Add a public comment... - for SATB choir, synth voice and video [2020]

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MATTHEW GROUSE

Add a public comment … for SATB choir, virtual singer and video

(2020)

Stage plan

. There should be enough distance between the choir’s compact formation and the projection screen to create a noticeable sense of otherness for the synth voice. The diagram below is therefore not a scale example. . Stage position #2 = From the audience’s perspective, the sopranos and basses walk forward, sit or kneel to the left of the projector facing the screen, as close to it as they can get without obstructing the video projection. Tenors and basses, making sure to walk behind the projector, do the same but assemble to the right of the projector. Conductor joins the sopranos and basses.

Obstruction to the audience’s view of the video should be avoided at all costs.

B4

B3

B2

T1

S4

S3

(f o r s ynth voice )

S2

in oir ct h a C n mp co atio m fo r

Proje

ctor

A4

A3

A2

A1

T4

T3

S1

T2

B1

Popscree up proje ct n wit h flo ion o r st and

Conductor

Audience

Laptop Performer, running QLab

Audience

Duration: ca. 8’ A dd a public comme nt … was written for Pan oram a Fe stiva l an d prem iere d by Aarh us V okale nse mble t and Ch arlotte Ro wan in Aa rhus, Marc h 2020 . © 2020 M atthe w Grouse. All right s reserved.

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FULL SCORE

for SAT B choi r, virt ual si nger and video

(2020) The piece is written for 16 voices (4 sopranos, 4 altos, 4 tenors, 4 basses). It is however possible to perform the piece with more or less singers. When the number of voices is different, appropriate changes to divisi must be made and there should be an equal number of each voice type.

Accidentals:

¼ flat

¾ flat

. The following quartertones are used in the piece: . An accidental preceding a note only applies to the octave in which it is written. A further accidental is required for a note of the same pitch class in a different octave.

Props . Each choir member should have a pre-prepared balloon, full of helium. It is advised that the balloon is sealed with something easily removable like a small peg or cable tie rather than tying off the end in a traditional knot. The balloons must be out of view from the audience until they are used, but easily accessible by any means available. Helium is safe and non-toxic but it is important that after each inhalation performers clear their lungs. These necessary exhalations are notated.

Clarification of techniques and non-standard notation (general): Most techniques and non-standard notation will be elaborated upon within the body of the score.

Move gradually and smoothly from one technique indication to another, for example, from senza vibrato to molto vibrato.

X

An X time signature indicates senza misura. It is often accompanied by a duration marking indicated in seconds.

Abruptly stop all sound. Make efforts to reduce the decay time of the previous note as much as possible

The arrow noteheads denote the highest or lowest possible note of the singer’s idiosyncratic range. Extreme measures should be made to reach these pitch e.g. falsetto for tenors and basses.

A flared hairpin means that short and sudden dynamic push right at the end of a note (almost like a sforzando) retur(n)

/n/ /ʌ/ /θ/ G.P.

When letter(s) at the end of a word are in parenthesis they are silent. The word should be stopped abruptly just before this point as if being interrupted. This direction is always paired with a staccatissimo articulation marking.

IPA pronunciation can be listened at the following link: http://www.ipachart.com/

General pause A thick arrow denotes that the performer should continue or cycle a technique until the end of the arrow.

Whispering: Never try to align the whispering with another singer. Hide mouth with the hand and lean close to the ear of the designated listener. For louder passages of whispering, direct the sound slightly away from the listener’s ear to avoid damage. In the case of passages such as that starting at bar 53, cycle the boxed cells above the system in any order. Ad lib. tempo and take short pauses at will. The designated entry points are approximate and are cued by the conductor. The end of each instance of whispering is also cued by the conductor. It is the responsibility of the listener to pick up the conductor’s cue and subtly make the whisperer aware. If you are the listener, maintain a deadpan facial expression and keep very still, looking straight forward.

Pre-recorded audio & video / laptop performer: Animation by Jan Giedroyc.

Pre-recorded audio & video should be triggered by a laptop performer using QLab 4.6.1 or newer. The patch and all relevant audio/video files will be provided by the composer. It is of paramount importance that the performer has a good view of the conductor’s beating pattern so they can activate the cues as precisely as possible within the tempo. It should not be obvious to the audience that the laptop performer is triggering the synth voice cues. As QLab is Mac only, as long as there is practically zero latency when triggering the cues, an alternative such as Max (Cycling ’74) can be used to trigger cues.

Circled, bold numbers refer to exact, rhythmic cue points (these include new audio/video cues and points where an audio/video cue is manually stopped).

The synthesized voice is a virtual instrument developed by Plogue called Alter/Ego.

Add a public comment ...

Matthew Grouse (b.1996)

q = 68 stately, with an unnaturally warm demeanour ca. 5" mf poco espressivo SOPRANO

U 4œ ∑ 4 Œ Ó

° &

No

œ Œ Ó thing

-

œ œŒ œ œŒ No - thing

(nuh) *

will e

(nuh)

-

œ œŒ œ œŒ ver com - mu - ni -

œ œŒ cate e

(eh)

œ œŒ

œ œŒ œ œŒ

mo - tion

-

like hu - man voic -

(ee)

ca. 5"

U 4mf poco espressivo ∑ 4œ Œ Ó œ Œ Ó

&

ALTO

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thing

-

No

(nuh)

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œ

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thing

-

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(nuh)

-

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Ϫ

thing

No

(nuh)

-

‰<n>œ ™

‰ ˙

thing

No

(nuh)

#˙ -

thing

(nuh)

ca. 5" mf poco espressivo

U 4œ ∑ 4 Œ Ó

& ‹

TENOR

No

œ Œ Ó thing

-

œ No

(nuh)

Œ œ

Œ

thing

-

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(nuh)

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thing

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(nuh)

-

‰ œ™

‰ ˙

thing

No

(nuh)

˙ -

thing

(nuh)

ca. 5"

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?

BASS

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thing

No

˙

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thing

-

No

(nuh)

thing

-

No

(nuh)

-

thing

(nuh)

No

-

(nuh)

-

thing

(nuh)

ca. 5"

q = 68 stately, with an unnaturally warm demeanour

° & Synth Voice

?

U ∑ U ∑

4 4

∑

∑

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4 4

∑

∑

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ca. 5"

1 Video

4 2í Œ Ó 4

¢ !

YouTube comment: "Nothing will ever communicate emotion like human voices singing together"

= *** sfz

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-

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-

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percussive clicks

mf cut off each entry

3

4

5

¿Æ œ œ # œ n œ R ‰ (e + e.)

° S.Vox. &

**

∑

∑

∑

Ó

∑

∑

!

!

í

∑

Quinn fades in

Quinn 'sings'

glitch

wow! Just wow...

Vid.

¢

* - Unusual syllabification is clarified below the lyrics with phonetic vowel sounds written in italics and parenthesis. ** - Until bar 40, only the start and end of the synth voice's cues are within the choir's tempo. Syllabic division of each phrase is temporally independent. *** - With a finger over the mouth, aggressively "shh!", effectively silencing the synthesised voice.

2

A Text for all sopranos is a syllabic deconstruction of the following phrase: "Nothing will ever communicate emotion like human voices singing together"

12 1

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3

sfz 16 1

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thing

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ee

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-

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(nuh)

j bœ ‰

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6

7 8 (e + h + e.)

° &

∑

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∑

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∑

∑

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œ

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¿Æ !R

S.Vox. I want to be in a choir it looks like so much fun

? ∑

Ó Vid.

¢

!

!

Quinn fades in

* - With a finger over the mouth, aggressively "shh!", effectively silencing the synthesised voice.

í

B 4 20

mf

p

p mf sub.

1

° ‰ >œ œ œ œ œ œ œ œ œ œ œ œ & J

œ

Noth- ing will ev-er com-mu - ni-cate e-mo-tion

>œ

œ

like

œ œ œ œ œ œ œœ

hu - man

œ

voic-es sing-ing to-geth- er. Noth - ing

œ

œ

œ

ev

- er

will

mf sub. œ ‰‰ >œ J J com - mu

p mf p

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like

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fp

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fp œ -œ œ

fp

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e

mo

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& Œ

3

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-

ing

p

will

mf

p

fp

œ J

ev

-

Ϫ

& Ó

com

p

-

mu

fp

fp

-Ϫ

-œ J

(p)

ni

-

mf p

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-

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cate

mf

e -

p

mf

3

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thing

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Œ

mf

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er

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3

4

fp œ -œ œ

(p)

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(nuh)

œ. œ. œ. œ. œ. œ. œ. -œ œ™ ‰

‰

ver

-

coh coh coh coh coh coh coh com-mu

-

(eh)

English alphabetical pronunciation

Œ

Œ

& œ

A.

