H E L G I R . I NG VA R SS O N I RU M FA Z A L
GROUND
A DIALOGUE STUDY
SOPRANO TENOR 2 CLARINETS
GROUND Originally written for soprano, tenor and 2 trombones. Premiered by Claire Grace Candy, Matthew Mcguigan, Carla Sabater and Johnny Goodwin at Guildhall, School of Music and Drama, London, May 18 2012. Later revised for soprano, tenor and two Bb clarinets and performed in Wigmore Hall, October 2012. Performers were Claire Grace Candy, Matthew Mcguigan, Joy Boole and Benjamin Graves. Duration is approx. 4 minutes and 30 seconds.
KEY
The reason for the untraditional set up of the score (soprano, clarinet, tenor, clarinet, instead of the more common soprano, tenor, clarinet, clarinet) is that a singer and trombone should be considered a single unit or a duet. Singer and trombone should function as a single character or persona. Sprechgesang and Sprechstimme are musical terms used to refer to an expressionist vocal technique between singing and speaking. Though sometimes used interchangeably, sprechgesang is a term directly related to the operatic recitative manner of singing (in which pitches are sung, but the articulation is loose like speech), whereas sprechstimme is closer to speech itself (because it does not emphasise any particular pitches). The International Phonetic Alphabet (IPA) is an alphabetic system of phonetic notation based primarily on the Latin alphabet. It was devised by the International Phonetic Association as a standardized representation of the sounds of spoken language. The IPA is used by foreign language students and teachers, linguists, Speech-Language Pathologists, singers, actors, lexicographers, constructed language creators (conlangers), and translators. Sul bocchino (S.B.) : (bar 6 e.g.) clarinetist removes the mouthpiece and "slaps" the opening of the tube with his flat palm or fingers to produce a thud sound similar to the consonants P and D. Having an extra clarinet dedicated to this effect might be necessary. Disassembled words: When the singer sees, e.g., the word "tree" notated like "t-r-ee" (bar 7 e.g.) he/she should not isolate each consonant and/or vowel from the rest. Rather try and connect them with a single breath through the word while giving each consonant or vowel its designated space. Same technique should be used on any similar example throughout the piece. The bar-lines in this piece are purely a means of synchronization of the individual parts and an aid to temporal articulation. There is no such thing as a beat in the sense of metrical pulsation. Therefore, the beginning of a measure does not mean an accentuation. For further synchronization conducting is recommended, though it should be kept as minimal as possible to not restrain the dialogue´s natural flow. Emphasis should be placed on all text in bold.
KEY
Canon text #1: Sé ég upp koma öðru sinni jörð úr ægi iðjagræna. Falla fossar, flýgur örn yfir, sá er á fjalli fiska veiðir. Canon text #2: Now do I see the earth anew Rise all green from the waves again; The cataracts fall, and the eagle flies, and fish he catches beneath the cliffs. More fair than the sun, a hall I see, roofed with gold, on Gimle it stands; There shall the righteous rulers dwell, and happiness ever there shall they have.
Ground a dialogue study
Irum Fazal Largo Soprano
Clarinet in Bb
Tenor
Clarinet in Bb
& 44
& 44 Œ ‹
ff
˙™
Ah [ɑː]
S.
Cl.
T.
Cl.
& 42 œ
2œ &4 & 42 Œ ‹
w
& 42 Œ
œ
bœ
44 œ
A [ɑː]
œ
-
114 Ϫ
agh -
fir
ull
-
ah
#œ œ œ J
œ œ œ™ J
mf
-
œ œ œ œ™ œ nœ œ J
‰ 43 Œ
3
p+ 114 W
Œ
Œ
f
Œ
Ó
42 Œ
Ó
44 œ ™ œ ‰ bœJ œ
œ
dried fl - esh
Breathing
/
[f]
[h]
42 Œ
42
Œ
Œ
Œ
44 Ó
Œ
43 Œ æœ ¿ æ
Ó
mf
44 œ
œ
œ
et - ce
-
œ
œ
44
œ
nœ
˙ -
œ
te
˙
[s]
œ -
-
œ
p
#œ 3œ œ 4 Œ 4
hard zer - o
+ œ
p
+ ˙
+ ˙
œ
+ ˙
ra
œ
œ œ ‰ J 45 mf
œ
pp
˙
˙
˙
œ
42
2
æ tongue j bœæ g. ‰ 45 Ó™
Œ
-
42 Œ
42 ˙ 42
43 Œ
˙
43 Œ
+ 24 œ
Œ
42
Œ
œ
one
Œ
ff > . 43 ‰ œ œ Œ
Œ
3Π/4
.j ¿ ‰ Œ
43 Œ
Œ
3Œ
Œ
˙
&
-
stagh - fi - ru
lla
>œ >œ œ œœ 2 4
˙
5
mf
your
tin
45
#œ ™ 43
œ.
