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Ben Morris for the James Turrell Skyspace

Mensis Exolvuntur Mundana

for$live)processed$trumpet$in$C$and$Horn$in$F,$ mic7ed$soprano$and$bass$voice,$and$fixed$media $

ÂŠ!April 2016 Ben Morris Music www.benjaminmorrismusic.com bmorriscomposer@gmail.com 973-722-0460

Ben Morris

Mensis Exolvuntur Mundana for live-processed trumpet in C and Horn in F, mic'ed soprano and bass voice, and fixed media

Duration: ca. 8’05” Note: This work was composed for the James Turrell Skyspace at Rice University, thus it has very particular specifications in relation to the space. Here are said set-up specifications: TEXT INFORMATION: Text is drawn from several fragments from poetry across the ages about the moon and the sun, interspersed with Hopi rain chants during key moments in the piece. TECH SETUP: -2 wireless mics/interview mics for two singers, dry output going to two speakers facing outwards towards the field on the left-hand corner (from entering Skyspace in entrance closest to Shepherd) and the opposite corner. The singers will move from the first station (inside the Skyspace, facing back to back) to the second station (on the left and right side of the Skyspace – bass on the right, soprano on left facing out from Shepherd doors. -2 mics and quite a bit of mic cable (one trumpet player in business school foyer, one horn player right outside Shepherd) exact locations in the map on the next page. These inputs will go into Max to be processed in a combined patch. Input 1 is horn, and Input 2 is trumpet. Max patch image is in an image on the next page, outlines specific processing and order of instructions to use the patch. -Max patch features a fixed drone in sfplay. Fixed drone can be played through the patch. -MIDI controller required (Korg micro) to control levels and helicopter speed within helicopter sub-patch. LIGHTS: -Lights are built into Skyspace architecture. The first part of the show lasts (black fading until yellow-gold, fading to blue/purple, fading back to yellow-orange, fading until it reaches a deep red) until 6:19, when a fade-to-black light sequence is

triggered, which lasts until the end of the piece - fade to black cue. So, there are two lighting programs - regular and minute-long fade to black cue. PERFORMER INSTRUCTIONS: SHEET MUSIC (each stand has a full copy of the score, at necessary cue times): -Two stands with stand lights, one in foyer for trumpet player and one for horn player in field. -Two stands with stand lights right in the center of the Skyspace area, for singers who will stand back to back, very close to each other. This is the first station. -Two stands with stand lights on upper level of the Skyspace, for singers to read when they get to that â€œstation.â€? They will read this music from on the side of the hill (standing on the grassy portion). Bass is on right side, soprano on left (directions with reference facing outside Shepherd doors). -Timers on each stands. Could be achieved with audio or light cues (one big clock), or with a conductor cuing crucial moments. -Clothespins on each stand to hold the music down.

MAX PATCH:

MAP:

composed for the James Turrell Skyspace

Mensis Exolvuntur Mundana for live-processed trumpet in C and Horn in F, mic'ed soprano and bass voice, and ﬁxed media

Transposed Score

Ben Morris All notation is proportional and relative Trumpet in C

0:32

A 0:43

°& project outward to Skyspace

q=110 LIGHTS: BLACK truck backing up

#-œ

-œ Œ

Horn in F

#-œ Œ

-œ Œ

Œ #œ Œ œ Œ - -

chant-like, pick any vowel. isolated pitches, space in between, sparse, quick, swells in and out. not in time, any order. (sneak in "d" sibalent)

#œ U œ œ œ #œ Soprano

#-œ

n f live processing, producing a sine tone 1 octave up

chant-like, pick any vowel. isolated pitches, space in between, smoothly ﬂow into text sparse, quick, swells in and out. pure, as together as possible - as if speaking, but pitched not in time, any order.

-œ

-œ # œ # œ # œ- - -

œ œ œ œ ˙

& # œ #œ- #œ- #œ -

I wake, and moonbeams play a-round my be (ah) - (eh) chant-like, pick any vowel. isolated pitches, space in between, alternate between throat singing and regular singing chant-like, pick any vowel. isolated pitches, space in between, sparse, quick, swells in and out. smoothly ﬂow into text sparse, quick, swells in and out. not in time, any order. not in time, any order. pure, as together as possible - as if speaking, but pitched (sneak in "d" sibalent) f n

? Bass

#-œ # œ #œ- -

#œ U œ œ œ #œ

I wake, and moonbeams play a-round my be hit

Fixed Media

¢/

> V

(night drone begins - rain, kids, crickets)

#-œ # œ #œ- -

œ œ œ œ ˙ -

(eh)

(backing up patch)

Œ #œ n

-œ Œ

#-œ Œ

-œ

- etc. #-œ Œ œ Œ n

(ah)

B 1:10

1:07 0:55

2 Trp.

° & wheat/panner combo sporadic, improvisational

#-œ Hn.

