openresearch-repository.anu.edu.au · i acknowledgements. a piece like this cannot come together...
TRANSCRIPT
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AppendixA
Capital1:(musicalscore)
MusicbyFionaFraser
LibrettobyFionaFraser&ZsuzsannaSoboslay
CompletedAugust2009
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Contents:
Acknowledgements i Cast and Orchestral Requirements ii Percussion key iii Synopsis vii Scene 1: Overture and visions of Canberra 1 Scene 2: The Bitch Song 36
Scene 3: The Stakes are High (Duet) 70 Scene 4: Laments 92 Scene 5: At the end of each day 204 Scene 6: Finale 226
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i
Acknowledgements. Apiecelikethiscannotcometogetherwithoutalotofhelp.
FirstlyIwouldliketothankJimCotterandLarrySitskyfortakingonsuchanunlikely
studentandforyourongoing,andofteninspiringencouragementandwisdom.
IwouldalsoliketothankZsuzsiSoboslayforintroducingmetoMarion,forherinputinto
thecreativeprocessandhercontinuingpatienceandforbearancewithmeandwiththis
project.
IwouldliketothankArtsACTforfundingthedevelopmentofthisworkandtothe
CanberraStreetTheatreforauspicingthegrant.Inparticular,Iwouldliketothank
CarolineStacey,whocarriesanincrediblyworkload,butwillalwaystaketimetolistento
newideasandpromoteandencourageworksbyemergingartists.TheCanberraStreet
TheatrehasbecomeavitalpartofCanberrasartisticcommunity,providingasupportive
environmenttofostercreativityandinnovationnotjustfromonegroupofartists,but
frompeoplewitharangeofdifferingbackgrounds.TheStreetTheatrealsoprovidedme
withaccesstodramaturgicaladvicefromPeterMatheson,whochallengedandprovoked
metothinkoutsidethesquare.DavidKramasconductorwasaninspiredchoiceheis
gentleandencouragingbutquiterigorousinhisapproachwithlotsofpractical
suggestions.WithoutinputfromCaroline,Peter,andDavidthisscorewouldnotexistin
itscurrentform.YouchallengedmetogofurtherthanIthoughtpossible!
TheFriendsoftheANUSchoolofMusichavealsobeenveryencouragingandhave
providedfundingtovideotheeventandmakeaDVD.
IwouldliketothankKateKingforherfriendshipandinterestintheproject,readingdrafts
ofthelibrettoandprovidingmewithsomepoeticwordstoendwith.(Thewordsforthe
finalCanberrasongwereprovidedbyKate).
Ewanproofreadall300pagesofthescoreandalltheorchestralpartsandprovided
adviceontypesettingandlayouthowever,Ihaveyettoreachhislevelofexpertiseinthis
area.Althoughallcarehasbeentaken,therewillinevitablyberesidualerrorswhichare
myresponsibilityalone.
Finally,butnotleast,Iwouldliketothankallthosewhohavepersonallysupportedand
encouragedmethroughthislongandattimesdifficultandexhaustingprocess.In
particular,IwouldliketothankSusannaforherencouragement,herbeliefinmeandher
massages,andJaneforprovidingamuchneededlisteningear.
Fiona Fraser Canberra 31 August 2009
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ii
CAST: Marion - Mezzo-soprano Caroline High Soprano Ed/Walter High baritone
Orchestra required:
Flute (Doubling Piccolo) Clarinet (Doubling Bass Clarinet) Sop sax (Doubling Clarinet) Alto sax Tenor Sax Baritone Sax Guitar (Classical and electrical) 2 Percussion (doubling on mallet instruments) Electric Keyboard (with good quality piano, organ, harpsichord, celeste and bass guitar samples) 3 violins 2 Viola 1 Cello 1 DB This score is presented in concert pitch except for the double bass and guitar which are
transposed up the 8ve (as usual). When the piccolo plays (on the flute stave), it has
been transposed down the 8ve. Bass clarinet is notated in treble clef and 8ve higher
than it would sound.
There are numerous time signature changes. Unless otherwise indicated, assume that
.
Additional strings may be required to balance winds. If this is not possible,
amplification may be needed. Natural harmonics on string instruments are notated at
the pitch that they are intended to sound. Artificial harmonics are written as
conventional touch 4th harmonics.
Because the tonality is never fixed for a long period, no key signatures are used in any
parts, even for transposing instruments.
My notation software does not automatically give courtesy accidentals I have
attempted to insert these manually to minimise uncertainty, but may have missed a
number of them. A sharp, flat or natural will apply for a bar. However, if not
sharpened or flattened in subsequent bars, it is most likely a natural. However, its not
impossible that a sharp or flat can disappear due to the quirks in the software (or the
quirky user!). It should also be noted that naturals only apply directly to the note it
refers to, not any notes an octave higher or lower in the same stave.
