Walking Distance

Walking Distance (2012)

by Anthony T. Marasco

An interactive installation piece for acoustic musicians and audience-provided audio

Contents

Getting Started Page 1

Setting up the Path Page 3

Posting QR Codes Page 5

How to Read the Performance Material Page 6

Performance Material Page 8

Getting Started

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Walking Distance is an interactive, musical installation piece that strives to recreate and reinterpret various sonic atmospheres that were captured across the town of Clarks

Summit, Pennsylvania on a handful of specific dates (in this version of the piece, only one date is represented). Audience members travel at their own leisure through a pre-

set walking path that emulates the various streets, landmarks, and locales of the town and pass by “clusters” of performers stationed at various waypoints along the path.

While traveling the path, audience members with smartphones are encouraged to scan various QR codes that are placed at select intersections and waypoints. These QR

codes link to streaming audio files that—when played back through the audience members’ phones—will add an additional sonic element to their experience of the installation

and create unique textural and tonal combinations with the music created by whichever ensemble members they happen to be near. Members of the performance ensemble

are encouraged to change their location throughout the duration of the piece, allowing them the opportunity to perform and experience a multitude of musical and sonic

material throughout the installation. These variables provide the ensemble with a piece that can be performed with an extremely flexible duration and instrumentation, and will

never sound exactly the same across multiple performances.

In order to start performing Walking Distance, you’ll first need to make some decisions regarding which version of the performance material you’ll be performing:

• Which Date will you choose to perform? (each Date includes different musical performance material. A collection of different dates are available online at

www.atmarasco.com)

• Will you be performing the piece during the Day or during the Night? (Daytime material and Nighttime material for the same Date differ from each other)

The following pages will provide you with more information on setting up the walking path, posting the QR codes, and other facets of performing the piece.

Setting up the Path: Marking the Pathways

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The first step of performing the piece is setting up the walking path. In order to set up the path, you’ll need to find a space that is at least 582 x 250 feet wide. This version of

the installation has been tailored for performance at the Madison, WI Capitol Square. The walking path should be clearly marked so that audience members can easily walk

along it at their own pace. Posting flyers with directional markings, using stakes or flags to create a physical border for the pathways or using washable spray paint to mark the

ground are all viable options.

The following pages will give you a detailed explanation on how to set-up the walking path.

Setting up the Path: Diagram & Instructions

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321

The following set of instructions will walk you through the process of setting up a walking path that has been specifically designed for performance at the Madison, WI Capitol Square. While setting up the path, you will be organizing the placement of Musical Action Points and Pathway Intersections. In the figure on the left, solid lines (——) indicate pathways for the audience to walk along. Dashed lines (-------) indicate optional pathways that can be added in order to enhance the over-all experience of the piece by creating more listening points for the audience to stand at. To ensure a quick set-up, multiple people should help to create the path simultaneously. Some adjustments to the measurements found in the following instructions may need to be made in order to avoid unknown obstructions (i.e. trees, statues, etc.) Note: This layout uses fewer pathways and fewer QR codes than the original version of the piece. Because of this, the following lettered intersection points will NOT be used during set-up and performance: O, P, Q, and R. Do not be alarmed when these letters are not used during the set-up process.

1. Start at the corner of Carroll & Mifflin Street. Walk approx. 70 to 80 feet down Mifflin and stop. Mark this location as Point A. It will serve as one of three entrance points for the audience.

2. From Point A, turn clockwise 90 degrees so that you are facing inwards toward

the square. Walk approx. 80 feet towards the opposite end of the square. Mark this location as Point J.

3. From Point J, continue to walk in a straight line towards the opposite side of the

square. After approx. 80 feet, stop and mark this location as Point B.

*From here, a second person can branch off and create the center pathways. Have that person start at Point B and jump to instruction # 5 to begin*

4. From Point B, continue to walk in a straight line towards the opposite side of the

square. Walk approx. 450 feet, or until you reach the sidewalk. Mark this location as Point G. It will serve as one of three entrance points for the audience.

5. Return to Point B in order to set-up the inner pathways. At Point B, turn 90

degrees and face in towards the center of the square. Walk approx. 100 feet and mark this location as Point L. Continue to walk forward another 20-30 feet and mark this new location as Point C.

