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Love in the Time of Connectivityfor chamber wind ensemble
Aaron Gervais
Love in the Time of Connectivityfor chamber wind ensemble
Aaron GervaisJanuary 2009
Duration: 3’15
for orkest de ereprijs
Première performance:orkest de ereprijsConductor: Rob Vermeulen13 February 2009Podium GigantApeldoorn, the Netherlands
CC-BY-SA 2009, Aaron Gervais (SOCAN)www.aarongervais.com | www.musiccentre.ca
Instrumentation2 Flutes (one player doubles on Piccolo)•Clarinet in B• bAlto Saxophone•Baritone Saxophone•Horn in F•Trumpet in C•2 Trombones•Tuba•2 Sopranos (with vocal mics)•Mezzo-soprano (with vocal mic)•Electric Guitar (with distortion pedal; volume pedal recommended)•Electric Bass Guitar (with fuzz/distortion pedal; volume pedal recommended)•Piano•Drum Set•
Drum Key
Bass Drum
Floor Tom
Snare Drum
High Tom
Ride Cym.
Hi-Hat(with stick)
Hi-Hat(opened)
Crash Cym.
About The Piece
Love in the Time of Connectivity is a collage. In fact, even the title is a collage: I took the title of Gabriel García Márquez’s novel, Love in the Time of Cholera, and combined it with a reference to the culture of Internet file sharing. I have been interested in collage and the reappropriation of material for 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 of 2008 working in this direction.
Collage, as well as related ideas such as sampling, remix, and mash-up, are among the few unifying forces driving artistic change today. Through video sites like YouTube and audio sites like ccMixter, these ideas have been responsible for renewing amateur art on a mass scale, for challeng-ing the standards of creativity, for expanding musical taste, and even for influencing legal precedent.
For the first time in history, we are drowning in art. There is too much music of the highest artistic quality for anyone to ever hope to experi-ence. So how can artists contribute to culture in a situation like this? I think collage is an important part of the answer, and the proof is in the attitudes of those who grew up with the Internet. For many of 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 of Connectivity, I gave myself some restrictions in order to inspire creativity. For example, I decided to try to present all quotations in as recognizable a form as possible. I did not allow myself to transpose fragments from their original tonalities, and I did not allow myself to compose my own new material to bridge together the quotations—every note is borrowed. I also made tempo an inte-gral part of the musical development, and I tried to make grammatical sense of all the text fragments I combined. Finally, every quote relates to the others in some way, either in terms of theme, title, text, artist, or (obviously) musical sounds. The quotations, in order of appearance, are:
“Don’t You Want Me, Baby?”, Human League•“My Baby 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•
CC-BY-SA 2009, Aaron Gervais (SOCAN) www.aarongervais.com | www.musiccentre.ca
Love in the Time of ConnectivityTRANSPOSED SCORE Aaron Gervais
Very fast q = 160
Very fast q = 160
rit.
rit.
Flute I
Flute II
Clarinet in Bb
Alto Saxophone
Baritone Saxophone
Horn in F
Trumpet in C
Trombone I
Trombone II
Tuba
Soprano I(with mic)
Soprano II(with mic)
Mezzo-soprano(with mic)
Electric Guitar
Bass Guitar
Piano
Drum Set
mp gentle but rhythmic
mp gentle but rhythmic
*)
Ba
mp gentle but rhythmic
by,- Ba by,- Ba by!- Ba by,- Ba by!-
Don't
*) Approximate, as possible, pop-music tone and vibrato throughout.
*) mp gentle but rhythmic
you want me? Don't you want me? Don't you want me?
Don't
*) mp gentle but rhythmic
you want me? Don't you want me? Don't you want me?
clean tone
mp gentle but rhythmic
mp
Ped. ad lib. throughout
gentle but rhythmic
6
6
(q = 132)
(q = 132)
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
Ba by,- Ba by!- Ba by,- Ba by!- Ba by,- Ba -
Don't you? Don't you want me, oh?! Oh!
Don't you? Don't you want me, oh?! Oh!
2
11
11
A
A
(q = 120)
(q = 120)
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
Ba by!- Ba - by, Ba by!-
Oh! You want me? Oh! Don't you? Don't you?
Oh! You want me? Oh! Don't you? Don't you?
ff funky
*)
*) x = mute string
ff
clean tone
funky
gliss.
ff
gliss.
funky
(mp) (mp)
ff funky
P (mute cym.)
3
16
16
(q = 100)
(q = 100)
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
mf
mf
senza vib.
ff punchy, bright
ff
senza vib.
punchy, bright
ff punchy, bright
ff punchy, bright
ff punchy, bright
Oh! Don't! Don't!
mf
Oh! Don't! Don't!
mf
(ff) (ff) (ff)
(mp) (mp) (mp)
P P
4
20
20
B
B
(q = 76)
(q = 76)
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
f ff
f ff
Ba
(mp)
by,-
increasingly agitated
Ba by,- Ba by,- Ba by!
f
-
Don't you?
fincreasingly agitated
Don't you?
ff
Don't you?
fincreasingly agitated
Don't you?
ff
mpgentle but increasingly agitated
ff funky flowing
f sub.
flowingf sub.
f sub.
flowingf ff
P
flowing
f sub.
5
24
24
(q = 60)
(q = 60)
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
Ba
(f)
by,- Ba by,- Ba - -
6
28
28
(q = 50)
(q = 50)
C
C
a tempo q = 160
a tempo q = 160
rit.
rit.
