UNIVERSITY OF CINCINNATI
Date: 29-Apr-2010
I, Tyler B Walker , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Composition It is entitled: An Exhibition on Cheerful Privacies
Student Signature: Tyler B Walker
This work and its defense approved by: Committee Chair: Mara Helmuth, DMA Mara Helmuth, DMA
Joel Hoffman, DMA Joel Hoffman, DMA
Mike Fiday, PhD Mike Fiday, PhD
5/26/2010 587
An Exhibition On Cheerful Privacies
Three Landscapes for Tape and Live Performers Including Mezzo-Soprano, Bb Clarinet, and Percussion
A dissertation submitted to the
Division of Research and Advanced Studies
of the University of Cincinnati in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts
in the Division of Composition, Musicology, and Theory
of the College-Conservatory of Music
2010
by
Tyler Bradley Walker
M.M. Georgia State University
January 2004
Committee Chair: Mara Helmuth, DMA
Abstract
This document consists of three-musical landscapes totaling seventeen minutes in length. The music is written for a combination of mezzo-soprano, Bb clarinet, percussion and tape. One distinguishing characteristic of this music, apart from an improvisational quality, involves habituating the listener through consistent dynamics; the result is a timbrally-diverse droning. Overall, pops, clicks, drones, and resonances converge into a direct channel of aural noise.
One of the most unique characteristics of visual art is the strong link between process and esthetic outcome. The variety of ways to implement a result is astounding. The musical landscapes in this document are the result of an interest in varying my processes; particularly, moving mostly away from pen and manuscript to the sequencer.
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The term "exhibition" implies that consideration be given to how subsequent performances of this work are presented. I conceived these movements in the order they are presented in this document; however, just as any visual artist might base her exhibit on context, the same principle can be followed with this music. Each landscape can be selectively presented.
The scores contained in this document are labeled as such: (1)Williams Mix 2, (2)Automatic Story Telling,
(3)Familiar. The tape parts are available upon request from the author.
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Copyright ©2010
by
Tyler Bradley Walker
The material contained in this document may not be reproduced or distributed in whole or in part
without the author's permission.
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For Mom, Papa, Adrian, Libby, and Bebe; my
most enduring allies. And for those family and friends existing healthily in the periphery. Especially for those, despite having come and gone, I can
see in mind's eye smiling.
vi
Contents
Abstract iii
Copyright v
Acknowledgements vi
Contents vii
Preface viii
Instrumentation 1
Performance Notes 3
Score Title Page 7
An Exhibition on Cheerful Privacies
Landscape 1 Williams Mix 2 (Score) 8
Bb Clarinet, Tape, and Percussion
Landscape 2 Automatic Story Telling (Score) 12
Mezzo-Soprano, Bb Clarinet, Tape, and Percussion
Landscape 3 Familiar (Score) 18
Mezzo-Soprano, Bb Clarinet, Tape, and Percussion
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Preface
An Exhibition on Cheerful Privacies is a seventeen minute multi-movement-sonic landscape for tape and live performers.
While this work was judiciously conceived as a whole, each
"movement" occupies its own geographical space and can be selectively presented.
Homogeneity and interactivity often guides the balance between tape and live instruments. Overall, the music is informed by an interest in deconstructing samples and tracks through the use of distortion, bit-rate reduction, looping, and layering. These techniques, coupled with the selective use of algorithms capable of randomizing playback speeds and lengths, help develop the improvisational character of An Exhibition on
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Cheerful Privacies. The blending of acoustic instruments and tape material is achieved through consciously pairing timbral elements. For example, homogeneity can be achieved by matching recorded glockenspiel strikes with a live percussion part occupying the same pitch, amplitude, or register. The opening and closing of the movement entitled Automatic Story Telling demonstrates this principal. Moreover, also supporting homogeneity between tape and live performers, amplification serves to alleviate any disparate spatial relationship that would exist between an amplified tape source and an instruments natural acoustics.
Most of this work doesn't rely on preserving such an obvious technique as blend between parts or other processes to achieve any kind of narrative. As a whole, An Exhibition on
Cheerful Privacies presents an epic timbralism with changes of color, registral space, and texture illuminating the present, not necessarily working for an overall ix
development. Each ateleological landscape could be said to evolve as new moments of color or texture arise. Here, as in nature, the evolution is never goal oriented but blind to the outcome creating distortions on one hand or complex results on the other. These sonic results were the product of a multi-step workflow involving a continuous layering and degradation of various materials.
