Description of a Struggle Full Score 2

8/9/2019 Description of a Struggle Full Score 2

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Instrumentation

Soprano Voice

Double Bass

Piano Suggested Stage Layout

Celesta 1

stPercussionist (Ratchet, Tam-tam, Foot Pump)

2nd

Percussionist (Bass Drum, Thunder Tube, Foot Pump)

Sampler

Technical Requirements

3 x Foot Pumps

4 x Dictaphones (for finger cymbal tree)

8 x Finger Cymbals (for finger cymbal tree)

4 x Mini Imac speakers (for speaker tree)

2 x Mic Stands (for finger cymbal tree and speaker tree) PA

1 x Double Bass pick-up 1 x Projector and Projector Screen

1x Audio Cassette Tape

2 x Laptops (1 for video 1 for audio)

Setup of The Finger Cymbal Tree and Speaker Tree

The finger cymbal tree consists of a line of 4 dictaphones hanging upside down from a mic stand arranged in a T shape. Their outer casing should be removed so that the pegs

used to hold and rotate the cassette tape are openly facing towards the ground. A small flat disk of about an inch in radius should be made out of sturdy cardboard or plastic.

This is attached to the rotating peg of the 1st

dictaphone (the one on the left) with blu-tack or tape and a finger cymbal is attached to it via fishing wire or strong string. This

finger cymbal should hang off the d isk at about 2/3 inches below the dictaphone. Another finger cymbal should be attached to the right-hand side of the dictaphone so that it

stationary hangs. Two small rings should be attached at different points down the wire/string so that when the finger cymbal hangs from the highest ring it is likely to bestruck by the opposite rotating finger cymbal, while on the lower ring it is not (a small fishing hook should be attached to the top of each finger cymbal so that they can be

easily moved and attached to each ring). Dictaphone 1 (on the far left) should be set up so that the finger cymbals are like to hit, while the other 3 should be setup so that they

hang from the higher rings, which mean they are unlikely to hit. An mini jack cable should come out of the 1st

dictaphones headphone socket and be put through a max/msp

patch that can both record the sound of the finger cymbals colliding (and words spoken into the dictaphones microphone) as well as amplifying it and putting it through a

delay. The output of this patch should go to the speaker tree which consists of an identical mic stand to the finger cymbal tree setup up in the same manner except with 4 mini

Imac speakers (or similar speakers of a small size) hanging from the T shaped bar.

Description of a Struggle

Instrumentation

& setup


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Phonetics

Specific phonetics that appear throughout the piece always occur in

square brackets e.g. []. When single unboxed letters occur out of the

context of a phrase it is the name of that letter that should be spoken

not its sound (e.g. the ns in the 3rd

Speech).

Phrases of the sopranos speech that are identical to samples of sleep

talk being used in the piece should be pronounced in a similar way

(e.g. Doef-a-fois).

The list of phonetics found in the piece are as follows:

[] - e as in pet

[aI] i as in high

[] a as in balm[] a as in surf

[o]- o as in hoe

[] - o as in pot[] ng as in sing

[h] h as in ham

[g] g as in go

[i] i as in happy

[] -oo as in good

[] a as in bad

[s] s as in soup[z] z as in zip

[d] d as in do

V

ocal Techniques

- Gasping breath in.

- Pronounce the given letter from the back of the throat and then immediately cut off

the sound by tensing your chest and stomach.

- Spoken from the chest as if having been punched in the stomach (this also requires

the tensing of the diaphragm).

- The singer is to breath in in a croaking fashion while making an h sound

(unless otherwise indicated).

- Words are to be mouthed but not said. Emphasis should be made on the sounds

the mouth makes in the forming of the appropriate shapes, though essential this is more of

theatrical device than a musical one.

- Words should be wh ispered.

- Note should be half-sung as if only attempting to sing.

- Inhalation

- Exhalation

Other Points

Pauses Lengths of pauses are indicated in seconds above the fermata. These

are only suggestive but their lengths should be taken into consideration e.g. a 5

sec pauses is actually a fairly substantial gap between events and this gap should

really be felt (ultimately it is better to overestimate the pause then

underestimate it).

Cues Cues in the score are indicated with a above the top staff. These are

again only suggestive but if used should be indicated by whoever is playing thesamples.

Foot Pump The foot pump should be played with either foot. The symbol for

pushing the pump down and releasing it is .

Phonetics &

techniques


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Copyright Nick Jones May 2009 London

As Description of a Struggle is open to interpretation the way in which it is staged can vary from performance to performance. Variations may occur not only in the actual

performance but also in the way the piece is presented. This may include variations such as amplifying the whole ensemble (not just the bass), applying specific costumes orpositions to players, working beyond the stereo field of sound, reinterpreting the ending etc.

