Love in the Time of Connectivity. for chamber wind ensemble. Aaron Gervais

Transcription

1 Love in the Time o Connectivity or chamber wind ensemble Aaron Gervais

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3 Love in the Time o Connectivity or chamber wind ensemble Aaron Gervais January 2009 Duration: 3 15 or orkest de ereprijs Première perormance: orkest de ereprijs Conductor: Rob Vermeulen 13 February 2009 Podium Gigant Apeldoorn, the Netherlands CCBYSA 2009, Aaron Gervais (SOCAN)

4 Instrumentation 2 Flutes (one player doubles on Piccolo) Clarinet in Bb Alto Saxophone ritone Saxophone Horn in F Trumpet in C 2 Trombones Tuba 2 Sopranos (with vocal mics) Mezzosoprano (with vocal mic) Electric Guitar (with distortion pedal; volume pedal recommended) Electric ss Guitar (with uzz/distortion pedal; volume pedal recommended) Piano Drum Set Drum Key ss Drum Floor Tom Snare Drum High Tom Ride Cym. HiHat (with stick) HiHat (opened) Crash Cym. About The Piece Love in the Time o Connectivity is a collage. In act, even the title is a collage: I took the title o Gabriel García Márquez s novel, Love in the Time o Cholera, and combined it with a reerence to the culture o Internet ile sharing. I have been interested in collage and the reappropriation o material or some time, because as the saying goes, good artists borrow but great artists steal. Collage is the most honest way to honour that principle, and I spent most o 2008 working in this direction. Collage, as well as related ideas such as sampling, remix, and mashup, are among the ew uniying orces driving artistic change today. Through video sites like YouTube and audio sites like ccmixter, these ideas have been responsible or renewing amateur art on a mass scale, or challenging the standards o creativity, or expanding musical taste, and even or inluencing legal precedent. For the irst time in history, we are drowning in art. There is too much music o the highest artistic quality or anyone to ever hope to experience. So how can artists contribute to culture in a situation like this? I think collage is an important part o the answer, and the proo is in the attitudes o those who grew up with the Internet. For many o them, art is not something simply to be experienced, it is a resource to be adapted, changed, built upon, and shared. While composing Love in the Time o Connectivity, I gave mysel some restrictions in order to inspire creativity. For example, I decided to try to present all quotations in as recognizable a orm as possible. I did not allow mysel to transpose ragments rom their original tonalities, and I did not allow mysel to compose my own new material to bridge together the quotations every note is borrowed. I also made tempo an integral part o the musical development, and I tried to make grammatical sense o all the text ragments I combined. Finally, every quote relates to the others in some way, either in terms o theme, title, text, artist, or (obviously) musical sounds. The quotations, in order o appearance, are: Don t You Want Me, by?, Human League My by Portable Player Sound, Pizzicato 5 Mo Money Mo Problems, Biggie Smalls Notorious, Duran Duran Get Money, Biggie Smalls Le grand Tokyo, Pizzicato 5 Tout, tout pour ma chérie, Pizzicato 5 Nadie me brinda na, Los Hermanos Rosario Bohemian Rhapsody, Queen Suite Bergamasque, Clair de lune, Claude Debussy Regrets, Ben Folds Five

5 TRANSPOSED SCORE Flute I Love in the Time o Connectivity Very ast q = 160 rit. mp gentle but rhythmic Aaron Gervais Flute II mp gentle but rhythmic Clarinet in Bb Alto Saxophone ritone Saxophone Horn in F Trumpet in C Trombone I Trombone II Tuba Soprano I (with mic) Soprano II (with mic) Mezzosoprano (with mic) Electric Guitar ss Guitar Very ast q = 160 rit. *) mp *) gentle but rhythmic *) mp gentle but rhythmic mp gentle but rhythmic by, by, clean tone mp gentle but rhythmic by, Piano mp gentle but rhythmic Ped. ad lib. throughout Drum Set *) Approximate, as possible, popmusic tone and vibrato throughout. CCBYSA 2009, Aaron Gervais (SOCAN)

6 2 6 (q = 132) I ri. Sax. I 6 (q = 132) I by, by, by,? me, oh?! Oh! MS.? me, oh?! Oh! ss Gtr.

