Into the Green Inverted Dawn

From ‘Shoals’

For string quartet

Nigel Morgan

This study score has been downloaded from the website archive of composerNigel Morgan. The PDF file is solely for personal study, repertoire research oreducational reference. It is not intended for use in public performance except ineducational situations when an extract is required for illustration purposes.

Performance scores and parts are available from Tonality Systems Press in twoformats: as standard printed and bound paper copies, and as PDF electronicmasters carrying a special electronic license for an unlimited number ofperformances over an agreed period. For more information please e-mailTonality Systems Press.

ISMN 979-0-57043-177-9 (Full Score)

i

Into the Green Inverted Dawn

For string quartet

Nigel Morgan

Words into Music!

Into the Green Inverted Dawn is a specially-composed piece in one movement forthe Cranbrook Quartet. It forms part of a sequence of new pieces for studentensembles called Shoals: Sons de Mar. In performance there is an optional partfor laptop musician who will trigger samples and effects as you are playing (andalso turn pages of the computer-based score should you all have access to laptopcomputers – see note 6 on this, below).

This quartet movement is based on a poem by Robert Francis called Deep SeaDiver, which has become a kind of signature text for the Sounding the Deepproject. The poem describes a diver descending to the ocean floor, discovering anunknown sea creature - ‘an uncouth thing’- and then ascending to the surface.This has already proved to be an inspiring scenario for six other compositionscomposed as part of the ‘meet the composer’ workshops held between May andJuly 2011.

Into the Green Inverted Dawn uses the text of the poem to generate its music.Nigel Morgan used this device in a recent Quintet for piano and winds (composedfor Stephen Hough and members of the Berlin Philharmonic). In Quintet he took along ‘stream of consciousness’ poem and found a way of providing musicaltransformations for different nouns, verbs, conjunctions and so on. You canexplore the score and recording of Quintet on Nigel’s web archive at www.nigel-morgan.co.uk.

Deep Sea Diver as a poem couldn’t be more different from the one used inQuintet. It’s quite short and has mainly one-syllable words. The composer hasemployed a few of the devices found in Quintet but has made one fundamentaltransformation, which you can see easily when looking at the score. The poem issplit into two parts: in part one each word from the text is sorted so that the words‘descend’ like this – Diver go down becomes vried og wond ; in part two eachword in the text is sorted so that the words ‘ascend’ like this – Diver come upbecomes deirv cemo pu. The organisation of the text is never rigorous becauseeach part is slightly modified depending on the grammatical content. See thewhole poem as a parallel text with the original words placed next to the sortedwords.

ii

‘Diver go down’ (bars 1-3)

‘Diver come up’ (bars 48-50)

This is how the alphabet is mapped on to musical pitches:

Of course, there’s a friendly computer system behind this that does all theprocessing of text to pitch in an instant. If you want to find out more about thesoftware that does this (and very much more), look on the Internet under SymbolicComposer.

Guide to performance and developing the score further

The score of Into the Green Inverted Dawn should be thought of as a startingpoint, not a final statement by the composer. Despite following the poem, themusic can be altered by the performers in the following ways:

1. Repetition – in poetry as in music, repetition is used not only foremphasis but is also able to suggest that a word or phrase has severalmeanings. A few passages with such repetitions have already beenincluded. Players are invited to add more. A repeated section can (as inearly music) alter the scoring, add or erase musical events, addornamentation or figuration, play with different effects like pizzicato ortremolando.

2. Dynamics, expression and articulation - with dynamics there is a schemelaid out, but that’s only to show in general how each ‘word phrase’follows in part one (bars 1-47) a descrescendo and part two (bars (bars102 onward) a crescendo. Between letters E and I dynamics may be afree mixture between crescendo and diminuendo. There are no otherdynamic markings as such, so invent your own! At letter A (bars 10-12)there’s a good example of where dynamics have been inverted to bringout the viola part. Any expression and articulation marks should be seenas guides, no more.

