IMY/ILY by Amadeus Regucera

IMY/ILY (2018/19) for solo percussionist & bass drum Amadeus Julian Regucera

Indoor Kid Publishing

IMY/ILY (2018/19) for solo percussionist & bass drum dedicated to Andy Meyerson Instrumentation: Medium Bass Drum (mounted on legs) 2 leather flogs 1 strip of black cotton cloth, used as a gag General: - For performance, percussionist is gagged with a thin, black piece of cloth. - Percussionist’s torso should be bare if possible. - Lighting should be sparse/stark – a single overhead bulb or bare bulbs clamped or mounted to each side of the percussionist, or (recommended/preferred) a single light underneath the drum to illuminate its surface. Performance example: https://youtu.be/cqz05mpHgq4

Example of IMY/ILY “mise-en-scène”

Notation:

Hit your bare torso with a closed fist

Hit your bare torso with an open palm

Hit the drum with your hand (open palm, similar to a conga hit)

Using the flog, whip your back by throwing the flog over your shoulder

Hit the drum using the flog

Using your fingers, brush the surface of the drum; the resulting sound should be a “white noise,” “sh” timbre

Breathy sound, either spoken or a breathing sound

Breathing — Downbow: exhalation, Upbow: inhalation — notation is combined with phonemes to create different sounds…

With a closed mouth, sing the highest pitch possible that you can, at the quietest dynamic. This requires concentrating on pushing your diaphragm down. This should resemble a pained, desperate whine and after some time sustained, may break into a kind of “multiphonic” Vocalizations: Sounds inside a bracket “| |” are phonemic approximations and/or vocal utterances |hi| - “hee” is vocalized on the inhalation |ha| - “hah” is vocalized on the inhalation |s| - “s” sound is produced by placing the tongue against the roof of the mouth; when it is accompanied by an dotted-arrow & crescendo, the end of the “s” sound is punctuated with the ensuing notated vowel (e.g. |a| = “ah”). In measures 32-42, the |s| sound shows a crescendo. This is achieved by suddenly releasing the tongue off the roof of the mouth when vocalizing the “s” sound. |f| - an “f” sound or in IPA, a “voiceless labiodental fricative” (also, notated as “f” in the IPA). In this piece, it is typically vocalized on the inhalation |m| - with a closed mouth, vocalize “mm” – this is always done at a “louder” dynamic and should sound as if you are being punched in the gut

|rr| - “ur” or a “growl”-type sound which resembles an animal and should be performed in the lower vocal register |guh| - should be explosive, like the |m|, sound like you are being punched in the gut; performed in the lower vocal register Please email the composer – aregucera@gmail.com – for any question regarding the notation or any problems accessing the YouTube links in the performance notes

IMY/ILY for Andy Meyerson First Part. Lights are dimmed to blackness save one or two bulbs illuminating the bass drum (one stage light beneath the drum, illuminating the surface is recommended if possible). The percussionist approaches bass drum, slowly yet decisively, walking heel to toe, ~2 seconds per step. They begin to slowly circle the drum, looking at it as if it were a strange, foreign object. Their gaze is desirous, curious. After the second revolution, they place their hand on the drum head, continuing to circle the drum, the soft sound of the palm brushing, caressing the drum. From nothing, the percussionist sings the highest pitch they can at the quietest dynamic possible. Their mouth gagged so the sound is muffled, pained. They sustain this pitch for as long as possible, the pitch breaking in the throat, becoming coarse, disturbing. (Hold this pitch until you feel like you have to breath…then continue to hold, push through the desire to stop. When you feel your throat tighten and your head is light, when your sight dims, take a deep audible breath, turn about-face from the direction you were walking around the drum, *pause*, then repeat this process. Every time you feel like breathing, don’t. Push through the desire until your throat tightens, your sight dims, your voice breaks— when you can feel your head squeeze, when you don’t think you can continue, take a deep audible breath, turn about-face towards the opposite direction you were circling the drum, *pause*, then repeat this process. Every time you breathe, change direction. Continue to circle the drum three to five more times, steps still deliberate, heel to toe, heel to toe. Your eye-contact with the drum becoming more intense, the instrument becoming more familiar. Every time you breathe change direction. Repeat this process ad nauseum until you are frantically turning toward and back again, your deep audible gasps now nervous series hyper-ventilating. Continue this until you can’t physically continue then—)

