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Matthew Shlomowitz Popular Contexts, Volume 2 Four movements for one musician playing piano and sampler keyboard, as well as speaking, singing and performing physical movement Written for and dedicated to Stephane Ginsburgh Composed: 2010 Duration: 25 minutes First performed by Stephane Ginsburgh at Maison de Peuple, Brussels, Belgium on 9 June 2012 Commissioned by Centre Henri Pousseur

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Page 1: 1296 Pc2 Final Score

Matthew Shlomowitz

Popular Contexts, Volume 2

Four movements for one musician playing piano and sampler keyboard, as well as speaking, singing and performing physical movement

Written for and dedicated to Stephane Ginsburgh

Composed: 2010

Duration: 25 minutes

First performed by Stephane Ginsburgh at Maison de Peuple, Brussels, Belgium on 9 June 2012

Commissioned by Centre Henri Pousseur

Page 2: 1296 Pc2 Final Score

Programme note

1. Weird Uncle2. See My Logic3. Racing Cars Have Feelings Too4. Stand Up For Skate Parks

Popular Contexts is a series of pieces that investigate aspects of everyday and popular culture. Like Volume1, this volume combines pre-recorded sounds with live instrumental music. The recordings consist of familiarsounds such as a rollercoaster ride, strummed guitar, electronic machine noises and New Year’s Eve celebrations.The instrumental music is also varied, made of melodies, chord progressions and textures that evoke variousmusical idioms. In this volume, the performer additionally speaks and enacts physical movements to furtherexplore everyday and popular culture, as well as relationships between text, action, recorded sound and music.

Performance instructions

Set up

As the keyboardist needs to be able to play the piano and the sampler keyboard at the same time (one handon each), remove the piano music stand and place the sampler on top of the piano so that the sampler keys areabove the piano keys.

Equipment

• Two octave (25-note) keyboard controller• Computer operating sampling software• One vocal microphone (ideally a wireless headset)• Two loudspeakers: one placed beneath the piano, the other behind the pianist

Routing

• Sampler → loudspeaker beneath the piano (as if the sound emanates from the piano itself)• Vocal microphone → loudspeaker beside pianist

Stage set-up

speakerunder piano

samplerkeyboard

spot to perform actionsin final movement

audience

speaker formicrophone

Page 3: 1296 Pc2 Final Score

Samples

Movements 1, 3 and 4 have their own selection of samples (movement 2 does not use the sampler). Samplesettings are provided in the tables below for each piece (note: C3 = middle C). All samples begin from thebeginning of the sample each time they are activated.

These tables explain:

• key assignment for each sample• dynamic for each sample• key action for each sample (e.g. sample lasts for as long as key is depressed)

1. Weird Uncle

All samples last for as long as the key is depressed, i.e. the sample ends at the point the key is lifted.

Note Sample Dynamic

D3 Electronic noise 1 (active machine sound) fE3 Electronic noise 2 (ascending) fG3 Electronic noise 3 (whip-like) fA3 Electronic noise 4 (bleep attack followed by long descent) fB3 Electronic noise 5 (constant alarm-like noise) fD4 Guitar 1 (acoustic, arpeggiated 4 chord progression) fE4 Guitar 2 (acoustic, strummed chords, 3 chord ascending progression) fG4 Guitar 3 (acoustic, one chord strummed with irregular time

signature)f

A4 Guitar 4 (electric, slowly arpeggiated chord) fB4 Guitar 5 (acoustic, short Flamenco styled) f

2. See My Logic

No samples.

3. Racing Cars Have Feelings Too

Note Sample Dynamic Action

C3 Footsteps mp Play as long as depressedD3 Ocean waves f Play as long as depressedE3 Slow heavy drum beat f Play as long as depressedE3 Film projector fff Play as long as depressedF3 Formula one cars passing by mf Play as long as depressedG3 Electro version of chord progression mf Play as long as depressedG3 Siren f Play as long as depressedA3 Violin, shakuhachi, mandolin and

