Second Song for Many (2019)

second song for many (2019)

Tim PARKINSON

Sample performance for Not

The score consists of 75 bars of 6’ each, in sections listed A-O, for Audio Track, Continuo, and Ensemble with Conductor.

A Conductor uses a stopwatch to signal each bar.

Audio Track - A 1” beep (f5) every 30”, beginning at the second before 0’00”. The beeps may act as an audio cue for each section (except for the central sections F-J where they continue strictly in 30” intervals). This part may be prerecorded audio track, or may be performed live by one person playing an electronic beep (sine tone or other waveform on a keyboard) using a stopwatch to keep strict time.

Continuo - Instrument may be any type of keyboard, (e.g. piano/electric keyboard/accordion/reed organ); or 2 keyboards; or treble clef may be keyboard and bass clef a pair of matching instruments (e.g. 2 clarinets/2 bassoons/2 violas/cellos)

Treble clef melody plays quietly, legato and continuously from start to ﬁnish. Bass clef chords may be held until the next, or there may be rests in between. For both clefs the rhythm is very approximate, imprecise, irregular. Notation given is approximate number of notes per unit. Meandering, hesitating, for itself.

The continuo may be positioned separately from the ensemble, to one side, but not offstage.

Ensemble - Texts are given to provide rhythms for tapping on instruments (A-E), with stones (K-O), and for whispering. Texts are a list of recently extinct species (A-E & K-O); and a text about the middle of the piece (F-J). (From A-E texts are identical for all parts. K-O texts differ amongst the parts.)

Section A - E A - tap the rhythm of words on the body of an instrument. The sound should be unpitched, dry and unresonant (no bells), the sound of the material of the instrument (wood, metal, etc). Quietly, gently. B - tap as before + whispering the word

Tapping and whispering should be at any point within the 6 second unit. Strict coordination is not necessary, as if saying a communal prayer.

C - whispering D - tapping E - tapping and whispering Sample Section F-J There are 4 parts. At least one performer on each part. Parts may be transposed to different octaves if wished, but the lowest sounding part must be the bass. performance Play the given notes on instruments in the rhythm of the words as if they were spoken aloud. (Think the words to oneself while playing.) As before, strict ensemble coordination is not necessary, as if reading the words aloud to oneself in a group. The result should be brief moments of consonant heterophony seperated by silences between the sentences. Relaxed, calm, gentle. for The placement within each bar is important. The sentences are not equidistant. The conductor may signal each sentence.

Section K-O K - as Section A before, except instead of tapping instrument, tap two small stones together, quietly, gently. L - tap stones and whisper M - whispering N - whispering words as before, but tap stones once at beginning of unit. (Precise coordination not necessary, as before) O - tapping as NNot

second song for many is a sequel to song for many (2011) Duration 7.5 minutes Commissioned by COMA Programme Note “second song for many” is a sequel to “song for many” which was made in 2011 for the Edges Ensemble. In both works, the sound of speech is a part of the overall sound material, although the speciﬁc texts used are not required to be intelligible to an audience.

“song for many” is a loud piece, which uses a text from a consumer survey to be shouted by half the ensemble. “second song for many” is a quieter piece which uses a list of recently extinct species to create a more delicate atmosphere. A different song for a different many.

Biography Tim Parkinson (b.1973) has consistently pursued an independent path, seeking to engage with whatever it means today to be a functioning composer in the world. His music has been described as "reconstructing music from the ground up", and "sounding like nothing else", the work invariably returning to fundamental propositions about the meaning of sound. He has been associated with other British independent voices of the same generation, such as Bailie, Crane, Harrison, Newland, Saunders, Whitty.

An album of recent piano music played by Mark Knoop will be released in November 2019 on the label All That Dust. This year also saw the release of the album Pleasure Island on Slip. Two albums of music have been released on Edition Wandelweiser (2006, 2010).

Time With People, an opera, (2012-13) has received performances in London and Huddersﬁeld (by Edges), Los Angeles (by Southland Ensemble); Chicago, Oberlin, Ohio and Beloit (by a.pe.ri.od.ic, with set design by Parsons & Charlesworth); Cardiff (by Good News From The Future); New York (by Object Collection); Ghent (by G.A.M.E.); La Chaux-de-Fonds (French language version, translated by Louis d'Heudieres, performed by Nouvel Ensemble Contemporain); Helsinki (multilingual version, at Tulkinnanvaraista). A German language version is in preparation for performance in Basel in 2019.