Voice

Right Hand

Le0 Hand

>œ +

scream into drum

> Ï +

wait ~8-10 sec. before moving on

Hey Face remains against the drumhead

> y

Freely, out of time, intimate & vulnerable π whispered into drum barely audible, with longing

Hands remain on the drumhead

Where'd you go?

We used to be clo[s]- - - - - - - - e

! j _

!j _

!" _ _

is this how it feels to

– lose –

ã ã ã

tap the drum softly but let it resonate

is this

how you lose

!j _

– some – one

where'd you – go – ?

!j _

≤j _.

|f|

some – one –

miss

! j _

you

"j _

[s] - - - - - - - - - -

!" _ _

" _

≤j _.

|f|

! _

fff sub.

.. ..

> Ï + y

pp sub.

>œ scream into drum +

Repeat this "measure" ad nauseum c. 20-30x

Repeat "measure" 10-16x

.. ..

lo - [ve] voice activate drum resonance

play w. fists

.. ..

( "ff ")

cresc. poco a poco

.. ..

play w. fists

cresc. poco a poco

- voice and hands don't need to be coordinated - percussion regular, like a heartbeat

fff sub.

œ > scream into drum +

> Ï + y

4 4 Come up from the drumhead very slowly & deliberately, slowly bringing hands to rest on the rim of the drum on either side of body — pause before beginning

4 4

Ï q = c 72, greener than grass & closer to death (Sappho)

π half whispered, spoken

-_ ã4 4 I

‰

≈ -_ ‰

‰.

≤ _. 5 8

3 _ 8 I

[ha]

≤ ≈ _. 5 Œ 8 sim.

‰

[ha]

‰

≤ ≈ _. 2 4 [ha]

4 4

‰

≤ _ _.

I [ha]

3 8

V RH

F / "f "

≤ ≈ _. 4 ^ 4

Œ ã3 8

[ha]

ã3 8

[s]

[a][ha]

> |m|

F / "f "

≤ _ _. ‰ >

ã _

[a] [ha]

"sfz "

|ha|

≤ ≈ _. .

I [ha]

‰.

I [hi]

≤ _.

[ha]

≤ _ _. ‰

|s|

"f "

≤ -_ _. ‰

> [m]

ã Ó

‰

[ha]

≤ _. Œ

[hi]

|hi|

"f "

ã5 4

!˙

∏

|hi|

≤ _. ‰

|hi|

ã >F f

‰

"sfz "

!˙ .

4 4

≤ _.

|hi|

4 F F 4 >sim. >

3 8

≤ _. Œ

|hi|

o Ó

‰

∏

!œ !˙ .

!œ

≤

≤ ,

> fl

|m| I

_. ‰

|hi|

[ha]

œ _ f

≤ _.

‰

≤ ≤ ≈ _. ≈ _.

[m]

≈ y _

"sfz "

y Œ

≤ ≈ _.

> "f "

"f "

4 4

> ≤ . >_ _. ‰ œ

pp sub.

‰

5 4 5 4

‰

I |hi|

"sfz "

≤ -_ _. 3 4

‰

I |hi|

3 4

Ï "f "

‰

≈

˘≤

y _ 4

|ha|

4 >F 4 4

-F

-F3

-f

fff poss.

>F3

ã4 4

|hi|

-f3

-f

3 -f 4

-f3

-f

3 4 ( "f ")

≤ ‰ œ _. Œ > |m| |hi| j F > fff poss. j f >

fff poss.