6. From Point C, turn approx. 45 degrees and walk approx. 120 feet along the inner,

octagonal sidewalk. Mark this location as Point I. Turn approx. 45 degrees in order to continue following the sidewalk. Walk approx. 40 feet and mark this location as Point D.

*From here, a third person can branch off and create the lower pathway. Have that person start at Point D and jump to instruction # 11 to begin*

Setting up the Path: Diagram & Instructions

4

7. From Point D, turn 90 degrees so that the Capitol building is behind you and that you are facing the corner of the square. Walk straight ahead approx. 100 feet and mark this new location as Point W.

8. From Point W, turn 90 degrees to the left (so that the Capitol building is on your left) and walk straight ahead approx. 60 feet. Mark this new location as Point H. It will serve as one of three entrance points for the audience.

9. Return to Point I. Stand so that the Capitol building is behind you and walk straight ahead

approx. 100 feet. Mark this location as Point V. Turn 90 degrees to the left (so that the Capitol building is on your left) and walk straight ahead approx. 140 feet. Mark this new location as Point K.

10. From Point K, turn approx. 45 degrees to the left and walk approx. 100 feet. Stop once you

intersect with Point J.

11. Return to Point D in order to set up the lower pathway. Stand so that the Capitol building is on your right and walk along the inner, octagonal sidewalk for approx. 240 feet. Mark this location as Point E.

12. From Point E, continue walking along the inner, octagonal sidewalk for approx. 220 feet

(you should end up on the same side of the square as the pathway which contains points A, B, J, and G). Mark this location as Point F.

13. From Point F, turn 90 degrees to the left so that the Capitol building is behind you (you

should be facing the pathway that contains points A, B, J, and G). Walk straight ahead approx. 80 feet until you intersect with the pathway that contains points A, B, J, and G.

You’ve completed the path! The following pathways and points are optional and do not need to be added unless you would like them to be.

14. Return to Point V and turn so that you are facing Point I. Walk along the pathway approx.

50 feet. Mark this new location as Point S.

15. From Point S, turn 90 degrees to the right (so that you are facing the pathway that contains points A, B, J, and G) and walk straight ahead approx. 90 feet. Mark this location as Point T.

16. From Point T, continue walking straight ahead approx. 50 feet and mark this new location

as Point U. Turn 90 degrees to the right (so that the capitol building is behind you) and walk approx. 50 feet to intersect with Point K.

17. From Point K, turn 180 degrees to face Point U. Walk straight ahead approx. 120 feet

(passing through Point U) to intersect with Point L.

18. Return to Point K and turn to face Point V. Walk straight ahead approx. 50 feet and mark this location as Point N. Turn 90 degrees to your right (so that you’re facing the Capitol building) and walk straight ahead approx. 100 feet (passing through Point T) to intersect with the pathway that contains points L, C, and I. Mark this new location as Point M.

Placing the QR Codes

5

QR codes are matrix barcodes that can be scanned and read by QR reader smartphone apps. Flyers displaying these codes (such as the one in the example below) are

placed at particular Musical Action Points throughout the walking path. Audience members with smartphones or other mobile devices can use their QR reader apps

(available for free on many digital app market places) to scan these codes and playback streaming audio files that will add an additional level of sonic complexity and

authenticity to the piece. These streaming audio files will also allow for the inclusion of electronic tone colors into the sonic palette of the piece without the need for complex

audio systems.

After you’ve set up the walking path, place the corresponding QR code flyers at their designated points along the walking path. Use the diagram on page 4 to determine

which points should have flyers posted at them. (For a quick reference, the following points should have QR code flyers: A through H, J through L, and W) On the back of

each flyer, you’ll find the letter of the corresponding Musical Action Point, along with directions on how to position the flyer. At the entrance points—Point A, Point G, and

Point H—an extra flyer explaining the procedure for scanning a QR code should also be placed. Audience members who are

traveling in groups are encouraged to allow only a small percentage of their group to scan each code in order to prevent

unnecessarily loud volume levels.

When it comes to physically displaying the QR code flyers along the walking path, there are a number of practical solutions that

your ensemble can employ. Taping the flyers to music stands, attaching the flyers to pieces of cardboard or standing yard signs, or

attaching the flyers to large wooden stakes are all viable options. More information on how to post QR code flyers can be found at

walkingdistanceatm.tumblr.com. An example of a QR code. Scanning it with a smartphone reveals a hidden message.

