Being PollenJeffrey Treviño, 2011

for Johannes Fischer and Bonnie Whiting Smith

Instrumentation:5 hanging almglocken - 3 very high, 1 medium, 1 very low hallway clock coil (mounted on resonant box)hanging spring coilmarble slabhigh pot lid or metal platelow pot lid or metal platelarge bookmetal pipelow drinking glass or glass/ceramic bowlflowerpothigh drinking glassbongoscastanet (mounted and struck with mallets)styrofoam container

to be played with hard (brass or marble) mallets, yarn mallets, and wire brushes.

3 high almglocken,1 med., 1 low. castanet

highglass

bongos

styrofoamcontainer

largebook

lowglass(or bowl)

marbleslab

metalpipe

flowerpot highpotlid(ormetalplate)

lowpotlid(ormetalplate)

clockcoil

springcoil

(high) (low)

Being PollenJeffrey Treviño, 2011

NotationIf grace notes cannot be made to conform to to the rhythms of a given or coincident poem quotation, they should be performed

as quickly as possible before or after (as notated) the metric position to which they attach.

TechnologyPlace a single, full-range loudspeaker among the instruments, as close to ear-level as possible. Three recorded poems play back

through the speaker, triggered by computer program and foot pedal, as indicated:

In “Conversation,” begin recording playback immediately. Synchronization between recording and performing is relativelyloose, as specified by notated cues.

In “The Song Called ‘Get Away,’” playback begins as desired. There is no synchronization between recording theperforming.

In “Pollen,” playback begins the second time only. Synchronization between recording and performing has beenmeticulously notated.

Texts and RecordingsAll texts and recordings copyright Alice Notley; used with permission of the author.

for Johannes Fischer and Bonnie Whiting Smith

e = 72

B E I N G P O L L E Nclock-like pulsation, beginning to fray, suddenly regathered

for Johannes Fischer and Bonnie Whiting Smith

Jeff Treviño, 2011

Solo

5

Solo

9

Solo

ppppp

bongosstyrofoambook

mallet shafts; all instruments l.v.; bongos struck on sides

p mf

33

pp

almglocken

marbleflowerpot

high glasslow glass

metal pipe

mf

low potlid

3 3

mf

almglockenlow glass low glass

high potlidalmglocken high glass

low potlidbongospring coil

almglockenhigh glass

almglockenbook

almglockenhigh potlid almglocken

high bongo styrofoambook

high bongomarble

almglockenbook

high bongostyrofoam

almglockenhigh potlid bongos

low bongoflowerpot

high glasslow bongo

pp

high bongobook

almglockenhigh bongo high bongo

book

low bongobook

high bongobook

attaca

I. Conversation (Bolinas, 1971)(microphone bump) Uh, this first poem is called “Conversation.” Conversation:

(waltzing w/noises)

My name my name my name my name my name, my name is wesley is wesley wesley is wesley jackson is wesley jackson

my name is wesley jackson i am i am i am i am twenty five years twenty five years old old i am twenty five years old

and and my favorite my favorite my favorite favorite favorite and my favorite song song song and my favorite song

my favorite song and my favorite song is is valencia valencia isn't isn't that isn't that beautiful beautiful isn't that beautiful

frank

frank

said,

frank said.

w/mallets

(Anselm Hollo laughs.)

(crack!)

low

bongo

high

potlid

l.v.

high

bongo

castanet ...

castanet...pipe

(w/brush)

bottle

(w/brush) book

(w/brush)

high

almglocken

(w/brush)

dim.

repeat and cresc. poss.spring

coil l.v.

pipe book

bottle

flowerpot

high

almglocken

high glass

styrafoam

("twenty-five years")book

styra-

foam bottle

flowerpot

repeat

("i am")book

styra-

foam

repeat

marble

spring coil

pipe book

bottle

flowerpot

highalmglocken

high glass

styrafoam

said thrice

1x2x

3x

lowpotlid

marble

l.v.

highpotlid

marble

l.v. decresc.

almglocken(w/brushes)

said thrice

decresc.

almglocken(w/brushes)

morendo

transition from striking to brushing

l.v. l.v.

struck struck

brushing bell

disappear into

traffic sound

(brushed)

attaca

said twice

...

