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christmas stories: music and dialogue music and text by dylan neely

to be  premiered  December  5,  2012   by  the  Mills  Contemporary  Performance  Ensemble                              


Performance Note     The  interplay  of  music  and  dialogue  in  this  piece  is  presented  theatrically.  The  two   speakers,  A  and  B,  face  each  other  downstage  of  the  conductor  and  the  musicians.   They  are  far  stage  right  and  far  stage  left,  respectively,  while  the  conductors  and   musicians  are  stage  center.  The  speakers  are  dressed  somberly,  even  formally.  B  has   a  notepad  and  takes  notes  as  A  is  speaking.  While  not  overtly  confrontational,  B   speaks  crisply  and  as  if  to  keep  A  in  line,  while  A  is  digressive  and  lightly  dismissive   of  the  situation.  They  make  no  mention  of  the  music  or  the  musicians.  As  this   conversation  should  appear  to  be  taking  place  extemporaneously,  A’s  part  should  be   memorized,  while  B  can  be  glancing  down  at  pre-­‐written  prompts  in  her  notepad.         The  music  should  stop  abruptly  at  final  bar  lines  (following  measures  5,  13,  41,  48,   49,  50).  When  the  music  resumes  (measures  6,  14,  42,  49,  50)  following  dialogue,  a   clear  entrance  will  be  indicated  by  the  conductor.         Mm.  36  is  repeated  for  approximately  two  to  three  minutes  until  the  end  of  A’s   monologue  and  stops  abruptly  after  his  last  statement  (“I  just  start  pissing  all  over   myself”).  Mm.  37  follows  after  a  brief  pause.  During  mm.  36,  the  percussion,  harp,   and  piano  parts  are  perfectly  static,  while  the  saxophone  part  sparsely  interpolates   noises  in  response  to  the  text.     Mm.  49  works  along  the  same  principle,  although  it  is  significantly  shorter  in   duration.  The  instruments  (oboe,  flute,  harp)  enter  together  at  the  conductor’s  cue   in  the  midst  of  A’s  speech.  The  saxophone  assumes  the  same  role  as  in  mm.  36.       Following  mm.  49,  there  is  a  silence,  and  then  the  piano  begins  mm.  50,  which  it   repeats  through  the  boxed  text,  finishing  after  A’s  line,  “Was  that  good?”     During  A’s  final  line,  the  saxophone  will  sparsely  interpolate  noises  as  in  measures   36  and  49.  All  other  instruments  are  silent,  but  appear  ready.  After  B’s  final  line   (“Thank  you.  We  can  end  now.”),  the  saxophone  stops  playing  and  all  the  players   relax.                            


christmas stories dylan neely

° 4 Flute & 4

Allegro (q = 112)

Oboe

Tenor Saxophone

Trombone

Percussion

Harp

Piano

4 &4

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

w

œ Œ Ó

∑

> w

œ Œ Ó

∑

4 ¢& 4

∑

?4 4

∑

{

Œ

mf

∑

mf

j j j j j 4 / 4 œj ‰ ‰ œj ‰ œj ‰ œ Œ ™ œj ‰ œj ‰ œ Œ ™ œj ‰ œj ‰ œ œj ‰ Œ œj ‰ ‰ œ œ ‰ Œ œj ‰ Œ 5 metallic objects (bells, gongs, etc) of indeterminate pitch in ascending order

4 &4 ?4 4

{

b>˙ ™

mf

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Allegro (q = 112)

4 &4 ?4 4

pp

____________ STOP MUSIC A: The frescoes were painted by Raymond Boynton. B: That's not why we're here. ________________ RESUME MUSIC


2

° Fl. & 6

Ten. Sax.

∑

∑

¢& w

b˙ ™ ff

? w

#w

f

Tbn.

∑ Œ

∑

j j j j œ> ‰ ‰ >œ ‰ >œ ‰ >œ b>œ

Œ

Œ

Œ

f

ff

w

#>œ

Œ

Œ

œ

f

Perc.

ff

>j >j >j >j ‰ ‰ / œ œ‰ œ‰ œ œœœœœœœœ

∑

f

=

° ™ Ten. Sax. & Œ ¢ 10

Ó™

j‰ j‰ j œ œ œ bw

? w mf

Perc.

