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Fugitive Counterpoint 

Performance indications, 2015.

i. Lines and Punctuation  
Duration 04:00 - 06:00

ii. Relations and Ear Worms
Duration 03:00 - 05:00
Choose a semitone and play each note separately in a regular and asynchronous pattern. Alternate between playing, singing, humming (Ha-Hm). Change the octave. Alter the duration - from staccato to longer sustained notes. There may be coincidences - two or more players play simultaneously.

iii. Lines and Punctuation 
Duration 02:00 - 06:00

Ear Worm
The duration of an ear worm is between 00:30 - 01:00

There are 3 ear worms to be played with pauses within the set duration . The first ear worm is to be determined by the pianist - it can be something that he remembers being recently affected by, it can possibly appear on the day of the rehearsal, or the day of the performance. The subsequent ear worm parts are decided between the ensemble. You may pre-determine the nature together or separately.

It is to be affected involuntarily
By a sound : household appliances - the low rumble and high sine tone of a fridge, the tone of the vacuum, sine tone from the heating system. Traffic, birds...
By music: on the radio, the tune in a coffee shop or a car passing bar, someone rehearsing an arpeggio, a piece that obsesses you.
By words: something someone said, something overheard It is a snippet that compels you to repeat it out loud again and again.
One is not instantly aware of being affected, it almost always appears afterwards at another moment. You could be happily singing along without realising that it will be impossible to stop yourself from hearing it later. You try to leave it - it returns.

Relationships: Two considerations
Tonal Relationships
The relationships between each player have several possibilities that may alternate
Flickering - between - and + 10 cents
Quivering - between - and + 20 cents and/or semitones
Disturb - Punctuation and straying away from the main phrase

Temporal Relationship
The graphic part of the score provides an indication of temporal positions and suggested overlaps between parts.Players shouldn’t necessarily synchronise with one another as to the pauses in the lines, rather it is an indication of listening to each other. Parts should sometimes appear as a coincidence

There are 3 silences that appear in addition to the pauses between parts and sections
i. a silence where the music vanishes quietly - it disappears gradually
ii. an abrupt silence that disturbs the flow arbitrarily
iii. a silence that falls which a moment ago no one would have thought possible; it lasted, it grew more tense, and now arose in it that voice. This refers to the sounds that reappear. (From Rilke's Notebooks of Malte Laurids Brygge the passage with the singer)

You may add further notes/pitches to the suggestions at the top of each page. Dynamics Sounds should appear almost without attack, as they were infinitely remote and suddenly distinct. The use of harmonics is a possible suggestion

Punctuation provokes another relationship to the main flow of the phrase. The choice of sounds should be deliberate and careful - not impulsive. You may follow the notes in the main phrase or not, the dynamics may differ.