

Hold still in this position until the end of the piece

Vln.

° ¢&

U ca. 3"

Elecs.

ﬁeld recording and voices fade out

U ∑

Copenhagen, April 2022