7 11 A (q = 120) 3 I ri. Sax. I I MS. ss Gtr. 11 Oh! Oh! by, You You A (q = 120) Oh! Oh! unky clean tone unky gliss. gliss. unky (mp)?? *)?? (mp) P (mute cym.) unky *) x = mute string

8 4 16 (q = 100) I ri. Sax. senza vib. punchy, bright senza vib. punchy, bright I punchy, bright punchy, bright punchy, bright 16 (q = 100) I MS. Oh!!! Oh!!! ss Gtr. () (mp) () (mp) () (mp) P P

9 20 (q = 76) B 5 I ri. Sax. I I MS. ss Gtr. 20 (mp) by, increasingly agitated gentle but mp?? increasingly agitated by, by, increasingly agitated increasingly agitated (q = 76) B unky?? sub. lowing sub. lowing sub. lowing P sub. lowing

10 6 24 (q = 60) I ri. Sax. I I 24 () by, by, (q = 60) MS. ss Gtr.

11 28 (q = 50) C a tempo q = 160 rit. 7 gentle, as beore, but greater intensity I gentle, as beore, but greater intensity ri. Sax. I I MS. ss Gtr. 28 by, by, by, (q = 50) C rit. solo a tempo q = 160 by, gentle, as beore, but greater intensity gentle, as beore, but greater intensity gentle, as beore, but greater intensity gentle, as beore, but greater intensity

12 8 I 33 (q = 104) (q = 88) ri. Sax. I punchy, bright punchy, bright punchy, bright punchy, bright punchy, bright I MS. ss Gtr. 33 (q = 104) unky unky unky You! (q = 88) You! P unky P P

13 37 (q = 60) 9 I ri. Sax. I I MS. ss Gtr. 37 (q = 60),,, oh?!, oh?! Me! Me! by, Want Want P

14 10 41 D Fairly slow q = 69 (q = 48) accel. (q = 96) I mp subdued, distant ri. Sax. I I MS. ss Gtr. 41 me! D Fairly slow q = 69 accel. (q = 48) by, p subdued, distant by, by, me! p subdued, distant me, by? (q = 96) mp subdued, distant p subdued, distant p subdued, distant mp me, me, mp p subdued, distant mp

15 46 (q = 112) 11 subdued, distant I ri. Sax. I I MS. ss Gtr. 46 mp by, by, by? by? mp (q = 112) me, me, by? by, by, by? by,

16 12 I 51 (q = 132) pp pp E q = 160 playul, dancing playul, dancing pp playul, dancing Sidney Bechet style jazz vibrato pp playul, dancing ri. Sax. pp Sidney Bechet style jazz vibrato pp playul, dancing playul, dancing I I 51 (q = 132) by, pp by, by, by, by, by, E playul, dancing q = 160 p MS. ss Gtr. p pp playul, dancing playul, dancing

17 56 13 I bright, energetic ri. Sax. bright, energetic bright, energetic I 56 I MS. ss Gtr. bright, energetic bright, energetic p sub. sub. p sub. sub. bright, energetic P bright, energetic

18 14 61 I ri. Sax. I 61 I MS. ss Gtr. p sub. sub. p sub. sub. p sub. sub. P

19 I 66 F p p 15 ri. Sax. I I MS. ss Gtr. 66 F gentle gentle gentle Want Want gentle me, me, bright, energetic

20 16 I 71 G p p ri. Sax. I 71 G I gradually more energetic, orceul? me, by? MS.? gradually more energetic, orceul me, by? ss Gtr. P

21 I ri. Sax. I I MS. ss Gtr. 76,, energetic, pleading by, energetic, pleading me, by?! energetic, pleading me, by?! P

22 18 81 rit. I ri. Sax. I I MS. ss Gtr. 81 by, by, by, rit.

23 I ri. Sax. I 85 p p H q = 132 To Picc. senza vib. merengue, light senza vib. merengue, light rit. merengue, light merengue, light 19 merengue, light I MS. ss Gtr. 85 me, me, by? by? H q = 132 merengue, very round tone merengue, light merengue, light gliss. rit.

24 20 89 q = 69 rit. I ri. Sax. mp mp lat, aggressive lat, aggressive mp lat, aggressive lat, aggressive I I 89 q = 69 rit. MS. ss Gtr. (vib.) distortion solo rocking, espres. rocking, driving solo 3 3 pp espres. 3 3 P rocking, driving

25 I ri. Sax. I 92 lat, aggressive Piccolo p p p p I MS. ss Gtr. P P sub l.v. uzzstyle distortion sub.

26 22 Picc. I ri. Sax. 95 e = e = 96 molto rit. al ine I I MS. ss Gtr. 95 e = e = 96 Ah! Ah! Ah! Ah! Ah! Ah! gliss. gliss. gliss. molto rit. al ine Ah! Ah! Ah! Ah! Ah! Ah! (use shat o sticks on edge o cym.)