Move You Move

JULIE HERNDON

MOVE YOU MOVE for guitar and percussion

2019

GUITAR TUNING high (1) to low (6)

MATERIALS Stereo PA (4 channel mixer, 2 speakers) 2 electroacoustic guitars

r. gt

E to A to F# D A to D

rc.

pe

Contact mic Bass drum

1 2 3 4 5 6

3 superball mallets Sine instrument (or vibraphone)

L out to spkr 1 (drum) R out to spkr 2 (guitar) see below

TECHNIQUES smooth gliss. halting, gritty gliss. intensity (speed, pressure, volume): less to more (applies to gliss. in mvt. i, ii; feedback in mvt. iii.) l.v. let vibrate [mute] damp strings ... riccochet: gently bounce mallet i play with index finger p play with thumb String Positions (mvt. ii)

pan L

L R L

channel 1

2 3 4 mixer

ord. p.s.p. s.p. m.s.p.

STAGING Overview (in mvts. i, ii, iii) spkr 1

spkr 2 (iii.)

bass drum

(ii.)

P

sine instr.

(i.)

G

Arrange speaker 1 facing directly in to bass drum, so that it feeds back when played with contact mic (mvt. iii).

Arrange speaker 2 so that it can be easily reached for feedback (mvt. iii).

Place mixer near guitar to change volume as needed between amplification (mvt. i, ii) and feedback (mvt. iii)

ordinary position over sound hole poco sul ponticello, slightly toward the bridge sul ponticello, toward the bridge molto sul ponticello, nearly striking the bridge

Bass Drum (mvt. iii) open circle: superball mallet position arrow: movement on drum head position and movement are approximate, as mallet type may vary friction response). filled cirlce: contact mic position arrow: movement on drum head positions are approximated, but movement should alternate between two nodes of feedback.

Sine Instrument (mvt. iii) LH thumb pressure = volume press for loud, release for silence

MOVEMENT G

body facing direction

perc. w range gtr. range RH position = pitch control t bww high & #w low

stage movement (L) (R) x

x xx

steps: right, left, together

i

DURATION 17 minutes PROGRAM NOTE Katrien Foubert defines mutuality as ““the emergence of a polyphonic flow founded on the forces that constantly make us balance between independence and dependence, nearness and distance.”

This piece follows two people, in the world, with or without each other.

-Katrien Foubert, Birgit Sebreghts, Julie Sutton, Jos De Backer, “Musical encounters on the borderline. Patterns of mutuality in musical improvisations with Borderline Personality Disorder,” in The Arts in Psychotherapy 67 (2020).

POSITIONS SUMMARY Video/call available upon request.

1.

3.

4.

2.

Gtr. on left shoulder.

RH: nail/pick gliss.

LH: stabilize guitar.

5.

Melt to seated position.

Place gtr. on floor.

RH: grasp overhand other guitar neck

6.

Sit comfortably, gtr. and drum within reach.

RH: rotate gtr. counterclockwise to rest bottom on left hip.

LH: support.

Gtr. bottom on left hip.

RH: gliss.

LH: support.

8.

7.

Sit or stand comfortably, gtr. ord.

Sine instrument, sit or stand RH: pitch (up/down).

LH: volume (press).

ii.

Move You Move

2 to A 3 to F# 6 to D

for The Living Earth Show

1.

Julie Herndon

Fluid, slow, looking ahead q = 56

i.

i 5 p 6

4 V4

sound hole

Guitar

Voice Body

4 V4

Voice Body G & P Staging

G

gliss.

P

nut

0

w

F P

[hum]

i 5 p 6

sound hole

Percussion

0 0

l.v.

w

0

look toward each other

nut

0

w

[hum]

F P

P

careful steps like the earth is alive

F

look ahead

x x x x

(L) (R)

0 0

gliss.

P

sim.

0

.

x x

l.v.

P

w

h h

[hum]

0

look toward each other

P

careful steps

look ahead

0

x x x x x x

.