The workflow for this project and its individual tracks can be summarized into four primary stages. First, considerations are made regarding the general length, harmonic content, and overall timbral quality of the work (e.g. light, dark, sharp, thin, dull, or a combination of these elements). From these ideas samples are chosen based on the sketched guidelines of chosen instrumentation and timbral quality. Samples for this project primarily include a variety of percussion and woodwind samples recorded at the University of Cincinnati College-
Conservatory of Music. x
Second, what could be described as a root track is created. Work within the sequencer begins and samples are processed and arranged spatially. The use of delays, reverb, or other timing effects is often applied to individual elements.
Emphasis is given to spatial clarity and tracks at this stage often contain a mono-centered bass, mono-centered 12-18 kHz noise, and stereo ambience. This root track is printed (to tape) and serves as a starting point for stage three.
Third, the root track is reinstated into the sequencer and a process similar to stage two is followed. Often several variations of the root are printed; one stereo, one mono, and one low passed/high passed stereo version are used. These elements are arranged spatially within the sequencer. At this point an algorithm is chosen to introduce an improvisational element to the mix bus or overall sound. The algorithms employed at this stage in the project all made use of randomizing octaves, tempo, delay, or segmenting the track into xi
various slices through random rates that play back portions of the audio.
Fourth, the results from the third stage are often found to be spatially limited after the application of a process that often reorganizes playback timing in addition to stereo separation. Thus a final mixing stage is established to adjust stereo imaging and provide final touches to the mix.
The acoustic elements, when desired, are assigned at various stages throughout the process. The sketching of material that takes place in stage one often features detailed orchestrations of acoustic instruments. The sketches of acoustic elements were often reinterpreted electronically and from time to time preserved as unadulterated orchestrations remaining intact throughout the process. However, many of the acoustic elements for this particular project were embedded into the fabric of the tape part during the fourth stage.
I view the acoustic elements of this work as brush
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strokes embedded on a busy canvas of textures; not necessarily as a driving force. The text included in the movements entitled
Familiar and Automatic Story Telling, written by the composer and consisting primarily of fragmented or short phrases, exists as an equal counterpart to the other dimensions of sonority within this work. The live musicians and sung words serve to make a gentle but poignant mark within a ceremony of loud electronic utterances.
The main title of this work is loosely inspired by the poetry of Denise Levertov; inspired by perhaps nothing more than her ability to draw warmth, presence, and existence from the most seemingly simple circumstances. This music attempts a similar feat by taking simple elements, perhaps the tail end of a reverb, idle chatter, or just pure ambience, and drawing out hidden timbral qualities.
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Williams Mix 2, the first movement, is titled and influenced by John Cage’s early tape work Williams Mix from
1952. Whereas Cage spliced samples using chance operations into a collage, Williams Mix 2 follows a similar routine by using an algorithm capable of playing back random sections of a given track and varying the length of each segment. The result is also a collage, complimented by live performers, but without the sound of Cage's frogs. The result is also a track, more so than any other in this work, which earns the label experimental.
Another important composition which features the sound of various species of frog that also influenced this work is called
Unfamiliar Wind by Brian Eno. While there is no obvious timbral connection between this works movement entitled Familiar and Eno’s Unfamiliar Wind, similarities existed in the preliminary
xiv
stages of its development. The initial root structure of Familiar was pervaded by timbrally rich pulsations and the 15-19 kHz range featured moving noise. The higher-pitched material was, and the final form still contains this timbral quality, reminiscent of cicadas in the summer months of the South. Overall in its earliest stages, the pulsations made me think of Eno’s important work, the cicada sounds related to the pastoral qualities of that same work, but most importantly the cicada sounds are “familiar" to me. In its final form, written for mezzo-soprano, Bb clarinet, percussion, and tape, Familiar is inundated with the voices of popular influence, including but not limited to a willful misuse of musical technology.
Another connection exists between the fifth movement
Automatic Story Telling and a master of aural narratives. The title is directly inspired by Robert Ashley's Automatic Writing.