Œ

bœ

[N]

Œ

bœ

[O]

‰

‰

bϪ

nœ ™

˙

bœ [H]

[I]

[N]

[G]

[T]

<n> ˙

English alphabetical pronunciation

Œ

Œ

& bœ ‹ [N]

T.

Œ

œ

Œ œ

Ϫ

[H]

[I]

bœ

[O]

[T]

‰ œ™

‰ w

[N]

[G]

English alphabetical pronunciation

? bœ

bœ Œ

Œ

œ

Œ

œ

bœ ™

Œ

‰<n>œ ™

‰

w

B.

¢ [N]

[O]

[T]

[H]

[I]

[N]

[G]

= p mf sub.

24 1

° œ & ni

-

œ

œ

cate

e

œ -

œ

mo - tion

œ

œ

like

hu

œ

œ

man

-

voic -

œ es

œ

œ

>œ

œ

sing - ing

to

- geth -

er

œ

œ Noth -

mf

& œ

2

œ

man

voic

-

œ

œ

es

sing

œ -

-

œ

ing

œ

to

-

geth

œ -

er

S. fp

& ‰

3

-

-œ J

œ

mo

-

p

-

fp

fp

-Ϫ

-œ J

tion

mf

& Ϫ ni

-

-

T.

hu

p

-

mf

œ

œ

-

man

-œ

-œ

-œ

-œ

-œ

-œ

Ϫ

-

cay

cay

cay

cay

cay

cate

e

p

‰

-

-

‰

Ϫ

-

mo

Œ

Ϫ

œ bœ

[N]

[O]

[T]

[H]

‰

? bœ ™

‰

Ϫ

‰

Œ bœ

[O]

bœ ™

[T]

‰

bœ [T]

-

-

Π[H]

Œ

œ

¢ [O]

‰

œ

B. [N]

mf

Œ

& œ™ & œ™ ‹ [N]

Œ

3

‰

‰ A.

(p)

-œ

œ

like

3

4

fp

[H]

Œ

-

5

sfz 26

p f 1

° œ &

œ

œ

will

ev

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

like

hu

œ

‰

>¿.

J Shh!

ing

-

er

com - mu

-

ni - cate

e

-

mo - tion

man

-

sfz p

& œ

2

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-

-

œ

œ

thing

will

f

œ

œ

Œ

e

-

-

-

œ

ver

‰

comm(unicate)

>¿.

J Shh!

(eh)

S. sfz

3

fp

fp

fp

fp

& Ϫ

-œ J

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-œ

voic

-

-

-

œ

œ

(p)

œ

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J

f

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es

sing

-

ing

-

to

Shh!

sfz 3

p

mf

. . . . . . . & œ œ œ œ œ œ œ œ œ™

4

p

mf

œ™ ‰

shuh shuh shuh shuh shuh shuh shuh shun like

hu

‰ -

-

-

œ-

œ-

œ-

ma

ma

man

‰

>¿.

J Shh!

sfz

>¿.

J ŠΠ&

A.

≈ Œ

‰

Œ

j Ϫ

j Ϫ

j bœ

j bœ

[I]

[N]

[G]

[N]

‰

‰ Shh!

sfz

& #œj™ ‹ [I]

T.

j nœ ™

≈ Œ

j œ

≈ Œ

[N]

‰

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J ‰

j œ

‰

Œ

‰

Œ

[G] [N] Shh!

sfz

B.

? ™ ¢ <n>œJ

Ϫ J

≈ Œ

[I]

>¿.

J ≈ ‰

œ J

[N]

[G]

‰

Œ

j bœ [N]

Shh!

10 9 senza misura (the boxed pitches reappear asynchronously)

11 (e + q)

(h. + e.)

œ œ

° Ó &

¿Æ ! R

œ œ

? œ

‰

œ œ œ

&

Gosh, it's nice to listen to you sing again

S.Vox.

? ∑

Vid.

¢

!

Quinn fades in

∑ !

í

?

6

as if cut off by synth. voice ad lib. a short, annoyed sound / exhale

C sfz

>¿.

J

28 1

° Œ &

mf

‰

‰™

Œ

Shh!

œ R

>¿ œ œ œ œ œ œ œ œ œ œ ¿Æ Œ

Noth - ing will

ev - er

com - mu - ni - cate

e - mo - t(ion) (sh)

as if cut off by synth. voice ad lib. a short, annoyed sound / exhale

>¿ œ œÆ Œ

mf

œ

& Ó

2

Noth - ing

sfz

Ó

>¿.

J

Œ

w(ill)

‰

Shh!

S. sfz

>¿.

J & Ó

3

Œ

mf

‰

Ó

‰™

Œ

œ R

Shh!

Noth -

∑

∑

&

4

IPA pronunciation (phonetic deconstruction of "nothing")

voiceless

¿ Œ

Œ

Œ

Œ

&

A.

bœ

∫œ bœ

/n/

/ʌ/

/ɪ/ /θ/

(uh)

IPA pronunciation (phonetic deconstruction of "nothing")

voiceless

¿ Œ

Œ

& bœ ‹ /n/

T.

Œ

œ

Œ œ

/ʌ/

/ɪ/ /θ/

(uh)

IPA pronunciation (phonetic deconstruction of "nothing") voiceless

¿ ? bœ

∫œ

Œ

Œ

Œ

Œ œ

B.

¢ /n/

/ʌ/

/ɪ/ /θ/

(uh)

C 12

13

14

15

17 16

¿Æ °? ‰ S.Vox.

bœ J

¿Æ

œ ‰

Greatest respect.

‰ Vid.

¢

œ J

Ó

í

‰

This is the best ...

Ó !

bœœ J

œœ

... choir ...

‰ !

¿Æ

œ

í

‰ !

í

7

sfz 30 1

° Ó &

Œ

‰

>¿.

J

p

Ó

œ œ œ œ

Œ

Shh!

Noth - ing

will

ev -

sfz

∑

>¿.

J

Ó

‰

Œ

&

2

Shh!

as if cut off by synth. voice ad lib. a short, annoyed sound / exhale

S.

> Æ ¿ œ œ œ &

3

ing

will

p

œ œ œ œ Œ

Ó

Ó

Œ

e(ver)

Noth - ing

(eh)

as if cut off by synth. voice ad lib. a short, annoyed sound / exhale

sfz

>¿.

J & Œ

4

‰

>¿ ≈ œ œÆ

Ó Shh!

Œ

Ó

Noth - i(ng)

Y ‰

‰

&

A.

bϪ

bϪ

/ŋ/

/n/

b˙ /ʌ/ /θ/ (uh)

Y ‰ & œ™ ‹ /ŋ/

T.

‰ œ™

˙

/n/

/ʌ/ /θ/ (uh)

Y ? bœ ™

‰

nœ ™

‰ ˙

B.

¢ /ŋ/

/n/

/ʌ/ /θ/ (uh)

18

19

20

¿Æ °? ‰ S.Vox.

bœœ J

¿Æ bœœ œ

œœ

... I have listened to ....

œœ œ

¿Æ bœœ œ

... and I've listened to ...

œœ œ

œœ œ

Œ

... many. It's like candy ...

Œ ‰ Vid.

¢

!

í

!

í

!

í

will

ev -

8

ppp

mf sim.

sfz mf sim.

>¿. ‰ J

32 1

° œ œ œÆ >¿ Œ &

Œ

er com - mu(nicate)

>¿ 3 3 ‰ œ œ œ ‰ œ œ œ œ œ œ œÆ Œ 6

∑

Shh!

Noth -ing will

ev - er

com -mu -ni -cate hu(man)

ppp

mf sim.

sfz sim.

>¿. ‰ J Ó

& Œ

2

>¿ ‰ œ

>¿ 3 3 ‰ œ œ œ ‰ œ œ œ œ œ œ œÆ Œ 6

Œ

Ó

Shh!

Noth -ing will

N(othing)

ev - er

com -mu -ni -cate hu(man)

(nuh)

S. ppp

mf sim.

sfz mf sim.

> Æ ¿ Œ œ œ œ &

3

>¿. ‰ J

Œ

er com - mu(nicate)

>¿ 3 3 Æ œ œ œ œ œ œ œ œ œ œ ‰ ‰ Œ 6

∑

Shh!

Noth -ing will

ev - er

com -mu -ni -cate hu(man)

ppp

mf sim.

sfz sim.

>¿. ‰ J Ó

& Œ

4

>¿ ‰ œ

>¿ 3 3 Æ œ œ œ œ œ œ œ œ œ œ ‰ ‰ Œ 6

Œ

Ó

Shh!

Noth -ing will

N(othing)

ev - er

com -mu -ni -cate hu(man)

(nuh)

sfz sfz

‰

>¿ J ‰

‰

¿™ J Œ

≈ Œ

&

A.

bϪ

j <n> œ ™

œ™ #œ

>¿. ≈ J ‰

#œ /θ/ Shh! /ɪ/

/ŋ/

Shh!