45
f
u p [ɐ]
. ‰ ¿j
sul bocchino
f
&4
œ
¿
a [ɑː]
t - r - ee [iː]
Œ
f
Sprechgesang
-
pot cran - i - um
œ ‰ J œ bœ œ ‰ 3
Œ
Œ
43 3f
f
f ‰ f f
f
3
f
5
‰
&4 ‹
3 - 43 #œ- ™ œ- ‰ œ-j œ- œ- œ- ‰ 43 œ œ ‰ bœ- bœ- nœ- œ bœ- ‰
45
/4
stich- es
B
S.B.
Copyright © Helgi R. Ingvarsson & Irum Fazal, 2012
œ ¿
-
43 Œ
dro - p
43 Œ
-
f reflective 34 f ™ f ‰ fJ f 3f f ‰ & 43
mf
Œ
A [ɑː]
6 2 œ œ œ œœœ 4
˙
42
/4
B
. ‰ œJ Œ
˙
æ # g. œæ ˙
2Œ
Œ
mf
mf
42
Slap
Œ
43 Œ
¿ #˙
Œ
ret [ɛ]
[m]
4 &4 Πo
œ #œ œ
Œ
se - c [iː] [k]
A
- agh - fir - ull - ah
44 #œ œ ™ ¿. Œ bœj ‰ 45 Ó™
44 Œ
flzg.
3 œ œ #œ œ œ 42 J
mf
45 ‰ nœ
Œ
Ast
a [ɑː]
f
Œ
44 œ ™ g. Œ
[s]
Ther... [ð][ɛ] (theres)
Œ
li - ttle
¿
Œ
43 ˙
Ó
[m]
42 Œ
+ 44 ˙
[m]
p
44 œ
œ
Ϫ
p + 34 Œ b˙
j œ œ™
3
œ œ #œ œ œ œ œ œ œ J
114 bW
ff
9
mf
Ast
& 44
4 &4
114 ‰ œ™
Helgi R. Ingvarsson
p
Braille und - er - hand
3
mf
f
2 18
S.
Cl.
T.
& 45
I
& 45
[aɪ]
[d]
(dream) (against)
ææ & 45 œj ‰ b g. œ Œ s.t.
Cl.
‰™
S.
& œ œ ‰ œj œ I
Cl.
T.
Cl.
& Œ
& ‹
&
fe i - shise (fetishise)
j g. ‰ /
[s]
¿
The bor [ɒ]
[s]
&
Œ
-
do [ɒ] (bordom)
o ææ g œ œ . J
Ó
+ Ϫ
j ‰ 46
‰ [θ] (earth)
j g. ‰
42 Œ
‰ œj
Œ
42 Œ
‰ œj
+ j œ ‰ œ
2 /4
p
e - m [ɪ] (empty)
Œ
ty [iː]
S.B. j ‰ ¿ Œ mf
don´t w - orr - y
[m]
œ œ+ œ
Œ
[m]
+ o g. œJ œ œ œ R
ÍÍÍÍÍÍÍÍÍ 44 ‰ œj œ œ œ~~~~~~~ j ‰ ~~-
ÍÍÍÍÍÍÍÍ~ ‰ œ œ œ œ œ ~~~~~~~~
Ó™
mf + + + 44 ‰ œj œ œ
+ ‰ œJ
immoderate lip vib.
‰ ‰
œ
œ œ+ œ
Œ
Œ
Œ
Œ
Ó
&
44 ‰
ÍÍÍÍÍÍÍÍ ‰ œ œ œ œ œ~~~~~~~~~
lip vib. ÍÍÍÍÍÍÍÍÍ j œ œ œ~~~~~~~~~~-j ‰ œ immoderate
mf
[m] [p]
pp
in tact,
+ ‰ œJ
Œ
œ
[m]
+ œ ¿. Œ
42 Ó
C
mf
p
[m]
Ó
C
/
‰
is
‹
earth.
s.t.
+ Ϫ
g. J
your face
‰ & 46 Ó™
œ
bu - r - dened
g. ‰ ‰ œ ‰ ææJ J
s.t.
