Jerusalem - Joshua Jandreau

for voice(s) and fi xed electronic media

-2017-

oshua Three·Sons·Music

andreau

for voice(s) and fi xed electronic media

-2017-

J oshua J andreau Three·Sons·Music

erusalem About the score Jerusalem is written for an unspecified number of voices and fixed electronic media. Though the piece can be performed with a single voice, the more voices incorporated, the more effective the performance.

The score is formatted and optimized for phone and tablet screens, with width and height measurements of 8.25” and 5.75” respectively.

This piece was written January – February 2017.

Performance Notes The piece comprises 14 gestures. Some gestures are repeated at the performer's discretion; others are repeated a fixed number of times. Once a gesture is completed, the performer should continue to the next gesture in the series. Gestures are marked as numbers within triangles.

Indications for walking speed are bold with asterisks (**) and marked with boxes. Performers should continue each walking direction until given new directions.

One performer should be dedicated to starting / stopping playback for electronic media. This performer should not perform from the score. The electronic media should be initiated upon the first performer's entrance, and stopped after the last performer's exit.

Performance Notes (cont.)

Gesture 1 – Performers should gradually enter the performance space at their discretion. Sound may begin either before or after entrance. Repeat six times, each time moving to the next phoneme in the series. Each phoneme should last approximately 45 seconds.

Gesture 5 – Performers should crescendo on each repeat, returning to “p” each time; dynamics do not indicate the shape of the entire phrase.

Gesture 6 & 8 – The line indicates relative pitch with the performer's voice range. The line-pitch correlates with the text. When the line splits, performers may choose which relative line-pitch to follow.

Gesture 10 – On the word “connect”, performers should try to match rhythm with those around them also performing the same gesture.

Performance Notes (cont.)

Gesture 11 – When performers hear the audio cue from the speakers for Gesture 11, wherever they are in the score, they should jump to Gesture 11.

Words in italic indicate cue from audio recording. Performers should speak bold words at the appropriate moment in the text, in unison if possible.

Gesture 14 – Performers should leave the performance space, walking slowly and quietly before the end of their gesture.

Text (performance) Jerusalem (adapted) And did those feet in ancient time Walk upon those mountains green?

And was the holy Lamb of God On those pleasant pastures seen?

And did the Countenance Divine Shine forth upon our clouded hills?

And was Jerusalem built here Among these dark Satanic Mills?

Bring me my bow of burning gold: Bring me my arrows of desire:

Bring me my spear: O clouds, unfold!

Bring me my chariot of fire.

I will not cease from mental fight, Connect!

Nor shall my sword sleep in my hand, Connect!

Till we have built Jerusalem, Connect!

Connect!

In England's green and pleasant land.

Connect!

In this green and, Connect!, pleasant land. – William Blake (1757 – 1827) adaptation Joshua Jandreau, 2017

Notation Key Pronunciation Key |s| = sun, miss |ʃ| = she, crash |t| = tea, geting |h| = how, hello |k| = cat, back |ɒ| = hot, rock |n| = no, ten |m| = man, lemon

|z| = zoo, lazy |ʒ| = pleasure, vision |i| = see, heat |ɑi|= five, eye |ei| = say, eight |əʊ| = go, home |u| = blue, food

Notation Key (cont.)







open mouth position

half-open mouth position

closed mouth position

Text (original) Jerusalem (original)

Bring me my bow of burning gold!

Bring me my arrows of desire!

Bring me my spear! O clouds, unfold!

Bring me my chariot of fire!

And did those feet in ancient time Walk upon England's mountains green?

And was the holy Lamb of God I will not cease from mental fight, On England's pleasant pastures seen? Nor shall my sword sleep in my hand, Till we have built Jerusalem And did the Countenance Divine In England's green and pleasant land.

Shine forth upon our clouded hills?

And was Jerusalem builded here – William Blake (1757 – 1827) Among these dark Satanic Mills?

Program Note “We cannot live only for ourselves. A thousand fibers connect us with our fellow men; and among those fibers, as sympathetic threads, our actions run as causes, and they come back to us as effects.”

– Herman Melville (1819 – 1891) “The world is so empty if one thinks only of mountains, rivers, and cities; but to know someone who thinks and feels with us, and who, though distant, is close to us in spirit, this makes the earth for us an inhabited garden.”

– Johann Wolfgang von Goethe (1749 – 1832) duration ca. 10'30” for more information, please visit www.joshuajandreau.com Copyright © 2017 Joshua A. Jandreau. Published by Three Sons Music (ASCAP). www.joshuajandreau.com All Content Copyright. All Rights Reserved. Copying or reproducing this publication in whole or in part violates the Federal Copyright Law.

Text adapted from Jerusalem by William Blake (1757 - 1827)

erusalem approx. duration 10'30"

Slowly throughout 1

(speeding up)

~ 10"

Joshua Jandreau (2017)

**walking slowly**

(slowing down)

A

B

1a. |s| 2a. |ʃ| 3a. |tʃ| 4a. |th/kh| 5a. |h| 6a. |ʃ|

1b. |ʃ| 2b. |tʃ| 3b. |th/kh| 4b. |h| 5b. |ʃ| 6b. |s|

Voice(s)

© 2017 Joshua A. Jandreau. Published by Three Sons Music (ASCAP). www.joshuajandreau.com All Content Copyright. All Rights Reserved. Copying or reproducing this publication in whole or in part violates Federal Copyright Law.

x6

2

2

(spoken)

x2

And did those feet in ancient time Walk upon those mountains green?

And was the holy Lamb of God On those pleasant pastures seen?

3

(whispered except words in bold spoken loudly)

x2

And did those feet in ancient time Walk upon those mountains green?

And was the holy Lamb of God On those pleasant pastures seen?

3

~ 6"

4

(one phoneme per repeat)

x7

alternate |s|, |Ęƒ|, or |h| freely

~ 6"

5

(whistling or falsetto |u|; pitch relative to line)

x7 gliss.

4

x2

6

(sung, pitch relative to line; choose path when line divides)

p

f

p

f

p

f

5

**increase walking speed with dynamic; moderately fast when arriving at **

~ 3"

7

(increase volume on repeat until

x3 |i|→|ɑi|→|ei|→|əʊ|→|u|

)

6

8

(sing-song voice; underlined words shouted; pitch relative to line; choose path when line divides)

x2

7

~ 3"

9

(whistling or falsetto |u|; pitch relative to line) gliss.

x7 gliss.

**walking very quickly**

( 10

= 50-72) (

x3

= 72)

x4

(last time) (in unison; try to match people around you)

Text! E-mail! Ding!

(Con) - nect! Con - nect! Con-nect! Con-nect! Connect!

Connect!

Con - nect!

8

11

(spoken, bold words only; unison if possible; italic words are for cue from audio recording)

(I will not cease from mental fight,) Connect!

(Nor shall my sword sleep in my hand) Connect!

(Till we have built Jerusalem) Connect! Connect!

(In this green and pleasant land.) Connect!

(In this green and) Connect! (pleasant land.)

12

**slow down walking until (mouth position)

|kÉ’|

- |n|

- |m|

**

9

~ 12"

13

) (decrease volume on repeat until (after last time, cyle through until |m|, then hold)

x3

|z|→|ʒ|→|u|→|m|→|u|→|ʒ|→

14 dim until end

|m|

~ 45" at performer's discretion, walk slowly and quietly from performance space before end of piece