F P

w

l.v.

h h

[hum]

Gtr.

Voice Body

Perc.

Voice Body G. & P. Stg.

4 V4 4 V4

sim.

x x x x

looking ahead sim.

l.v.

w

0

look toward each other

Œ

careful steps like the earth is alive

(L) (R)

P

P

look ahead

w

.

x x x x x x G

0

F

.

l.v.

P

0

w

[hum]

look toward each other

P

careful steps

look ahead

x x x x x x G

P

.

P

0

w

[hum]

F

l.v.

0

w

sim.

x x x x G

P

P

audience

rit.

16

0

on other guitar, perfectly in sync (mute>)

U

Œ

F

P

l.v. rotate body right 45º

x x

x x xx x x

.

F xx G

Slower, charged

.

P

F

x xx x x x

.

l.v.

0

rotate body right 45º

x x xx x x

.

P

l.v.

P

F

P

G P

-1-

F

x xx x x x

0

G

P

l.v.

.

l.v.

x xx x x x

U

.

F

G

P

U P

x x x x x x P

l.v.

.

F

l.v.

P

Œ

.

P

G

F

Œ

l.v.

(mute>)

P

3.

2.

4.

a tempo

on own guitar 31

Gtr.

(L) (R)

Body

Perc.

(L) (R)

Body

4 4 4 4

mute

(mute) step back, looking ahead

x

x

x

x

F

P

x x

step forward looking at perc’s gtr

x

x

.

x x x x

x

.

x

x

x

mute

(mute) step back, looking ahead

x x x x x x

P

F

step forward looking at gtr’s gtr

x x x x x x

.

P

P G

2 4 4 Œ4 2 4 4 Œ4

RH grasp step backward other gtr. holding gtr.

RH grasp step backward other gtr. holding gtr

x x x x

.

G

P G

x x

x x

*4 sound hole

U

2 4

P

bridge

rotate gtr. L to L hip

*4 sound hole

U

2 4

pp

bridge

rotate gtr. L to L hip

U

U

4 4

4 4

1 4

pp

rit.

P

46

Perc.

4 4

4 4

P

pP

P

Œ

p mute

pP

pP

Œ

U

Œ

G P slightly angle to aud.

G. & P. Stg.

Gtr.

1 4

U

Œ

sim.

pp

Œ

Œ

Œ

continuous sound

p mute

pP

*note staff change to reflect guitar position -2-

p

sim.

Œ

pp

Œ

Œ

Œ

U Œ

take 0 superball mallet

U Œ

take 0 superball mallet

4.

ii.

59

Gtr.

Perc.

5 6 fric tion

4 4 4 4

Gtr.

Perc.

p

look to gtr.

4 4

p

look to gtr.

look ahead

5 6 fric tion

gliss.

p ...

...

4 4

.

l.v., sim.

... .

p

l.v.

G

p

sim.

look ahead

look to perc.

gliss.*

F

P

G. & P. Stg.

69

Sonorous gestures, flexible rhythm (q = ~50)

P

Œ Œ

p

l.v. sim.

p

F Œ Œ

...

Œ

P

sim.

p

l.v.

...

F

p

P

P ...

Π...

Œ

F 7.

78

Gtr.

5 :Π4

...

4 4

F

:

repeat, gradually shorten gliss. to attack only ad lib.

P

move toward speaker slowly, as if the earth is alive

5.

Perc.

G. & P. Stg.

4 4

Œ

... :

F

5 4

Œ:

repeat, gradually shorten gliss. to attack only ad lib. move toward drum slowly, as if the earth is alive

P P G

*Spatial length of gliss. on guitar may vary depending on mallet, strings.

Prioritize resonant sound over exact mallet placement or rhythm.

-3-

G

6.

P

f

p

5 4 ...

f

Gtr.

