De Perfecta Machina Necandi

Manuel SĂĄnchez GarcĂ­a

De Perfecta Machina Necandi for instruments and voices

(2016)

[ Conductor Score ]

De Perfecta Machina Necandi A self-perpetuating system of inequality, sustained by its taylor-made, one-direction breakable rules, which creates ever greater unbalance and disregards the lives of a great amount of humans and other beings at this planet. At the top of the system a ever decreasing segment of population made insensitive to the unfairness by means of over-information, frivolity and a well planned education that enhances values such as accumulation, competition, consumerism, submission and trend-worship. At the other end, increasing, the slaves of the first world, the oppressed and discarded second-range humans fuelling the system with their lives. One wonders what will happen as the first group becomes smaller and smallere...

The vast majority of the ensemble stages this confussive and paradoxical mass of stimula, this contrast of realities and extremes. Withing the main vocal quartet we see characters and attitudes that support, question or suffer the system.

Whithin the ensemble, a small group operates by itself throughout the piece. They are, in a way, the opposite of a “concertino” or a group of soloists in the tradition of the concerti. While they don't go undercover per se, they definitely don't seek attention towards them. They reflect, propose, comment... purposedfully out of the noisy environment that the machine produces. Thinking ways to make the machine revert its course.

The main segments of texts are taken and adapted from diverse quotes appearing at “The lyrics of Rage Against the Machine: a study in radical criminology?” by Laura L. Finley. Other sources were the Franch phylosophica journal Tiqqun, an online list of financial vocabulary, a statistical report about the reecent Syrian refugee crisis, a famous quote from Victor Lebow and a mini-documentary online entitled “History of capitalism”, besides some fragments written ad hoc for the piece.

Settings – – – – – – – – – –

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Flute/Piccolo Independent group within the ensemble: Clarinet in Bb Alto/Soprano saxophone – Flute Baritone saxophone – Electric bass Horn – Soprano Trumpet in Bb Trombone I Trombone II Tuba Percussion – Vibraphone – Whip – Long pipe (thin plastic or cardboard) – Snare drum – Conga (low) – Pedal bass drum Piano Electric guitar Vocal quartet (S. MzS. T/Count. Bari.)

Some performance notes General remarks: –

The seating plan of the ensemble is up to the organization in each case. A special case must be made with the flute, soprano and bass guitar which conform the small and independent subgroup. For them, a table with three chairs must be installed somewhere in the midst of the group, or in the back. Not in first row.

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Voices will most probably need amplification

Regarding the notation of the vocal parts: –

The empty staff must be read as a registral field, with the range of the singer reaching from the bottom line (low voice) to the top line (highest voice). Sounds written under this registral field indicate either subharmonics or low fry register.

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The multiphonics are to be produced through a combination of fry register and head voice.

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When a concrete pitch is indicated, that should be the one sung with head voice.

The glass-jars with coins: –

Two cilindrical glass jars of equal size are required, with a somewhat rounded bottom and a serrated/grainy ring at its base.

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Fill one of the jars halfway (or 1/3 or it) with coins.

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To be held by the baritone.

The techniques employed with it are 3: –

Machinery gear: Rub the bottom of the empty jar over the mouth of the other with a circular movement. Both jars must remain vertical.

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Transfers or pouring: transfer the coins from one jar to the other in a sudden action.

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Bullshitting: Rub the bottom of the emptu jar over the mouth of the other with chaotic joysticklike movements. Only the bottom jar must remain vertical in this case. The intended sound should remind of a weird discurse in a non-discernible language though an old damaged gramophone.

for any question, suggestion or request, please don't hesitate to contact me: manueljsanchezgarcia@gmail.com +31 610835290

 : Primary text. Full expressive voice. Carries structural importance for the interlocking of voices.  : Secondary text, half voiced, filling the gaps with words or numbers from the framed repositories.

TEXT SECTION I.

All the text to be delivered in a frentic and expressive fashion, with a lot of emphasis and speed.

The underlined words are supposed to be overlapped by the entrance of the next text fragment.

4mill. 95% 40% 1.2mill 13.50$ 1/5 of people in the country 80% 650.000 10% 220.000 1.9mill. 12.8mill 3mill. 50% 249,463 104,410 10% zero zero 35.000 47% 8,700 132,375 400,000

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S.

Bar.



Bloody system. It breeds greed, which then allows for physical and cultural genocide. But what's the point?

One God, one market, one truth, one consumer. Who controls the past now, controls the future. Who controls the present now, controls the past. The public sees no reason to get involved in foreign killing & torture.

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So you have to whip them up. And to whip them up you have to frighten them.

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If you don't own, or you don't buy, you're not important; you're not worth to care for.

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And every oppositional alternative to the status quo is swallowed up under the umbrella of terrorism.

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“That one is your enemy, fear him!” Wars are good for economy. I can't help it, you can't help it!

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 until synchronizing cue (a powerful inbreath from MzS. and T.) 

The underclass that must remain oppresed for the triumpth of the dominant economic class will continue to be the object of criminal law. One God, one market, one truth, one consumer.

Entrepreneur – venture capitalist – fund – investor – paycheck - … - revenue – profit – growth – mortgage premium - .. - broker – stock – margin account – fiduciary - … - recession – depreciation – liability accrual basis – debt – deficit – bankrupcy – BOOM – liberation – preventive attack – greater good – collateral damage.

Glass jars “machinery gear”

U U

TEXT SECTION II.

To be spoken in low register in a hyper-articulated way, pppp but very close to the microphone

| stands for a sudden short pause – ca.0,75'') if you haven't finished the text before the last bar, cut abruptly

(

Bar.

Our enormously productive economy demands that we make consumption our way of life, that we convert the buying and use of |goods into rituals, that we seek our spiritual satisfac|tion and our ego satisfac|tion in consumption. We need things consumed, burned up, worn out, replaced and discar|ded at an ever-increasing rate.

75% 0.2%