-F

-f

(

≤ ã4 >œ |hi|_. ‰ 4 |m| ã4 4

_. .

decresc. poco a poco

≤

≈

> 4 |m| 4

ã3 4

"sfz "

y. >

ã3 4

3 4

≤ ≈ -_ _. ≈ Œ ã3 4 I |hi|

≤

_. œ

"sfz "

≤ ≤ -_ _. ≈ -_ _. ≈ Œ

|hi| |m|

"f "

!œ .

!˙

≤ œ _. ‰ > |m| |hi| j j f f > >

≤ œ _. > |m| |hi| > f

j >

4 4 4

>+ 4 y

fff sub.

pp )

≤ œ _. ‰ > |m| |hi| j > F

5 4

≤ œ _. ã5 > 4 |m| |hi|

j ã > F

( "f ")

V RH LH

ã >y ã

ã2 4 ã

‰

≤ œ _. > |m| |hi|

≤ œ _. _ > |m| |hi| |s|

≤ œ _. ‰ > |m| |hi|

>|s|_

j F >

‰

4 _ _ ‰ 8 |s|> |s|>

_ > |s|

‰

j F >

( fff poss.)

‰

3 4

"f "

∏ !˙

y y

_ ã7 8 |s|>

≤ œ _. Œ > |m| |hi|

7 8

j >

j 5 _ 8 |s|>

>|s|_ y.

‰.

j f >

≈

3 8

>+ y

"f "

j y >

≤ 6 œ _. ‰ > |hi| 4 |m| j F > ( fff poss.)

‰

≤ œ _. 4 ‰ 4

≤ >|s|_ |s|>_ ‰ |m||hi| >œ _. |s|>_ ‰ >f ‰ ‰5 >f >f >f >f >f5 >f

|m| |hi|

>+ y

‰.

_- Œ I

j > F

‰.

≤ œ _. 2 > |m||hi| 4 >f fff poss.

"f "

≤ _. 3 |ha| 8 j F >

j ≤j _. ‰ >|s|_ |ha|

ã3 8

ã 44

≤ ‰ _ _. 4 > |s| |ha| 4 j F >

‰

j >

j y ã>

j y >

+3 >y

j y >

+ >y

"ff "poss.

j y >

+ >y

j y >

+3 >y

j y >

+ >y

|f|

o 3

^ ã2 4

|f|

∑

pp sub.

j >

+>3 y

j >

>+y

pp sub.

≤ ≤ ≤ ≤ 3 ≤ 3 ≤ _. _. _. _. _. _. _. _. _. _. _. _. lo

|f|

≤3 ≤ 3≤ ≤ _. _. _. _. _. _. _. _ ^ >

|f|

≤ _. _. 4 4

≈ -y -y π

‰.

√ "

|f|

8 sec.

-y ^

caress drum's surface w. fingertips, palm of hand, ad lib. fingernails

16-20 sec.

sim.

j >

>+y

sfffz

w. fingertips, let resonate

j >

>+y

|f|

2 4

|f|

pp sub.

lo |f|

ã2 4

|f|

j >

3 >+y

≤ 3≤ ≤ ≤ 3≤ ≤ ã _. _. _. _. _. _. _. _. _. _. _. _. lo

!˙

lo |f| "love"

>+y

!˙

+ > ã y

!˙

j >

!˙

"f "

‰.

" √

-y ^

sim.

12 sec.

‰.

> y

fff sub.

8 52

ppp poss.

!˙

ã y-

ã Œ

!˙

‰

w. fingertips, let resonate

ã ‰

!œ

ã ‰

-y

ã Œ

!˙

‰

y- y. Œ

!œ

≈ y- .

f ∏ !œ

‰

≈ y- y-

‰

-y Œ

!˙

"ff "poss.

!œ

‰.

y. -y

Ó ≈ -y .

-y Œ

ppp poss.

!˙ .