‰ œj œ œ J œ
u - st [ɐ] (trust)
g. œ ‰ ææ
ng. ΠR s.t.
23
¿ œ œ ‰ œ œ œ R J J J t
tell you
46 Œ
j 5 & 4 œJ ‰ bœ ‰ œ œ œ ¿ œ ‰ œJ ‹ I d eam ag - ain - s - t my
+ + + 44 ‰ œj œ œ
mf 3 œ œ œ œ œ j 46 ‰ œJ œ œ œ œ œ œ R
Œ
-¿
Œ
Œ
Œ
[f]
[t]
o
Œ
¿
fl
-
[f]
+
œ
œ
œ
œ
o
parlando
¿
¿. ‰ J
Œ
-
[m]
Œ
Œ
œ
j j ¿ ‰ ‰ œ
˙
S.B. j j ¿ ‰ ¿ ‰
Œ
w - er
-
s
parl.
[s]
j ‰ g.
j j ¿. ‰ ‰ œææ
+ ˙
Œ
Œ
e - m [ɪ] (temporary)
Ó
U
43
U
43
[p]
[r]
‰ œj ‰
æj œ
œ
œ
‰ œj œ œ
œ
œ
œ œ œ Œ
y [iː]
But gran - ite.
-
Œ
G.P.
o [ɒ]
-
.j ¿ ‰ Œ
S.B.
r -
ar
Ó
-
mf
&
bœ œ œ Œ p
U
U
/
43
43
35
S.
Cl.
D
& 43 Œ
& 43
Œ
‰ bœ œ œ œbœ œ œ œ œj 43 œ œ Œ J R
p
/ 43 f
f f f J
f f f f f f 44 f f
Op - aque hands print gen- er - al la - ment
f f
f
f f f
di - a
42
f
f f
f ‰
Or that feel- ing when I saw what you had done
43
& ‹
S.
& 43 Œ
+ bœ p
Œ
+ 44 bœ
+ œ
+ œ
4Œ
Œ
bœ
+ œ
ff
48 bœ
bœ
48 bœ
œ
Be
[m]
Cl.
T.
/ 43<b>˙ ™
p
+3
/ 43
.
3
.
+
ææ 3
.
[n] [m] [n] [t] [f] [t] [m] [r] [p]
E
Perc.
& 43 Œ
&4
44
mf
+3
.
3
.
+
ææ 3
44 Œ
.
j3 j 3 j ¿. ‰ ¿. ‰ ‰ ¿. Œ
Well rest- ed
f
f
sat - an runs in one´s veins
œ #œ œ ‰ œ œ œ œ œ œ
p 3
+ .
Sprechstimme
.
+
. +
ææ
.
f
+ .
48
.
3
œ œ
œ œ
œ bœ
œ œ
Ó
o . . 3. . Ó
[t] [f] [p] [p] [p] [p]
j 48 ¿. ‰ ¿.
Œ
b˙
Œ
œ bœ œ bœ
œ
f
Œ
/
œ
œ bœ œ œ bœ œ œ œ
œ
Œ
œ
cause
f
A [ɔː]
j j j ¿. ¿. ¿. ‰ Œ ¿. ‰ ¿. ‰ Œ > >
3
œ bœ bœ
Ó
You
should
œ
j j œ œ œ œœ œ
¿. ¿. Œ
&
‰
œ
f bœ œ bœ bœ œ nœ œ all
know
A [ɔː]
bœ bœ œ œ œ bœ bœ
He
pp
3
&4
f
Ϫ
f
+3
.
[m]
[n] [t] [f]
.
3
[t]
bœ œ
Œ
j œ œ
3
.
[m]
[r]
[p]
œ
œ ‰ œj ‰ œ œ ‰ J J
G.P.
U
46
U
46
U
46
some - time, up some - time
44
bœ
œ
œ
Œ
43
¿r 3 . 4
mf
œ nœ 44 bœ
it up
ææ
r r r ¿. ¿. ¿. ‰
Œ
has to give
+
S.B.
bœ bœ bœ
ff
˙™
.
43
œ œ 4 œ 4
j œ œ j œ œ œ œ œ 44 bœ œ bœ bœ œ œ œ œ œ
Ó
ææ
p 3
b˙
œ
Œ
œ œ œ œ
œ
be
& ‹
+
. +
.