/n/

/ʌ/

/ɪ/

(uh)

sfz sfz

‰ œ™

& œ™ ‹ /ɪ/

T.

‰

>¿ J ‰

Œ œ

/ŋ/

¿™ J ≈ Œ

œ

/n/

/ʌ/

>¿. ≈ J ‰

j bœ ™ /ɪ/

/θ/ Shh!

Shh!

(uh)

sfz

? bœ ™

‰ bœ ™

B.

‰

Œ

¿™ J Œ

œ

œ

≈ Œ

>¿. ≈ J ‰

j Ϫ

¢ /ɪ/

/ŋ/

/n/

/ʌ/

/ɪ/ Shh! /θ/

(uh)

21

°? ‰ S.Vox.

bœ b œœ J

œœ œ

...for my ears. I ...

22 ¿Æ œ œ bœœ œœ

23 ¿Æ #œ œœ

... never get tired ...

... of hearing ...

‰ Vid.

¢

!

í !

24

Æ œœ ¿ ‰ œ

í !

25

Æ #œœ œœ ¿ œJ œ

Ó

‰

... you sing.

í ‰ !

bœœœ J

œœœ ‰ ™ R

World ...

Ó í

‰ !

9 Tutti: keep finger in "shh" position over mouth

high freq. (wide mouth, through teeth) building in frustration and intensity

ca. 2" f possibile

sfz f

≈ ca. 8" turn to face screen >¿. ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ >¿ J ‰ J ≈J ≈ J ≈J ≈J ≈J ≈ J ≈J ≈J ≈J ≈ J ≈J ≈ X

35

S.

° Œ &

Shh!Shh! Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

high freq. (wide mouth, through teeth) sfz f building in frustration and intensity

Shh!

Stay fixed, staring at the screen. Slowly lower finger away from mouth with a puzzled facial expression as if thinking "Why on Earth hasn't the synth voice stopped?"

turn to face conductor

3 8

ca. 2" f possibile

≈ ca. 8" turn to face screen >¿. ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ ¿ ™ >¿ X & j ‰ J ‰ J ≈J ≈ J ≈J ≈J ≈J ≈ J ≈J ≈J ≈J ≈ J ≈J ≈ b œ Shh!Shh! Shh! Shh! Shh! Shh! Shh! Shh! Shh! Shh! Shh! Shh! Shh! Shh! Shh!

A.

/ŋ/

Stay fixed, staring at the screen. Slowly lower finger away from mouth with a puzzled facial expression as if thinking "Why on Earth hasn't the synth voice stopped?"

turn to face conductor

3 8

low freq. (narrow 'o' shaped mouth, lips pushed out) ca. 2"

≈ sfz f

f possibile building in frustration and intensity ca. 8"

turn to >¿. face screen ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ‰ X & bœj ‰ J ‰ ‰ j ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ >¿ ‹

T.

/ŋ/ Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Stay fixed, staring at the screen. Slowly lower finger away from mouth with a puzzled facial expression as if thinking "Why on Earth hasn't the synth voice stopped?"

turn to face conductor

3 8

Shh!

low freq. (narrow 'o' shaped mouth, lips pushed out) ca. 2"

≈ sfz

B.

f

f possibile building in frustration and intensity

turn to >. face screen ? œj ‰ ¿J ‰ ‰ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ‰ X j ¢ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ >¿

/ŋ/ Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh!

Shh! Shh!

Shh!

ca. 8"

Stay fixed, staring at the screen. Slowly lower finger away from mouth with a puzzled facial expression as if thinking "Why on Earth hasn't the synth voice stopped?"

ca. 8"

26

3 8

ca. 2"

27

˙

w

w

w

U œ X

? ‰bbœœœ Œ #n˙˙ J #˙

w w w

w w w

w w w

X

° Ó &

turn to face conductor

Š3 Π8 Š3 Π8

S.Vox.

U œœ œ

... class ... ... vocal!

Vid.

¢

3 8

X

Series of YouTube comments

ca. 2"

≈ turn to face choir

6 Cond.

∑

∑

∑

∑

X

6 66

3 8

Conduct a cut off gesture directed at the screen on beat 1. When the voice keeps going, wait a moment, then try cutting it off again 2 or 3 more times, getting more frustrated each time

10 open mouth to sing "I" but you're cut off by synth voice before you can make a sound.

D A tempo mp sim. head to face screen and stay >6 >¿ turn perfectly still it that position 4 J ‰ Ó 4

40

S.

° 3 &8

∑

2 4

∑

4 4

∑

2 4

∑

4 4

∑

2 4

∑

4 4

∑

2 4

∑

4 4

∑

(inhale) open mouth to sing "I" but you're cut off by synth voice before you can make a sound.

mp sim.

3 &8

A.

head to face screen and stay >6 >¿ turn perfectly still it that position 4 J ‰ Ó 4

∑

(inhale) open mouth to sing "I" but you're cut off by synth voice before you can make a sound.

mp sim.

3 &8 ‹

T.

head to face screen and stay >6 >¿ turn perfectly still it that position 4 J ‰ Ó 4

∑

(inhale) open mouth to sing "I" but you're cut off by synth voice before you can make a sound.

sim.

mp

B.

?3 ¢ 8

head to face screen and stay >6 >¿ turn perfectly still it that position 4 J ‰ Ó 4

∑

(inhale)

D 28 5

A tempo 5

° 3 &8

∑

?3 8

∑

4œ œ 4 œ bœ 4 œœ b œœ 4

S.Vox.

Vid.

3 ¢ 8

œ œ #œœ

œ œ œœ

œ œ œœ

œ nœ #œœ

Some - one please sign me

up

œ œ 42 œ œ œ #œ œ œ œœ œœ 2 nœœ œœ 4 to

be

4!

4

in

œ œ 44 œ ™ œ œ œ bœ ™ œ bœœ œœ 4 bbœœ ™™ ∫œœ 4

2 4

œ nœ #œœ

œ™ œ œ œ bœ ™ œ bœ ≈ œ ≈ œ ™ nbœœ bœœ ≈ œœ ≈ œ™

5 5 Some - one please sign

this cho - ir.

5

5

5 me up

œ œ œœ

œ™ œ™ œœ ™™

5 be in

to

4 4

Quinn changing colour and hard cutting to a different screen position with each chord give choir beats 3 and 4 of a 4/4 bar as soon as you hear the synth voice come in, freeze arms in the upbeat position and quickly turn head towards screen.

Maintain this position until cued.

Fj You do NOT conduct beating patterns for the synth voice's solo sections, but you must cue the choir's entries where notated 2 4 œ 44 œ 4 4

3_ 8œ

Cond.

Tutti: turn to face conductor, completely deadpan

= 6" coarse glissandi 44 5 5

° œ ‰ œ nœ & nœ œ #œ S.Vox. œ œ ? #œ ‰ œ œœ this

Vid.

3

œ≈œ œ œ œ œ nœœ ≈bœœ bœœ

œ ‰ œ œ 58 nœ œ œ œœ ‰n#œœ nœœ 5 8

5 5 cho- ir. Some - one please sign

3 me up

œ™ œ™ œ ™™ œ

œ œ œ bœ œœ œ bœ

œ œ œ œ

œ bœ œ bœ

gliss.

œ bœ œ nœ

gliss.

U nœ bœ U œ bœ

2 4 2 4

to be

5 8

¢

œœ X bœ œ œ œœ Xœ

bœ bœ œ #œœ œ bœ b œ # œœ œ bœ

2 4

X Series of YouTube comments

Cond.

∑

5 8

œ ∑

X slowly lower arms to neutral

2 4

Tutti: maintain deadpan facial express throughout

11

A tempo

E senza vibrato emotionally detached mp p 3

G.P. 47

S.

I

hate this.

A.

Art is good be -cause of the hu -man el -e -ment

2≈ &4 Œ Œ

3

4Ó 4

3

œ œ œ œ œ Œ 87 œ™ ˙

There

senza vibrato mp emotionally detached

G.P.

f poco espressivo

mf pochissimo espressivo

3 3 ° 2≈ 4 & 4 Œ ‰ ™ œR 4 œ œ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œJ

is - n't a - ny soul.

Sad

Š3 Π4

4 ˙™ 4

ma

chine

-

f poco espressivo

mf pochissimo espressivo

Š3 Π4

3

Œ ‰ j Œ 87 bœ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ bœ ™ ˙ Art is good be -cause of the hu -man el -e--ment

There

is - n't a - ny soul.

Sad

4 4 b˙ ™

ma

chine

-

G.P. f poco espressivo

mf pochissimo espressivo T.

2≈ &4 Œ Œ ‹

4 4

∑

Œ ‰ œj œ œ œ œ œ Œ 87 œ ™ ˙

Ó

There

is - n't a - ny soul.

