PERFORMANCE NOTES

Notes on the Score

The stage layout is flexible based on what works best for the ensemble. The vocalists should be on either the left or right side close to the audience; the piano and vibraphone should be close together.

The strings are divided by stand, not by individual player. Bass 5 can be one player.

Vocalists should be perceived as a member of the ensemble and should enhance the color. The use of vibrato should feel more choral vs. operatic.

General Notes on the Notation

Glissandi should last the entire duration of the first note the glissando line is connected to.

Boxed Notation / Out of Time Sections

Boxed material should be repeated for the duration of the arrow. If there is an instruction above, follow the instruction for the duration of the arrow. If multiple musicians have the same notation, it should not be together.

Solid stemless noteheads are of a shorter duration than hollow stemless noteheads.

If stemless notes are tied into and out of the Out of Time sections, they sustain for the entire Out of Time section.

Unusual Noteheads

Upwards arrow noteheads should be played as the highest possible pitch sustainable for the note duration.

Diamond noteheads for the brass are to be sung. (This example is sung and played.)

Scratch tone is designated with an X-notehead and a black bar above the staff. Scratch tone should be played in the lower register and not retain any pitch

Glissandi with tremolo noteheads and the marking “sempre oscillating harmonic” indicates to continue the oscillation between the fundamental pitch and touch-fourth false harmonic while moving the pitch in the direction of the line. Sections notated this way should not be in complete unison; it should feel harmonically free.

Articulations

The Z-tremolo marking should be played as an irregular tremolo (or roll for percussion), phasing between fast and slow, jittery and irregular.

Scoop up into the note (scoop should be within a half step of the printed note).

Vocals:

Lyrics linked by curved lines should be repeated as quickly as possible for the duration of the notes.

Percussion:

Percussionist should drag the super ball mallet on the tam-tam.

Percussionist should mute the instrument/stop the tone.

Percussionist should tap the designated instrument with fingernails (see Z-tremolo above).

Piano:

Glissandi with stemless notes should be played in rhythmic unison as a section but not in harmonic unison. The pitches should move in the direction of the line, but the sections should not be in complete unison; it should feel harmonically free.

Dampen or mute the strings by placing the palm of the hand directly on the piano strings between the pins and the dampers. Use the other hand as normal on the keyboard.