first element
TRANSCRIPT
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Jeremy Woodruff
First Elementfor Flute and Piano with Audio
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Performance directions :
1. Listen several times to the included audio reference track.It is a more important part of the score than the notation.
2. Without looking at the notation try to emulate the singing by playing on your instrument.
Spend considerable time away from the score with the recording until you feel
you can play along with the recording, keeping up with the singing with ease.
Flute:3. Add the appropriate microtonal intervals, phrasing, contour, extended techniques
and tone colors at your own discretion in order to emulate the singers even farther.Be as creative as you like. Write them in to your part. Give each singer particularindividual characteristics.
Piano3. In the parts of the score that are informed by the audio reference develop furthurornamentation and nuance of your own, emulating the voice as far as possible.Playing inside the piano is also conceivable. Freely notate these inventions on your part
to keep track of them. Give each singer particular individual characteristics.
4. The notation is lacking conventional graphic elements such as microtonal accidentals,glissando lines, even phrasing marks etc.which you will need to fill in based on your learningprocess from the recording and your own ideas. Repeated notes in the notation may
sometimes mean that there is microtonal deviation within the pitch. The audio reference isa way to add more depth to your playing than graphic notation could. Engage with therecording as if it were a living teacher from whom you are learning by rote. Deviationfrom the written notation is expected and may be taken as far as desired towards thepurpose of emulating the voice.
Capturing the nuances of the voice by means of an instrument generally fall into 2 categories:
1) Reductionary: A cool objective approach which reduces the line to its primary shapesand most salient characteristics.2) Illusionary: Adding extra layers and nuances of sound to amplify the initial vocalcharacteristics, thereby creating a sort of expressionistic picture of the vocal line. This creates
a 'blurring' effect which can be closer to how we perceive the sound of the voice than animitation that is technically 'exactly' like the voice.
Notice that both approaches are metaphorical.
Notice that the transcription is transposed to various registers from the original.
Accidentals carry through the bar.
The Singers are:(in order of appearnce)
Srividhya ChandramouliCharveh Motlagh
LeadbellyKaren DaltonBjrk
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Audio Reference:
Included with the Flute part:
- One track with the singing passages where they occur in the timeline of the piece- The passages as seperate tracks numbers one through ten.
Included with the Piano part:
- One track with the singing passages where they occur in the timeline of the piece- The passages as seperate tracks numbers one through ten.
Audio Accompaniment:
Included:
- Audio track for the live performance- The passages as seperate tracks to be triggered live
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Flute
Piano
m m
*Ped. (mostly on throughout)
m
5 7
Ped.
6 3
* Ped.
m
5
poco rall.
*
5
5
m
5
mm
5
atempo
Srividhya
Ped. *
Ped.
Always Ad Libitum over the audio reference parts.Specific ornamentation here is just an example.Always emulate the recorded voice as far as possible.
m m
mMotlagh
Leadbelly
mm
m m n
*
m
Ped.
mm
2011 Self Music
First Element
Jeremy Woodruff
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10
m n m m6
10
m m
10
Leadbelly Srividhya
Specific glissandos here are just an example.Always emulate the recorded voice as far as possible forpitch (including microtones,) contour, tone color, nuance etc.
m n m m m
5 6
m
DaltonVib.
*
m m
Ped.
m mm
* Ped.
m
cresc.
15
15
m
15
m n m m
11
Motlagh
mm
m nm
14 14
Leadbelly
mm
m n m m
11
Dalton
18
18
m
18 m
*Ped.
m m bn
b b n n
15
3
bb
Motlagh
m n b5
mb n m
m
SrividhyaBjrk
*Ped.
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23
23
m
23 mcresc.
mm
m
m
Daltonm
m n
5
m m m n
m mm n m n
5 3
m m
Motlagh
* Ped.
27
27
m
n
mm
27
m
*Ped. * Ped.
m
5
m
m
6
mm
m
6
Srividhya
30
m m
6
30 m
30
m mm
Leadbelly
m m
b m
m
mm m
Bjrk
cresc.
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32 m
32 m m
32
mm
mm
mm n
mm
m
5
Dalton
*
m m
3
n m m
7 11
Ped.
35
35
nn m m m m
m n n
35
m m m
6 5
Srividhya Bjrk
mm
m m n
5 6 5 5
m
m m n m n
m nm
n m m
6 7
Dalton
38
b m m n
38
m m n mm m m
38
mmm m
Leadbelly
cresc.*
Ped.
b b b n b n b b m n b n b
3
m
mmm m
m
Motlagh
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40
b n m m m
711 7
7
40
m
40
mm
mm
Srividhya
m n m
10
m
mm
m
43
43 m7
43
Srividhya
*
m
5
m
Bjrk
Ped.
mm 5
m
Dalton
m
m
47
47
47
m n mm
5 6
mmn
Bjrk
* Ped.
m mm
m
6
m
Dalton
* Ped.
m
15
m* Ped.
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51
m m m n m n m n n m n m n
11 11
51
51
Motlagh
m n m mm
14
73
Srividhya
cresc.
* Ped.
53 m n m n m m n n
14
53
53
Bjrk
m m n m n m
15
Leadbelly Srividhya n m m m n m
12
Leadbelly Motlagh
56
56 m n m
56
b b
Dalton
* Ped. * Ped. *
m
bb nb
Ped. * Ped.
mm m n
Bjrk
* Ped.
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59
m n m n m3
59
mm
59
m m
Dalton
m m n m n m
12 11
m
m m
Srividhya Motlagh
cresc.
* Ped.
m n m n
7 3
m mm mm
mm nm
mm
n
*
62m
6 5
62
mm
62
mm
Leadbelly
Ped.
m
5
m mm
m
m mm
*
m
3 14
m mm
mm
msubito
Ped. * Ped.
65
m
65
m
5
65
m
5
Ordinario (not from audio reference)
m
m
m7
5
6
bm
mm6
m m
5
mm
m
3 7
*
m5 7
mb
m
5 7
mn
m m
m
DaltonFrom audio reference again
Dalton
Ped. *
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70
m n m m n
610
70
m n m m n
96 10
70
Srividhya
Srividhya
m
b m b
3
14
m n mm m
6
m
m mm
mn
Bjrk
Ped.
m b m m m b b
b
b
b
mm m m
73
m n
73
m
m
m
mmm
m
73
m n
73
Dalton
* Ped.
Daltonsubito
m m m
12
3
m
m
m
m m
7
m m
Srividhya
mm
m m m m n
6 14
mm
LeadbellyMotlagh
76
76
m m
5
76
m
* Ped.
mm
m m n m
5
Bjrk Dalton
*
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79
m m n m n m
14 10
79
m
79
Ped.
m m m
5 5
m
7
m m
6
m m
14
SrividhyaBjrk
* Ped.
m
7 5 6
85
m n m n m m
85 m
6
85
m n m n m m
Leadbelly Dalton
Leadbelly Dalton
m n mm
m
6
m n mm
Bjrk
Bjrk
m m
m
3 3
m m
Leadbelly
Leadbelly
88
m n m m m n5
15
88 m
88
m n mm m n
515
Srividhya
Srividhya
* Ped.
m m
9
m
m m
9
*
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