Percussion 1 is mostly drum- kit, but doubles mallet instruments in Scene 3. There are
no mallet instruments used in Scene 2. Otherwise, Percussion 2 doubles mallets.
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iii
PercussionKey
Percussion 2 to double mallet instruments, except in Scene 3 where Percussion 1 can
double mallet instruments. There are no mallet instruments used in Scene 2.
Mallet Instruments
Marimba (5 octaves)
Vibraphone
Glockenspiel (sounds 2 8ves above written)
Percussion 1
Drum Kit
Cowbell
Splash Cymbal
Crash cymbal
Hi-Hat
Ride Cymbals (Low and High)
Toms (Low. Medium & High)
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iv
Snare Drum
Kick bass-drum
Hi-hat pedal
Other
Sucking Sound (like exaggerated kiss) (Scene 3 only)
Finger Cymbals
Cabasa
Vibraslap
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v
Percussion 2
Suspended Cymbals (low & high)
Congas (low, medium, high)
Vibraslap
Woodblocks (low & high)
Plastic block (keyboard typing sound)
Cabasa
Guiro
Shaker (eg. Maracas)
Bass Drum
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vi
Tam Tam
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vii
Synopsis:
There are 4 characters: Marion and Walter, who are based on the historical figures of
Mahoney Mahoney Griffin, and Walter Burley Griffin, and 2 fictional modern-day
characters Caroline (Chisholm) and Ed (Barton). The latter 2 characters are totally
fictitious and are named after suburbs of Canberra.
The opera starts with Marion persuading her husband to enter the design competition
for Canberra, which he subsequently wins. In her first song she describes her vision for
Canberra. Walter is easily persuaded by Marion to enter the competition, but a
difference of style soon emerges, with Walter focused on the way in which the
landscape is geometrically connected (perhaps reflecting a divine geometry?) while
Marions approach is more sensual/sexual, focused on an emotional connection with
the landscape.
Scene 2 introduces Caroline a career-oriented bureaucrat who is so obsessed with
progressing her career and doing what is asked of her that she doesnt stop to think
much about how meaningful this is.
Scene 3 is a domestic scene where Caroline comes home (late) to her husband who is
involved with a local community group which re-enacts medieval battles and events.
They are both obsessed with their roles and it is obvious they are not really connecting
in terms of their relationship. At the end of the scene, Caroline leaves and returns to
work.
Scene 4 starts with Ed telling his story how he had a dream to build a national
broadband network that would connect remote areas of Australia and how his dreams
were smashed when the work was outsourced. However, Ed found consolation and a
sense of belonging in his medieval war gaming adventures his work now is of less
importance to his identity. He is very romantic about this group and at the end of his
aria, calls up The Queen of Kamberrwarrn, to which Marion Griffin responds. She
walks on stage and starts singing about her concerns for Walter and their troubles with
the bureaucracy. This creates some confusion, with Ed suggesting she is in the wrong
game. However, Ed realises after a while that Marions song applies to him thinking
that she is singing about him, he joins in. They both lament their woes with the
bureaucracy or infidels as they call them. Marion urges Walter to talk to King
OMalley about the problems. Ed doesnt have a clue what she means, but in the
middle of this, Caroline comes home unexpectedly. She gets into a dialogue with
Marion about Walter and King OMalley suggesting that Walter was a fraud and King
OMalley was merely taken in by him. Marion responds with anger and Ed has to
intervene to stop them fighting. Ed appeals to Caroline to remember the ideals they
both shared when they met at university. Caroline laughs at this and accuses Ed of
being naive, suggesting that no one really cares about ideals anymore, just the here and
now and material possessions. Ed accuses Caroline of adultery, both figuratively and
metaphorically. She is attacked by Ed and Caroline and walks out angrily. Marion is
still calling on Walter, and in frustration, Ed agrees to act out Walters part and sings
about the results of his discussions with King OMalley, where the bulk of his plans
were agreed to, but the idea of the capitol was rejected.
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viii
Marion laments the rejection of the capitol suggesting there is no point in the rest of
the plan as the city will have no soul. The scene ends with Ed seeing the parallels with
his own broadband scheme. However, he feels all is lost and now worries that he has
lost Caroline, so feels he must go and find her and try to talk to her at the office.
Scene 5 is another duet between Caroline and Ed. She is working late at the office and
he is peering through a window (Romeo and Juliet style) trying to get her attention.
They again seem not to be connecting although at the end, Caroline seems to relent a
little and they both walk off into the night. However, just as they are leaving, Marions
mobile rings and she returns to work.