In 2018 he was appointed a Creative Fellowship at the Samuel Beckett Research Centre.

His music is mostly performed by a dedicated community of friends and musicians, but he has also written for various groups and ensembles including Plus Minus, Apartment House, [rout], Incidental Music, Dedalus, Edges, Basel Sinfonietta, London Sinfonietta; and for various instrumentalists including Stephen Altoft, Angharad Davies, Rhodri Davies, Julia Eckhardt, Tanja Masanti, Andrew Sparling, Craig Shepard, Silvia Tarozzi, Stefan Thut, Deborah Walker. His music has been performed in UK, Europe, USA, Armenia, Australia, New Zealand and Japan. Broadcasts of music have been on BBC Radio 3, Resonance FM, WDR Köln, and Schweizer Radio SRF2.

He is also active as pianist and performer,Sample both independently and also by invitation, having been an occasional performer with Apartment House, and Plus-Minus, and having performed in venues such as Tate Modern, Barbican, Cafe Oto, Union Chapel, and in festivals such as Huddersﬁeld Contemporary Music Festival, Tectonics, Borealis, Frontiers, Roadburn, Donaufestival, All Tomorrows Parties,performance Audiograft, Edinburgh Fringe, Musica Nova, Cut & Splice, Sonorités, RDV de l'Erdre. As a soloist he has performed with Object Collection, Skögen, Apartment House, Set Ensemble, Incidental Music, Q-02, J.G. Thirlwell, Phill Niblock, Matteo Fargion, Lee Patterson, Angharad Davies, Rhodri Davies, Jürg Frey, Michael Pisaro, Michael Parsons, Gavin Bryars, Joshua Rifkin, Tom Johnson, and Christian Wolff, amongst others. Since 2003 has been regularly performing with composer James Saunders in the lo-ﬁ electronics, auxiliary instrument and any-sound-producing-means duo Parkinson Saunders. He has organised many public concerts forto promote the presence, wealth and variety of present day music exploration, one thread of which is the concert series, Music We'd Like to Hear (www.musicwedliketohear.com), co-curated with John Lely and Markus Trunk annually in London since 2005.

In 2011 he was visiting Professor of Composition at Brno Academy. He has also given lectures at Guildhall School of Music and Drama, Oxford Brookes, Ostrava New Music Days, Huddersﬁeld University, Bath Spa University and Snape Maltings, as well as teaching at Ashmole Academy and Christchurch Primary School. He studied at Worcester College, Oxford, followed by study with Kevin Volans in Dublin, and participated in the Ostrava New MusicNot Days 2001, attending seminars with Petr Kotik, Alvin Lucier, Zsolt Nagy and Christian Wolff. Website - www.untitledwebsite.com Soundcloud - https://soundcloud.com/tim-parkinson-1 YouTube - https://www.youtube.com/user/untitledparkinson Vimeo - https://vimeo.com/timparkinson Twitter - @untitledprknsn Instagram - https://www.instagram.com/untitledparkinson/ second song for many Tim PARKINSON (2019) Bar = 6 seconds A TAP 0'00" 0'06" 0'12" 0'18" Ensemble  (treble)    The Alagoas The Cryptic Treehunter The Po'ouli Spix's Macaw Foliage-Gleaner Ensemble  (treble)    The Alagoas The Cryptic Treehunter The Po'ouli Spix's Macaw Foliage-Gleaner

Ensemble  (treble)    The Alagoas The Cryptic Treehunter The Po'ouli Spix's Macaw Foliage-Gleaner

Ensemble (bass)   The Alagoas The Cryptic Treehunter The Po'ouli Spix's Macaw Foliage-Gleaner   Beep  

0'00" 0'06" 0'12" 0'18" Continuo  (treble)             Sample           legato sempre Continuo  performance    (bass)     for Not 2