Ashley's work exemplifies a picturesque
xv
narrative through a genius use of background sounds, in this case a low-pass filter applied to popular music, in addition to a magnification of the breaths, sighs, and nuances of female and male dialog. Automatic Story Telling, written for mezzo- soprano, Bb clarinet, tape, and percussion, presents its own narrative of heavily articulated percussive and chordal sounds along with a soprano line made up of short-fragmented phrases. The inclusion of a mezzo-soprano distinguishes
Automatic Story Telling and Familiar as narratives within a greater context of the absolute in this Exhibition on Cheerful
Privacies.
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Instrumentation
Mezzo-Soprano
Bb Clarinet
Tape (two-channel stereo)
Percussion
Duration 17:25
All performers use amplification
Transposed (performance) score
1
Percussion Requirements:
Instruments
Crotales (full range)
Glockenspiel
Small Triangle
Suspended Cymbal ("Crash" 14"-18")
Vibraphone Accessories
3 soft-yarn mallets (Vibraphone)
2 rubber mallets (Crotales/Glockenspiel)
1 dark-hair cello bow (all bowings)
1 wire brush (Cymbal)
1 triangle beater (Triangle) 2
Performance Notes
Amplification and Speaker Placement
A minimum of three microphones should be employed.
Four microphones are encouraged, with two delegated for percussion. The composer recommends that the vocalist occupy a mono channel to aid with intelligibility. The speakers should be placed no more than twenty feet apart on stage. As a general rule, one-third the distance from either wall is recommended. Each speaker should face directly forward. Floor monitors are highly recommended in addition to the loudspeakers. Multimedia
The premiere performance of this work at the University of Cincinnati (November 2010) featured a dual video presentation. The composer highly recommends a multimedia aspect to any subsequent performance of An Exhibition on
Cheerful Privacies. 3
The use of easels in lieu of music stands is encouraged.
Large pieces of black cardboard or other material will make efficient scores. Each page of music should be enlarged and pasted in succession on the cardboard. Notation
The scores Familiar and Williams Mix 2 are notated proportionally. The score to Automatic Story Telling is metriportional. There are two general conventions regarding duration in proportional notation: the extension of beams to indicate duration, and a reliance on note-head extensions.
Note-head extensions were chosen for their practicality with single-toned instruments.
Another convention of proportional notation is the reliance on a rigidity of horizontal spacing. This rigidity is diluted by the timing indications of minutes and seconds provided in the score.
Thus the basic tenets of horizontal spacing should be observed in relation to the timing cues of the score. In other words, if 4
notes are presented before a given cue time, they should be played as such; before the given cue time.
On occasion a decimal point is used to indicate an event before or after a second interval. The indication .5 simply indicates an entrance or cutoff roughly half a second after the given time. The mark .8 indicates a little more than half a second after the given time. These are approximate indications and should in no way be strict imperatives for performance.
The composer encourages the indications to be interpreted as slight hesitations during entrances and cutoffs. The accuracy of the performance of these cues will not affect the aesthetic outcome in a negative manner provided they are “in the ballpark.”
One general convention of vocal notation has been amended in this document. It is common practice to avoid extender lines for the last syllable of a word if it is sung on one note. These scores use extender lines for words in 5
conjunction with note-head extensions for legibility and clarity.
X-shaped note-heads are used to indicate indeterminate pitches and noises. More often than not x-shaped note-heads represent poorly-tuned pitches.
6
An Exhibition on Cheerful Privacies
Landscape 1 Williams Mix 2 Cl., Perc., Tape
Landscape 2 Automatic Story Telling Mezzo, Cl., Perc., Tape
Landscape 3 Familiar Mezzo, Cl., Perc., Tape
7
Landscape 1 Williams Mix 2 duration: 5'59'' TYLER WALKER All Instruments Amplified. (2010) Transposed(Performance)Score Glitchy. Constantly Changing sempre legato Clarinet In Bb & œ œb >œ œb nœ p π ∏ p ∏ 0 15 8 20 21 26 28 31 33 38 8 39 8 43 CUE . . . High-Frequency Noise, Pan Bowed Crotales L__R 8 10.1-20Khz * , H-F Material ‹ ‹‹ processed keyboard ‹ ‹ L-F Material ‹b ‹ Tape bowed crotales & ‹‹ f & processed drums F Rhodes M M RhodesM ? œ L-F Rumble organ with added noise
Crotales/ Glockenspiel & to glck. bow mallet œ œ Percussion œ œb Vib. & œb π p ? *Begin perpetuum mobile characterized by constant reorientation of rhythm and pitch; always with noise and distortion.