How to Read the Performance Material

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In this version of the piece, there are 5 Musical Action Points (Points A, C, E, G, and H) along the walking path that need to have at least one musician stationed at them

during the entire installation (refer to the map on page 3 for a visual depiction of where these Points are located on the walking path). For each of these Musical Action

Points, a corresponding page of Performance Material can be found in this score. Multiple copies of each page should be placed at the corresponding Musical Action

Points for moments when there are multiple musicians at a single point.

On each page of Performance Material, you’ll find that the musical material is organized into rows (marked as Parts) and columns (marked as Sections). Sections are used

to organize musical material across time from the beginning of the installation to the end. Each Section lasts for ¼ of the total time of the installation. As time passes,

performers at each Musical Action Point from left to right through the Sections, starting with Section A and ending in Section D.

Here is an example of how Sections work:

• Let’s say that you’ve decided to run the installation for 1 hour (e.g. 3 PM to 4 PM). This means that each Section will last for a total of 15 minutes (60 minutes

divided into four equal “sections.”)

• At the start of the installation, all performers will begin performing any material found under the Section A column on the left-hand side of the page. After 15 minutes

have passed (circa. 3:16 PM), all performers will then stop preforming material in Section A and begin performing material in Section B. After another 15 minutes

have passed (circa. 3:30 PM), all performers will stop performing material in Section B and begin performing material in Section C. This process continues until the

end of the piece (Section D is the last section of material performed during the installation).

• It would behoove performers to have access to a clock (watch, cellphone, etc.) during the performance to help keep track of the passage of time.

• You can only read forward from Section to Section (left to right, A to D) when performing. You cannot jump back to material in previous Sections.

• Performers are encouraged to hop from one Musical Action Point to another throughout the entire runtime of the installation. This will provide them with the

opportunity to perform new material at various locations along the walking path.

Inside of each Section, material is also organized into three Parts. Any performer at any Musical Action Point can perform material found on any of the three Parts, as long

as it is found in the appropriate Section. Each Part has two staves: one for Vocal performers and one for Instrumental performers. Performers can double on Parts if

necessary, and they are allowed to play material found on any of the three Parts found under the appropriate Section.

8

Performance Material for: 5/28/12

The following pages of Performance Material (in addition to the sound files streamed from the corresponding posted QR codes) recreate sonic atmospheres that occurred

on May 28th, 2012 in the town of Clarks Summit, PA.

5/28/12 – Daytime Point A

Clark Avenue

Reminders:

• Position performers on either side of the pathway

• Place QR code in front of performers on one side of the pathway

• You should not constantly repeat material across an entire section; Place pauses between your performances

• You are free to travel to various Points during the installation

• Use a clock to keep track of when it’s time to switch to the next Section

• You may play any material found in the Section that you are currently in; Feel free to jump from part to part, or

to double a part that is already being played

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Instrumental

Vocal

Instrumental

Vocal

Instrumental

Vocal

Part 1

Part 2

Part 3

∆ ≠>U

∑

∑

·

∑(n) (n)P

(Sing on any open syllable)

*Starting on a B natural ( in any octave), perform a slow, micro-tonal gliss. to the octave above, and then another down to the starting note. Hold the higher pitch twice as long as you hold the lower notes. Rest for at least 1 minute between performances.*

*Starting on an A natural ( in any octave), perform a slow, micro-tonal gliss. to the octave above, and then another down to the starting note. Hold the higher pitch twice as long as you hold the lower notes. Rest for at least 2 minutes between performances.*

p P p

ƒp (n)

*Pick any pitch in your low register. Perform a long, gradual, micro-tonal gliss. from that pitch to a second pitch no more than a whole step above. Accent the second pitch, perfom with a stressed, forced timbre, and perform a gradual, micro-tonal gliss. down into an indeterminate low pitch. Follow gliss. and fermata timings as marked below. Rest at least 30 seconds between performances.*