Sad

Š3 Π4

4 ˙™ 4

ma

chine

-

G.P. f poco espressivo B.

?2≈ ¢ 4Œ Œ

4 4

∑

∑

7 8 bœ ™ ˙

∑

Š3 Π4

4 b˙ ™ 4

A tempo Sad

ma

chine

-

E G.P.

° 2≈ &4 Œ Œ

4 4

∑

∑

∑

7 8

∑

4 4

∑

3 4

?2 Œ Œ 4 2 ¢ 4

4 4 4 4

∑

∑

∑

7 8 7 8

∑

4 4 4 4

∑

3 4 3 4

S.Vox.

Vid.

Quinn remains on screen in 'idle mode', choir's text fades in and out

G.P.

Š2ΠΠ4

Cond.

4 4

∑

∑

7 8

∑

4 4

∑

3 4

∑

swift and busy, ad lib. between q = 60-90

= í ™™

™™î

F q = 83 use percussive, voiceless whispering sounds like "pssst" and "sss" 53

S.

° 3 &4

As soon as you hear the synth voice, turn head and watch the screen.

Then keep perfectly still.

2 4

∑

3 8

∑

2 4

3 8

∑

asynchronous whispering (avoid aligning) * ad lib. dynamics between p and mf A.

T.

B.

3 &4 3 &4 ‹ ?3 ¢ 4

∑

ììX

A2 + A4

A1 + A3

!

As soon as you hear the synth voice, turn head and watch the screen.

Then keep perfectly still.

2 4

∑

3 8

∑

2 4

∑

3 8

As soon as you hear the synth voice, turn head and watch the screen.

Then keep perfectly still.

2 4

∑

3 8

∑

2 4

∑

3 8

q = 83

F ° 3 29 & 4 œ œ™ S.Vox. ? 3 bbœœœ n#œœœ ™™™ 4

œ œ œ™ œ ≈ 42 œ œ J 3 œœ œœ nbœœ ™™™ bœœœ 2 nœœœ œœ œ œ œ ≈ 4 œ J

œ œ œ™ œ ≈ 83 œ J œœ œœ 6œœ ™™ œœ 3 bœœ œ œ bœ ™ bœ ≈ 8 b œ J

Æ 2≈ œ ≈ œ ≈ œ ≈ œ ≈ œ 3 œ™ œ œ œ™ œ™ 4 8 bœœ ™™™ #œœ œœ nœœ ™™™ œœÆ ™™™ 2 nœœ b bœœ # nœœ 6 œœ nbœœ 3 œ n œ œ œ œ 4 ≈ bœ ≈ b œ ≈ n œ ≈ œ ≈ œ 8

3

Some - one

Vid.

please sign me

3 ¢ 4 !

up

6 be in this

to

2 4

6

cho - ir.

Some - one please

3 8

sign

me

up

2 4

to

be

3 8

sim. + series of YouTube comments cue alto's whispering

Cond.

3 4

∑

2 4œ

Œ

3 8

∑

2 4

∑

* - For whispering into someone's ear, hide mouth with hand and cycle the 3 boxed cells above the system in any order.

Ad lib. tempo and take short pauses at will. The designated entry points are approximate. The end of the whispering is cued by the conductor. If you are the listener, maintain a deadpan facial expression and keep very still, looking straight forward.

3 8

12

, 4.5" 57

S.

° 3 &8

4 4

∑

2 4

∑

X

Turn to face conductor, maintaining a completely deadpan expression.

4 4

X

A2 + A4 will be able to see the conductor's cue to stop. They should subtly nudge A1 + A3 when cued.

Turn to face conductor, maintaining a completely deadpan expression.

4 4

X

Turn to face conductor, maintaining a completely deadpan expression.

4 4

X

Turn to face conductor, maintaining a completely deadpan expression.

4 4

∑

, A.

A2 + A4

&

A1 + A3

!

, T.

3 &8 ‹

B.

?3 ¢ 8

∑

4 4

2 4

∑

∑

, ∑

4 4

2 4

∑

∑

breathy / distorted

ord.

4.5"

° 3 Æ 4 & 8 ‰ œJ ‰ 4 œ œ 3 S.Vox. ? 3 ‰ bbœœœÆ ‰ 4 bnœœœ œœœ 8 4 J

3 3 this cho - ir. Some - one

in

Vid.

œ œ ‰ œ ‰ œ œ ‰™ J J R 3 œœ bœœœ ‰ #œœ ‰ œœ œœ ‰ ™ œ nœJ œJ œR

3 ¢ 8

2 4œ

U œ

4 4

U œœ œ

4 4

X 3

2 #œ nœ œ bœ 4 œœ œœ bœœ œœ

please

sign

4 4

œ œ œ

me

X

3 up to

2 4

4 4

X Quinn's edges become jagged and distorted

, cue choir to stop whispering

3 8

Cond.

∑

4 4

2 4

∑

∑

4 4

Xœ

=

G q = ca.68 senza vibrato p

61

S.

° 4œ &4 Why

mp 3

3

œ œ œ œ œ œ œ œ œ œ J does the

rob - ot sound like Ker - mit

the

frog

‰

œ œ ‰ sing - ing?

Œ

3

3

œ œ œ œ œ œ ≈ œ R I

can take

a

corn - dog

and

senza vibrato mp 3

A.

4 &4

∑

3

3

Ó

≈ bœ œ œ œ œ œ I

can take

a

corn - dog

r œ and

senza vibrato mp T.

4 &4 ‹

∑

Ó

‰™

Œ

r bœ and

B.

?4 ¢ 4

∑

G q = ca.68 Vid.

4 ° ¢ 4 Quinn remains on screen in 'idle mode', choir's text fades in and out

∑

13 63

S.

ord. mp

* ff sub.

plug it

in - to Mex - i - can

ff 3

° œ œ œ œ œ œ œ >h h &

œ.

J

bean

≈ ≈ œR œ

paste

and sound

5 4 Ϫ

œ bet

ter

-

>H

œ œ than

ff

≈ Œ

3

5 4

≈ ≈ &

A.

bœ œ œ œ œ œ œ h h > plug it

in - to Mex - i - can

bean

j œ.

r œ œ

œ

paste

and sound

bet

ter

-

>H

œ œ than

this

ff

≈ Œ

3

j œ.

& bœ œ œ œ œ œ œ h h ‹ plug it in - to Mex - i - can >bean

T.

ìì X

bϪ

ord. mp

* ff sub.

5 8

this

ord. mp

* ff sub.

≈ Œ

≈ ≈

paste

r œ œ

œ

and sound

bet

5 4 bœ ™ ter

-

ìì X

>H

œ œ than

this

* ff

senza vibrato 3

B.

? ¢ Ó

≈ ≈ œr œ

‰

and sound

Vid.

5 4 Ϫ

œ bet

ter

-

° ¢

H >

œ œ than

≈ Œ

5 8

this

5 4

5 8

swift and busy, ad lib. between q = 60-90

= í ™™

™™î

H use percussive, voiceless whispering sounds like "pssst" and "sss"

q = 98 6" 65

S.

° 5 &8

As soon as you hear the synth voice, turn head and watch the screen. Then keep perfectly still.

2 8

3 4

∑

2 4

∑

X

Turn to face conductor, maintaining a completely deadpan expression.

X

!

A1 + A3 will be able to see the conductor's cue to stop. They should subtly nudge A2 + A4 when cued. Turn to face conductor, maintaining a completely deadpan expression.

!

X

T2 + T4 will be able to see the conductor's cue to stop. They should subtly nudge T1 + T3 when cued. Turn to face conductor, maintaining a completely deadpan expression.

X

Turn to face conductor, maintaining a completely deadpan expression.

∑

, 4 4

sim. ad lib. dynamics between p and mf

U ∑

A.

X

A2 + A4

A1 + A3

, 4 4

asynchronous whispering (avoid aligning) ad lib. dynamics between p and mf

U ∑

T.

X

B.

?5 ¢ 8

T2 + T4

As soon as you hear the synth voice, turn head and watch the screen. Then keep perfectly still.

2 8

T1 + T3

3 4

∑

2 4

∑

∑

6" ord.

q = 98

H

, 4 4 , 4 4

extreme vibrato (fast and wide)

30

° 5 œ œ œ &8

œ 28 œ œ œ 43 œ œ™ 3

œ ≈ œ™ œ™‰ œ œ 42 ‰ œ œ œ

7

33

U œ

4 4

#U œœ œ

4 4

X

5

S.Vox.

? 5 #œœ #œœœ nœœœ bœœœ 2 # #œœ œœœ bbœœœ 3 bbbœœœ œœœ ™™™ #n#œœœ ≈ œœ ™™ nœœ ™™‰ #œœ bnœœœ 2 ‰bbœœœ bœœœ nœœ 8# œ 8#œ 4 4 nœ ™ œ ™ œ bœ 3 me up

Some- one please sign

Vid.