!˙

-y

!˙

!˙ 3

3 8 3

> f

!œ .

5 8 f.

"ff "poss.

ff poss.

ã ã

|f|

>f ‰3 >f

|f|

‰

+ -y >y ‰ ≈ >f ≈ >f

|rr|

j F > œ > |rr|

‰F

œ. > |m| ‰

≤ _. ‰

|f|

‰

≤ ≈ _. œ œ ã2 > > 4 |f| |m| |guh| + +3 > > . y F ‰ y ‰ ã ã

j œ 5 ‰ > |m| 8

>|f|_

≤ œ _.

|rr|

‰F

3 œ > 4 |m|

2 œ. > 4 |m|

|f|

+ >y J

œ ‰ > |m| j F >

+ >y

|rr|

≈ >f .

3 œ > 4 |rr| Œ

≤ œ. _. 5 œ ‰ > |f| 8 |m| 3 + > y ‰ y ≈ >f >y

œ ‰

ã 72

≤

|rr|

≤ _. ‰

≤ œ _. 2 4 |f|

œ > |m|

5 8

‰

≤ ≈ _. œ > |f| |m|

‰

2 4

‰

"f "

≤

|f|

≈ _. ã5 8 >

3 ‰ 4

≤ œ 5 _. > |guh| 8 |f|

œ > |guh|

>y ‰

‰ œ ‰ ‰. ã2 > 4 |guh|

‰

+ +3 > > ‰ y ‰ y.

≤ _. ‰

œ. ã5 > 8 |guh|

œ > |rr|

≈ >f .

Œ ‰

ff sub.

>œ

|guh|

f F

|m|

fl |f|

>F ƒ

2 4

‰ ã2 4

|f| |f|

p sub.

+ >y

|rr|

|f| |f| |f| |f| |f|

|m|

≤ ã ≈ _. >œ > ã ≈ F.

≈ œ œ

œ _

‰

|rr|

fl |f|

+ >y ‰ >y PŒ

|f| |f| |f| |f| |f|

"f "

ff poss.

≤

≤ ≥ ≤ ≥ ≤ -_ -_ -_ -_ -_

≤ ≥ ≤ ≥ ≤ ≤ œ. œ œ _ ≈ œ Œ -_ -_ -_ -_ -_ 5 > > > fl 8 |f| |f| |f| |f| |f| |m| |rr| |f| |guh| 3 3 + >f >y ‰ >y P‰ ‰ >f ≈ >f . ≈ >F ≈ >F

ã ˙.

œ.

≤ œ -_ 5 > |guh||f| 4

"f "

‰

|m|

p sub.

ã Œ

+ > ≈ y

p sub.

+ >y ‰ >y PŒ

j F >

‰

≥ ≤ ≥ ≤ ≥ ≤ -_ -_ -_ -_ -_ -_ >œ |f| |f| |f| |f| |f| |f| |m|

≤≥≤≥≤ -_ -_ -_ -_ -_ ˙ .

œ.

"f "

œ.

"f "

|m|

|f||guh|

|f| |f|

5 œ > 8 |m|

y Œ

|f| |f|

˙. ã5 4

≥ ≤ ≥ ≤ ≥ ≤ -_ -_ -_ -_ -_ -_

p sub.

"f "

>œ

|m|

œ |rr|

"sfz "

≤

œ _ ‰.

fl |f|

‰

≤

. 3 >œ 4 fl_ œ |m| |f| |rr| ‰

œ. Œ

≤ ≥ ≤ ≥ ≤ -_ -_ -_ -_ -_ 4 4

|f| |f| |f| |f| |f|

œ. ã4 4 >

|guh|

≈ >y .

J j

p sub.

œ. ã5 8 |rr|

≈ >y .

J j

œ ..

|f|

|guh|

"f "

≤

|m|

!˙

ã Ó

"f "

ppp sub.

≤

œ.