*gliss. circa. 6 seconds* *gliss. circa. 6 seconds*

*Hold circa. 3 seconds*

Section A

*Each performance = circa. 2 seconds*

*Pick any pitch in your middle register. On any syllable and with your hands cupped around your mouth (leaving an opening, not entirely closed), Sustain that pitch while micro-tonally bending above and below the pitch. Do not bend further than a whole step above/below the sustanined pitch. Each performance of this action should last circa. 15 seconds. Rest at least 45 seconds between performances.*

f

∑

∆ ≠>U

∑

∑

Section B

ƒp (n)


*Hold circa. 1 second*

*Pick any pitch in your low register. On any open syllable, perform a long, gradual, micro-tonal, gliss. from that pitch to a second pitch no more than a whole step above. Accent the second pitch, perfom with a stressed, forced timbre, and perform a gradual, micro-tonal gliss. down into an indeterminate low pitch. Follow gliss. timings as marked below. Rest at least 30 seconds between performances.*

*Using the pitches below, improvise melodies that emulate bird song. Play in the octave notated or in higher octaves. Tempi, rhythms, and articulation are up to you.*

ƒ only

*Sung Action: Emulate the sound of a nearby radio. Throughout this section, sing random pop songs of your choosing at a gradually changing dynamic level. At sporadic moments, create a loud "static hiss" noise.


P only

±

≠æ

Section C

*Each performance = 10 seconds*f

*Pick any pitch in your upper register. Sustain that pitch on any syllable for 10 seconds. Shift between a wide, slow vibrato to a fast, narrow vibrato. Rest at least 25 seconds between performances.*

*Pick any pitch in your middle register. With a stressed, forced timbre, sustain a tremelo on that pitch. Each performance of this action should last circa. 2 seconds. Rest at least 4 seconds between performances.*

p ƒ

*Sung Action: Emulate the sound of a nearby radio. Throughout this section, sing random pop songs of your choosing at a gradually changing dynamic level. At sporadic moments, create a loud "static hiss" noise.

*Perform the passage below. The second pitch is played with a stressed timbre and ends with a drastic "fall" into an indeterminate low-register pitch. Tempo and articulation are up to you. Periodically rest for at least 1 minute .*

f only

∑

·

Section D


fF or only

*Spoken Action: Emulate the action of talking to someone next to you. Throughout this section, mumble any lines of speech that you'd like at a modertly-loud dynamic level. Sporadicly break into clear, understandable fragments of speech at moments of your choosing. Accent and enunciate these fragments of understandable speech.*

*Using the pitches below, improvise melodies that emulate bird song. Sing in the octave notated or higher octaves. Tempi, rhythms, and articulation are up to you.*

F or fonly


*Pick any pitch in your middle register. On any syllable and with your hands cupped around your mouth (leaving an opening, not entirely closed), Sustain that pitch while micro-tonally bending above and below the pitch. Do not bend further than a whole step above/below the sustanined pitch. Each performance of this action should last circa. 15 seconds. Rest at least 45 seconds between performances.*

f


P only

5/28/12 - Daytime Point A

5/28/12 – Daytime Point C

State Street – Clock Tower

Reminders:








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Instrumental

Vocal

Instrumental

Vocal

Instrumental

Vocal

Part 1

Part 2

Part 3

— ! ! 3

‡ ! ! 3

Section A

ƒp p

*Starting on an A natural ( in any octave), perform a slow, micro-tonal gliss. to the octave above, and then another down to the starting note. Hold the higher pitch twice as long as you hold the lower notes. Rest for at least 45 seconds between performances.*


*Starting on a B natural ( in any octave), perform a slow, micro-tonal gliss. to the octave above, and then another down to the starting note. Hold the higher pitch twice as long as you hold the lower notes. Rest for at least 45 seconds between performances.*

(n) (n)ƒ*Perform sixteenth note triplets that consist of pitches in your upper register only. You may start/stop on different pitches for each performance. The intervals between notes, the articulations, the direction you move in from pitch to pitch, and the tempo of the tuplet are up to you.*

ƒ or F only

ƒ or F only

*Perform sixteenth note triplets that consist of pitches in your lower register only. You may start/stop on different pitches for each performance. The intervals between notes, the articulations, the syllable you sing on, the direction you move in from pitch to pitch, and the tempo of the tuplet are up to you.*

(Sing on any open syllable)