/ Ϊ

ff

‰ j œ. ˙ ™

f

Tbn.

œœœœœœœœ

Œ

mf

∑

j‰ j‰ j œ œ œ œ œ œ ‰ Œ™ œ œ œ œ J

f

∑

∑

œ ‰ œ ‰ ‰ j‰ Œ j‰ Œ J J œ œ

mf

____________ STOP MUSIC A: It's almost Christmas. B: I don't care about that. Just tell your story ________________ RESUME MUSIC

pp

pp


3

° Ten. Sax. & ¢

∑

?

∑

14

Tbn.

{

&

Hp.

?

{

Ó

#˙ p

w p

(D# C# B / E F# G# A)

œ

mf

œ

#œ Œ

œ

œ

œ

#œ Œ

œ

#œ œ # œ œ œ œ #œ œ

Œ

œ

Œ

#œ #œ œ #œ #œ œ #œ #œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ #œ œ #œ &

Pno.

?

mp

∑

∑

&


4

° Fl. & Œ 16

Ob.

œ

˙™

mf

w

& w mf

Ten. Sax.

Tbn.

¢&

<#> w

∑

? w

∑

{

&

Hp.

œ #œ

? œ

{

œ Œ

œ #œ

œ

œ #œ Œ

œ #œ #œ #œ

Œ

œ #œ

œ

œ nœ (F§)

œ

Œ

œ # œ œ # œ œ œ œ # œ œ œ œ œ #œ œ œ œ nœ œ œ # œ # œ œ œ #œ & #œ#œ œ œ œ œ œ œ

Pno.

mf

#œ œ œ œ#œ#œ œ nœ#œ œ œ œ œ œ œ œ œ & œ #œ #œ œ œ œ œ #œ#œ œ œ #œ nœ œ œ


5

° Fl. &

w

¢&

w

18

Ob.

{

p

{

#w p

& ‰

Hp.

#w

(C§)

? nœ

j œ

œ #œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ J pp

Œ

œ

Œ

∑

œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ nœ nœ œ œ #œ œ # œ œ œ œ œ #œ œ R ≈ ‰ &

Pno.

#œ #œ œ #œ œ œ œ œ ? & œ œ nœ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ


6

° Fl. & 20

Ob.

¢&

{

<#> w <#>w

mf

(D# C# Bb / E§ F§ G# A§)

{

œ #œœ

œ #œœ

œ œ

∑

Œ

œ #œœ

∑ ≈ bœ œ œ œ Œ ™™ œœœ

œ#œ nœ œ œ #œ œ œ œ œ œ œ œ œ r ? #œ œ œ ≈ ‰ mp

Œ

œœ bœ

f

? Ó &

Pno.

∑

mf

& Ó™

Hp.

∑

Œ

œ R

bœ œ #œ œ œ #œ œ ≈


7

° Fl. & 22

Ob.

Ten. Sax.

Tbn.

& Ó

¢&

bw

∑

Œ

˙™

mp

b˙ b˙™

mp

mp

? bw

œ

Hp.

{

Pno.

? Ó

{

Œ

∑

/

& Œ

Œ

˙

mp Perc.

Œ

œ #nœœ

(C§)

b˙ ∑

œœ œ

Œ

œ #œœ

Œ

œ

Ó

Œ

Œ œ

(G§)

œ nœœ Œ

œ œ #œ #œ œ œ bœ œ bœ œ nœ œ ‰ Œ #œ œ œ œ Ó œ #œ œ bœ œ #œ œ # œ bœ œ #œ œ ? Ó œ nœ #œ ≈ Ó œ ≈ &


8

° Fl. & Œ 24

Ob.

Ten. Sax.

Tbn.

Perc.

Hp.

&

œ

bw

Œ

¢& <b>w

Œ

? <b>w

{

Œ

(D§)

& Œ

bœœ

Œ

? œ

Œ

Ó

{

b˙™

w

b˙™

w

b˙ ™

w

p

p

b˙™ p

w

p

∑

/

& ∑

Pno.

b˙™

∑ œœ

Œ œ

∑ Œ

œ #œœ

œ #œœ

œ

Œ

Œ

(C#)

bœœ Œ ∑

(F#)

Œ

#œœ

œ

# œœ œ

Ó ∑

b œ bœ œ œ œ œ œ bœ œ b œ œ œ œ œ œ b œ bœ œ œ œ œ œ œ ? bœbœ œ bœ œbœ œ œ œ œ œ bœ œ œ œ œbœ œ bœ œ œ œ œ œ


° Fl. & 27

Ob.

