On the Chair of the Universe, a Beetle-shaped Glass Buckles. Jacob Adler

Transcription

1 On the Chair of the niverse, a eetle-shaped Glass uckles by Jacob dler Thesis Presented in Partial Fulfillment of the Requirements for the Degree Masters in Music Composition pproved pril 2011 by the Graduate Supervisory Committee: Jody Rockmaker, Chair Roshanne Etezady Sabine Feisst RIZON STTE NIVERSITY May 2011

2 STRCT This composition as commissioned by the Orgelpark to be performed in msterdam in September 2011 during Gaudeamus Muziekeek It ill be performed by the vocal group VocaalLab Nederland It is scored for four vocalists, organ, npura, and electronic sound The ork is a culmination of my studies in South Indian Carnatic rhythm and North Indian classical performance It is a medition on the idea that the drone and pulse are micro/macro aspects of the same phenomenon of vibration Cycles are created on the macroscale through a mathematically defined scale of harmonic/pitch relationships Cycles are created on the microscale through the subdivision and addition of rhythmic pulses My aim is to capture the most beautiful elements of to ancient styles of music in a 21 st century context ii

3 Performance Notes This composition is an aid to medition for both performer and listener Organ, npura, and sine aves contribute to a continuous, all-encompassing kaleidoscopic drone throughout The four singers sit cross-legged in a semi-circle, surrounded by npura, speakers, and organ The four voices imite the purity of susined sine aves and old rudra veenas; no vibrato There is a great emphasis on harmonic intonation and clock-like rhythmic precision The npura and sine aves are tuned to the organ (G and C) ass sings solo in a relaxed, dhrupad style Duration: 10 minutes Scale The intonation of pitches is defined in terms of hole number ratios, or ust intonation: ratio cents interval name G 1:1 0 unison b 7:6 267 septimal minor 3rd C :3 98 perfect th Eb 1:9 765 septimal minor 6th F 7: 969 septimal minor 7th The 7: interval occurs beteen G - F and C - b (31 cents flatter than eq temp) The 7:6 interval occurs beteen G - b and C - Eb (31 cents flatter than eq temp) iii

4 Tanpura The npura is played traditionally as a consnt drone on the pitches: C - G - G - G The npura begins and ends the piece mplified sine aves To large speakers are placed on both sides of the vocal quartet Pre-recorded soundtracks consisting of sine ave drone textures and a metronome are provided by the composer The drone textures begin and end the piece ith the npura; it is played softly, blending ith organ and npura The metronome is triggered live at key points in the score by the sound engineer Rhythmic syllables Rhythmic groupings are sung by the sopranos and alto on the folloing syllables, unless ritten otherise: 2 eighth notes - ke 3 eighth notes - ki - te eighth notes - ke - di - mi 5 eighth notes - ke - ghi - na ton 6 eighth notes - ke - di - mi - - ke 7 eighth notes - ke - di - mi - - ki - te The syllable alays creates an accent ccents are alays brought to the foreground hile the other syllables remain un-accentuated in the background iv

5 organ the great brain unfolding behind moonlit clouds ancient deity responding to voices ith enigmatic pronouncements The organ part consists of an improvised drone, 2 interludes and a brief conclusion The drone is alays present in the background, softly filling the space, blending ith npura and sine aves ll parts are improvised, and it is up to the performer to find the most interesting and colorful stops on the organ bell may be used to signal the organist before interludes if necessary During the interludes the soft 16' or 32' pedal stops should be used The drone should sy in the mid to high registers Pitches to play ith: G, C, F, b, Eb The organ begins and ends the piece ith the npura and sine aves The drone is played very sloly (1 hole note = 17 seconds); overlegato π & Ó π continue in this fashion