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
mf gentle, as before, but greater intensity
mf gentle, as before, but greater intensity
by, Ba by,- Ba by,- Ba by!- Ba
mf gentle, as before, but greater intensity
by,- Ba by!-
Don't
mf gentle, as before, but greater intensity
you want me? Don't you want me?
Don't
mf gentle, as before, but greater intensity
you want me? Don't you want me?
solo
mf
mf gentle, as before, but greater intensity
7
(q = 104)
(q = 104)
33
33
(q = 88)
(q = 88)
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
f
f
ff punchy, brightf
ff punchy, brightf
ff punchy, brightf
ff punchy, bright f
ff punchy, brightf
Ba
f
by!- Ba -
You want!
f
You want!
f
ff funky f ff f
ff funky f
ff funky ffff
ff funky
P P P
f
8
37
37
(q = 60)
(q = 60)
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
by! Ba by,-
Don't you, you want me? Don't you, oh?! Me! Want
Don't you,you want me? Don't you, oh?! Me! Want
P
9
(q = 48)
(q = 48)
41
41
D
D
Fairly slow q = 69
Fairly slow q = 69
(q = 96)
(q = 96)
accel.
accel.
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
ff
ff mp subdued, distant
Ba by,- Ba by!
ff
- Ba
p subdued, distant
by,- Ba by,- Ba by!-
me!
ff
Don't
mp subdued, distant
you want me, Ba
me!
ff
Don't
p subdued, distant
you want me, Ba by?- Don't
mp
you want me, Ba
ff p subdued, distant
ff
ff p subdued, distant mp
ff p subdued, distantmp
10
46
46
(q = 112)
(q = 112)
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
mf subdued, distant
mf
Ba
mp
by,- Ba by,- Ba by!- Ba
mf
by,- Ba by,- Ba by,- Ba
by?- Don't
mf
you want me, Ba by?-
by?- Don't
mf
you want me, Ba by?-
mp mf
mf
mf
11
(q = 132)
(q = 132)
51
51
E
E
q = 160
q = 160
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
pp f playful, dancing
pp f playful, dancing
pp f playful, dancing
Sidney Bechet–style jazz vibrato
pp f playful, dancing
Sidney Bechet–style jazz vibrato
pp f playful, dancing
pp f playful, dancing
pp f playful, dancing
- by, Ba
f
by,- Ba - by, Ba by,- Ba - by, Ba by,- Ba by!
p
-
f p
pp f playful, dancing
f playful, dancing
12
56
56
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
bright, energetic
f bright, energetic
f bright, energetic
f bright, energetic
f bright, energetic
p sub.
bright, energetic
f sub. p sub. f sub.
bright, energetic
P
13
61
61
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
p sub. f sub. p sub. f sub. p sub. f sub.
P
14
F
F
66
66
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
p
p
Ba
mf gentle
by!-
Want
mf gentle
me,Ba by!-
Want
mf gentle
me,Ba by!-
mfgentle
f bright, energetic
15
71
71
G
G
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
f p
f p
Don't you? Don't
gradually more energetic, forceful
you want me, Ba by?-
Don't you? Don't
gradually more energetic, forceful
you want me, Ba by?-
P
16
76
76
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
f
f
energetic, pleading
Ba
f
by,-
Don't you want,
f
want
energetic, pleading
me,Ba by?!-
Don't you want,
f
want
energetic, pleading
me,Ba by?!-
P
17
81
81
rit.
rit.
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
Ba by,- Ba by,- Ba by,- Ba by!
ff
-
Don't
ff
you want me?
Don't
ff
you want me?
18
85
85
H
H
q = 132
q = 132
rit.
rit.
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
p f ff
To Picc.
p f ff
ff
ff
senza vib.
f merengue, light
ff f merengue, light
senza vib.
ff
ff f merengue, light
ff f merengue, light
ff f merengue, light
ff
Ba by!- Ba by!- Ba by!- Ba by!- Ba by!-
Don't you want me, Ba by?-
Don't you want me, Ba by?-
ff
ff f merengue, very round tone
gliss.
ff f merengue, light
ff f merengue, light
19
89
89
q = 69
q = 69
rit.
rit.
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
mp flat, aggressive mf
mp flat, aggressive mf
mp flat, aggressive mf
flat, aggressive mf
ff
distortionsolo
rocking, espres.
(vib.)
5 5 6
ff rocking, driving
pp espres.f
solo
3 3
3 3
ff rocking, driving
P
20
92
92
Fl. I
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
Piccolo
p
p
p
f ff 3
f ff 3
p
3
f ff 3
f ff 3
flat, aggressive f ff
3
3
fff
fuzz-style distortion3
ff sub. fff sub.3 33 3 3
33 3 3
3
P P l.v.3
21
e = e = 96
e = e = 96
95
95
molto rit. al fine
molto rit. al fine
Picc.
Fl. II
Bb Cl.
Alto Sax.
Bari. Sax.
F Hn.
C Tpt.
Tbn. I
Tbn. II
Tba.
S. I
S. II
M-S.
Elec. Gtr.
Bass Gtr.
Pno.
Dr.
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
Ah!
fff
Ah! Ah!
gliss.
Ah!
Ah!
fff
Ah! Ah!
gliss.
Ah!
Ah!
fff
Ah! Ah!
gliss.
Ah!
fff
fff
(use shaft of sticks on edge of cym.)
22
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