A Path to Hope (SSA) — Katerina Gimon

Page 1

for SSA choir 1. Without Voice (1’30”) 2. The Fear (2’) 3. Believe (2’) Total duration ~5’30”

MUSIC AND WORDS BY Katerina Gimon Commissioned by Ariose Women's Choir, Jolaine Kerley, Artistic Director; ChandraTala (part of the Kokopelli Choir Association), Laura Hawley, conductor; Myriad, Elise Naccarato, Artistic Director; and the Sonic Timelapse Project.

2020


A Path to Hope is a set of three short works drawing inspiration from the reflections of Canadian choral music educators written early in the COVID-19 pandemic (as part of Sonic Timelapse Project). Each movement was composed as a short response to a specific idea, emotion, or question found within one or more of the reflections as part of my own journey to finding hope in uncertain times. Each work also includes short spoken sections featuring short fragments from or inspired by the material in the written reflections.

e r o c

The first movement, Without Voice, was written in response to the overwhelming sense of loss echoed throughout all of the reflections—loss of control, career, music, and loss of singing. Composed entirely for body percussion, Without Voice is a loose play on the morse code spelling of the word “Voiceless” and represents the struggle to find a new place or ‘voice’ again in a silent world.

Performance notes

s l a

s u r e P

This work may be performed in a few different ways: 1. With body percussion as noted (legend and memorization cheat sheet included below) 2. Alternatively, this work can be performed entirely with clapping in place of the body percussion (this is also good place to start for anyone learning this work) 3. Creative option: substitute the original body percussion with your own instruments (sticks, drums, pots, pans, diy percussion, etc.). Any one to four sounds may be used to replace these, ordering from lower to higher sounds when moving up the staff. Body percussion legend

T = hands together R = right hand L = left hand

Note: for the clap, I suggest a half-clap (fingers halfway up your palm) to balance the dynamic level with the other body percussion. In the 2nd last system, you can move to a full clap during the cresc., if desired.

Full morse code statement of “Voiceless” with spelling (m. 18 – 23)


Without Voice Memorization Cheat Sheet System

1 (m. 1 – 4)

Part 1

A1 x 2

Part 2

A1 x 2

2 (m. 5 – 9)

3 (m. 9 – 12)

(3 repeated)

4 (m. 13 – 17)

5 (m. 18 – 23)

A2 x 2

A3

Full

B1 x 2

B2

Full

L pattern x 5 + SH

Part 3

A1

C1 x 3

e r o c

C2

Full

s l a

This movement is for the “overwhelmed”, “anxious”, and/or “fearful”—something many of us have known all too well during times of social distancing. When reading through the various Sonic Timelapse submissions, one response that caught my attention in particular included a list of personal strategies being used to “face the fear” (as it was put by the writer) in addition to outlining several fears themselves. Among these strategies was an excerpt from Canadian writer Pat Lowther’s “the fear” (the first two stanzas), a poem that beautifully encapsulates the senti ents I was seeing across this and so many of the reflections. (For those interested, you can read this poem here: http://canpoetry.library.utoronto.ca/lowther/poem5.htm). Ultimately, reading this poem and particular reflection sowed the seeds in my mind for a short mantra, which would eventually become the text and heart of the work—a song about building the strength to “face the fear” itself.

s u r e P Performance notes

Since only two short body percussion patterns are used in this work, I’ve specified what they are below and only included their rhythm in the actual score. Body percussion patterns

While learning the work (since music will need to be held), or as an alternative performance option, singers can do rhythm no. 1 entirely with right hand chest pats instead of the above.


Scoops and rearticulations Just a quick note that all scoops—like those in the opening phrase shown below—should be quite small and quick (i.e. they shouldn’t be exaggerated). Repeated notes under a slur that are marked with a tenuto indicate a gentle rearticulation on the sustain (without a lift or breath).

e r o c

s l a

The final movement, Believe, is a brief yet potent response to the uncertainty surrounding the future and place of music of the choral community during and after the COVID-19 pandemic.

s u r e P

Believe explores how in overcoming this adversity we, the choral community, can discover our own resilience and look brightly towards a day when we will return with renewed strength, greater appreciation for our art, and understanding of our importance and place in our changed world.