– ≠

‡ ! ! 3

‡ ! ! ! —

¿

Section B

f

*Pick any pitch in your low register. Perform a short-long rhymic pattern on that single note, emulating the sound of a fire truck horn. Make the timbre of the pitch sound stressed and forced. You may change the note for each performance. Rest for at least 1 minute between performances.*

orP only

*Using the pitches below (in any octave(s)), improvise melodies that emulate "Sousa-esque" march melodies. Tempi, rhythms, and articulation are up to you.*

P or f only


P or F only

*Perform sixteenth note triplets that consist of pitches in your lower register only. You may start/stop on different pitches for each performance. The intervals between notes, the articulations, the syllable you sing on, the direction you move in from pitch to pitch, and the tempo of the tuplet are up to you.*

*Percussive Action: using any vocal sounds of your choosing, perform rhytmic patterns that emulate marching band drumline cadences.F or f only

( )...

5 - (?)

*Perform sixteenth note tuplets that consist of 5 notes or more. Start on a pitch that is very low in your range and end on a pitch that is very high in your range. You may start/stop on a different pitches for each performance. The intervals between notes, the articulations, and the tempo of the tuplet are up to you.*

p f

∑

¿

*Spoken Action: Emulate the action of trying to talk over a loud parade. Throughout this section, mumble any lines of speech that you'd like at a loud dynamic level. Sporadicly break into clear, understandable fragments of speech at moments of your choosing. Accent and enunciate these fragments of understandable speech. If another vocalist is performing this action on Part 3, interact with them from time to time (create a dialouge).*

Section C


onlyƒ

f or ƒ only

*Spoken Action: Emulate the action of trying to talk over a loud parade. Throughout this section, mumble any lines of speech that you'd like at a loud dynamic level. Sporadicly break into clear, understandable fragments of speech at moments of your choosing. Accent and enunciate these fragments of understandable speech. If another vocalist is performing this action on Part 1, interact with them from time to time (create a dialouge).*


ƒ only

*Using the pitches below (in any octave(s)), improvise melodies that emulate "Sousa-esque" march melodies. Syllables, tempi, rhythms, and articulation are up to you.*

fF or only

*Percussive Action: on the body of your instrument (tapping the body, keyslaps, etc.), perform rhytmic patterns that emulate marching band drumline cadences.

‡ ! ! 3

‚ ! ! —

¿

∑


π or p only

π or p only

ƒ or F only

*Perform sixteenth note triplets that consist of pitches in your lower register only. You may start/stop on different pitches for each performance. The intervals between notes, the articulations, the direction you move in from pitch to pitch, and the tempo of the tuplet are up to you.*


( )...4 - 7

*Perform sixteenth note tuplets that consist of 4 to 7 notes. Start on a pitch that is in the middle of your range and end on a pitch that is very high in your range. You may start/stop on different pitches for each performance The intervals between notes, the articulations, and the tempo of the tuplet are up to you. Rest for at least 45 seconds between each performance.*

p(Sing on any syllable. You may alternate syllables from pitch to pitch)F

Section D


5/28/12 - Daytime Point C

5/28/12 – Daytime Point E

Corner of Bedford & Grove

Reminders:








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Instrumental

Vocal

Instrumental

Vocal

Instrumental

Vocal

Part 1

Part 2

Part 3

‡ ! ! ! —

‡ ∆

¿

∑

Section A

( )...

5 - (?)

*Perform sixteenth note tuplets that consist of 5 notes or more. Start on a pitch that is very low in your range and end on a pitch that is very high in your range. You may start/stop on a different pitches for each performance. The intervals between notes, the articulations, and the tempo of the tuplet are up to you.*

f ƒ

*Spoken Action: Emulate the action of trying to talk over a loud parade. Throughout this section, mumble any lines of speech that you'd like at a loud dynamic level. Sporadicly break into clear, understandable fragments of speech at moments of your choosing. Accent and enunciate these fragments of understandable speech.


f or ƒ only

f or ƒ only


f

*Pick any pitch in your low register. Perform a short-long rhymic pattern on that single note, emulating the sound of a fire truck horn. You may change the note for each performance. Rest for at least 30 seconds between performances.*

(Sing on any syllable. You may alternate syllables from pitch to pitch)

‡ ∆

— ! ! ! ‡( )...