B TAP & WHISPER 0'24" 0'30" 0'36" 0'42" 0'48"   Stichocotyle Nephropis The Fishing Cat Beaverpond Marstonia Christmas Island Christmas Island's Pipstrelle Lister's Gecko    The Fishing Cat Beaverpond Marstonia Christmas Island Christmas Island's Pipstrelle Lister's Gecko    The Fishing Cat Beaverpond Marstonia Christmas Island Christmas Island's Pipstrelle Lister's Gecko

 The Fishing Cat Beaverpond Marstonia Christmas Island Christmas Island's Pipstrelle Lister's Gecko    

0'24" 0'30" 0'36" 0'42" 0'48"                     Sample         performance          for Not 3

C WHISPER 0'54" 1'00" 1'06" 1'12"    Christmas Island The Capricorn Rabbit-Rat The Nullarbor Dwarf The Lesser Stick-Nest Rat Blue Tailed Skink and Ridley's Stick Insect Bettong and Desert Bettong and Bramble Cay Melomys    Christmas Island The Capricorn Rabbit-Rat The Nullarbor Dwarf The Lesser Stick-Nest Rat Blue Tailed Skink and Ridley's Stick Insect Bettong and Desert Bettong and Bramble Cay Melomys    Christmas Island The Capricorn Rabbit-Rat The Nullarbor Dwarf The Lesser Stick-Nest Rat Blue Tailed Skink and Ridley's Stick Insect Bettong and Desert Bettong and Bramble Cay Melomys

 Christmas Island The Capricorn Rabbit-Rat The Nullarbor Dwarf The Lesser Stick-Nest Rat Blue Tailed Skink and Ridley's Stick Insect Bettong and Desert Bettong and Bramble Cay Melomys    

0'54" 1'00" 1'06" 1'12"                 Sample         performance          for Not 4

D TAP 1'18" 1'24" 1'30" 1'36"   Contomastix Charrua The Sumatran Rhinoceros St. Helena Giant Earwig andThe Sloth Bear and and The Easter Cougar and Christmas Island Forest Skink Plectostoma Sciaphilum Aphanius Saourensis

  Contomastix Charrua The Sumatran Rhinoceros St. Helena Giant Earwig andThe Sloth Bear and and The Easter Cougar and Christmas Island Forest Skink Plectostoma Sciaphilum Aphanius Saourensis

 Contomastix Charrua The Sumatran Rhinoceros St. Helena Giant Earwig andThe Sloth Bear and and The Easter Cougar and Christmas Island Forest Skink Plectostoma Sciaphilum Aphanius Saourensis    

1'18" 1'24" 1'30" 1'36"                 Sample         performance           for Not 5

E TAP & WHISPER 1'42" 1'48" 1'54" 2'00" 2'06"   Aphanius Farsicus and The Cape Verde Giant Skink The Eskimo Curlew and The Santa Cruz Pupfish Macrobrachium The Formosan Clouded Leopard and Sri Lanka Spiny Eel Northern Darwin's Frog and Scotio Madtom Leptodacylus

  Aphanius Farsicus and The Cape Verde Giant Skink The Eskimo Curlew and The Santa Cruz Pupfish Macrobrachium The Formosan Clouded Leopard and Sri Lanka Spiny Eel Northern Darwin's Frog and Scotio Madtom Leptodacylus

 Aphanius Farsicus and The Cape Verde Giant Skink The Eskimo Curlew and The Santa Cruz Pupfish Macrobrachium The Formosan Clouded Leopard and Sri Lanka Spiny Eel Northern Darwin's Frog and Scotio Madtom Leptodacylus    

1'42" 1'48" 1'54" 2'00" 2'06"                  Sample               performance           for Not 6

F PLAY 2'12" 2'18" 2'24" 2'30"               The Zesto Skipper and The Western Black Rhinoceros Rickland Grass Skipper and Copper Striped Blue-tailed in the mid-dle of this mo-ment just a mo-ment Skink                The Zesto Skipper and The Western Black Rhinoceros Rickland Grass Skipper and Copper Striped Blue-tailed in the mid-dle of this mo-ment just a mo-ment Skink   The Zesto Skipper and The Western Black Rhinoceros             Rickland Grass Skipper and Copper Striped Blue-tailed in the mid-dle of this mo-ment just a mo-ment Skink