pitched key slaps. unpitched key slaps improvise tempo, any order, uneven, uneven, fast fast, vary tempo Cl. MM ‹# & & ‹# ‹ ‹ œ sempre poss. sempre poss. π p ff ff 47.8 49 51 55 59 1 00 1:05 1 12 1:20 1 28 1 31 CUE : : : : Bowed Crotale rhodes High-Frequency to Low-Frequency Noise 15 High-Frequency to œ# ‹i œ œ# œ & ‹ ‹# Tape & ‹ Low-Frequency Noise P œ œ M M M M œ # ? M Crot. Glck. Glck. bow mallet l.h. Crot./ œ œ Glck. & œ# r.h. bow stick end π head of mallet ** mallet Perc œ œ œ# ~~~~~~~~ r.h. ~ ~ ~~~~~~~~~~~~~ ~~~~~~~~~~ Vib. & œ~ ~ ~~~~ simile > ∏ F F ~~~~~ ? ~~ **use stick end of mallet, slowly drag end across keys, Copyright © 2010 by adjust pressure so that it "pings" as is drops between bars Tyler Walker and strikes edge 8 unpitched simile Cl. ( ‹# ) œ MM & ‹# ‹ ‹ œ π P ñ 1 37 1 39 1 50 2:01.8 2 03 CUE : : : :
8 Rhodes rhodes œ œ & ‹ Tape p ‹ ? (Glck.) take bow Crot. bow Crot./ œ# Glck. & œ# π take bow Perc. &mallets œ# Vib. increase pressure of stick to plate as you drag P ~~~ ~~~~~~~~~~ œ ? ~~~~~~~~~~~~~~~~~~~~ ~ ~~~~~~~~~~~~~~~~
pitched simile unpitched Cl. ‹ MM & ‹ ‹ ‹ 2 05 2:09.8 2 12 2 17 2 24 2 29 2 34 2 38 2:52 CUE : : : : : : : bowed crotales tone articulated noise Rhodes ‹ ‹ ‹ ‹# ‹ ‹# œ œœ Tape & & ?
(Crot.) bow take 2 yarn mallets Crot./ œ Glck. & drag stick end similer.h. Perc. ~ ~~~~~~~~ ~~~~~~~~ & ~~~~~~~~ Vib. ~~~~~~~~ smack with stick end l.h. ~~~~~~~~ ~~~~~~~~ ? œ# ~ œ#> | poss.| p ff 9 . Cl. œ# & œ# œ# œ# œ# π ñ œ# π ñ P p (π) ñ 2 59 5 3 03 3 07 3 15 3 26 3 29 3 40 3 44 CUE : : : : : : : : bowed crotale 8 distorted Rhodes ‹# œ# & œ > ‹# ‹# low-frequency noise Tape p ‹ ? M
take bow (Crot.)bow Crot./ œ# Glck. & œ# mallets Perc. F take 2 yarn mallets #œ & œ Vib. drag stick end ∏ r.h. ? ~~~~~~~~
unpitched unpitched Cl. M M MM & œ# & nœ œ# p π π 3 47 8 3 50 3 55 3 58 4 00 4:03 4 08 4:15 4:22 4:28 4:30 CUE : : : : : : distortion tone tone8 tone œb œ œœ & ‹# ‹ œ Tape silence ? (Crot.) bow œ# take bow & take p3 yarn mallets Perc. l.h. & œ# œ# ~~~ Vib. ∏~~~~~~~~~ increase~~~~~~~ ~pressure of stick ∏ ~~~~~~~~~ ?~ ~~~~~~~~~~ l.h. œ# π 10 ( ) Cl. ‹‹ & œ# . œ œ# œ π ñ Pp π 4 36 4:40 4:43 4:48 4:50 4:52 4:55.5 5:06 5 10 5 12 5 14 CUE : : : :
distorted tone
l-f noise & ‹ Tape
> > Perc. & œ œ Vib. take bow to crot. malletp P ∏ œ ? œ# œ#
pitched unpitched Cl. ‹# MM tacet... & ‹# ‹ ‹# P 5:21 8 5:25 5:30 5:35 5:37 5:50 5:59 CUE
out-of-tune, distorted tone rhythmic, repeated, low-pass filter ca. F# & ‹# ‹# ! ! ! ! ! etc. Tape F l.v. end low-frequency, distorted tone ? #M bow Crot. & œ# œ# Perc. p f increase pressure of stick poss. ff Vib. ? ~~~~~~~~~~~~~ ~~~~~~~~~~
11 Landscape 2 Automatic Story Telling duration: 5'17''
All Instruments Amplified. Transposed(Performance)Score TYLER WALKER (2010) Mezzo-Soprano &