6 alap macrocycles in harmonic synchrony ith the drone Soprano 1 and lto improvise long susined tones, each the length of a breath Pitches appear in order of emphasis; use freely, any ocve Communicate and create delicate textures, blending in and out of the surrounding drones Fade out sloly hen first organ interlude begins Soprano 1 lto n Each phrase/measure belo is a single, full breath ass: most pitches are approached ith expressive glissandi Whole notes indicate impornt and susined pitches Soprano 2 sings each pitch ith the dynamic shape: o < pp > o Sopranos and lto may choose voel shapes Soprano 2 ass n F n na krze - sle sze - n

7 Soprano 2 n ass sze - chsia - szklo Soprano 2 8 n n ass Soprano 2 12 ksz - cie chrz - szcza n n n ass y - krzy - ia siê organ interlude 1 (30 seconds)

8 metronome Soprano 1 Soprano 2 lto metronome begins after organ interlude articulate syllables softly, slur together alays bring accents to foreground ith expressive, clock-like precision 5e = 5 p p > > > > > > p heels ithin heels microcycles in harmonic synchrony ith the pulse ki te dim (simile) > > > > > > > > > > ke ghi na ton ke ghi na ton 20 x8 x7 20 > > > > > ke di mi > > > > > ke di mi > te te ki ke ki ke ki t e ke ke Œ

9 25 25 x5 x x3 te ki ke te ki te te ke te ki te ki ki ke ke ke J ki te ki te ke ke ki te ki ki ke ke ke ki te ki ki te te ke ke ΠΠ28 x2 x2 28 p dim (simile) ke ghi na ton ke ghi na ton Πke ghi na ton ki ghi na ton ki te > > > > > > alto: sing -tuplet only on the repeat

10 32 x6 x3 x 32 J J J J J J J J J J J J J J J J J J J J J J J J J J ki ki ki ki ke te ki ke te ki ke ki ki te ki J ke te ke te ke te ke te ke ki te ke ki te ke ke ke te te ki te te J J J J J J J J ki te ki te ke ghi na ton J J J J J J J J J J J J J J J J J J J J ke di mi (simile) > > > > > > > > > > > > > > > > > > > > ( ki te) ( ke) ( dim) (use same syllable/rhythm groupings) ki te (simile) J J J J organ interlude 2 (20-30 seconds) metronome off after donbeat of m36 ki te ke di mi ki te ke di mi ki te Ó

11 7e = 6 cloudlike, light and fluffy alto prepares singers for m59 by counting to 7-tuplet groups 37 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > p > > > > > > > > > > > > > > > > > > > > > p > > > > > > > > > > > > > > > 38 metronome begins shortly after m 38 singers begin hen ready sop 2 gives cue to begin m e = 6 x6 x dim ke ke ki te ki te ke di mi ke di mi > dim ke ke ki te ki te ke di mi ke di mi ΠΠΠΠΠΠJ ( ke) Πx x3

12 x3 x3 ke ghi na ton ke ghi na ton ke di mi ke ke di mi ke ke ghi na ton ke ghi na ton ke di mi ke ke di mi ke Œ Œ Œ Œ Œ Œ J Œ Œ J Œ J J ( ke ghi na ton) J 6 softer x2 x2 6 Œ Œ ke di mi ki te ke di mi ki te ke di mi ki te ke di mi ki te ki te J J J J J J J J J J J J J J ke (simile) bass sings only the first time W Ó

13 8 cresc x2 8 J J J J J () ke di mi ki te ke di mi ki te ke di mi ki te J J J sop 1: sing -tuplet only on the repeat > > > > > > > > ke di mi ki te 51 louder x2 51 J J J J J J J J dim (simile) J J dim (simile) J J ke di mi ki te

14 53 x3 x3 53 J J J J J J J J J J J J J J J J J J 55 ke di mi (simile) ke di mi (simile) 55 J J J J J J J J J J J J J J J ( ki te) ( ki te) dim ki te dim ke dim ke di mi (simile) > > > ki te (simile) J J J J organ conclusion (10-15 seconds) metronome off after donbeat of m56 dim ke di mi ki te ke di mi ki te ke di mi ki te Œ