&

Ten. Sax.

¢&

Tbn.

?

{

<b> œ <b> œ <b>œ

<b> œ

9

Œ

Ó

∑

∑

∑

Œ

Ó

∑

∑

∑

Œ

Ó

∑

∑

∑

Œ

Ó

∑

∑

∑

œ #œ

(G#)

& Ó

Hp.

? Œ

{

&

Pno.

Œ

#œ ∑

Œ œ

#œœ Œ Ó

#œ Œ œ Œ œ Œ œ bœ bœ

œ œ bœ bœ b œ œ œ œ œ œ œ ™ bœ b œ œ ? <b>œ œ œ œb œ œ œ f

Œ nœ #œ bœ œ

nœ bœ

œ Ó

Œ

#œœ # œœ œ Œ #œ f

œ

Œ

Ó

bœ bœ œ œ œ bœ bœ œ œ œ bœ œ Œ Œ bœ œ 3

3

∑

3

3

∑


10 31

Perc.

{

rit.

Hp.

Pno.

=

Hp.

Pno.

#œ œ œ œ œ

? œ #œ œ œ œR ≈ ‰ (F#)

{

rit.

& nœ ? œ

{

œ

œ #œ

“” œ œ œ R œ ≈ ‰ œ l.v.

Ó n œœ

#œœ

q = 92

# œœ

# œœ

Œ

Ó

œœ œ # œœ œœ #œ

Ó

Ó

œœœœ œœœœ œœœ œ œ œœœ

ff

Œ

ff

∑

Ó

/

œ œ œ œ œ œ œ œ œ œ œ

œ ‰ Œ œJ

Ó

&

∑

∑

?

∑

∑

{

œ œ œ œ œ œ

Œ

A's monologue begins (see top of next page)

33

Perc.

∑

/

& Œ

q = 92

n œœœœœ j œœ j & J ‰ nœœœJ ‰ nœœœœœ ‰ œœœ ‰ n œœ

Rubato rit. . . . . . . . . . . . . .

∑

U œ

(D§ C§ B / E F§ G§ A)

ss. gli

œ

mp

A's monologue begins (see top of next page)

? ‰ œœœœœ ‰ œœœj ‰ œj ‰ j j ‰ Œ œœ œœœœ J œœœœ œœœœ œ œ

Rubato rit. . . . . . . . . . . . . .

∑

∑

Ó

∑


11

Repeat measure unvaryingly until end of speaker's monologue

° q™ = 60 Ten. Sax. & ™ ¢ 36

occasionally respond to and interact with the speaker's monologue through non-pitched extended techniques - hissing, spitting, noises, etc.

/ ™™

Perc.

™ Hp. & ™ {

Pno.

{

& ™™

q = 60

? ™™

œ

œ

œ

œ

mf

w mf

œœ œ

mf

œœ œ

œœ œ ∑

™™ ™™

w

bis.

™™

œœ œ

™™ ™™

A: I remember the holiday season when I worked at Barnes and Noble. Was living in a railroad style apartment, you know those? Where my roommate had to walk through my room to get between his bedroom and the bathroom or kitchen. No windows, moldy carpets, fucking terrible. Got into the habit of crushing adderall on top of bowl packs right before going to work. Only way I could be functional enough to not get fired and gone far enough I didn’t feel like shooting my fucking brains out. Only thing is I’d have to piss all the time, but cashiers at barnes and noble aren’t allowed to go to the bathroom just whenever they choose, no, they have to ask fucking permission. And Christmas season in Manhattan, in goddamn Union Square, everyone’s so fucking busy it’s not like you can even find someone to ask permission from, nope, just gotta keep ringing up asshole customer after asshole customer waiting in that never-ending line. So my eyes would be busting out of my head ‘cuz of the speed and my bladder would be about to burst as I was trying to sell some poor old mother with her whining toddler in tow on B & N’s scammy fucking membership card per corporate policy while Joan Jett’s Little Drummer Boy plays at muzak volumes and I’m thinking about what the fuck Joan Jett was thinking covering Little Drummer Boy, and I see the asshole assistant manager who thinks he’s real cool for playing these rock ‘n ‘roll Christmas songs yelling at my friend who I also sorta had a crush on at the time, and anyway, it was just then that I just started peeing, right while I’m still talking to that poor old woman about the twenty-five-dollar-per-year membership card that no one in their right mind would want to fucking buy, I just start pissing all over myself. ______________________________ CONTINUE TO NEXT MEASURE


12

Moderato

° Fl. & Ó

Ϊ

&

∑

37

Ob.