Performance notes

The first two phrases of the opening and section A should be sung staggered— meaning that individuals should enter and sing the phrase at different times (within about 5'' of the first entry). This can be coordinated by assigning a specific person to the initial entry so others can follow, perhaps moving left to right (or vice versa) if in a physical space. At the end of a staggered phrase, hold the final note and cutoff together on each fermata. When marked together, return to 'normal' non-staggered singing. As an additional or alternative performance option, this work may also be sung by omitting the staggered markings entirely (i.e. singing the entire work in time all together).


Named as one of Canada's ‘hot 30 classical musicians under 30’ by the Canadian Broadcasting Company; composer, improviser, and vocalist Katerina Gimon's uniquely dynamic, poignant, and eclectic compositional style is rapidly gaining her a reputation as one of the most distinctive emerging voices in contemporary Canadian composition and beyond. Katerina’s music has been described as “sheer radiance” (Campbell River Mirror), “imbued…with human emotion” (San Diego Story), and capable of taking listeners on a “fascinating journey of textural discovery” (Ludwig Van). Her music draws inspiration from myriad of influences — from Eastern European folk music to indie rock, as well as from her roots as a songwriter. She currently lives and creates in Vancouver, British Columbia.

e r o c

s l a

www.katerinagimon.com

s u r e P

The Sonic Timelapse Project is a collaborative Choral Art commissioning project created as a response to the global COVID-19 pandemic with the goal of gathering content from the emotional landscape of choral communities in Canada and beyond. This project was realized by using an innovative crowdfunding model bringing together shared creativity and financial resources in a time of need to fund the creation of 10 new works as well as support online programming for participating choirs. This Project was founded by Katerina Gimon, Laura Hawley, and Geung Kroeker-Lee with the support of Prairie Voices Inc. www.sonictimelapse.com


SSA

~1'30"

Katerina Gimon

SPOKEN INTRO: (solo 1) (solo 2) (solo 3) (solo 4) Don’t speak. Don’t touch. Don’t breathe. Don’t move. (all soloists) There will be no singing anymore. (solo 1) (solo 2) It’s out of our control. No one is listening.

e r o c

(solo 3) (all soloists) Don't speak, don't touch, don't breath, don't move. No singing. (solo 4) The world is silent... (all soloists) Still without voice, we sing.

F

s l a

q = ca. 120

s u r e P all

solo 1

(count-in)

ã 44 x T

All

R

L R

œ - - œ Ó L

x

R L R

œ - - œ Œ L

R

œ

Y

R

L

-

L

-

SH

ª 5

1&2

L

3

R

R

㜠- - œ Ó L

ãœ

L

R

1

L

L

R

1 œ - -

T

T

x x J

T

T

x x J

R

R

R

œ - - œ Œ L

Œ

L

œ

L

R

1

L

œ L

-

1 œ - -

© Katerina Gimon, September 2020 www.katerinagimon.com

L

-

SH

R T

T

x x J

Note: see the notes preceding the score for a body percussion legend.

6

Y

R

L

T

T

x x J

T

-


SSA

1

L R

ã .. xJ x

Œ

T

T

T

x x J

R

L

3

R

œ

L

T

2

R

ã .. œ - - œ Œ

9

ã .. œ

1

-

1 œ - -

T

x x J

T

1

2

ãœ--œ Œ

T

T

T

x x J

ãœ

T

1

L

- -

T

T

T T

L R

T

L R

T T

T T

T

T

R

L R

T

T

x x J

-

L

Œ

œ

T

x x J

R

1

L R L R

T

T

xx xx J J

-

L R

R

œ

> xx xxx

T

T T

T

T

>T T T T œ xx xxx R

R

L

œ

-

X

-

Y

-

SH

..

Ó

..