There are, however, recommended ways in which to enhance the performance of the piece which includes (most importantly) the distribution of the selected sleep talk

samples to appropriate players within the ensemble (e.g. the soprano and the double bassist) prior to rehearsals, thus giving them the opportunity to hear what they are

sometimes imitating and to give an identity to a character that they often respond to and interact with.

Notes on

Performance


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Appendices


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w er n er i f er d i d i I

o der on d w er i f f f er o

di I i fI on der w w er o n d

I I I w der w o w n der wo n

w er er n I w der i i f f I

o o w o o n er n n d d er

if if der I der I wo if n er d I

I d er o n der i f f f er on

w i d n on f er d er w n der

o der n der if I der i d I i I

n er w er w der on der d i I d

er d i f I on er f i I n der

Wordless Rap No.1A semi-improvised rap using a given phrase as source material. The

phrase should never be spoken in full but can

be hinted at to create moments of near-clarity within the

otherwise unintelligible.

The grid opposite acts as a stimulus and suggestive combination of

sounds. They can be read horizontally, vertically, randomly or not at all;

in either case the actual phrase itself should always consciously be in

the performers mind. Ultimately the desired effect is hopelessly trying to

articulate something of importance.

Rhythms are chosen freely though should appear almost like a constant

flow of verbal diarrhea.

The likeness to rap should be in the delivery, (e.g. strong, arrogant,

violent etc.) and may take up a similar style of phrasing that is at the

discretion of the performer.

The rap can either be performed a cappella or with a choice of

backing track (e.g. hip-hop, soundscape etc.)

The descriptive words below are given within the context of the

Description of a Struggle and are there as a source of theatricalstimuli.

Theatrics

Aggressive, relentless, uncontrollable.

There should be the sensation of an endless stutter that never resolves

itself and that this disability to coherently speak is increasing the

frustration and violence of the character.

Phrase: IwonderdidI/ifIThe letters shown in the grid should be pronounced as

they would within the actual word. Small i refers to i asin if and did while a big I refers to I as in I wonder.)

- Appendix 1 -


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d I i i n w in a w ith n ai th n a a d d w in a th n

I i a i n n a a w ith w i

w in a th n th n a d i I d

i th i th n n a a d d d a

th n a w th n w th in a d d

i d i i I d I w w th n a

n a w ith n a d d i I th th

a A a d I w in a th n a d

d i i I th n a w i n th A

d a d a d I i in wi th n a

a w ith n a in a in A d d i

Wordless Rap No.2In the same manner as Wordless Rap No.1. Emphasis on the differences

between the pronunciations of certain vowel sounds may be employed

(e.g. I and a (see opposite)), as well as greater coherence with the

word with and in.

Extra emphasis can also be applied on stuttering over the ds and as.

Theatrics

With greater uses of gasps and chest pressure almost as if choking

over the words.

Phrase: DiewithinaThe letters shown in the grid should be pronounced as

they would within the actual word. Small i refers to i asin within while a big I refers to I as in die.

Big A refers to a as in bay while a small a refers toa as in apple.

- Appendix 2 -


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D eam D r eam D D eam a nd and c

r eam and c can an a a P pure P P

i f I if I my m m dr dre eam a

n nd c a a an can P P if I pure

if I c an I pure I fy m m I dr

P ure if if I my dr e dre eam a a

a c an can p ure pure if I I my a

c an I i f I dr eam I ure if I

P P pure if I dr dr eam I i eam d

a an c an I P if I ure m I fy

dr eam c an dr eam m I pure i I my

and an c an pure i my d ream c an I

Wordless Rap No.3Text remains ambiguous though short bursts of whole words (apart from

dream) may be used.

The order of the cutup words should constantly be changing so that it

is never quite clear what the phrase actually is. Examples include:

If I; m I (my); can I; pure if I (purify)

Dream. And can purify my, dream.

And can dream if I pure if - I

Theatrics

With a larger sense of desperation in trying to say

something but failing to do so. Almost like hastily

solving a puzzle by seeing which bits fit and which

dont.

Coughing over the words should be included to the

mix of stuttering and choking.

Phrase: dream.AndcanpurifymyBig I and little i still hold the same meaning as in the

previous raps.

Single Ds and Ps are in capitals to emphasis theirplosive nature

- Appendix 3 -

Description of a Struggle Full Score 2

Documents

Transcript of Description of a Struggle Full Score 2