¢

5 !

8

2 8

7

to

be in

this cho - ir.

5 please sign me

Some - one

3 4

Xn

2 4

up

4 4

X Quinn's edges start to match vibrato

sim. + series of YouTube comments cue alto's whispering

cue tenor's whispering cue choir to stop whispering

Cond.

5 ΠϪ 8

2 8

∑

3 4 œ

Œ

Œ

2 4

œ ∑

X

* - Forcefully push the voice to emulate distortion. The tone should be rough, almost ugly but consistent, without obscuring the pitch. Absolutely no vibrato.

,4 4

14

mf mockingly vib. ord. molto vib.

q = ca.68

I senza vib. p

70

° 4 >œ. ‰ œ. ‰ œ. ‰ œ œ ‰ 1+2 & 4 J J J Your voice

is

ff

* ¯¯¯ œ œ œ Œ Œ 44 œ™ œ œ œ 43 J 3

5 4 œJ ‰ œ

fun - ny

like

ha

-

la - la

Ho - yo

-

mf mockingly vib. ord. molto vib.

S. senza vib. p

∑

Yah - yah

yoy

* ¯¯¯ œ œ œ Œ Œ 44 œ™ œ œ œ 43 J

3+4

Your voice

is

œ œ 45 ‰ œ œ J fun- ny

like ha

-

la - la

Ho - yo

-

p mf mockingly vib. ord. molto vib.

∑

A.

∑

Yah - yah

ha

-

-

X

yah

ff

* ¯¯¯ 4 3 j œ œ œ Œ Œ 4 #œ ™ œ œ œ 4

5 4 Œ #œ

yah

¯¯¯¯ ¯¯¯¯¯ ¯¯¯ 4˙ ˙ 3 4 4 ˙™

yoy

3

4 &4

-

4 4

ff

3

4 . . . & 4 ‰ œJ ‰ œJ ‰ œJ ‰

¯¯¯¯ ¯¯¯¯¯ ¯¯¯ 4˙ ˙ 3 4 4 ˙™

la - la

Ho - yo

-

∑

¯¯¯¯ ¯¯¯¯¯ ¯¯¯ 4 3 4 #˙ ˙ 4 #˙ ™ Yah - yah

yoy

-

4 4

yah

ff mf * ¯¯¯

molto vib.

4 &4 ‹

T.

∑

5 4

∑

4 3 4 œ™ œj œ œ 4 Ho - yo

-

∑

¯¯¯¯ ¯¯¯¯¯ ¯¯¯ 4 3 4 ˙ ˙ 4 ˙™ Yah - yah

yoy

-

4 4

yah

ff

?4 4

B.

∑

5 4

∑

4 4

∑

3 4

¢

∑

* ¯¯¯¯ ¯¯¯¯¯ ¯¯¯ 4 3 4 ˙ ˙ 4 ˙™ Ya

-

ya

4 4

ya

-

I q = ca.68 Vid.

° 4 ¢ 4

5 4

4 4

3 4

4 4

Quinn remains on screen in 'idle mode', choir's text fades in and out

* - Extreme, ridiculous vibrato (as wide and fast as possible). Shake head up and down vigourously in time with your vibrato.

3 4

4 4

swift and busy, ad lib. between q = 60-90 15

™™î

í ™™

J q = 113 use percussive, voiceless whispering sounds like "pssst" and "sss" 76

S.

° 4 As soon as you hear the synth voice, turn head & 4 and watch the screen. Then keep perfectly still.

3 8

6 16

∑

∑

∑

sim. ad lib. dynamics between p and mf

U &X ∑

A.

A2 + A4

A1 + A3

! sim. ad lib. dynamics between p and mf

& 44 ‹

T.

3 8

∑

ìì X T2+

∑

T1 + T3

T4

asynchronous whispering (avoid aligning) ad lib. dynamics between p and mf B.

?4 ¢ 4

3 8

∑

6 16

∑

B2

B1 + B3

∑ X+ B4

q = 113

J 31

° 4 œ &4

œ

<n>œ

œ

3 8 œ

œ

#œ # œœ

3 bœ 8 bbœœ

nœœ ∫œœœ œ

œ

6 16 <n>œ ™

Ϫ

œ

œ

œ

œ J

≈

œ J

j ≈ #nœœœ

≈

œœj œ

≈

3 3

S.Vox.

? 4 bœœœ 4 Some

Vid.

œ

œ bœœ

bbœœœ

one

please

-

n#œœœ sign

me

up

to

be

3 8

¢ 44 !

™ 6 ™ 16 ##œœœ ™™ nœœœ ™™ in

4 Ó 4

cue tenor's whispering

3 8

˙

cho - ir.

Some

-

one

please

6 16

sim. + series of YouTube comments cue alto's whispering

Cond.

this

œœ bbœœœ n #œœ œ #œ

∑

6 j 16 œ ™

‰™

cue bass' whispering

j Ϫ

‰™ Tutti: bring fist in front of face

= 7" 80

S.

° & A2

&+

A.

7 8

∑

A4

!

T2 + T4

X

Turn to face conductor, maintaining a completely deadpan expression.

!

X

A1 + A3 will be able to see the conductor's cue to stop. They should subtly nudge A2 + A4 when cued. Turn to face conductor, maintaining a completely deadpan expression.

!

X

T2 + T4 will be able to see the conductor's cue to stop. They should subtly nudge T1 + T3 when cued. Turn to face conductor, maintaining a completely deadpan expression.

X

B2 + B4 will be able to see the conductor's cue to stop. They should subtly nudge B1 + B3 when cued. Turn to face conductor, maintaining a completely deadpan expression.

∑

A1 + A3

& ‹

T.

11 16

∑

T1 + T3

?

B. ¢

!

I, 4 4 , 4 4 ,4 4 , 4 4

gradually a low-pass filter is applied 7" (4+4+3)

° ‰ ™ œ™ & J S.Vox. ? ‰ ™ œœj™™ œ™

7 8Œ

¢

Ϊ

11 16 œ œ œ œ œ œ œ œ œ

œ

œ X

, 4 4

U

7 8 Œ bbœœœ

sign

Vid.

œ

U œ

Ϊ

11 16 bbœœœ#œœœ nœœœ#nœœœ œœœ #œœœ nœœœ nœœœ bœœœ nœœœ bbœœœ

me

7 8

X ∫bbœ œœ

up to be in this cho - ir. Some - one please sign

11 16

4 4

me

4 4

X Quinn becomes faded and gets darker

cue alto's change cue tenor's change cue choir to stop whispering

Cond.

j œ ™ ‰ ™ 87 œ ‰ Ó

11 16

œ ∑

X

,4 4

ca. 50cm

16 Tutti:

K Gradually bring your fist closer and closer to your mouth

q = ca.68 84

p S.

° 4 >˙f &4 O

6

œ ≈ œ. ‰ œ J -

-

kay

-

6

6

6

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

That's

ac - tual - ly ac - tual - ly ac - tual - ly ac - tual - ly ac - tual - ly ac - tual - ly ac - tual - ly ac - tual - ly

Gradually bring your fist closer and closer to your mouth p

f

3

4 &4 Œ

A.

≈ #œ >

œ

O

-

Œ

Œ

6

6

‰

œ.

#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

kay

ac - tual - ly ac - tual - ly ac - tual - ly ac - tual - ly ac - tual - ly

Gradually bring your fist closer and closer to your mouth p 6

f 4 ‰ œj œ &4 > ‹ O -

T.

œ ≈ œ. Œ

Œ

kay

-

6

6

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ac - tual - ly ac - tual - ly ac - tual - ly ac - tual - ly ac - tual - ly ac - tual - ly

Gradually bring your fist closer and closer to your mouth p f 6

B.

?4 ¢ 4 Œ

‰

j ≈ Œ #œ œ œ. > O

-

6

Ó #œ œ œ œ œ œ œ œ œ œ œ œ

kay

ac - tual - ly ac --tual - ly ac - tual - ly ac - tual - ly

K q = ca.68 Vid.

4 ° ¢ 4 Quinn remains on screen in 'idle mode', choir's text fades in and out

= gradually apply more and more pressure to muffle the sound like a low-pass filter very muffled 86

S.

° œ &

6

6

6

‚

ac - tual - ly

ac - tual - ly

ac - tual - ly

ac - tual - ly

ac - tual - ly

ac - tual - ly

pret

‚ -

2 4 O

ty

cool

gradually apply more and more pressure to muffle the sound like a low-pass filter very muffled 6

6

6

& #œ

A.

‚

ac - tual - ly

ac - tual - ly

ac - tual - ly

ac - tual - ly

ac - tual - ly

ac - tual - ly

pret

‚ -

2 4 #O

ty

cool

gradually apply more and more pressure to muffle the sound like a low-pass filter very muffled 6

& œ ‹ ac - tual - ly

T.