L

L

T

SH

. x x x x - . J J

1 œ - -

R

œ--œ Œ

R

L R

L

T

T

T

T

T

e r o c

s l a

j1 ‰ œ -

-

L

> > x x xxx xx x x J J

T

x x J

R

T

x x J

R

L

œ

T

T

s u r e P p >T T ã xJ x L

3

R

œ - - œ Œ

x x J

ª R L R 13 L

‰ œj 1

R

L

-

T

L R

L

R

L

f

> 43 xJ x xJ x T T

T

L

44 X

T

f

SH

34 >x x x x J J

L

Ó

44 X

Ó

T T T T > X 43 xJ x xJ x 44

Ó

T T

T

T

SH

f

L

SH

ª R R L 18 L

All

R

R

R

j1 œ 1- -1œ ã œ--œŒ œ - - ‰œ L

L

L

L

R L R L R L

L

xx xx - œ 1 œ œ 1 œ Y J J

T T T T

T

3

3

SH

Ó 7


SSA

~2' RECITATION (overtop section A): (soloist) What scares me the most is not knowing what the future holds. The lack of certainty— of control. Some days I'm not sure how long I can keep holding on under the pressure. I wonder if this will ever end—if we'll ever sing together again. Or if all my experiences will become nothing more than memories... My fear is that the world will change and I'll stay the same.

Transition: One person begins humming. Individually singers join while lowering their hands (from the final

p U~5" &b C w

"SH" position of Without Voice)

S

Transition: One person begins humming. Individually singers join while lowering their hands (from the final

P w

3

h = ca. 60

Body percussion:

œ- œ ˙ .

P w

S

& b œ- œ ˙ .

w

3

Body percussion:

œ- œ ˙ .

Mm

3

3

y y y y y y

s l a

Mm

ª

7

e r o c

Recitation begins

s u r e P p U~5" &b C w

"SH" position of Without Voice)

A

A

3

y y y y y y

w

y Œ Ó

œ Œ Ó

3

y y y y y y

w

Œ

y

Ó

Words and Music by Katerina Gimon

Œ Ó

œ

w

mm

Œ

y

Ó

Œ Ó

œ

w

mm

3

ww

˙˙

˙˙

y y

3

y y y y

œwœ ˙ .

divisi

oo 3

& b œ- œ ˙ .

A

3

y y y y y y

w

y Œ Ó

œ

Œ Ó

3

w oo

œ- œ ˙ .

y y

w

Note: see the notes preceding the score for direction in regards to the body percussion. 8

© Katerina Gimon, September 2020 www.katerinagimon.com

3

y y y y


SSA Recitation approx. ending

13 S1

y Œ Ó

3

&b œ Œ œœœœ w y Œ Ó

S2

y y y y y y

w

oo

oo

3

w

&b œ Œ ˙

œ- œ ˙ .

w

3

& b œ- œ ˙ .

3

yy ŒÓ

& b œ œ ˙.

y Œ Ó

ŒÓ

œ

yyŒ Ó

yyŒ Ó

change

yyŒ Ó

yyŒ Ó

œ

Œ

œ œ œ ˙. 3

It's not the change

w

oh

oh

y y Œ Ó

3

y

œ

Œ

It's not the

change

Ó

y y Œ Ó

œ

F w

Œ Ó

oh

3

yy Œ

yyŒ Ó

F w B

˙ œ œ œ .

yyŒ Ó

It's not the change

Œ

Œ

Ó

F

œ- œ ˙ .

œ œ œ ˙.

œ

3

Œ

w

oh

Œ

Ó

e r o c

3

w

w

& b œ Œœ œ œ w It's not the

A

3

yyyy y y

19

S2

œ

s l a

s u r e P ª

yy ŒÓ

y

y y y y y y

oo

S1

3

3

Œ

œ Œ Ó

y y y y y y

y Œ Ó

A

y

w

œ œ ˙.

& b œ Œ œ œ œ œ w-

3

y y y y y y

w

Ó

yyŒ

that holds me

down

œ œ œ œ œ œ w

but the fear

yy Œ

œ- œ ˙ .

3

Ó

yyŒ

Ó

Ó

œ œ œ œ

fear that holds me

9


SSA

y Œ Ó

25 S1

y y y y y y y Œ Ó 3

C

w

&b œ Œ Ó

˙

˙

cresc.

Ah

S2

&b

yyŒ Ó

cresc.

œ

Œ

˙.

œ œ œ 3

It's not the

yyŒ Ó A

yyŒ Ó

change

yy ŒÓ

It's not the

yyŒ Ó

yy ŒÓ

cresc.

ww

down

Ah

y y Œ

Ah

the

y y Œ

cresc.

S2

&b œ

fear

that holds me

& b œ œœ ˙˙ .. œ 10

Ó

œ œ œ

y y Œ

cresc.