& #œ- Œ Ó

-œ Œ

#-œ Œ

-œ Œ

sputtering, random sparse gestures, swells of activity

3 #-œ -œ -œ -œ -œ -œ #-œ -œ -œ -œ -œ -œ. Œ J‰J‰ ‰ ≈ ‰ #œ œ ≈Œ -5

n f live processing, producing a sine tone 1 octave up

#œ. #œ. . #œ

n smoothly ﬂow into text

#œ S.

œ ˙

& smoothly ﬂow into text Good-night roo -

#œ

œ ˙

B. Good- night roo(backing up patch) etc.

Œ #œ Œ Perc.

-œ

Œ #œ Œ

-œ

#-œ Œ

-œ

#-œ

-œ

¢/ n

= 15

1:38 Trp.

C 1:47

°& rit . . . . . . . . . . . . . . . . . . . . . . . . truck backing -œ up #-œ Œ Œ

Hn.

& n

#-œ #œ- œ- œ. Œ -

#-œ Œ

begin moving to upper level "station" - walk out main doors and up grass hill

LIGHTS BEGIN TO FADE UP - ORANGE

-œ Œ n

arrive at "upper level station" right before prayer

like a prayer relaxed statement, together (approx. rhythm)

n (sneak in "m" sibalent)

Œ ¿. S.

¿.

¿. ¿.

‰ ¿. ¿. ¿.

¿. Œ

& # œ #œ- #œmf High towards the sky

(oo) begin moving to upper level "station" - walk out main doors and up grass hill

the great bird moves

arrive at "upper level station" right before prayer

like a prayer relaxed statement, together (approx. rhythm)

(sneak in "m" sibalent)

? B.

#œ- #œ #œ-

Œ ¿.

¿. ¿.

mf High towards the sky

- (oo) (backing up patch)

Œ #œ

-œ Œ

#-œ Œ

-œ Œ

Œ #œ

-œ Œ

¢/ n

‰ ¿. ¿. ¿.

(day drone begins - rain, kids, crickets)

∑

> V

¿. Œ

the great bird moves

hit

etc. Perc.

¿.

project outward to Skyspace

D 2:10

(helicopter processor)

3 senza vib.

Trp.

° & #w

n Hrn.

& short fragments, freely, soft muttering - 6" between each fragment, any order

pp tongue "rrrr" "tssss" "dat-dat-dat-dat"

. & ‰ ¿

¿.

¿. ¿. ‰ ¿.

his plumes are ﬁlled

with

¿. Œ Ó prayers

¿ ¿ ¿ ¿ ¿ ¿

U Œ ¿ Ó

U ¿¿¿¿Ó

Y ææ

¿ ææ

U Ó

heav-en and earth are one fast as possible

breath (fade in and out)

tongue "rrrr"

pp tongue click

"dat-dat-dat-dat"

? ‰ ¿.

¿.

¿. ¿. ‰ ¿.

¿. Œ Ó

¿ ¿ ¿ ¿ ¿ ¿

U Ó

U ¿¿¿¿¿Œ

Y ææ

B. his plumes are ﬁlled

with

prayers

U Ó

U ¿ Ó

¿¿¿¿

heav-en and earth are one fast as possible helicopter enters

Perc.

Y æ

¢/

= 2:30

breath as required

E 3:44 freely, slowly, expanding and contracting

C Tpt.

> #w

° half-valve œ & #˙ ™

half-valve

#w #w

2:58 ˙ #˙

ord.

ﬂ. t. (breath)

ﬂ. t.

ææ W

ﬂ. t.

ææ @

æ wæ

f f mp LIGHTS BEGIN TO TURN BLUE-PURPLE Hrn.

& breath (fade in repeat and mix up, improvise new ﬁgures, interact with track and out) tongue click

f S.

U ¿ & Ó

mf like a prayer relaxed statement, together (approx. rhythm)

‰ ¿.

¿¿¿¿¿

repeat and mix up, improvise new ﬁgures, interact with track f

¿. ¿. ¿. ‰ Œ

‰ ¿. ¿. ¿. ¿. ¿. ¿. ™

Shine here to us and thou art eve-ry - where. mf like a prayer relaxed statement, together (approx. rhythm)

"tssss"

?U Ó

‰ ¿.

¿. ¿. ¿. ‰ Œ

‰ ¿. ¿. ¿. ¿. ¿. ¿. ™

B. Shine here to us and thou art eve-ry - where. hit

helicopter enters again Perc.

¢/

Y ææ

> V

4:00

C Tpt.