_ 5 fl 4 |f|

!˙

ã4 4

!˙

|m| |f| |m| |f|

‰

5 8

‰

!œ

f P

ppp sub.

≤-_ ≥-_ -_≤ 5 !œ 8

|f| |f| |f|

‰

!˙

‰

"f "

"sfz "

≤ ˘_

!œ .

!˙

‰ ppp sub.

≤

>œ fl_ >œ fl_ ‰

ã ppp sub.

‰

>œ

3 _ 4 |f|fl

≤

>œ ‰

|m|

p sub.

≤

!œ

ff poss.

!œ

-_≤ 4 4

|ha|

2 4

f F

"sfz "

!˙

|ha|

"f "

≤

. >œ _. >œ â_

ã2 4

|m| |f| |m| |f|

fff poss.

‰

Quickly take leather flogs (out of time)

j >

Y Œ

> Y

|f| |f| |f| |f| |f|

ã >Y >Y ‰ q = c 108

≥

‰ p

≤

_ _.

^ ã6 4 |f|â

â |f|

Y Y Œ

> >

"fff "

9 _ ‰. 8 >

‰

Œ.

> Y

‰

inhale sharply through nose

≥

.. ^ . ã6 4 â

≥ ≤ ≥ ≤ ≥j 3 ≤ 2 _ _ _ _ _ _ 4 â â â â â â

"fff "

YY‰

|f|

.. Ó

cresc. poco a poco

"sfz "

‰.

‰

Y ‰

≤

.. Y >

|f|

Œ. ‰

6 4

> Y

‰

drag the butts of the flogs across the surface of the drum towards you — drag until you rearticulate with an accent

h > .. >Y

6 4

h > >œ w ‰

( fff poss.)

>œ w

( fff poss.)

13 101

ã >œ . ã >œ .

>œ w

>˙

>œ w

>w p

≥

103

ã œ.

œ œ.

>œ ˙ ≥

≤

ã .. â_

105

â _

|f|

œ œ.

>œ œ

≥

ã â_

â _

≥

â _

≤

â _

Play this measure 4x

≥

â _

|f|

≤

â _

|f|

≥

≤

|f|

≥

â _

≤

â _

|f|

â _

|f|

ã œ

‰

>œ ˙

ã ˙.

. >œ œ >

>œ ˙

|f|

.. œ >

≥

|f|

>œ

≤

.. _ â

|f|

≤

â _

|f|

> h

h > Œ

|f|

≈ œ.

|f|

‰

â _

|f|

˙.

≤

â _

|f|

h > >œ œ

œ œ.

>˙ ≤

|f|

≥

> œ

≥

.. œ > ≤

≤

ã .. >w . 107

≤

|f|

ã .. >w .

œ.

>œ œ

≥

|f|

≥

cresc. poco a poco

|f|

ã ˙

≤

>œ œ

≥

â _

|f|

>˙

≤

â _

|f|

≥

≤

≥

≤

≥

≤

≥

introduce "voice"/throat into in/exhalation — coarse, distressing

109

ã â_

|f|

ã >˙

ã œ 111

|f|

≤

|f|

ã w

ã > >œ

|f|

≤

â _

|f|

6 ã2 > 4 j œ ã >

j > œ

Hold at least 20 sec.

‰ ‰

œ.

â _

|f|

>œ ≤

â _

|f|

œ >h .

U Œ

Light Off

|f|

œ >h .

Collapse face down on drumhead

≥ œ

113

|f|

≥

h > >œ œ

|f|

˙.

≥

|f|

>œ ˙

ã â_

|f|

≥

≤

|f|

œ >h .

œœ œ

>œ œ ≥

5 .. _ . 8 â|f|

.. ˙ > .. ˙ >

≤

≥

|f|

>œ

œ.

≤

|f|

>Œ

≤

Play this measure 20-30x+

â _

|f|

j > h

Accel e cresc. poco a poco

.. 2 4

.. ..