81 T A B

m.s.p. pluck

Calm q = 63

4 4

(finish gesture)

Ó

Œ ‰

p

T A B

4 4

P

0 0

0

0 0 0 0 0 0 7

0 0 0 0 0 7

0 0 0 0 7

0 0 0

0 0 0 0 0 0 7

0 0 0 0

0 0 0

0 0

0

m.s.p. with mallet

Perc.

( h)

j

0 0 0 0 0

0 0 0 0 0 0

Ó

0 0 0 0 0 0

0 0 0 0 0 0 7

0 0

0

0 0 0 0 0 0 7

0 0 0 0 0 7

0 0 0 0 7

0 0 0

0 0 0 0 0 0 7

Œ ‰

( h)

j 0 0

0

0 0 0 0 0 0

0 0 0 0 0

0 0 0 0

0 0 0

0 0 0 0 0 0 7

when both are in position

p.s.p.

88

Ó

0 0 0 0 0 0

Gtr.

æ

æ.

‰

0

0

o

F

p.s.p.

Perc.

0

0 0

0 0 0 0 0 7

0 0 0 0 7

0 0 0

0 0 0 0 0 0 7

( h) ægliss. æ

0 0 0 0 0 0 7

0 0 0 0 0 0 7

0

95

Gtr.

æ

2

4

.... .... ....

o

(p.s.p.)

Perc.

0 0

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

gliss. liss.

7

F

5

5

m.s.p.

0 0 0

0 0 0 0 7

æ

7

( h) æ

o

P

0 0 0 0 0 7

5

0 0 0 0 0 0 7

0 0 0 0 0 0 7

... ... ... ... ... ... ...

0

pp

0 0

0 0 0

0 0

0

æ

gliss.

4

o

s.p.

4

4

j

p.s.p.

æ æ æg æ

æ

æ2

2

0 0 0 0 0 0 7

0 0 0 0 0 0

0 0 0 0 0

0 0 0 0

‰

2

2

j

.... .... ....

0

-4-

0 0

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

æ

10

o

.

0

3

o

ord.

0

æ gliss. æ gliss. æ

0

5

P

( h) æ

æ

æ

5

0 0 0 0 0 0

æ gliss.æ 3

ord.

( h) æ æ

0 0

gliss.

0 0 0

( h) æ 4

0 0 0 0 0 0 7

0 0 0 0 0 7

0 0 0 0 7

æ glissæ

7

.

5

0 0 0 0 0 0 7

0 0 0 0 0 0 7

2

F

j

p.s.p.

.... .... ....

0

æ

5

o

P 0 0 0 0 0 0

0 0 0

0 0 0 0 7

0 0 0 0 0 7

0 0 0 0 0 0 7

0 0 0 0 0 0 7

... ... ... ... ... ... ...

0

0 0

(cont. as gtr. 2 desynchronizes)

CVII harmonics

3 4

102

Gtr.

j

P 7

7

7

7

7

7

F

7

7

7

7

7

P

Perc.

.... .... ....

0 0

0

0 0 0 0 0

0 0 0 0

0 0 0

0 0 0 0 0 0

.

3 ..

4 .. .

0 0 0 0 0 0

0 0

P 0

0 0 0 0

0 0 0

5

5

5

5

5

5

5

5

5

F 5

0 0 0

0 0

0 0 0 0 0 7

0 0 0 0 7

5

5

5

5

5

5

5

5

6

5

5

0 0 0 0 0 70

0 0 0 0 70

0 0 0 0 0 0

0 0 0 0 0 70

0

U

F gliss. mallet on gtr. body, prioritize resonance over timing

5

5

P

.. .. ...

0 0 0 0 0 0

.. .. ...

0 0 0 0 0 70

0 0 0 0 0 70

5

5

5

4

gliss.

3

3

3

3

3

3

3

3

3

3

.. .. ...

3

3

3

3

U

0 0 0 0 0 0

0 0 0 0 70

0 0 0 0

0 0 0

0 0

5

5

5

0

U

larger, slower mvt.

5

5

5

5

U

(s.p.)

Perc.