sempre legato Clarinet In Bb œ & œ œ œ œ ∏ p ñ π p 0 46 10 5 12 20 5 2728 8 31 533 37 5 CUE . . . . . 8 8 R.C. ‹ > œb . Right Channel > L.C. > > Glockenspiel œb ‹ ‹b b œ œb œb œb œb (processed) & * F f p f F P F M Tape & œ M MMMMMMMMMMMMMMM M F ? œ ‹‹‹‹‹‹‹‹‹‹‹‹ ‹b ‹ ‹ Glockenspiel Percussion Glck., Crots., > >œ > Triangle >œ >œb œ œb> œ & œ œ œ œ >> > > > F f P p Cl. cue π Mezzo œb F & œb œ Lis - tenœ to.______-
Cl. œ & œ œ s. tone ∏ p ñ 45 49 5 53 ñ 57 1F02 1 04 1 06 5 1 08 ñ CUE . : : : . : 8 >œb ‹b >œb Glck. >‹ & 8 Begin pulsed chords M M M M M M M Tape M M M M M M M & MM MM MM MM M M M M M M M p ? ‹‹‹ ‹
> Percussion > >œ > > œ > >œb > & œb œ œ œb œ œb œ œb œb œ > œb œ > > > > > > > *Rhodes keyboard with distortion.P f Includes various octave and rhythmic displacement, chordal swells. 12 Copyright ©2010 by In any order, selected pitches given. Tyler Walker π F π ∏ Mezzo & w ˙ œ Œ ŒŒ˙b ˙ œ œ ______All______those__times______I,__œ œ œ ˙ ˙ œ
1 10 1 12 1 14 1 16 1 18 1 20 1 22 1 24 1 26 1 28 CUE : : : : : : : : : :
8 8 8 8 8 M M M M M M M M bM M M M M M M M M M M M M M M M M M M M M M M M bM M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M bM M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M bM M M M M M M M M M M M M M M M &b M M M M M M M M Tape ( ) F f ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ? ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ b b ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹
F ∏ p π π F Mezzo & w w ˙ œ Œ ŒŒ œb w ˙ œ Œ ŒŒ˙b ˙ œ ______timeœ s we.______So______glad_œ
- Cl. Œ ˙ ˙ œ Œ ŒŒŒ & œ ˙ ˙ œ w œ œ ˙ ñ P π ñ p 1 30 1 32 1 34 1 36 1 38 1 40 1 42 1 44 1 46 1 48 CUE : : : : : : : : : :
8 M M M M M M M M M M M M M M M M bM M M M M M M M M M M M M M M M M M M M M M M M b M M M M M M M M b bM M M M M M M M M M M M M M M M b b b M M M M M M M M & M M M M M M M M b M M M M M M M M M M M M M M M M Tape
‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ b‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ? b b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹
13 π p π Mezzo ŒŒŒ ŒŒŒ œb w w œ ŒŒŒ & œ ˙ w œ ___you.______œ You.______œ Cl. & ˙ œ Œ Œ œ ˙ w w sub tone ñ p 1 50 1:52 1:54 1:56 1 58 2 00 2 02 2:04 2:06 2 08 CUE : : : : :
8 M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M bM M M M M M M M bM M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M bM M M M M M M M & bM M M M M M M M M M M M M M M M Tape
? ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ b‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹
π F p p Mezzo & Œ œb ˙ ˙ Œ ŒŒ œ œ œ ˙ ˙ w ˙ œ œ All____ these things__of.______Lis - ten._ Cl. & w ˙ œ Œ ñ 2 10 2 12 2 14 2 16 2 18 2 20 2 22 2 24 2 26 2 28 CUE : : : : : : : : : :
8 M M M M M M M M M M M M M M M M MMMMMMMM M M M M M M M M M M M M M M M M M M M M M M M M MMMMMMMM MMMMMMMM M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M & bM M M M M M M M M M M M M M M M MMMMMMMM M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M bM M M M M M M M Tape
? ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹‹‹‹‹‹‹‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ b‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ b‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹‹‹‹‹‹‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹
14 | | π F p F p - Mezzo Œ ŒŒ˙b ˙ œ œ ˙ w ˙ ˙b & w ˙ œ œ w œ ______Ma - - king me______who______I____
Cl. ŒŒŒœ w w œ œ ˙ w œ ŒÓ Œ & sub tone P ñ subœ tone˙ 2 30 2 32 2 34 2 36 2 38 2 40 2 42 2 44 2 46 2 48 CUE : : : : : : : : : :
M M M M M M M M M M M M M M M M bM M M M M M M M M M M M M M M M M MM MMMMM z z z z z z z z M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M M & M MM MMMMM M M M M M M M M M M M M M M M M Tape
‹b ‹ ‹ ‹‹ ‹ ‹‹ b‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ b‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ? ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹ ‹ ‹ ‹ ‹ ‹ ‹ b b‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
π p ∏ ∏ Mezzo œ ‰ ŒŒŒ œb œb & œ ˙ w œ œ _ am.______You.______Glad______Cl. & Œ w ˙ œ π ñ 2 50 2 52 2 54 2 55 5 2 57 3 02 5 3 053 06 5 3 093 10 5 CUE : : : : : : : : : : 8 8 8 8 >¿b . œb 8 œb > Glock.(Processed) œb œb œb >œ œb & In any order M M M M M M M M zzzzzzzz A wash of sound M M M M M M M M bzzzz zzzz M z Tape bz z zzz zzz b M b z z & zzzz zzzz M M M b z z f ? b‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b b ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹b ‹b ‹‹‹‹ ‹ ‹‹‹ ‹ ‹b ‹ ‹ flexible rhythm Triangle Glck. to crotales Perc. > > > >œ & œ œ œ œb œ œ ¿ & > > > œb p f p P p 15 F ∏ p ∏ p ∏ Mezzo œb œb & œ œ œ œ _to see_____ you,______you,______Cl & œ œ ñ P ñ 3 12 3 15 3 22 3 24 8 3 28 8 3 313 32 3 35 3 41 CUE : : : : : : : : : 8 15 8 ¿ ¿b ¿b Glock.(Processed) >œ œb ¿ & f Tape &
?
Crotales Tri. to glck. Glck. to crotales > Perc. œb >œb ¿ >œb & œ œb f P f p f > p
π π Mezzo & œb œb you,______œ you,_____œ Cl. œ & œ œ sub tone ñ π π ñ π ñ π
3 43 3 48 3 50 3 57 4 02 4 064 07 4 10 CUE : : : : : : : : 8 15 8 œ >œ œ œœ œ > Glck. œ >œ œb œ >œb œb & p f f F f Tape &
?
Crot. Glck. Tri. Perc >œ >œb y & œ œ > œb P f p π
16 ∏ ∏ ñ Mezzo tacet... & bhumœ ______hmm______
Cl. œ tacet... & ñ ∏ p ñ
4:20 4:30 4:334:34.5 4:36 4:38 4:40.5 5:17 CUE 8 8 15 8 > >œ b>œ bœ. > Glck. bœ bœ bœ & F p f F Tape & Low distortion ?
Glck. Perc. œ tacet... & bœ > π
17 Landscape 3 Familiar duration: 6'09'' All Instruments Amplified. Transposed(Performance)Score Pulsing TYLER WALKER (2010) Mezzo-Soprano &
sempre legato Bb Clarinet & œ œ# œ œ œ# P 0 9 31 36 π P 41 43 CUE HF Noise HF Material Ambient Loop Ambientœ Loops & œ œ œ œ Tape Background M Mid-Range Drones p * M M Cymbal With Delay ?G itchy M M Repeated A2 with F Bass occasional jumps to C3 Glitchy(A&C#) ? œ œ. œ. œ. œ. œ. œ. œ. - Poorly-Tuned, F * Take Bow and Soft-Yarn Mallet Distorted Electric Piano Crot./ With Octave Displacements Glck./ & (C&G) Percussion Cymb. To Crotales Vib. ?