° & <#> wææ

(breathe as required) police siren sample

U Ó

#˙ #W

n n Hrn.

& "hum gliss"

. . . & Œ ¿ ¿ ¿ This bed thy

¿.

cen - ter

¿.

Œ ¿.

¿. ¿.

¿. Œ

‰ ¿

breath (fade in tongue "rrrr" and out)

¿ ‰ Œ ¿ ‰ Œ

these walls thy sphere. tongue "rrrr"

? Œ ¿. ¿. ¿.

¿.

Œ ¿.

¿. ¿.

¿. Œ

B. This bed thy

cen - ter

¿ ææ

Y ææ

¿ æ

continued mouth sounds, sporadic whispers, blows, freely

Y æ

breath (fade in "hum gliss" continued mouth sounds, sporadic whispers, blows, freely and out)

¿ ‰ Œ

‰ ¿

these walls thy sphere. police siren sample

(fading in and out, with airplane sounds)

chopper

O O Perc.

¢/

Oû Oû Oû Oû Oû Oû Oû Oû Oû Oû

Y æ

F 4:35 36

ﬂ. t. C Tpt.

° & <#>w

œ œ#W w™

ææ W

ord.

#W ™

Ÿ~~~~~~~~~~~~ W™ #œ

> #w

mf f f Hrn.

& repeat and mix up, improvise new ﬁgures, interact with track

LIGHTS BEGIN TO TURN BACK ORANGE-RED

mf like a prayer relaxed statement, together (approx. rhythm)

‰ ¿. S.

¿. ¿. ¿.

¿. Œ

‰ ¿. ¿. ¿.

¿. Œ

& repeat and mix up, improvise new ﬁgures, interact with track

Clouds come to our plants and let rain make mf like a prayer relaxed statement, together (approx. rhythm)

‰ ¿.

¿. ¿. ¿.

¿. Œ

‰ ¿. ¿. ¿.

¿. Œ

B. Clouds come to our plants

Perc.

and let rain make

¢/ n

4:43 42

Trp.

Hrn.

helicopter

ﬂ.t

æ wæ

°& w

,5 Œ #˙ ™

& breath (fade in and out) "hum gliss"

tongue "rrrr" "shhhhh" "dat-dat-dat-dat"

. . . . . & ¿ ¿ ¿ ¿Œ Œ ¿ marks on the sand

¿.

clouds

¿. ¿. ¿. ¿. ¿.

¿. Œ Y ææ

U ¿ Œ Œ ¿¿¿¿ Ó ææ

Y ææ

U ¿ Ó ææ

Œ ¿

make marks on the sand for them fast as possible

breath (fade in tongue "rrrr" and out)

"shhhhh" tongue click

"nah-nah-nah-nah"

U ¿¿¿¿¿Œ Y ææ 5

? ¿. ¿. ¿. ¿. Œ Œ ¿.

¿.

¿. ¿. ¿. ¿. ¿.

¿. Œ Ó

B. marks on the sand

clouds

Y ææ

¿ Œ ææ

U Ó

¿ Œ

Œ ¿¿¿¿

make marks on the sand for them fast as possible

Perc.

¢/

= lip trem. 49

C Tpt.

° bw &

bw bw

5:35 bw bw

5:49

∑ #w

w n

Hrn.

& like a prayer relaxed statement, together (approx. rhythm)

LIGHTS BEGIN TO TURN DEEP RED

‰ ¿. ¿. ¿. #œ Œ S.

‰ ¿.

¿. ¿.

¿. Œ

The un-seen ones have heard our prayers f like a prayer relaxed statement, together (approx. rhythm)

‰ ¿. ¿. ¿. ¿. Œ

‰ ¿.

B. The un-seen ones hit

night sounds with helicopter additions night drones swell in

¢/

> V

¿. ¿. #œ Œ

have heard our prayers

Perc.

¿.

#œ ¿. ¿.

& black clouds ga - ther

¿.

¿. ¿. ¿.

black clouds ga - ther

6:05 helicopter AND police car patch #˙ w w Ó

6 Trp.

Hrn.

° &

∑

∑ #w begin moving to low level "station" - walk back into main doors, arive around 6:19

& chant-like, pick any vowel. isolated pitches, space in between, sparse, quick, swells in and out. not in time, any order.

(happens fast) (gradually introduce sustained pitches) mf 3

. & ‰¿ ov

#œ

¿.

œ ‰ ‰ ¿. #œ ¿. ¿. ‰ ¿. ¿. Œ Œ #œ œ #œ ¿. œ ˙ # œ- #œ- #œ-

stant

hills

be-hold the men

the

begin moving to low level "station" - walk back into main doors, arive around 6:19

the men of the snake

chant-like, pick any vowel. isolated pitches, space in between, sparse, quick, swells in and out. not in time, any order. (happens 3 3

(gradually introduce sustained pitches)

fast) mf

#œ ? ‰ ¿.