5 - 11

*Perform sixteenth note tuplets that consist of 5 to 11 notes. Start on a pitch that is very high in your range and end on a pitch that is very low in your range. You may start/stop on different pitches for each performance. The intervals between notes, the articulations, and the tempo of the tuplet are up to you. Rest for at least 45 seconds between each tuplet*

Section B

f F


f or ƒ only


ƒ only


f


‡ ∆

‚ ! ! —

¿

( )...4 - 7

*Perform sixteenth note tuplets that consist of 4 to 7 notes. Start on a pitch that is in the middle of your range and end on a pitch that is very high in your range. You may start/stop on different pitches for each performance The intervals between notes, the articulations, and the tempo of the tuplet are up to you. Rest for at least 45 seconds between each performance.*

p(Sing on any syllable. You may alternate syllables from pitch to pitch)F


*Spoken Action: Emulate the action of trying to talk over a loud parade. Throughout this section, mumble any lines of speech that you'd like at a loud dynamic level. Sporadicly break into clear, understandable fragments of speech at moments of your choosing. Accent and enunciate these fragments of understandable speech. If another vocalist is performing this action on Part 2, interact with them from time to time (create a dialouge).*


p or P only


f


Section C

P or F only

¿

∑

‚ ! ! 3

π or p only

Section D


π or p only


f

*Perform sixteenth note triplets that consist of pitches in your middle register only. You may start/stop on different pitches for each performance. The intervals between notes, the articulations, and the tempo of the tuplet are up to you. Sing on open syllables only.*


5/28/12 - Daytime Point E

5/28/12 – Daytime Point G

Lance Pond

Reminders:








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Instrumental

Vocal

Instrumental

Vocal

Instrumental

Vocal

Part 1

Part 2

Part 3

∑

r– j– Œ r– j–

‚ " " ‡

∑

(n) (n)F

(n) (n)F(Sing on any open syllable)

*Starting on a B natural ( in any octave), perform a slow, micro-tonal gliss. to the octave above, and then another down to the starting note. Hold the higher pitch twice as long as you hold the lower notes. Rest for at least 1 minute between performances.*

P or f only

*Pick any pitch in your midle register. Using any syllable(s) you'd like, perform this rhythmic pattern on a single pitch with a stressed timbre. Emulate the sound of a frog call. Rest at least 1 minute between performances.*

( )...4 - 7

*Perform sixteenth note tuplets that consist of 4 to 7 notes. Start on a pitch that is in the middle of your range and end on a pitch that is low in your range. You may start/stop on different pitches for each performance The intervals between notes, the articulations, and the tempo of the tuplet are up to you.*

p

Section A*Starting on an A natural ( in any octave), perform a slow, micro-tonal gliss. to the octave above, and then another down to the starting note. Hold the higher pitch twice as long as you hold the lower notes. Rest for at least 1 minute between performances.*

∆ ≠>U

∑

r– j– Œ r– j–

∆ ≠>U

ƒp (n)

*Pick any pitch in your low register. Perform a long, gradual, micro-tonal gliss. from that pitch to a second pitch no more than a whole step above. Accent the second pitch, perfom with a stressed, forced timbre, and perform a gradual, micro-tonal gliss. down into an indeterminate low pitch. Follow gliss. and fermata timings as marked below. Rest at least 30 seconds between performances.*



Section B

ƒp (n)

*Pick any pitch in your low register. On any open syllable, perform a long, gradual, micro-tonal, gliss. from that pitch to a second pitch no more than a whole step above. Accent the second pitch, perfom with a stressed, forced timbre, and perform a gradual, micro-tonal gliss. down into an indeterminate low pitch. Follow gliss. timings as marked below. Rest at least 30 seconds between performances.*



F or f only


(Sing on any closed syllable)

p*Pick any pitch in your midle register. Perform this rhythmic pattern on a single pitch with a stressed timbre. Emulate the sound of a frog call. Rest at least 1 minute between performances.*

F only

Using the pitches below, improvise melodies that emulate wind chimes. Play in any octave. Tempi, rhythms, and articulation are up to you.*

¿

∑

¿

Section C

p or P only

or onlyp P

f or ƒ only


only

Using the pitches below, improvise melodies that emulate wind chimes. Sing in any octave. Tempi, rhythms, and articulation are up to you.*

ƒ(Sing on any syllable. You may alternate syllabules from pitch to pitch)

*Percussive Action: using any vocal sounds of your choosing, perform rhytmic patterns that emulate marching band drumline cadences.