A musical interlude signifies the passing of time. Marion appears as a ghostly image
on stage, who watches everything that transpires. We are then drawn to Caroline at
the office. She is very distressed as she has lost her job. Walter is then seen working at
home, at his drawing board, trying to incorporate changes to his grand plan for
Canberra. He sings of his frustrations. Caroline returns home and starts to tell her tale
of woe to Ed (she fails to recognise that it is Walter, and not Ed working at the drawing
board. When Walter fails to recognise her, she believes that Ed is punishing her for her
poor behaviour, and she begs his forgiveness and tries to appease him by asking about
his plans for the broadband network.
Walter is very happy to show his plans which Caroline is enthusiastic about.
However, she is concerned they lack something in the centre to provide for system
restoration, back-up, data integrity etc. Walter realises that the decision not to
incorporate the capitol may be a fatal error and rushes off to talk to King OMalley.
In the meantime, Marion has been watching events and she now steps forward to stop
Walter rushing off as she has also had a revelation, realising that sometimes you need
to let go of your ideals and let others carry on the cause.
Ed returns and expresses concern about Carolines problems at work. Caroline
apologises for getting too caught up with her ambitions, but Ed acknowledges he has
been too naive, and breaks the news that he has been to see the PM about his
broadband network idea. They sing about the significance of this plan and celebrate
the importance of community, passion, intellect which ideally all come together in a
perfectly matched triangle!
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August 2009
Full Score1. Overture and Visions of Canberra
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Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
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Use brushes
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Kick, snare& ride
13
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Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
35 ""
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6
8
6
8
6
8
6
8
6
8
6
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
40 ""
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8
6
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6
8
6
8
6
8
6
8
6
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
45 ". .
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8
9
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6
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6
8
6
8
6
8
6
8
6
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
52 ".
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B
?
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Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
57 "
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18
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B
?
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Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.~~~~~~~~ ~~~~~~~~
63 " b b n
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~~ ~~~~~~~
~~~
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19
-
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8
9
8
9
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3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
6
8
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8
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8
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6
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6
8
6
8
6
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6
8
6
8
6
8
6
8
6
8
6
8
6
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
69 ""
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20
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8
6
8
6
8
6
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6
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6
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6
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6
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6
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9
8
9
8
9
8
9
8
9
8
9
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.~~~~~~
74 ". .
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J
Walter pushes Marion away and startsworking at the drawing board.
F
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F
F
Hard sticks
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- -
- -
21
-
&
&
&
&
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&
?
&
?
&
&
&
B
?
?
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
~~
77 .
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rit.
22
-
&
&
&
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&
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&
&
&
B
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8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
80.
U
.
.
U
.
80
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A cit y is fro zen
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A cit y is fro zen
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a tempo
Quasi recitative
Walter
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Marion gently pushesWalter away
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Cowbell, ride snare,& kick drum.
- - -
-
- - -
23
-
&
&
&
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&
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B
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8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
86 ""
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Walter takes over again
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F
F
- - -
- - - -
24
-
&
&
&
&
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&
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B
?
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8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
91.
.
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91.
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25
-
&
&
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&
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&
&
&
B
?
?
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.~~~~~~~~~~~~~
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Marion gives up and walks awayand finds some more drafting paper.
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We must work night and
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Starts working furiously atdrawing board, taking overfrom Marion.
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Toil ing for per
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26
-
&
&
&
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&
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&
&
&
B
?
?
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
102 ""
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# P~
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- - - - - - - -
27
-
&
&
&
&
?
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?
&
&
?
&
?
&
&
&
B
?
?
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
108 ".
108 "
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Humming in quasi improvisatory stylewhile doing sensuous dance around Walter who continues working furiously, getting outa set square, slide rule etc.
p
Return to blues style
Toms
Crash
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Use brushes
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~~
~~
28
-
&
&
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&
&
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&
?
&
&
&
B
?
?
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
114 " .
114 "
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~~
29
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&
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&
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B
?
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8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.~~~~~~~~
119 "
bb
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.
.#
~~
- - - -
- - - -
30
-
&
&
&
&
?
?
?
&
&
?
&
?
&
&
&
&
&
?
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
!
~~~~~~~~~~~~~~
125 ""
125 """""
125.y y jy y y. .
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.
.
J
b
.
.
.
.
.
.
#
J
n
.
.
.
.
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.
life to be born.
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.
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125.
o
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#
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#
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.
.
.
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b
.
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.
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.
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#
y y y y y y y y y
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b ..
.
.
.
.
# ....
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wa ter and hu man
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.
n.
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b
.
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form.
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.
form.
.
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o
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.
b n #
p
p
p
p
Soprano sax.
Toms
- -
-
31
-
&
&
&
&
?
?
?
&
&
?
&
?
&
&
&
B
?
?
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
(!)
&
129 ""
129
j
.
j
b.
j
.
j
.
J
.
J
b.
j
.
j
.