6

6

‚ ac - tual - ly

ac - tual - ly

ac - tual - ly

ac - tual - ly

ac - tual - ly

pret

‚ -

2 4 O

ty

cool

gradually apply more and more pressure to muffle the sound like a low-pass filter very muffled 6

6

6

?

B.

¢

#œ ac - tual - ly

Vid.

° ¢

‚ ac - tual - ly

ac - tual - ly

ac - tual - ly

ac - tual - ly

ac - tual - ly

pret

‚ -

2 4 #O

ty

cool

2 4

swift and busy, ad lib. between q = 60-90 17

í ™™

™™î use percussive, voiceless whispering sounds like "pssst" and "sss"

L q = 128

asynchronous whispering (avoid aligning) ad lib. dynamics between pp and mp

88

S.

° &

ìì X

∑

U ∑

S2 + S4

11"

S1 + S3

!

X

sim. ad lib. dynamics between pp and mp

ìì X A2+

∑ &

A.

A1 + A3

A4

!

X

sim. ad lib. dynamics between pp and mp

ìì

∑ & ‹

T.

T2 X+ T4

T1 + T3

!

X

sim. ad lib. dynamics between pp and mp

? ìì X

∑ B.

U ∑

B2 + B4

¢

B1 + B3

!

X

S2 + S4 will be able to see the conductor's cue to stop. They should subtly nudge S1 + S3 when cued. Turn to face conductor, maintaining a completely deadpan expression.

A2 + A4 will be able to see the conductor's cue to stop. They should subtly nudge A1 + A3 when cued. Turn to face conductor, maintaining a completely deadpan expression.

T1 + T3 will be able to see the conductor's cue to stop. They should subtly nudge T2 + T4 when cued. Turn to face conductor, maintaining a completely deadpan expression.

B1 + B3 will be able to see the conductor's cue to stop. They should subtly nudge B2 + B4 when cued. Turn to face conductor, maintaining a completely deadpan expression.

, 4 4 , 4 4 , 4 4 , 4 4

L q = 128 Signal chopped up into divisions with a fluctuating pulse

11"

32

° œ œ œ Œ 5 œ œ œ Œ 13 (3+3+3+4) œ™ œ™ & 8 16 œ™ J J JŒ 3 S.Vox. 3 ? œ bœ bœœ Œ 5 b bœœ œœ œ Œ 13 œj™ œj™ œj™ Œ #œœ œœ n œ 8 b œ œ œœ 16 œœ ™™ #œœ ™™ œœ ™™ Some -one please 5 sign me up 13 to be in !

Vid. ¢ 8 16

7 4 16 <n>œ œ œ œ œ œ œ 4 Œ œ ˙

U œ

4 4

X

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

... ....

7 4 16 #œœœ œœœ b œœœ bœœœ nœœœ n# œœœ n œœœ 4 Œ œœœ b˙˙ b˙ 7 this cho- ir. Some- one please sign 4 me up 16 4

U Xœ œ œ

4 4

X

4 4

Quinn flashes on and off in time with divisions sim. + series of YouTube comments cue A. & T.'s whispering cue S. & B.'s whispering

,4 4

cue choir to stop whispering

5 Ϫ 8

∑

Cond.

Œ 13 œj™ ‰ ™ ‰ ™ Œ 7 16 16

4 4

∑

∑

Xœ

The ritardando does NOT have to be strictly together, but the last eighth note should be synchronised

=

M hand-on-mouth pulsing* 3

,

3

94

° 4 œ. ≈ œ œ œ œ œ œ ≈˙ ¿ ¿ ¿ ¿ ¿ ¿ &4 q = ca.68

3

S.

Damn,

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ˙™ œ œ

I'm kin - da sur- prised how goo(d) /d/ hold the vowel

hand-on-mouth pulsing* 3

A.

4 &4

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ b˙ ™ œ œ

∑

,

goo(d) /d/ hold the vowel

hand-on-mouth pulsing*

, T.

4 &4 ‹

∑

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ˙ œ œ

Œ

goo(d) /d/ hold the vowel

ffffffff hand-on-mouth pulsing*

M 3

3

, B.

?4 ¢ 4 Ó

Œ

¿ ¿ ¿ bœ

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ˙™ œ bœ

goo(d) /d/

q = ca.68 hold the vowel

Vid.

4 ° ¢ 4 choir's text fades in and out whilst Quinn spins 180 degrees before returning to 'idle mode' * - Pulsing to the held note should be created by hitting the mouth between the lips with the side of the index finger in the notated rhythm (hand in a clenched fist, in the same position as a cough). The pitch should remain the same. You do not need to hit very hard to achieve the desired stopping and starting to the held note, however, the faster the rhythm, the closer the hand should be to the mouth. As an example, the hand keeps constant contact with the mouth during the 32nd notes whilst rapidly alternating between pushing further in and out of the mouth with the hand.

Fast but free, asynchronous tempo for choir

18

sim., this time change and rotate who the whisperer / listener is at will ppp with very occasional sfz accents,

N q = 143 96

S.

° &

ì X í ™™ S2+

∑

S1 + S3

S4

S2

S1 + S3

- S4+

™™î

ad lib. frenetic whispering sounds as fast a possible e.g "psst", "sss" "shh" sim., this time change and rotate who the whisperer / listener is at will ppp with very occasional sfz accents,

ì X í ™™ A2+

∑ &

A.

A1 + A3

A4

A2

A1 + A3

- A4+

™™î

ad lib. frenetic whispering sounds as fast a possible e.g "psst", "sss" "shh" sim., this time change and rotate who the whisperer / listener is at will ppp with very occasional sfz accents,

ì X í ™™ T2+

∑ & ‹

T.

T1 + T3

T4

T2

T1 + T3

- T4+

™™î

ad lib. frenetic whispering sounds as fast a possible e.g "psst", "sss" "shh" sim., this time change and rotate who the whisperer / listener is at will ppp with very occasional sfz accents,

?

ì X í ™™ B2+

∑ B.

B1 + B3

¢ B4

B2

B1 + B3

- B4+

™™î

ad lib. frenetic whispering sounds as fast a possible e.g "psst", "sss" "shh"

q = 143

N 33 reversed audio (every chordal attack is preceded by a ghostly crescendo)

° œ œ‰ œ œ‰ œœ‰ œœ≈œ œ œ≈œ œœ≈ œ œ‰ œ œ ‰ & 3

œ™ ≈ ≈ œ œ ‰ œ œ ‰ œ J J

3

3 3

S.Vox.

3 3 ? œ ‰ ‰ ‰ ≈ ≈ ≈ ‰ ‰ b bœœj™™ ≈ ≈ œ œ ‰ bœj œ ‰ bœ œ œ œ œ œ œ œ bbœœ n# œœœ œœœ nbœœœ bbœœœn œœ œœ nœœœ b œœ œœ b œœ bœœ œœ bœœœ n# œœœ n œœœ bœœœ bnœœœ b œ™ n# œœ œœ n œœ b œœ n œœ

Some -one

Vid.

please sign

me up

to be

in

this

cho - ir.

Some -one please sign

me

up to

be in

this

!

¢

sim. + series of YouTube comments

cue tutti whispering

Œ œ

Ó

∑

Cond.

∑

= 3"

q = ca.68 gradually slow down the whispering and leave bigger pauses S.

°&

!

X

Stop whispering. Listeners can subtly nudge whisperers to make them aware. Turn to conductor, totally deadpan.

!

X

Stop whispering Listeners can subtly nudge whisperers to make them aware. Turn to conductor, totally deadpan.

!

X

Stop whispering. Listeners can subtly nudge whisperers to make them aware. Turn to conductor, totally deadpan.

!

X

Stop whispering. Listeners can subtly nudge whisperers to make them aware. Turn to conductor, totally deadpan.

gradually slow down the whispering and leave bigger pauses

&

A.

gradually slow down the whispering and leave bigger pauses T.

& ‹ gradually slow down the whispering and leave bigger pauses ¢?

B.

2 4 4 ∑ 4 2 4 4 ∑ 4 2 4 4 ∑ 4 2 4 4 ∑ 4 q = ca.68

3"

° œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œÆ ‰ œÆ ‰ ™ œÆ Œ & J J R S.Vox. ? <b>œ bœ ≈ œ ‰ j ‰ j ‰™ r Œ œœ œœ œœœ b œœ #nœœœ œœœ # œœœ n œœœ b œœœ bœœœ # nœœ n# œœœ n œœœ b œœœ bbœœœ #n# œœœ bœœœ bbbœœœ n œœœ n œœœ #œ ' ' ' cho - ir. Some -one please sign me up to

Vid.

be

in this cho - ir. Some -one

please sign

2 4 4 ∑ 4

U # # œœœ

2 4 4 ∑ 4

X

X

me

up

2 4

¢ cue the choir's ritardando

œ

4 4

cue choir to stop whispering

ΠCond.