¿.

#œ . . #œ . #œ œ œ ˙ ‰ ‰ ¿. ¿. ¿. ‰¿ ¿ Œ Œ ¿

B. ov

stant hills

be-hold the men

the

-œ #œ- #œ-

the men of the snake (backing up patch)

#-œ Œ Perc.

Œ œ

Œ #œ Œ œ

¢/ n

I 6:35 TRIGGER BLACK FADE-OUT 64

C Tpt.

° & <#>w

H 6:19 w

etc.

#-œ Œ -œ Œ

∑

#-œ Œ -œ Œ #œ- Œ -œ Œ

n truck and wheat processing

#-œ

sputtering, random sparse gestures, swells of activity

#œ. #œ. #œ.

#-œ Œ

& mf

faster

simile smoothly ﬂow into text pure, as together as possible - as if speaking, mf but pitched pp

smoothly ﬂow into text pure, as together as possible - as if speaking, but pitched

#œ U œ œ œ #œ œ œ œ #œ œ œ œ S.

#œ- œ- V V V V

improvise rhythm freely with this pitch

-œ Œ

∑ # ˙-

Hrn.

- etc.Œ #œ Œ œ

#œ ˙™

Œ #œ œ œ #œ œ œ œ œ # œ- #œ- #œ- -

On coun-try lanes and har-vest The moon was but

a chin of gold

a night or two

a - go (oh)

faster smoothly ﬂow into text

pure, as together as possible - as if speaking, but pitched

#œ U œ œ œ #œ œ œ œ #œ œ œ œ

#œ ˙ ™

simile smoothly ﬂow into text pure, as together as possible - as if speaking, mf but pitched pp

-œ -œ

? #œ- #œ-

B. The moon was but

a chin of gold

a night or two

On coun-try lanes and har-vest

a - go (oh)

Perc.

¢/

Œ #œ œ œ #œ œ œ œ

6:43

J 7:34 V V V V V V V V

C Tpt.

° & V V V V

V V

V V V V #-œ #-œ #œ# œ-

V V V V

V V V

improvise rhythm, freely, lots of space in between pitches

Hn.

improvise rhythm freely with this pitch, lots of space

chant-like, pick any vowel. isolated pitches, space in between, sparse, quick, swells in and out. not in time, any order. f pure, relaxed as together as possible - as if speaking, but pitched

#œ œ œ œ S.

& #˙ ﬁelds,

? #˙

œ œ

#œ œ

# œ- #œ- #œ- #œ-

insert "st" sibiliant in there Art thou pale for wear- ness of climbsomewhere ichant-like, pick any vowel. isolated pitches, space in between, sparse, quick, swells in and out. not in time, any order. f pure, relaxed as together as possible - as if speaking, but pitched

its my - stic splen-dour re

œ œ

#œ œ

- (eh) -

(ah)

#-œ #-œ # œ #œ- -

œ œ

B. ﬁelds,

#œ œ œ œ œ

œ œ

its my - stic splen-dour re - (eh) -

insert "st" sibiliant in there somewhere

(ah)

#œ œ œ œ

#œ œ œ œ œ

Art thou pale for

wear-i - ness of climb(backing up patch)

(backing up patch) etc.

#-œ

-œ

Œ Perc.

#-œ

-œ

#-œ

-œ

#-œ

-œ

#-œ

-œ Œ

¢/ n

= 7:46 getting intense

8:00

C Tpt.

° #w &

#>œ >œ >œ >œ

#>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ ff getting busier, continuous

LIGHTS TURNING BLACK

LIGHTS TOTALLY BLACK

ff Hn.

& chant-like, pick any vowel. isolated pitches, space in between, sparse, quick, swells in and out. not in time, any order.

rit. f (conclusive)

cut oﬀ busier

#œ œ œ œ S.

#œ œ œ œ #w #-œ #œ #œ - - #œ-

& ing hea - ven and

#-œ #-œ

gaz - ing on the earth chant-like, pick any vowel. isolated pitches, space in between, sparse, quick, swells in and out. not in time, any order.

-œ #-œ #-œ # -œ # #œ- #œ-

rit. (conclusive)

? #œ œ œ œ

#œ œ œ œ #w

B. ing hea - ven and

Œ #œ Perc.

-œ Œ

cut oﬀ busier

gaz - ing on the earth

Œ #œ

-œ Œ

Œ #œ

hit

-œ Œ

Œ #œ

¢/ f

-œ Œ

> V