Ten. Sax. & Ó ¢

Tbn.

?

U w

Ó

mp

bœ#œ œ mp

œ œ#œ ˙ #œ J J J Œ œ™

∑

œ

œ˙

∑

Œ

˙™

Œ

#U w

Œ œ œ #œ #œ Œ

U w

Ϊ

mp

‰ j œ™ œ

œ œ# œ #œ #˙ ™

∑

j œ œj ‰ bœ #œ

3

œ#œ#œ œ œ

œ œ‰ Ó J

mp

˙

bœ œ

Œ Œ

____________ STOP MUSIC

=

B: So what happened? A: Nothing happened. ________________ RESUME MUSIC

° w & 42

Fl.

Allegro (Tempo Primo)

ff sempre

Ob.

& w

ff sempre

Ten. Sax.

¢& w

ff sempre

Tbn.

? w

ff sempre

Perc.

/ œ œ œ œ œ œ œ œ ff sempre

Ó™ Ó™ Ó™ Ó™

œ

w

œ

w

w

œ

w

j j j j œœ ‰ œœ ‰ œœ ‰ œœ ‰

œ œ œ œ œ œ œ J ‰


13

° #˙ ™ Fl. & Œ

˙™

45

Ob.

Ten. Sax.

Tbn.

˙™ & Œ

¢&

Œ

˙™

˙™

? Œ #˙ ™

Œ Œ

˙™

Œ

˙™

Œ

w

˙™

w

˙™

#w

˙™

#w

˙™

Œ Œ Œ Œ

œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œ ‰ Œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œ ‰ / Œ J J

Perc.

____________ STOP MUSIC

B: No one noticed?

=

A: I was a cashier [RESUME MUSIC (BELOW)] on fucking 17th street and Broadway two days before Christmas. The lines ran out the door of every story and you couldn't walk through those fucking crowds they were so thick. Who was gonna notice piss running down my leg?

° ™#U w Fl. & ™ 49

begin when indicated above and hold measure until A's line is finished

mf

Ob.

Ten. Sax.

Hp.

U w ™ ™ &

™ ¢& ™

{

occasionally respond to and interact with the speaker through non-pitched extended techniques - hissing, spitting, noises, etc.

U ™ ™ & w ? ™™

™™

mf

(D C# B / E F# G A)

mf

™™

U w

U ∑

™™ ™™ ™™


14

____________ STOP MUSIC

{

(pause in dialogue) [RESUME MUSIC (BELOW)] B: Did you leave? A: I couldn't. Just waited for my break and then cleaned up in the bathroom. Got fired like two weeks later, a couple days after New Year's. I was hired seasonally, so I knew I'd get laid off at some point, just wasn't sure when. (pause) A: Was that good?

Pno.

=

q = 60

œ & ™™ œœ

œ #œœ

œ nœœ

œ #œœ

™™

? ™™ œœ

œ œ

œ œ

œ œ

™™

50

repeat until end of A's line, "Was that good?"

mf

____________ STOP MUSIC

B: Yes, it should suffice. One question: What happened to your friend that you'd had a crush on? A: [RESUME MUSIC, BELOW] Never worked out. That summer she was at a dance party at some loft in Brooklyn and she was dancing and spinning, this is what I heard later at least, and anyway she just spun out the window, smashed right through the plate glass, died. Four story fall. Put a big dent in the hood of a parked Mercedes, apparently. Still really fucks me up to think about it. (Pause) B: Thank you. We can end now. [STOP MUSIC]

51

Ten. Sax.

&

occasionally respond to and interact with the speaker through non-pitched extended techniques - hissing, spitting, noises, etc. until end of B's final line (above)

christmas stories: music and dialogue  

Audio from the premiere available here: https://soundcloud.com/dylanneely/christmas-stories-music-and

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