             The Zesto Skipper and The Western Black Rhinoceros Rickland Grass Skipper and Copper Striped Blue-tailed in the mid-dle of this mo-ment just a mo-ment Skink    

2'12" 2'18" 2'24" 2'30"                   Sample         performance       for Not 7

2'36" 2'42" 2'48"                       inthe mid-dle of things inme-di-a res just a mo-ment just a mo-ment                       inthe mid-dle of things inme-di-a res just a mo-ment just a mo-ment

                     inthe mid-dle of things inme-di-a res just a mo-ment just a mo-ment

                    inthe mid-dle of things inme-di-a res just a mo-ment just a mo-ment   

2'36" 2'42" 2'48"               Sample    performance    for Not 8

G 2'54" 3'00" 3'06"                 a good time did you have a good time did you have time                 a good time did you have a good time did you have time

               a good time did you have a good time did you have time

              a good time did you have a good time did you have time    

2'54" 3'00" 3'06"            Sample             performance      for Not 9

3'12" 3'18" 3'24"              the time to speak to act to do some-thing              the time to speak to act to do some-thing

            the time to speak to act to do some-thing

           the time to speak to act to do some-thing    

3'12" 3'18" 3'24"                  Sample      performance      for Not 10

H 3'30" 3'36"                   why don't you justdo some-thing shesaid be-fore the time runs out                   why don't you justdo some-thing shesaid be-fore the time runs out

                 why don't you justdo some-thing shesaid be-fore the time runs out

                why don't you justdo some-thing shesaid be-fore the time runs out   

3'30" 3'36"           Sample       performance    for Not 11

3'42" 3'48" 3'54"                     be-fore the fu - ture this is the fu-ture and the past and the pre-sent                     be-fore the fu - ture this is the fu-ture and the past and the pre-sent

                   be-fore the fu - ture this is the fu-ture and the past and the pre-sent

                  be-fore the fu - ture this is the fu-ture and the past and the pre-sent    

3'42" 3'48" 3'54"                     Sample      performance      for Not 12

I 4'00" 4'06" 4'12"                       x marks the spot soon to be no long-er here as it was in the be-gin-ning                      x marks the spot soon to be no long-er here as it was in the be-gin-ning

                    x marks the spot soon to be no long-er here as it was in the be-gin-ning

                   x marks the spot soon to be no long-er here as it was in the be-gin-ning   

4'00" 4'06" 4'12"           Sample     performance   for Not 13

4'18" 4'24"                this i - sland of time as o-thers have said be-fore                this i - sland of time as o-thers have said be-fore

              this i - sland of time as o-thers have said be-fore

             this i - sland of time as o-thers have said be-fore    

4'18" 4'24"             Sample           performance for Not 14

J 4'30" 4'36" 4'42"                       and o-thers-will say a-gain a mo-ment of pre-sence soon to be gone pass-ing                       and o-thers-will say a-gain a mo-ment of pre-sence soon to be gone pass-ing

                     and o-thers-will say a-gain a mo-ment of pre-sence soon to be gone pass-ing

                    and o-thers-will say a-gain a mo-ment of pre-sence soon to be gone pass-ing   

4'30" 4'36" 4'42"             Sample              performance for Not 15

4'48" 4'54" 5'00" 5'06"                is o-ver here it comes here it comes there it goes                is o-ver here it comes here it comes there it goes

              is o-ver here it comes here it comes there it goes

             is o-ver here it comes here it comes there it goes    

4'48" 4'54" 5'00" 5'06"                  Sample                performance   for Not 16

K *TAP STONES L TAP & WHISPER 5'12" 5'18" 5'24" 5'30"   The Pinta Island TortoiseThe Siamese Crocodile The South Florida Ranbow Snake The Baiji Dolphin The Japanese River OtterThe Ivory Billed Woodpecker Bermuda Saw whet Owl The St Helena Olive    The Cascade Mountain WolfThe Bali Tiger The Mogollon Mountain Wolf The Desert Rat Kangaroo The Toolache Wallaby The Thylacine The Southern Rocky Mountains Wolf The Indefatigable Galapagos Mouse   The Pinta Island Tortoise The Siamese Crocodile The South Florida Ranbow Snake The Japanese River Otter The Ivory Billed Woodpecker Bermuda Saw whet Owl