[n] [m] [t] [n] [t] [f] [t] [m] [n] [m] [r] [p] [n] [m] [t] [n] [t] [f] [t] [m] [n] [m] [r] [p]
pp
43
cause
f
[n] [m] [n] [t] [f] [t] [m] [r] [p] [n] [m] [n] [m]
S.B.
j3 j 3 j ¿. ‰ ¿. ‰ ‰ ¿.
œ
mf
p
f
f f ‰ f f f f
3
pp
[n]
bw
3
E
mf
Sprechstimme
#œ œ œ œ œ œ œ œ œ œ 4 œ œ œ nœ œ œ œ œ œ & 43 œ J 4 nœ œ ‰ mf
log
pp
D
Cl.
-
3 ‰ bœ œ œ œbœ œ œ œ œj 43 œ œ Œ J R
3
3
3
A [ei]
œ œœ œ œ œ œ œœœœ 4 œ œ œ œ œ œ œ œ œ œ œ ‰ J 4
f
T.
Œ
44
p
U
/
46
F
4 49
S.
Moderato
+3 + b œ 54 bœj ‰ œ bœ œ 4 bœ œ ‰ œJ œJ ‰ 4 J p
U Œ
& 46 bœ œ œ œ œ œ œ œ Œ p
mf
i a i a a [ɪ] [ɑː] [ɪ] [ɑː] [ɔː]
Cl.
I
U
& 46
Perc.
6 /4
Perc.
Cl.
/
&
[d] [n]
44 Œ
¿ ¿ U Ó
&
la - Teeef f
U Œ
44 Ó
œ
47 Π47
U & ‰ bœJ œ œ œ œ ‰ 44 bw ‹
One lungful
your voice is brak - ing
44
Ó
Aaaah... [ə]
Ast
Ϫ -
agh -
fir
[t] [t]
Cl.
Speech 1
Speech 2
&
44 Œ
/
44
/
44
bœ U U
U _
47 œ ™ f
47 Largo
47
j œ œ
#œ ull
œ #œ œ
œ
U™
43
Aaaah...
44 Œ
Ó
a real pact
_
bœ
unemphatic, inexpressive
j ‰ 4Œ bœ b>œ œ &‹ 4
42
One lungful
U
whaaat?
G 4
43 U
end midway through Speech 1
œ œ 44 ˙
-
ah [ɑː]
œ
j ‰ >œ œ œ
stagh - fir - ull - ah
œ
44 n˙ 44 44
noticeably 2 lungfuls, with audible drawing of breath between
U
Aaaah... [ə]
Œ
3 3
Œ
Ó
3
44
U
44
natural speech, relatively quick, clear (canon text #1)
H
3
(canon text #1)
noticeably 2 lungfuls, with audible drawing of breath between
j ‰ bw œ œœœœ
end midway through speech 1´s text
1 lungful´s worth
pace 44measured U
U
43
44 3
Œ
whaaat?
&4
U
43
44
bend down to lowest note possible
One lungful
2
&4
[k]
3 j j 45 ‰ ‰ ¿ ¿ ‰ Œ
genuine, emphatic
44
˙™ > œ œ J
One lungful
end midway through Speech 1
noticeably 3 lungfuls, with audible drawing of breath between
47 ‰ œ ™
I want to
42
Ó
44
w™
f
œ œ j ‰ 4Œ œ 42 4
H
f
w
Œ
S.B.
U
G
bend down to lowest note possible
3
I translated this into English while you slept
œ
you some - thing
j j j 45 ‰ ‰ ¿ ¿ ‰ ‰ ¿ Ó
44 U
noticeably 3 lungfuls, with audible drawing of breath between
f
uuup...
freely mf
[r]
Œ
Largo
p
T.
[t]
S.B. j 45 ‰ ¿ Œ
U
56
p 3
[t] mf
o ask [uː]
s.t. 3 œ œ U ‰ 45 ‰ ‰ b gj Œ
44 bœ bœ œ nœ J J
+ 5 j j & 4 ‰ ¿ bœ ‰ ‰ ¿ æœ ‰ Œ . J . æJ ‹
p Parlando, monotone
I wan (want)
[m]
s.t.
Sing into mute
U™ & 46 U ‹ His baptism was complete submergence.
ouse you (rouse)
‰ gj Ó .
45 Ó
Speak into mute
T.
id no - thing to (did) [uː]
3 + + œ œ U ‰ 45 bœ œ ‰ ‰ bœJ œj ‰ œ œ
>œ+ + J nœ
1 lungful´s worth
44
as quickly as possible racing to end at same time as conductor
U
(canon text #2)
& ‹