gramophonef Play as long as depressed

A3 New Year’s Eve celebration withfireworks

f Play as long as depressed

B3 Large door opening mf Sample stops when next samplebegins

B3 Rollercoaster f Play as long as depressed

4. Stand Up For Skateparks

Note Sample Dynamic Duration Action

E3 Electric guitar and drums 1 ff 4′′ Play as long asdepressed

F3 Electric guitar and drums 2 ff 4′′ Play as long asdepressed

G3 Electric guitar and drums 3 ff 4′′ Play as long asdepressed

A3 Electric guitar, drums andsynth 1

ff 1′′ Play as long asdepressed

B3 Electric guitar, drums andsynth 2

ff 1′′ Play as long asdepressed

C4 Electric guitar, drums andsynth 3

ff 1′′ Play as long asdepressed

E4 White noise fffff 1′12′′ Play as long asdepressed

G4 Bass line with instrumentsadded

f 3′56′′ Play to end onetriggered

Page 4: 1296 Pc2 Final Score

Notes for performer on individual movements

1. Weird Uncle

For piano and sampler

The score gives a single part for both hands as both hands play the same part — one on the piano, the otheron the sampler. The piano and sampler should be equal in volume.

2. See My Logic

For piano, with speaking and physical actions

Physical movement

In this movement, the player performs four physical actions each relating to direction. Actions are representedpictorially in the score:

Outward

��

AcrossUp

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Diagonal

Up extend the arm above the head

Diagonal extend the arm in an upward diagonal direction away from the body

Outward extend the arm horizontally away from the body

Across stand and extend the arm to point or gesture “across” the piano

Each action is always two beats long, which at the tempo of C = 92 is 1.3 seconds in duration. Actions shouldbe detailed and performed with precision the same way each time: the performer should consider how the armextends, which way the palm of the hand faces, and place the ‘accent’ of the head reaching full extension at aspecific rhythmic point (e.g. on the second quaver of the bar).

At the end of each action the hand/arm/body should return to a ‘neutral position’ before beginning the nextaction. E.g. when moving from Up to Across, the arm comes back down to the piano before beginning theAcross action.

The symbol V indicates variation, which is only applied to the Outward action (see measure 66) six times. Eachvariation should modify an aspect of the original Outward action, such as the speed and direction of the action,the way that the arm extends, or another aspect of the body such as the movement of the face or chest. Theidentity of the original action should always remain recognizable — it should be understood as a variation, nota new action. Each variation should be different and in some way relate to the previous bar played on the piano,which likewise is varying one of the musical figures.

Speaking

Measure 1 The word “action” should always begin on the first beat of the bar and the syllable “act” should beaccented. The spoken part should be delivered clearly and strongly, but without affected expression.

Measure 79 The phrase for each bar (e.g. “Up for grabs”) should begin accented on the first beat. Thespoken part should again be delivered clearly and strongly, and also with an animated (pushing forward)expression.

Measure 141 The phrases should begin on the first beat, now with a relaxed expression.

3. Racing Cars Have Feelings Too

For piano, sampler and with speaking

Reading newspaper articles

The performer should select three articles from a recent newspaper that are unrelated, but which all deal withsad, tragic or negative topics. At measures 41, 57 and 73 the performer reads the beginnings of these threenewspaper articles, stopping suddenly (preferably in mid-sentence) with the sound of the door sample. Thetexts should be read slowly and simply, without expression.

4. Stand Up For Skateparks

For piano, sampler, and with singing and physical actions

Singing

Measures 1-95: the singing should be extremely loud and the amplification of the voice turned down and possiblyoff (the voice should be a little softer than the piano and samples and struggle a little to be heard). The pianoand sampler and voice should be equally matched.

Measures 113-199: the pitches are important, however, you have the freedom (are encouraged) to give the threemotifs, that each repeat several times, added expressive character (timbre, rubato, articulation etc.). Each motifshould have an improvised pop-singer or jazz-scat quality, but then repeated the same way each time (like asample).

Physical movement

In the final part of the piece the player leaves the piano and performs physical actions. The four-minute recording(activated by the sampler in measure 200) is based on the 17-beat sequence shown (measures 200-204).

The tempo is C = 40 so each sequence lasts around 25 seconds. The sequence repeats nine times. The scoreshows these nine sequences with the A/B/C pattern. The performer should perform this part without the score,from memory.

The performer only performs an action when a letter is circled (the other letters are shown simply as a guide).Each action is 1.5 seconds in duration.

Page 5: 1296 Pc2 Final Score

Sequence 1 The recording features only a bassline with bass drum and snare. During this sequence the performerslowly stands up form the piano and walks to the centre of the stage in front of the audience.