 The Cascade Mountain Wolf The Bali Tiger The Mogollon Mountain Wolf The Toolache Wallaby The Thylacine The Southern Rocky Mountains Wolf   

5'12" 5'18" 5'24" 5'30"                   Sample        performance for Not 17

M WHISPER 5'36" 5'42" 5'48" 5'54" 6'00"    The Pyrenean Ibex The Levuana Moth The Dusky Seaside Sparrow Moho Braccatus The 24 Rayed Sunstar The Hainan Ormosia The Saint Croix Racer The Golden Toad of Costa The Northern Gastric The Kouprey Brooding Frog    The Cry Pansy Darwin's Rice Rat The Kenai Peninsular Wolf The Carolina Parakeet The Newfoundland Wolf The Heath Hen Acalypha Wilderi The California Grizzly Bear The Passenger Pigeon The Tarpan

  The Pyrenean Ibex The Levuana Moth The Baiji Dolphin The Dusky Seaside SparrowMoho Braccatus The Hainan Ormosia The Saint Croix Racer The St Helena Olive The Golden Toad of Costa The Northern Gastric Brooding Frog  The Desert Rat Kangaroo The Cry Pansy Darwin's Rice Rat The Kenai Peninsular WolfThe Carolina Parakeet The Indefatigable The Heath Hen Acalypha Wilderi The California Grizzly BearThe Passenger Pigeon Galapagos Mouse   

5'36" 5'42" 5'48" 5'54" 6'00"                       Sample                  performance  for Not 18

6'06" 6'12" 6'18" 6'24"   The Southern Gastric-brooding Frog Puhielelu Hibiscadelphus The Japanese Sea Lion The Caspian Tiger The Green Blossom Pearly Mussel The Javan Tiger The Mason River Myrtle The Arabian Ostrich    The Rocky Mountain Locust The Huia The Hokkaido Wolf The Atlas Bear The Eastern Hare-Wallaby The Honshu Wolf Bennett's Seaweed The Labrador Duck    The 24 Rayed Sunstar The Southern Gastric-brooding Frog Puhielelu Hibiscadelphus The Japanese Sea Lion The Kouprey The Green Blossom Pearly Mussel The Javan Tiger The Mason River Myrtle

 The Newfoundland Wolf The Rocky Mountain Locust The Huia The Hokkaido Wolf The Tarpan The Eastern Hare-Wallaby The Honshu Wolf Bennett's Seaweed    

6'06" 6'12" 6'18" 6'24"                           Sample      performance for Not 19

N TAP & WHISPER 6'30" 6'36" 6'42" 6'48" 6'54"         The Turgid-blossom Pearly MusselThe Red-bellied Gracile OppossumBernard's Wolf The Barbary LionThe Elephant Bird The Hawaii Chaff Flower The Mexican Grizzly Bear The Caribbean Monk SealThe Texas Wolf The Dodo         The Falkland Islands Wolf The Great Auk The Mauritius Blue PigeonThe Elephant Bird The Broad Faced Potoroo The Crescent Nail-Tail Wallaby The Tonga Ground Skink The Imperial Woodpecker The Mysterious StarlingThe Dodo         The Caspian Tiger The Bluebuck The Society ParakeetThe Sea Mink The Elephant Bird The Arabian Ostrich The Lord Howe Swamphen The Sardinian Pika The String Tree The Dodo

       The Tahiti Sandpiper The Atlas Bear The Turgid-blossom Pearly MusselThe Caspian Tiger The Elephant Bird Steller's Sea Cow The Labrador Duck The Hawaii Chaff Flower The Arabian Ostrich The Dodo    

6'30" 6'36" 6'42" 6'48" 6'54"                  Sample                      performance   for Not 20

TAP O 7'30" 7'00" 7'06" 7'12" 7'18" 7'24"        

       

     

   

7'00" 7'06" 7'12" 7'18" 7'24" 7'30"                                   Sample          performance  1st May 2019 for Not