#
#
b
n
b
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o
.
.
.b
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j
b
.
.
b
J
n
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y y y y y y y y y
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o
.
.
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j
b .
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J
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b
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o.
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.
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w
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.
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www
w
b
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w
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and
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wo
w
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w
w
Electic Bass
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F
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b j
at the heart of
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32
-
&
&
&
&
?
?
?
&
&
?
&
?
&
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
~~~~~~~~~~~~~~~~~~~
134 " ?
"134 "
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134 "134 "
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b
b
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b b
take the no dal
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&
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w
b n
b
point where 'X' in ter sects with
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w
www
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.
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in the
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w
w
wb
w#
w#
w
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Tam tam
f
f
F
-
- - -
33
-
&
&
&
&
?
?
?
&
&
?
&
?
&
&
&
B
?
?
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
c
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
~~~~~~~~~~~~
139 ""
139 """""
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139 "139 "
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meet ing place 'tween the
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.
and I
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-
- - - - -
34
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&
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&
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&
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&
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&
&
&
B
?
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4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Mn.
Ed/Walter
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
Kbd.
M.I.
145 ""
145 """""
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rit.
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pizz.
Cowbell
Flutea tempo
F
pizz.
F
pizz.
F
pizz.
F
pizz.
F
pizz.
F
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Medium tom
- -
- - - - - - -
35
-
&&&&???
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&
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86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
cccccccccccc
c
cccccc
Flute
Clarinet in Bb
Soprano Sax.
Alto Sax.
Tenor Sax.
Baritone Sax.
Percussion 1
Percussion 2
Guitar
Caroline
Violin 1
Violin 2
Violin 3
Viola
Cello
Bass
MalletInstruments
Electric Keyboard
. .> . .n > . .b > . .b > . .> . .
! . . . .y
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>
!
!!!!!!
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Electric Guitar
Electric Piano
Freely - somewhat ethereal
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ww
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fSpeaking to someone off stage
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- - - - - -
2. The bitch song
-
&&&&???
&&?
&
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Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Clne.
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
M.I.
E. kbd.
~~~~~~~
7 ! .b
7 . .b .
.!
7 !!
7 !7 !
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b 3
sure they'll ag ree
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JClose of busi ness sir, Yes,
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!
b
b b
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.
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.
. b!!!!!!
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!!!!!!
- - - - -
37
-
&&&&???
&&?
&
&&&B??
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
85
88
88
88
88
88
88
88
88
88
88
88
88
88
88
88
88
88
88
88
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
cccccccccccc
c
cccccc
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Clne.
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
M.I.
E. kbd.
~~~~~~~~~~~
13 !
w13 w
ww
w!
13 !
13
13 !
!13
ME!
13 !13 !
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Bass Drump
#
Rushes to desk and switches computer on - then looks up dreamily as computer boots up.Start typing when percussionist starts typing sounds.
!!!!!
wb
!!
j wb
!!
!
!!!!!!
Flz. Multo rubato
Bend into note from below
rit.
rit. !!!!!
b b
!!!
.!!
!
!!!!!!
!!!!!
# J b
!!!!!!
!
!!!!!!
!!!!!
b b J# b
!!!!!!
!
!!!!!!
!!!!!
b !!!!!!
!
!!!!!!
~~~~~~~~
1/4
38
-
&&&&???
&&?
&
&&&B??
cccccccccccc
c
cccccc
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Clne.
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
M.I.
E. kbd.
etc.
19 !!
19 !!!
j . !
19 !0 0> 0 0 0 0> 0 0
v0 0 0 0 0 0 .0 0 0
3
19 !19 !
!19 !19
wb19
wbwbwwb wb
Fast, dynamic and percussive q = 80
f
F
Improvise fast typing sounds on plastic blocks or other appropriate source - should emulate natural typing rhythm eg.
""""""
!!!!!!!!
!!!
!
.
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!!!!!!!!
!!!
!
.
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.b . .b .b
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!
.
.#
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f
39
-
&&&&???
&&?
&
&&&B??
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
23
cccccccccccc
c
cccccc
Fl.
Bb Cl.
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Perc. 1
Perc. 2
Gtr.
Clne.
Vln. 1
Vln. 2
Vln. 3
Vla.
Vlc.
Cb.
M.I.
E. kbd.
23 ! b $ $ n b b b b n b
23 !!!!!
23 !
23 !23 !
!23 !23
.23
.b
.b . .b .b
!n # n b ..
!!!!!!
!!!
!
.#
.
. .# . .
Stops typing and looks above dreamily!
!!!!!!!!
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j He needs
. .
.b .
.b .
. .
.b .
.b .
F
""""""
!!!!!!!!!!!!
. me
w
w
w
w
w
w
!!!!!!!!!!!!
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#
b
b #
b b
40