U œ

œ Œ Ó

Ó ∑

∑

X

2 4 4 ∑ 4

19 Tutti text here is derived from: "Wow, that was awesome, ama give it a try", but the sound of each word is reversed to sound like the last synth voice section

Tutti: as soon as you finish a "psst", face the conductor

O As if singing backwards, senza vib. ppp mf ppp mf ** j *¿j ( J œ) ( Jœ ) ¿

104

° 4 œ 1+2 &4

… Œ

S2

mf

ppp

2 mf

ppp

mf

3 pp

3 j 3 2 ¿ œJ œ

… Œ

œ

S1

q = 158 ppp

Jœ) … Œ

(

j ¿

œ

(

J œ )… Œ

j ¿

Œ

œ

(

Jœ)

4 …Ó 4

Œ

>¿.

J‰ psst

[h] wow

[s] oh

[h]a - ma

[t] i

[h] yarsh

as in 'it'

S.

3+4

As if singing backwards, senza vib. ppp mf ppp mf *¿j

4 &4 Œ

œ

(

Jœ )… Œ

-œ -œ

(

S4

ppp j ¿

…

2 Œ

Jœ) 3

œ

mf (

ppp j ¿

Jœ … )Œ

œ

mf (

Jœ )… Œ

2 mf 3 ( Jœ )

ppp j ¿

œ

pp

4 …Ó 4

Œ

S3

>¿.

J‰ psst

[t] ath

[v] eej

mm - saw

[h]a

[h] yarsh

as in 'cat' soft, voiced"th"

As if singing backwards, senza vib. ppp ppp mf mf **

A2

ppp

mf

ppp

3 pp 3

1+2

… Œ

4 &4 j #¿

œ

(

… Œ j ¿

Kœ )

œ

(

… Œ

3 2 j #¿

Kœ)

j œ œ

(

… Œ j ¿

K œ)

œ

(

4 …Ó 4

Πj 
Kœ)

œ

A1

2 mf

ppp

mf

Œ

>¿.

J‰

Kœ)

(

psst

* [h] wow

[s] oh

[h] a - ma

[t] i

[h] yarsh

as in 'it'

A. A4

As if singing backwards, senza vib. ppp mf ppp mf

ppp

mf

ppp

mf

pp

3

… Œ

* 3+4

4 &4 Πj #
œ

3 …

2 Œ

( Kœ )

œ- œ-

[t] ath

… Œ j #¿

( K œ)

œ

… Œ j ¿

( Kœ )

[v] eej

mm - saw

œ

( Kœ )

[h] a

4 …Ó 4 j ¿

œ

A3

2 mf

ppp

Œ

( K œ)

>¿.

J‰ psst

[h] yarsh

as in 'cat' soft, voiced"th"

As if singing backwards, senza vib. ppp mf ppp mf ** 1+2

4 & 4 #¿j œ ‹ *

…Œ Kœ (

œ

(

mf

ppp

)

…Œ Kœ (

…Œ Kœ

j ¿

)

œ

(

pp

4 …Ó 4

Πj 
)

T1

2 mf

ppp

mf

3

3 3 2 #¿j œj œ

…Œ Kœ

j ¿

)

T2

ppp

œ

(

Œ

>¿.

J‰

K œ) psst

[h] wow

[s] oh

[h] a - ma

[t] i

[h] yarsh

as in 'it'

T. As if singing backwards, senza vib. ppp mf ppp mf

T4

ppp

mf

ppp

mf

pp

3

…Œ Kœ

* 3+4

4 &4 Œ ‹

j #¿

œ

(

)

3 …Œ œ- œ- Kœ 2 (

[t] ath

)

…Œ Kœ

j #¿

œ

(

j ¿

)

œ

(

)

j ¿

4 …Ó 4 œ

(

Œ

>¿.

J‰

K œ) psst

[v] eej

mm - saw

… Œ Kœ

T3

2 mf

ppp

[h]a

[h] yarsh

as in 'cat' soft, voiced"th"

1+2

As if singing backwards, senza vib. ppp mf ppp mf ** * j j ( Jœ ) ( J œ) ¿ ¿

… Œ

?4 4 œ

B2

ppp

mf

ppp

3

œ

3 3 2 ¿j œj œ

[s] oh

[h] a - ma

… Œ

(

…

Jœ Œ

j ¿

)

œ

(

…

Jœ Œ

Œ

)

j ¿

B1

2 mf

ppp

mf

œ

pp (

Jœ )

4 …Ó 4

Œ

>¿.

J‰ psst

[h] wow

[t] i

[h] yarsh

as in 'it'

B. B4

As if singing backwards, senza vib. ppp mf ppp mf

ppp

mf

ppp

mf

pp

3

?4 Œ 3+4 ¢ 4

* j ¿

…

Jœ Œ œ

(

)

3 … œ- œ- Jœ 2 Œ (

)

j ¿

…

Jœ Œ œ

(

j ¿

)

…

Jœ Œ œ

(

)

j ¿

œ

B3

2 mf

ppp

(

Jœ )

4 …Ó 4

Œ

>¿.

J‰ psst

q = 158 [t] ath

[v] eej

mm - saw

[h]a

[h] yarsh

as in 'cat'

O

soft, voiced"th"

34

° 4 &4 S.Vox. ?4 4

Vid.

∑ ∑

4 ¢ 4

3 2 3 2

∑ ∑

3 2

4 œ œ œ œ œ œŒ 4 4 4 # œ # œ n œ œ bœ n œ Œ œœ œœ b œœ b œœ œœ œ œ - one please sign me up 4Some 4! sim. + series of YouTube comments

Quinn remains on screen in 'idle mode', choir's text fades in and out but it's upside down

Cond.

4 4

∑

3 2

∑

following tempo of synth 4 conduct, 4 w

* - x-notehead grace-notes before the beat should be performed as airy, voiceless (pitchless) consonants that smoothly transition into the next notated sound. ** - The damp symbol indicates that you should cut off the sound very abruptly by closing the mouth, to mimic reversed singing (where the attack of each word comes at the end)

20

q = 173

q = 188 S2

q = 203 S2 S2

107

mp 1+2

° Ó &

Œ

q = 218

S1

>¿.

J ‰

Ó

> mf ¿. Œ J ‰

psst

q = 233

S1

S2

S1

S2

Ó

> f ¿. Œ J ‰

psst

Ó

> ff ¿. Œ J ‰

psst

S1

S1

Ó

> fff ¿. Œ J ‰

psst

psst

S. S4

S3

S4 S4

mp

& Ó

3+4

Œ

>¿.

J ‰

Ó

psst

mp 1+2

Œ

Ó

> f ¿. Œ J ‰

psst

psst

A1

A2 A2

Ó

Ó

> fff ¿. Œ J ‰

psst

A1

> mf ¿. Œ J ‰

psst

Ó

S3

S3

> ff ¿. Œ J ‰

psst

A2 A2

& Ó

Ó

A1

>¿.

J ‰

S4 S4

> f ¿. Œ J ‰

psst

A2

S3

S3

> mf ¿. Œ J ‰

Ó

psst

A1

A1

> ff ¿. Œ J ‰

Ó

> fff ¿. Œ J ‰

psst

psst

A. A4

A3

A4 A4

mp

& Ó

3+4

Œ

>¿.

J ‰

Ó

psst

mp

& Ó ‹

1+2

Œ

Ó

>¿.

J ‰

T2

>¿. Œ J ‰

Ó

T2

>¿. Œ J ‰ f

Ó

psst

T1 T2

psst

Ó

> fff ¿. Œ J ‰

psst

T1

mf

psst

Ó

A3

A3

> ff ¿. Œ J ‰

psst

T1 T2

A4 A4

> f ¿. Œ J ‰

psst

T2

A3

A3

> mf ¿. Œ J ‰

>¿. Œ J ‰

ff

Ó

psst

T1

T1

>¿. Œ J ‰

fff

Ó

psst

psst

T. T4

T3

T4 T4

mp

& Ó ‹

3+4

Œ

>¿.

J ‰

Ó

psst

mp

Œ

Ó

Ó

psst

B1

B2 B2

Ó

Ó

> fff ¿. Œ J ‰

psst

B1

> mf ¿. Œ J ‰

> f ¿. Œ J ‰

T3

T3

> ff ¿. Œ J ‰

psst

B2 B2

? Ó

Ó

B1

>¿.

J ‰

T4 T4

> f ¿. Œ J ‰

psst

B2

T3

T3

> mf ¿. Œ J ‰

Ó

B1

B1

> ff ¿. Œ J ‰

Ó

> fff ¿. Œ J ‰

1+2 psst

psst

psst

psst

psst

B. B4

B3

B4 B4

mp 3+4

? Ó ¢

Œ

>¿.