Sequence 2 Maracas are added to element A. The performer should couple this new musical element with aphysical action that represents playing maracas (i.e. ‘air maracas’) for the five appearances of A in thesequence.

Sequence 3 Finger-clicks are added to element B and a hi-hat rhythm is added to element C. The performershould couple these new musical elements with physical actions that represent finger-clicking and playinga hi-hat respectively for the five appearances of B and four appearances of C in the sequence.

Sequence 4 A keyboard figure is added to element A. The performer should couple this new musical element witha physical action that represents playing that keyboard figure (i.e. ‘air keyboard’) for the five appearancesof A in the sequence.

Sequence 5 Two more keyboard figures are added to element B and element C respectively. The performershould couple these two figures with physical actions. The relationship between the musical figure and therepresentation of performing them should be less literal and more playful than in the first four sequences.For instance, for the descending keyboard figure of element C the performer’s hand might also descend asit cascades down the imaginary keyboard.

Sequence 6 An electric-guitar chord is added to element A. The performer should again couple this new musicalelement (the electric-guitar chord) with a physical action that represents playing that chord (i.e. ‘airguitar’) for the five appearances of A in the sequence. As in sequence 5, the representation of this guitarfigure should again be playful, e.g. the performer might take on a ‘guitar-god’ pose.

Sequence 7 A syncopated baritone saxophone note is added to element B and a flute figure is added to elementC. The performer should couple these new musical elements with physical actions that are unrelated tothe sound production of those musical figures (i.e. do no represent the playing of those sounds), but ratherconnect to the sounds in another way, e.g. for event B (the low saxophone note) the performer might lookover their shoulder with surprise.

Sequence 8 The performer introduces three new physical actions for elements A, B and C that do not relateto the backing tape, but rather to the act of skateboarding. The performer creates their own actions, forexample, A: struggling to balance on the board; B: one foot pushing off; C: jumping in the air to do atrick.

Sequence 9 The performer stops, and then as the airplane becomes louder on the recording, slowly looks upand follows the plane moving across the sky.

Other points

• You need to decide what to do when not performing an action. For instance, you could close your eyes,quietly sway to the beat, stare directly ahead immobile, etc.

• Actions should be detailed and expressive. E.g. when playing the hi-hat figure in sequence 3, consider theway a drummer might hit a hi-hat and other aspects of the body including facial expression.

• Each action should be repeated the same way each time.

• At the end of each action the body should return to a ‘neutral position’ before beginning the next action.That is, do not proceed from the end of one action to the start of the next action without returning to aneutral position in between the actions.

Page 6: 1296 Pc2 Final Score

Popular Contexts 2Matthew Shlomowitz

1. Weird Uncle

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Page 7: 1296 Pc2 Final Score

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Page 8: 1296 Pc2 Final Score

3

2. See My Logic

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Page 9: 1296 Pc2 Final Score

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Page 10: 1296 Pc2 Final Score

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Page 11: 1296 Pc2 Final Score

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Page 12: 1296 Pc2 Final Score

7

3. Racing Cars Have Feelings Too

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Page 13: 1296 Pc2 Final Score

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Page 14: 1296 Pc2 Final Score

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Page 15: 1296 Pc2 Final Score

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Page 16: 1296 Pc2 Final Score

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During the first sequence stand up, leave the piano, and move to face the audience directly centre stage.

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�C B45A B B 43C B CAMaracas

A � C43 A205 � AB

Page 28: 1296 Pc2 Final Score

23

�C B45Hi-hat

A B B 43C B CA A � C43 A210 � AB

Finger-click

�C B45A B B 43C B CA

Keyboard 1

A � C43 A215 � AB

�C B45Keyboard 3

A B B 43C B CA A � C43 A220 � AB

Keyboard 2

�C B45A B B 43C B CAE. Guitar

A � C43 A225 � AB

�C B45Flute

A B B 43C B CA A � C43 A230 � AB

Low Sax

�C B45Skateboard move 3

A B B 43C B CASkateboard move 1

A � C43 A235 � AB

Skateboard move 2

C � B45A B C BC C BAADuring final sequence slowly look up and follow airplane across sky while lights slowly fade if possible.

� A43240 � AB