7

CIII harmonics

5

5

7

U

like a whale song

CV harmonics

107 5

7

desynchronize with gtr. 1

0 0 0 0 0 0

take other mallet

Gtr.

7

7

7

gliss.

s.p.

0 0 0 0 0 0 7

7

7

7

7

ord.

0 0 0 0 0 0

0 0 0 0 0 70

U

0 0

0

CI mute/harmonics

111

Gtr. 3

F

3

3

3

3

3

3

3

3

3

3 3

P

3

3

3 3

3

3 3

3

3

2

1

1

gliss.

p

1

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

0

0 0

0 0 0

0 0 0 70

0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

0

1

1

1

1 1

1

1

1

1 1

1

1

1

1

1

1

1

1

0 0

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

-5-

0 0 0 0 0 0

p 0

0 0

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

0

0 0

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

1

1 1

s.p.

ord.

Perc.

1

1

0 0 0 0 0 0

repeat until perc. resynchronizes barely pitched, percussive mute

115

Gtr.

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

m.s.p.

1

1

1

1

1

1

1

1

1

1

1

1

1

1

1

pp tenderly

1

1

1

1

1

0 0

0 0 0 0 0 0

0 0 0 0 0

0 0 0 0

0 0 0

0 0 0 0 0 0

0

0 0

0 0 0 0 0 0

0 0 0 0 0

0 0 0 0

0 0 0

0 0 0 0 0 0

1

1

1

1

1

1

1

1

resynchronize with gtr. 1 pitched, but percussive on wooden bridge

m.s.p.

Perc.

0

:

:

1

1

0

0 0

0 0 0

1

1

1

0 0 0 0 0 0

0 0 0 0 0 0

0 0 0 0

0 0 0 0 0

1

1

1

1

1

1

0 0

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

0 1

0 0 1

0 0 0 1

0 0 0 0 1

0 0 0 0 0 1

0 0

0

0 0 0 0 0

0 0 0 0

0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0

1

1

1

1

1

0

0 0

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

1

0 1

0 0 1

0 0 0 1

0 0 0 0 1

1

0 0

pp tenderly 0

0 0 0 0 0 0

0 0 0 0

0 0 0

119

Gtr. 1

1

0 0 0 0 0 0

Perc.

1

0

1

1

1

1

1

1

0 0

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

0 1

0 0 1

0 0 0 1

0 0 0 0 1

0 0 0 0 0 1

123

Gtr.

pp 1

Perc.

0 0 0 0 0 0

1

1

Ó

to bass drum with superball mallet

1

1

1

1

1

0

1

1

1

1

1

1

1

1

1

1

0 0

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

0 1

0 0 1

0 0 0 1

0 0 0 0 1

0 0 0 0 0 1

1

1

0

1

1

1

1

Ó

1

1

1

0

1

Ó -6-

1

1

1

1

1

1

1

1

1

1

1

0 0

0 0 0

0 0 0 0

0 0 0 0 0

0 0 0 0 0 0

0 0 0 0 0 0

0 1

0 0 1

0 0 0 1

0 0 0 0 1

0 0 0 0 0 1

1

1

1

1

1

1

1

1

Ó

o

Gtr.

= 50 iii.Undulating 4 T A B

2

1

1

1

1

1

1

1

1

1

1

1

1

1

1

a tempo

ppp barely touching string 1

1

1

1

1

1

1

1

1

1

t

to sine instrument 1

1

1

1

1

1

F

tw o

sine instrument

131

1

u

8.

Gtr.

1

bass drum superball mallet friction gliss.*

42

Perc.

rit.

h

F

w F

P

o

Perc.

t

136

Gtr.

F

rit. -

22

--------------------

22

l.v. take contact mic

Perc.

t¿ sim.

Perc.

t˙

146

Gtr.

Perc.

f

b˙

= 40

w o

F

U

match feedback pitch

gliss.