J ‰

Ó

> mf ¿. Œ J ‰

psst

q = 188

B4 B4

Ó

> f ¿. Œ J ‰

psst

q = 173

B3

B3

Ó

> ff ¿. Œ J ‰

psst

q = 203

Ó

> fff ¿. Œ J ‰

psst

q = 218

B3

B3

psst

q = 233

pitch bend starts to bend the chords out of tune

° œ œ œ <n>œ œ ‰ Œ & J

œ œ œ œÓ

<n>œ œ œ ‰ Ó J

œ œŒ Ó

œ‰ Œ Ó J

bbbœœœ bœœœ œœœ ∫œœœ Ó

j ##nœœœ nœœœ œœœ ‰ Ó

bbœœœ##œœœ Œ Ó

j œœ ‰ Œ Ó #œ

S.Vox.

? j‰ Œ n# œœœ bn œœœ b œœœ ## œœœ n œœœ to

be in this cho

-

ir. Some -one please

sign me up

to be

in

“‘ Vid.

¢

Cond.

V.S.

21

q = ca.60 ad lib. wild, ridiculous glissandi, using the extremes of your full range.

Only the starting and ending points for sopranos are synchronised. Erratic speed and breadth Breathe only when needed and then immediately rearticulate the word and continue

P

ff pick up helium balloon, take one large inhale

ad lib. erratically fluctuating dynamics between p and ff sempre legato continue

5" 112

S.

highest note possible

U ° &X∑

í ™™œ

(q) 2"

> U -1 U ! ∑ ìì Œ ∑

™™î

a somewhat hurried panic Wow!

ad lib. wild, ridiculous glissandi, using the extremes of your full range.

Only the starting and ending points for altos are synchronised. Erratic speed and breadth Breathe only when needed and then immediately rearticulate the word and continue

highest note possible ff

ad lib. erratically fluctuating dynamics between p and ff sempre legato continue

8"

U &X∑

A.

í ™™ œ

pick up helium balloon, take one large inhale

(q) 2" > U -1 U ! ∑ ìì Œ ∑

™™î

a somewhat hurried panic Wow!

ad lib. wild, ridiculous glissandi, using the extremes of your full range Only the starting and ending points for tenors are synchronised. Erratic speed and breadth Breathe only when needed and then immediately rearticulate the word and continue

ad lib. erratically fluctuating dynamics between p and ff sempre legato continue

12"

U &X∑ ‹

T.

í ™™ œ

highest note possible ff pick up helium balloon, take one large inhale (q)

> U -1 U ! ∑ ìì Œ ∑ 2"

™™î

a somewhat hurried panic Wow!

ad lib. wild, ridiculous glissandi, using the extremes of your full range Only the starting and ending points for basses are synchronised Breathe only when needed and then immediately rearticulate the word and continue. Erratic speed and breadth

ad lib. erratically fluctuating dynamics between p and ff (q) 2" sempre legato continue

16"

B.

highest note possible ff pick up helium balloon, take one large inhale

? XU ∑ ¢

>U 1 U ! ∑ ìì Œ ∑

™™î

í ™™ œ

a somewhat hurried panic Wow!

P

ca. 10" Wild pitch-bend solo.

U œ

Gradually notes from the chord are removed (from bottom to top) until only the highest voice is left

21" 3"

° &

s. glis

?œ

œ

&

X

h = 60 a faint but steady pulse emerges ttt ttt

ttt

!

S.Vox. pitch bend continues (bending the chord over a range of 4 octaves - the C on the stave is the mid point)

?

X

œœ œ

™

&í™

this

:“; q = ca.60 Vid.

¢

X Quinn turns into a gelatinous blob, erratically flying around the screen + a series of "wow" YT comments

Quinn explodes into tiny particles

í Cond.

X Cue each choir entrance Cue each choir event as innocuously as possible. When it becomes noticeable, start to use the pulsing of the synth voice as the choir's tempo

™™î

22

Q big exhale running out of steam, becoming airy and pathetic

h = 60 (pulse given by the click of the synth voice) f mp

f

mp mp

pp let the remaining air out of the balloon at once so it flies out of your hand

out in out in

(q)

S.

mf (w.)

(q)

-1> (h)) ->1 (h)) ≈ ≈ ! ° & Œ ∑ Œ ∑

ppp 113

I sotto voce, wearily, almost trance like continuously cycle this whilst walking slowly towards , pp the screen and assembling into stage position #2 Ó Ó Ó ™™î í ™™ 42 ! ˙

(h) (h) (h) (h)

) ) ) ) gliss .

Œ

Wow

big exhale running out of steam, becoming airy and pathetic

f mp

f

mp mp

pp let the remaining air out of the balloon at once so it flies out of your hand

out in out in

(q)

mf (w.)

(q)

>-1 (h)) >-1 (h)) ≈ ≈ ! Œ Œ ∑ ∑ &

A.

ppp

, pp I sotto voce, wearily, almost trance like continuously cycle this whilst walking slowly towards the screen and assembling into stage position #2 Ó Ó Ó ™™î í ™™ 42 ! ˙

(h) (h) (h) (h)

) ) ) ) gliss .

Œ

Wow

big exhale running out of steam, becoming airy and pathetic

f mp

f

mp mp

pp let the remaining air out of the balloon at once so it flies out of your hand

out in out in

(q)

mf (w.)

(q)

>-1 (h)) >-1 (h)) ≈ ≈ ! & Œ ∑ Œ ∑ ‹

T.

ppp

I sotto voce, wearily, almost trance like continuously cycle this whilst walking slowly towards , pp the screen and assembling into stage position #2 Ó Ó ™™î í ™™ 42 ˙ Ó !

(h) (h) (h) (h)

) ) ) ) gliss .

Œ

Wow

big exhale running out of steam, becoming airy and pathetic

f mp

f

mp mp

pp let the remaining air out of the balloon at once so it flies out of your hand

out in out in

(q)

(q) mf

B.

>-1 (h)) >-1 (h)) (w.) ! ≈ ≈ ? Œ ∑ Œ ∑ ¢

ppp

I sotto voce, wearily, almost trance like continuously cycle this whilst walking slowly towards , pp the screen and assembling into stage position #2 ˙ Ó Ó Ó ™™î í ™™ 42 !

(h) (h) (h) (h)

) ) ) ) gliss .

Œ

Wow

Q pulsing continues and gradually turns into the next notated gesture

ca.30"

U œ

U œ

° & Some of the high frequencies of the C pedal gradually get filtered out, softening the sound click

œ œ¿

S.Vox.

œ œ œ¿

¿

¿ continues until the whole choir are comfortably in stage position #2

J J

&

! í ™™ ‰ ‰

‰Œ

‰

R ™ ‰ Œ

™™î

!

3

Vid.

¢ h = 60 (pulse given by the click of the synth voice)

pp sotto voce, wearily, almost trance like Cond.

&

í ™™ 42

Ó

Ó

Ó

™™î

!&

˙ Wow

continuously cycle this whilst walking slowly towards the screen and assembling into stage position #2

23 Tutti: stay perfectly still and quiet. Looking up at screen, transfixed. When the screen eventually goes black, hold your positions for at least 5"

Maintain h = 60, ignore the synth voice's accelerando Choir and conductor stationed at stage position #2

45" 114

S.

° í ™ sim. & ™ ˙

Ó

Ó

Ó

™™î

≈ !Œ

™™î

≈ !Œ

™™î

≈ !Œ

™™î

≈ !Œ

U ∑

Wow

45" sim.

& í ™™

A.

Ó

Ó

Ó

U ∑

˙ Wow

45" sim.

& í ™™ ˙ ‹ Wow

T.

Ó

Ó

Ó

U ∑ 45"

sim.

? í ™™ ˙

Ó

Ó

Ó

B.

U ∑

¢ Wow

35 36"

accel.

tempo increase getting out of control

Independent tempo q = 130

“œ” œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ repeats x5 but modulates down a tone after each repeat ° í ™ œ bœ œ œ œ nœ œ bœ nœ œ œ œ #œ œ œ bœ ™îoccasional glitches in the audio ™ & ™ !

45"

U ∑

gradually becomes more distorted and crazy

œœ # œœ #œœ œœ n œœ # œœ œœ œœ n œœ nœœ b œœ œœ #œœ œœ œœ œ until it transitions into a noisy, indistinguishable mess œ ™™î & í ™™ !

S.Vox.

1"

?≈

U ∑

í ™™Wow, we are in-cred - i - ble ™™î

œ 45" Video continues in silence until the screen goes black.

í Vid.

!

¢

Gradual multiplication of Quinn with occasional glitches

45" sim.

Cond.

& í ™™

Ó

Ó

Ó

™™î

≈ !Œ

U ∑

˙ Wow

January 2020, Aarhus