Enter Soprano walk slowy towards microphone
Cl. & œ œ œ# œ œ# œ ( œ# ) œ œ# π F ∏ 46 56 1 00 1 05 8 P 1 20 1 24 8 CUE : : . : : . Metallic, Wavering Pitches HF Noise ‹‹ Loops & F Cymbal With Delay Tape Drones Cymbal ? M Fi Simile Bass ? œœœœœœœœ Crot. F Crot./ bow Glck./ & Take Wire Brush, Perc. Cymb. œ FI mallet Soft-Yarn Mallet, and Rubber Mallet Vib. ? œ œ i œ i œ p I I Copyright ©2010 by 18 Tyler Walker Mezzo p P p P & œ œ œ œ In - to___, in - to___
Cl. & œ œ sotto œ# voce sotto œ# voce F ∏ P π 1 30 1 36 1 41 1 44 1 52 1 531 54 5 1 56 2 00 2 05 CUE : : : : : : : . : : : HF Noise Metallic Distortion, Growing HF Noise ‹‹ œ Loops œ & œ œ f Cymbalπ With Delay Tape Drones Cymbal M Fi Bass ? œœœœœœœœ Crotales Cymbal rubber mallet Crotales/ wire brush Glockenspiel/Cymbal M M M >i >>i & Perc. œ To Cymbal F FI Vib. ? œi P Vib. Cue p p P (p) ∏ Mezzo œœ & œ œ œ () __in-to___my.____ In-toœ my.______
Cl , & œ œ œ œ œ œ œ œ œ# œ #œ œ œ# œ œ# œ œ ∏ ñ 2 12 5 2 192 202 21 5 2 27 2 29 2 33 2 37 2 422 43 CUE : . : : : . : : : : : :
HF Noise Loops & Cymbal With Delay Cymbal With Delay Tape Drones M M Cymbal i i Simile Bass ? œœœœœœœœ Cymbal Crot./ wire brush F Glck./Cymb. >M>M >M M> Perc. i i F Vib. & œi œi œ œi œi œ œi œ œ I œ I œ π I I I 19 p pP P p F ∏ Mezzo & œ œ œ œ You're___in,___you're__in______myœ mind's______eye.______œœ
œ# Cl. œ œ œ œ & œ œ œ# œ p (pp) ∏ p P (π) ∏ π 2 45 2 48 2 54 3 00 3 01 3 09 3 12 3 14 3 20 CUE : : : : : : : : :
HF Noise œ Loops & œ œ œ œ Cymbal With Delay Tape Drones Cymbal Mi Mi
Bass ? œœœœœœœœ Crotales To Cymbal Take Brush Cymbal Crot./ bow wire brush Glck./ >M MM> Perc. Cymb. & œI i i take bow to c otales f F Vib. & œI ∏
p P (p) ∏ p Mezzo P & œ œ œ œ œ œ (Hum) œ œ œ œ œ Hmm.______You are,______, Cl œ œœ & œ œ# œ œ œ œ œ œ# œ œ œ œœ π ñ π ñ 3 26 8 3 34 3 36 3 49 3 51 4 04 4 08 4 10 CUE : . : : : : : : :
HF Noise Loops & Cymbal With Delay 8 œ œ Tape Drones Cymbal M œ œ M i Distorted Electric Piano & œ œ i p Bass ? œ Simile œœœœœœœœ ‹ ñ f Glockenspiel take bow to vibraphone œ œ œ Perc. & œ œ œœœ bow p Vib. œi & f 20 ( ) π p P p P f P F P ∏ Mezzo œ œ & œ œœ œ œ œ œ ____ you are__ you're smi - ling___ in-to mind's____ eye.______espr. Cl œ œ# &œ œ# œ œ œ# œ œ œ œ œ œ œ (p) œ# #œ 4 15 4 18 4 21 4 30 p 4 33F 4 35 4 42 4 44 4 45 8 p 4 49 CUE : : : : : : : : : . :
HF Noise Loops œ & œ œ Distorted E.Piano œ Cymbal With Delay Drones Octave Displacements Tape Cymbal M Drones M i & M M M i F M8 M Bass ? Simile œ œœœœœœœ œœœœœœœœ p
bow take bow to crotales Perc. Vib. œi & f
p Mezzo ∏ tacet... œ œ œ & œ œ œ œ Hmm______( ) Cl. , , tacet... &œ œ œ œ œ œ# œ œ# œ œ# œ œ œ# œ ∏π 5 00 5 06 5 18 5 20 5 23 8 5 26 ñ 5 30 5 6 09 CUE : : : : : . : : . :
HF Noise Loops & Cymbal With Delay Tape Drones Cymbal Mi Simile Bass ? œ œœœœœœœ Crotales bow F Crot. & œ Perc. I bow f Vib. œi tacet... & p 21