A

Ó

Œ ˙cresc. w œ œ œ œ œ & b œ˙ .

31

S1

Ó

Ó

fear that holds me

y y Œ

˙.

Ó

down

y y Œ

ww

yy Œ Ó

yyŒ Ó

S1:

Ah

œ

the

Ó

œ

Œ

wœ Œ œ œ œ œ˙ .

ww

Ó

y y Œ Ó

# ˙˙

down

y y Œ

œ œ œ œ

Œ

fear that holds me

y y Œ

ww

Ó

down

œ œ œ œ wwŒ

Ah

rit.

fear that holds me

down.

f U Œ œ œ œ œ œ w rit.

the

y y Œ Ó

˙˙

Ah

yyŒ Ó

f U Œ œ œ œ œ œ w

y y Œ Ó

˙

œ œ

but the

unis.

the

Ó

3

It's not the change

It's not the change

y y Œ

œ œ œ ˙.

yyŒ Ó

3

yyŒ Ó

e r o c

change

s l a

s u r e P ª

y y Œ

œ Œ œ œ œ œ ww

yy Œ Ó

œ˙ œ ˙ .˙

Ah

Œ

& b ˙.

œ- œ ˙ .

Descant:

œ œ Œœ œ œ w 3

yyŒ Ó

3

fear that holds me

down.

f U Œ œ œ œ œ œ w rit.

the

fear that holds me

down.


SSA

~2'

RECITATION (overtop the opening section): solo speaker recites a short reflection or story about finding hope in a dark time. Potential questions to ponder when creating this spoken statement: • What has brought you hope in these uncertain times? • What role does music/singing have in your own journey to hope? • What message do you have for those who are afraid, uncertain, or fearful? Brainstorm more questions/ideas as a choir!

Freely, with lots of rubato ca. q = 60

Group (3 – 6 singers)

SA

p staggered Œ œ ˙.

& b 44 Ó

p 4 &b 4 w

Be

-

lieve,

U

s l a

s u r e P ª 6

Group (3 – 6 singers)

SA

cresc. 1. together 2. staggered

U

.. Œ # œ ˙

&b w

U

& b ˙.

be - lieve,

œ

be

.. w

cresc.

-

lieve,

Œ #œ ˙

staggered

œ. #œ w

w

Mm

e r o c

Recitation begins

˙.

œ

be - lieve,

U

˙.

œ

Be

U

-

w

lieve,

œ. #œ #˙

w

Recitation approx. ending cresc. together

.. * Œ ‰ # œj œ˙ œ n œ . J

œ œ. œ #˙

U

Words and Music by Katerina Gimon

U

ww

be - lieve.

. œ . w

cresc.

be

-

lieve.

˙

U

˙

#### ####

# #A

* If the speaker needs additional time, continue to repeat and cresc. (additional repeats staggered).

© Katerina Gimon, September 2020 www.katerinagimon.com

S

11


SSA

A

# # # # F staggered & # œ ˙.

11 S

# # # # F staggered & # œ ˙. Be

A

Be

-

-

U

lieve,

Œ œ ˙ œ ˙

Œ

œ. œ ˙.

staggered

be - lieve,

U

œw œ . œ ˙

œ

lieve,

be

-

w

S

# # # # œ˙œ œ œ & # lieve

A

#### ˙ & # ˙

r e P lieve

ª

21

S

A

& &

12

####

####

that some day

œœ œœ œœ œœ

that some day

soon

˙˙

soon

U

˙˙ . .

# œ œœ œœ ˙˙ ..

u

sing a - gain

# ˙.

œ

lieve,

be

U -

˙˙ ..

u

lieve,

j j œ œ œ œ œœ œœ ˙˙ .. J J we

will sing a - gain,

j œœ œœ œj ˙ . J J we

as

œœ

as, as,

œœ

as

will sing,

rit. one.

w Ó

rit.

Ó w

one.

œ as as

˙

together

œ

be together

œ

be -

e r o

c s l a s u œœ œ œœ œœ ˙

f

˙.

ª

17

U

u

w

lieve,

f

˙˙ ..

staggered

œ. œ ˙.

U

F j ‰ œ œ J

U

˙˙

œ

U

Œ

˙

be - lieve,

œ

one.

U

ww wu

œ

will

be -

U ww u

one.

F

we

A1