¿ F

feedback

f

F

f

F

bw

w

w

f

F

f

F

¿

141

Gtr.

h

P

P

P

gliss.

bw

w

-7-

¿ u

f

w

F w

f

T A B

hold guitar to speaker so that it feeds back guitar

151

Gtr.

Œ

T A B

1

3

1

4

F

1

1

1

f

F

f

P

159

Gtr.

F 0

0 0

0 0 0 0

0 0 0

2 0 0 0 0

4 0 0 0 0

P

Perc.

165

P 0

P

0 0

0 0 0

0 0 0 0

p

0 4 0 0 0 0

8.

Ó

Perc.

0 2 0 0 0 0

2 0 0 0 0

sine instrument

&

o

2 0 0 0 0

0 0 0 0

0 0 0

0 0

F w

w

0 4 0 0 0 0

P

0

con vib.

F

0 2 0 0 0 0

2 0 0 0 0

0 0 0 0

0 0 0

0 0

0

F

Gtr.

4

4

4

P

F

F

f

Perc.

gliss.

2

F

Ó

4 0 0 0 0

F

gliss.

P ˙

#˙

2 0 0 0 0

Ó

4 0 0 0 0

to sine instrument

o

0 2 0 0 0 0

2 0 0 0 0

0 0 0 0

0 0 0

0 0

0

˙

0 0

0

0 0 0 0

0 0 0

0 4 0 0 0 0

˙

P

#˙

œ

˙

#˙

171

Gtr.

F ˙ 0

Perc.

&

0 0

0 0 0

0 0 0 0

2 0 0 0 0

4 0 0 0 0

˙

F

˙

#œ

P ˙ 0

0 0

2 0 0 0 0

0 0 0 0

0 0 0

4 0 0 0 0

˙

#œ œ œ P

F œ 0

œ

0 0

0 0 0

2 0 0 0 0

0 0 0 0

œ

œ

F

4 0 0 0 0

œ

˙

3

177

Gtr.

P œ & 0

Perc.

0 0

0 0 0

˙

0 0 0 0

2 0 0 0 0

4 0 0 0 0

#œ P

œ

˙

F w 0

œ

0 0

0 0 0

0 0 0 0

2 0 0 0 0

4 0 0 0 0

w -8-

P w 0

0 0

0 0 0

0 0 0 0

2 0 0 0 0

4 0 0 0 0

o

Ó

slowly turn from instr.

V

183

Gtr.

p0 VÓ

Voice

Perc. Voice Body

(L) (R)

0 0 0 0

0 0 0

0 0

2 0 0 0 0

p w

˙

0

[hum]

( h) x

( h)

x

walking away, looking down

0

Ó

0

p

V #w 0

0 0 0 0

2 0 0 0 0

2 0 0 0 0

˙

p w

x

#w

0

[hum]

x

0

p

x

[hum]

[hum]

0 0

0

0

0

x x

x

0 0

0 0 0

0 0 0 0

0 0 0

Ó

0 0 0 0

0 0 0 0

p w

˙

0

sim.

p

#w

0

x x

0

0

x

x

0

x x

x

sim.

G

P

G. & P. Stg.

4 0 0 0 0

audience

189

Gtr. 0

0 0 0

0 0

repeat until perc. off stage

.. .

0 0 0

VÓ

Voice

˙ 0

0

p w

p

V #w 0

Perc. Voice (L) Body (R)

x

x

Ó

0

0 0

..

p

˙

p w

x

#w

0

p w 0

0

0

p

0

x

:

: 0 0

0

x x

x

0 0

:

:

p

0

x

x

0

#w

rpt. until off stage

0

x x

x

˙

:Ó

0

0

:

x x

x

4.

7. gently

Gtr.

U Ó

(Gtr.) Voice

U Ó

195

V

4 4

superball mallet 6 friction gliss.

p

Ó

˙

0

p

gliss.

Π#w

Ó

0

-9-

˙ 0

p

U

Π#w

0

Ó

˙

0

p

U

#w

Π0