7 Words

Julie Herndon

7 WORDS commissioned by Forest Collective for mixed ensemble

2018

PROGRAM NOTE “But symbols, I must point out, do not occur solely in dreams. They appear in all kinds of psychic manifestations. There are symbolic thoughts and feelings, symbolic acts and situations.”

–Carl Jung1 “In 2012, the average amount of time for a local wireless call was 1.80 minutes” –Cellular Telecommunications and Internet Association (CTIA)2 “The average text message length is around 7 words” –Crushh3

PERFORMANCE NOTE Duration may vary between 7-20 minutes. A director or other outside observer is useful in rehearsals to help the group home find an appropriate duration for the ensemble.

Seated Musicians (SMs):* those whose instrument is most easily played seated (for example cello or piano).

Mobile Musicians (MMs):* mobile, standing musicians (for example flute or voice). *number may depend on the needs of the ensemble. The following assumes 2 SMs.

1

Carl Jung, Man and his Symbols (Aldus Books: London,1964), 41.

CTIA, “Average local mobile wireless call length in the United States from 1987 to 2012 (in minutes),” https://www.statista.com/statistics/185828/average-local-mobile-wireless-call-lengthin-the-united-states-since-1987/ (accessed 7/4/18).

3 Crushh, The Average Text Message Length Is Around 7 Words,” https://crushhapp.com/textingtidbits/the-average-text-message-length-is-around-7-words (accessed 7/4/18) 2

STAGING A performance area clear of chairs and stands works best. Each score can be cut along the line into a circle shape. A minimum of 3 stations should be arranged (add additional stations for SMs as needed):

Station A: [staging area] MMs can begin upstage, offstage, or behind audience. Each player plays Score 2 as they enter.

Station B and C: [positioned around the performance space] SMs begin seated at their stations, each playing from Score 1. Place Scores 3a, 3b, 3c, and 3d on the floor around the chair so that they face outward to be read by MMs while facing SMs.

SCORE

SMs are seated at their stations. MMs are in their staging area.

MMs:

Enter one at a time and approach a SM directly or indirectly, playing Score 2: Score 2: Move with mass. Follow the sound of your footsteps or imagining yourself a stone being rolled onto the stage. (dynamic: pp)

SMs:

Begin Score 1: Score 1: crescendo dal niente as a MM approaches your station. Follow the quality of the line, beginning with static tones and gradually adding more gestural motion.

MMs will approach and play to you. Respond to them by varying articulation, timbre, and pitch. Diminuendo as MMs leave your station. (dynamic: p-mf: balance with other SM, vary dynamics locally).

MMs:

Take a position at Score 3a, 3b, 3c, or 3d. First listen and tune into the SM, then play the score in conversation with them, matching dynamic, pitch, rhythm, and/or articulation and varying according to the prompts: Score 3a: Find the center of the sound. Play in and around this center, developing the material in your own way.

Score 3b: Become like a water bag, a container of musical material. Then allow your water bag to rupture, changing your material as influenced by external sounds.

Score 3c: Consume what is around you.

Score 3d: Embrace and elevate others’ sounds. Play the sweetest sweetness.

Move between SM stations and scores at your own pace, giving sufficient time to develop each one. When you have played 3 or 4 scores, join a SM at their station and diminuendo as a group playing Score 1.

SMs:

When all MMs have joined a SM station, fade out on Score 1.

All:

Find an ending by choosing, one by one, to be silent and still.

1

2

3a

3b

3c

3d