3. Musical and Instrumental effects – the string quartet can produce a vastrange of different colours: pizzicato, arco, con sord, tremolando, playingsul pont or sul tasto, using portamento and glissando, using differentstrings and positions, playing with or without vibrato, using harmonics,playing col legno, using percussion (tapping on the body). Colour themusic as much as you like! Make this piece you own!

4. Intervention – this is probably the most radical option in the score! Alongwith the laptop player you can decide if you want to add new ideas /improvisations / found sounds / etc. into the progress of the score. Youmight want to begin with a slow ambient introduction . . . you couldexpand the moment at 1 bar before letter E when there is a moment ofstasis (a held chord) before the ‘Ascent’ section begins.

5. The laptop part – the extra performer involved with your performancewill be mentored in laptop techniques by a student from Hull University.Together they’ll devise textures, treatments and samples that can beplayed alongside your performance. Your instruments will be ‘mic’ed’ tobe processed, amplified and projected into the vast space of Hull City

iii

Hall where the sound will be diffused around a multi-speaker system.This is not to say that this score can’t work equally well in an intimatesetting, even without the laptop part.

6. Playing from the score – many quartets do this when they study acontemporary piece. It isn’t always possible to perform from the score,although some composers (like Lutoslawski) make this possible.Although we are providing you with the paper parts, if all the playershave laptop computers we can supply a PDF score in landscape so thepage turns can be triggered by the laptop performer attached to yourquartet or by one of the quartet using a USB footswitch.

7. The Reference Recordings – if you look at Nigel’s other pieces for stringquartet in his archive (he’s written 5 works for this medium) they allcome with reference MP3 recordings. These can be a good way to get toknow a new score – at least to start with. There’s a downloadable MP3 ofthis score on the Sounding the Deep website.

Resources for Sounding the Deep

Twitterwww.twitter.com/SoundingTheDeep

Facebookwww.facebook.com/SoundingTheDeep

The webwww.soundingthedeep.co.ukwww.nigel-morgan.co.uk/SoundingTheDeep

Works for String Quartet by Nigel Morgan

Objects of Curiosity (SuperCity) – string quartet (with digital media)Commissioned for the Kronos Quartet9 min

Le Jardin Sec – string quartetCommissioned for the Johnston Quartet7 min

Allegories - string quartetCommissioned for Pro Corda10 min

QUARTET – string quartetCommissioned by the Norwich Triennial Festival25 min

To find out more about these works with score and audio extracts, please visit:

http://nigel-morgan.co.uk/NewChamberMusic/

iv

Deep Sea Diver

Diver go downDown through the greenInverted dawnTo the dark unseenTo the never dayThe under nightStarless and steepDeep beneath deepDiver fallAnd falling fightYour weed-dense wayUntil you crawlUntil you touchWeird water landAnd stand.

Diver come upUp through the greenInto the lightThe sun the seenBut in the clutchOf your dripping handDiver bringSome uncouth thingThat we could swearAnd would have swornWas never bornOr could ever beAnywhereBlaze on our sightMake us see.

Robert Francis

Deep Aes Deirv

Vried og wondWond utrohhg the rngeeVtrnieed wndaOto the rkda usnneeTo the vrnee ydaThe urned tnihgTsssrlea nda tspeePeed tnheeba peedVried llfaNda nliigfa tihgfYuro weed sneed ywaUtnli yuo wrlcaUtnli yuo utohcWried wtrea nldaNda tsnda

Deirv cemo puPu ghhortu eht eegnrInot eht ghiltEht nsu eht eensBtu in eht cchltuFo oruy dgiinppr adhnDeirv bginrEmos chnotuu ghintAhtt ew cdlou aerswAdn dlouw aehv norswAsw eenrv bnorOr cdlou eerv beAeehnrwyAbelz no oru ghistAekm su ees

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