∑

¿

p only

F or f only

*Percussive Action: using any vocal sounds of your choosing, perform rhytmic patterns that emulate marching band drumline cadences.


Section D

Using the pitches below, improvise melodies that emulate wind chimes. Sing in any octave. Tempi, rhythms, and articulation are up to you.*

P only(Sing on any syllable. You may alternate syllabules from pitch to pitch)


fF or only


F or f only

5/28/12 - Daytime Point G

5/28/12 – Daytime Point H

Clarks Green Cemetery

Reminders:








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Instrumental

Vocal

Instrumental

Vocal

Instrumental

Vocal

Part 1

Part 2

Part 3

≠

∑

·

¿> ¿> ¿> ¿> ¿> ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

±

Section A


*Pick any pitch in your middle register. With a stressed, forced timbre, sustain that pitch while micro-tonally bending above and below the pitch. Do not bend further than a whole step above/below the sustanined pitch. Each performance of this action should last circa. 15 seconds. Rest at least 45 seconds between performances.*

F


*Pick any pitch in your upper register. Sustain that pitch on any syllable for 10 seconds. Shift between a wide, slow vibrato to a fast, narrow vibrato. Rest at least 25 seconds between performances.*


*Pick any pitch in your middle register. On any syllable and with your hands cupped around your mouth (leaving an opening, not entirely closed), sustain that pitch while micro-tonally bending above and below the pitch. Do not bend further than a whole step above/below the sustanined pitch. Each performance of this action should last circa. 15 seconds. Rest at least 45 seconds between performances.*

F

f ƒ

*Percussive Action: on the body of your instrument (tapping the body, keyslaps, etc.), perform this rhytmic pattern that emulates nearby construction work. Tempo is up to you.

∑

≠

·

Section B

*Sung Action: Emulate the action of a child singing. Throughout this section, improvise songs that a child might sing while playing outside. Do this at a moderatly- loud dynamic level. Sporadicly increase your volume to accentuate fragments of your song at moments of your choosing.


*Pick any pitch in your middle register. With a stressed, forced timbre, sustain that pitch while micro-tonally bending above and below the pitch. Do not bend further than a whole step above/below the sustanined pitch. Each performance of this action should last circa. 15 seconds. Rest at least 45 seconds between performances.*

f


F or f only


*Pick any pitch in your middle register. On any syllable and with your hands cupped around your mouth (leaving an opening, not entirely closed), sustain that pitch while micro-tonally bending above and below the pitch. Do not bend further than a whole step above/below the sustanined pitch. Each performance of this action should last circa. 15 seconds. Rest at least 45 seconds between performances.*

F f (n)

±

¿> ¿> ¿> ¿> ¿> ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

∑

ƒ

*Percussive Action: using and vocal sounds of your choosing, perform this rhytmic pattern that emulates nearby construction work. Tempo is up to you.

(n)


*Pick any pitch in your upper register. Sustain that pitch for 10 seconds. Shift between a wide, slow vibrato to a fast, narrow vibrato. Rest at least 25 seconds between performances.*

Section C


f or ƒ only

(n) ƒ

*Pick any pitch from the range given in the passage below (in the octave of your choice) and perform the passage on the pitch that you've chosen. Tempo, syllable, and articulation are up to you.* Rest for at least 25 seconds between performances.*

∑

±

Section D


F only

(n) ƒ

*Pick any pitch from the range given in the passage below (in the octave of your choice) and perform the passage on the pitch that you've chosen. Tempo and articulation are up to you.* Rest for at least 45 seconds between performances.*

*Spoken Action: Emulate a child playing in a yard. Throughout this section, sporadicly shout (at a moderatly loud dynamic level) the following phrases: "Hey, Mom!", "Mom, are you watching?", and "Hey! Not Fair!"

*Each performance = 10 seconds*ƒ

*Pick any pitch in your upper register. Sustain that pitch for 15 seconds. Shift between a wide, slow vibrato to a fast, narrow vibrato. Rest at least 45 seconds between performances.*

(Sing on any syllable. You may alternate syllabules from pitch to pitch)

5/28/12 - Daytime Point H

Walking Distance

Documents

path page

preset walking path

performance material

walking distance

performance material

musical installation

sonic material

interactive installation