...

accel. rit..

interlude

waltzing (as before)

Percussion

10

repeat untilresonance has decayed

Percussion

poco meno mosso

16

Percussion

21

Percussion

cresc.

castanetbongospipe

(l.v.)

marble owerpot low glass

dim. quarters,cresc. grace notes

high pot lid high glass

low pot lid

quarters , graces

castanetbongo

ve years old")

high glassbongosstyrofoampipe book marble

owerpot

low glass highpotlid

3 3

3 33

bongosmarblebook

owerpot

dim.

high glassstyrofoampipebook

bongosmarble

owerpot

styrofoampipebook

5 6 3 3

mallets

as before

27

Percussion

35

Percussion

poco meno mosso

42

Percussion

48rit.

Percussion

58molto meno mosso

Percussion

65

Percussion

!"

#" !" "" !"

"" !" ""

$f dim.

castanetglassbongospipehigh pot lid

p grace notes cresc.

$low pot lid

(grace notes f)

$

("Isn't that beautiful")

p

(all l.v.)almglocken

mf p f mp3 3 3 3

33 3 5

$brushes

p

mallets

p pp

brushes mallets

6 3 3 3 3 3 3 3

$

(silenceall) $

bongostyrofoambookflowerpot

brushes

pppX

bongomarblestyrofoambook

(scrape mallet shaft)

3 3

33 3

$bongostyrofoamflowerpot

X X

bongostyrofoambook

p

almglockenpipelow pot lid

bongostyrofoambook X attaca3

3

3

33

"' '& "

'&' "

'' "

' '& "'&' "'

'' & "

''&' "

'' & "

''&' "

'' & "

''&' "

'' & "

'&' "'

'' & "

'&' "'

'' & "

'&' "'

''

& "'&' "'

'' & "

'&' "

' '' & "

'&' "'

' '' & "

'&' "

' '' '' & "

'&' "

' '' '' "

''& "'&' "

' '''' "

' '& "'&' "

' '' ''

' ' ' ' ' ' ( * ' ' ' ' ' ' ' ' ' ' '+

' ' ' ' ' ' "'' ! ' ' ' ' ''' ' ' ' ' '' ! ' ' ' "'' ' ' ' '

'''' '' ' ' ' ' !'' '' !' ' ' ' ' ' ( '''( ( ) !'' '' ! *! ' ' ' ' ' '''' *! ) !'' '' ! ( *! ' ' '*

* ' ' ' *! ' ' '* *! ) ! ' ' ' ' ! ( '

+' ' ' * , ' ! ' ' ' * ' ' ' (

( ) ' ' ' ' ' ' ' *! ) ' ' ' !' *! ( ' ' '' ' ' ' ' ' - ( , ' ' ' ' ' ! ( -

II. The Song Called "Get Away"rit. (Buffalo, 1987)

Percussion

dim.

glass ("valencia, valencia, isn't that")marble ("my name, my name, my name is")styrofoam ("tw ve years old, i am")pot lids ("beautiful, beautiful, isn't that, isn't that")

attaca3 3 3

3

This rhythm is a composite of several rhythms from the poem, “Conversation,” as described. Perform it many times, slowing gradually from the initial tempo (that of the previous section’s end) to a tempo so glacially slow that no speech rhythms or meter can be perceived. Gradually soften throughout the repetitions. Let all attacks ring.

Begin playback of the eponymous poem at any time. The end of the poem need not align with the end of a repetition. The repetition that finishes immediately after the end of the recording is the end of this section of the piece.

(Philadelphia, 2006)

III.

attaca

e = 72

codaconverging and diverging gradually

Solo

5

Solo

9

Solo

14

Solo

ffdim.

hard mallets; bongos struck on sides; all instruments l.v.

3 3

3

3 3 33

pp cresc.3

3

3

3 3

3

3 3

33

clock-like diverging

18

Solo

22

Solo

26

Solo

30

Solo

34

Solo

38

Solo

7

soft mallets

f dim.3

33

3

5

5

3

3

3 53

3

3 3

3

3

3

3 3

3

3

3

3

3

brushes

pp

l.v.

converging

clock-like