Thank you for considering being a part of this project. This semi-experimental and loosely-structured work will hopefully be as much a joy for you to perform as it was for me to conceptualize and to create.
Rather than standard, notated, metered, structured music, this work asks the performer to make decisions and to be creative throughout the performance. The work consists of 12 cells, each of which will have 2, 3, or 4 pitches to be sung on generic vowels. The vowels are written in the score with their IPA symbols, but there is also a pronunciation guide provided, include demonstration text to illustrate the vowel shape. At the beginning of the work, allow the vowels to sit more to the back of the oral cavity, thus having a darker tone. As your performance unfolds, allow the vowels to move more to the front of the oral cavity and grow brighter. All pitches are to be sung at the pitch written; please do not transpose octaves.
Each cell also is given some basic directions for general speed, contour, and dynamics. Within those guidelines, you are free and invited to make decisions and to be creative. Within the time constraints provided, repeat the directions within the cell as many times as feels natural. Each repetition of the cell should be a new interpretation of the directions. Leave a short space between repetitions. If you find yourself coming to the end of the time allowed, finish your thought, leave a space, and then move on. It's absolutely okay for the timing to be messy.
The score is provided below as a PDF file for you to read and from which to perform.
Additionally, "click tracks" are provided as a downloadable ZIP file to reference the pitch content of each cell. It is recommended to download these to a computer of some kind and to use headphones to listen for reference.
Each track is constructed with the pitches ordered from lowest to highest, just like in the score. Often, the directions provided ask for a melodic contour of a different shape. The tracks are only to offer pitch reference. In order to ensure the tuning of all performers is consistent, please use the tracks for reference however best fits your performance practice.
The tracks are also of a consistent duration, often exceeding the time allotments in the score. This is to provide you with a reference, if needed, to cover the duration of your performance.
As you plan for your performance, please aim to keep your performance relatively close to 4 minutes. A few seconds over or under is fine!
Rather than standard, notated, metered, structured music, this work asks the performer to make decisions and to be creative throughout the performance. The work consists of 12 cells, each of which will have 2, 3, or 4 pitches to be sung on generic vowels. The vowels are written in the score with their IPA symbols, but there is also a pronunciation guide provided, include demonstration text to illustrate the vowel shape. At the beginning of the work, allow the vowels to sit more to the back of the oral cavity, thus having a darker tone. As your performance unfolds, allow the vowels to move more to the front of the oral cavity and grow brighter. All pitches are to be sung at the pitch written; please do not transpose octaves.
Each cell also is given some basic directions for general speed, contour, and dynamics. Within those guidelines, you are free and invited to make decisions and to be creative. Within the time constraints provided, repeat the directions within the cell as many times as feels natural. Each repetition of the cell should be a new interpretation of the directions. Leave a short space between repetitions. If you find yourself coming to the end of the time allowed, finish your thought, leave a space, and then move on. It's absolutely okay for the timing to be messy.
The score is provided below as a PDF file for you to read and from which to perform.
Additionally, "click tracks" are provided as a downloadable ZIP file to reference the pitch content of each cell. It is recommended to download these to a computer of some kind and to use headphones to listen for reference.
Each track is constructed with the pitches ordered from lowest to highest, just like in the score. Often, the directions provided ask for a melodic contour of a different shape. The tracks are only to offer pitch reference. In order to ensure the tuning of all performers is consistent, please use the tracks for reference however best fits your performance practice.
The tracks are also of a consistent duration, often exceeding the time allotments in the score. This is to provide you with a reference, if needed, to cover the duration of your performance.
As you plan for your performance, please aim to keep your performance relatively close to 4 minutes. A few seconds over or under is fine!
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Some recording tips:
This information comes from Erik Kosman, an expert on using live audio and amplification:
- Videos should be recorded with as little (or zero) background noise and, as possible, with a high-quality microphone. Any videos that have an excess of white noise may have their volume reduced or muted for clarity of the overall piece. The click track absolutely should not be audible.
- You should record your video in an acoustically "dead" space: as little echo/reverb as possible. This will help with dialing in the timing when putting the video together.
- Videos should be recorded in "landscape" orientation to allow for consistency in layout in the final product. The video should be recorded in one, continuous, unedited take, for the entire duration of the click track
- Your video needs to be in a standard video format: M4V, MP4, or MOV. Non-standard formats (WMV, WebM, etc.) will not be usable.
- When you record, you should use headphones or earbuds. Keep on ear open to be able to listen to your performance while the other ear is able to listen to the pitch references in the recording.
This information comes from Erik Kosman, an expert on using live audio and amplification:
- Tip for folks having private lessons/video assignments, if you're using a phone/tablet/something without gain (not volume) control, prioritize the placement of the device for SOUND not VIDEO.
- A higher angle is probably the best of both worlds. If you can get the device up high, you'll be able to see the performer in the shot, but the instrument will be off axis.
If you have any questions, please reach out to us: