Love in the Time of Connectivity - Amazon Web Servicesaarongervais- fileLove in the Time of Connectivity for chamber wind ensemble Aaron Gervais January 2009 Duration: 3’15 for orkest

Love in the Time of Connectivityfor chamber wind ensemble

Aaron Gervais

Love in the Time of Connectivityfor chamber wind ensemble

Aaron GervaisJanuary 2009

Duration: 3’15

for orkest de ereprijs

Première performance:orkest de ereprijsConductor: Rob Vermeulen13 February 2009Podium GigantApeldoorn, the Netherlands

CC-BY-SA 2009, Aaron Gervais (SOCAN)www.aarongervais.com | www.musiccentre.ca

Instrumentation2 Flutes (one player doubles on Piccolo)•Clarinet in B• bAlto Saxophone•Baritone Saxophone•Horn in F•Trumpet in C•2 Trombones•Tuba•2 Sopranos (with vocal mics)•Mezzo-soprano (with vocal mic)•Electric Guitar (with distortion pedal; volume pedal recommended)•Electric Bass Guitar (with fuzz/distortion pedal; volume pedal recommended)•Piano•Drum Set•

Drum Key

Bass Drum

Floor Tom

Snare Drum

High Tom

Ride Cym.

Hi-Hat(with stick)

Hi-Hat(opened)

Crash Cym.

About The Piece

Love in the Time of Connectivity is a collage. In fact, even the title is a collage: I took the title of Gabriel García Márquez’s novel, Love in the Time of Cholera, and combined it with a reference to the culture of Internet file sharing. I have been interested in collage and the reappropriation of material for some time, because as the saying goes, good artists borrow but great artists steal. Collage is the most honest way to honour that principle, and I spent most of 2008 working in this direction.

Collage, as well as related ideas such as sampling, remix, and mash-up, are among the few unifying forces driving artistic change today. Through video sites like YouTube and audio sites like ccMixter, these ideas have been responsible for renewing amateur art on a mass scale, for challeng-ing the standards of creativity, for expanding musical taste, and even for influencing legal precedent.

For the first time in history, we are drowning in art. There is too much music of the highest artistic quality for anyone to ever hope to experi-ence. So how can artists contribute to culture in a situation like this? I think collage is an important part of the answer, and the proof is in the attitudes of those who grew up with the Internet. For many of them, art is not something simply to be experienced, it is a resource to be adapted, changed, built upon, and shared.

While composing Love in the Time of Connectivity, I gave myself some restrictions in order to inspire creativity. For example, I decided to try to present all quotations in as recognizable a form as possible. I did not allow myself to transpose fragments from their original tonalities, and I did not allow myself to compose my own new material to bridge together the quotations—every note is borrowed. I also made tempo an inte-gral part of the musical development, and I tried to make grammatical sense of all the text fragments I combined. Finally, every quote relates to the others in some way, either in terms of theme, title, text, artist, or (obviously) musical sounds. The quotations, in order of appearance, are:

“Don’t You Want Me, Baby?”, Human League•“My Baby Portable Player Sound”, Pizzicato 5•“Mo Money Mo Problems”, Biggie Smalls•“Notorious”, Duran Duran•“Get Money”, Biggie Smalls•“Le grand Tokyo”, Pizzicato 5•“Tout, tout pour ma chérie”, Pizzicato 5•“Nadie me brinda na”, Los Hermanos Rosario•“Bohemian Rhapsody”, Queen•Suite Bergamasque• , “Clair de lune”, Claude Debussy“Regrets”, Ben Folds Five•

CC-BY-SA 2009, Aaron Gervais (SOCAN) www.aarongervais.com | www.musiccentre.ca

Love in the Time of ConnectivityTRANSPOSED SCORE Aaron Gervais

Very fast q = 160

Very fast q = 160

rit.

rit.

Flute I

Flute II

Clarinet in Bb

Alto Saxophone

Baritone Saxophone

Horn in F

Trumpet in C

Trombone I

Trombone II

Tuba

Soprano I(with mic)

Soprano II(with mic)

Mezzo-soprano(with mic)

Electric Guitar

Bass Guitar

Piano

Drum Set

mp gentle but rhythmic


*)

Ba


by,- Ba by,- Ba by!- Ba by,- Ba by!-

Don't

*) Approximate, as possible, pop-music tone and vibrato throughout.

*) mp gentle but rhythmic

you want me? Don't you want me? Don't you want me?

Don't

*) mp gentle but rhythmic

you want me? Don't you want me? Don't you want me?

clean tone


mp

Ped. ad lib. throughout

gentle but rhythmic

6

6

(q = 132)

(q = 132)

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

Ba by,- Ba by!- Ba by,- Ba by!- Ba by,- Ba -

Don't you? Don't you want me, oh?! Oh!

Don't you? Don't you want me, oh?! Oh!

2

11

11

A

A

(q = 120)

(q = 120)

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

Ba by!- Ba - by, Ba by!-

Oh! You want me? Oh! Don't you? Don't you?

Oh! You want me? Oh! Don't you? Don't you?

ff funky

*)

*) x = mute string

ff

clean tone

funky

gliss.

ff

gliss.

funky

(mp) (mp)

ff funky

P (mute cym.)

3

16

16

(q = 100)

(q = 100)

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

mf

mf

senza vib.

ff punchy, bright

ff

senza vib.

punchy, bright

ff punchy, bright

ff punchy, bright

ff punchy, bright

Oh! Don't! Don't!

mf

Oh! Don't! Don't!

mf

(ff) (ff) (ff)

(mp) (mp) (mp)

P P

4

20

20

B

B

(q = 76)

(q = 76)

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

f ff

f ff

Ba

(mp)

by,-

increasingly agitated

Ba by,- Ba by,- Ba by!

f

-

Don't you?

fincreasingly agitated

Don't you?

ff

Don't you?

fincreasingly agitated

Don't you?

ff

mpgentle but increasingly agitated

ff funky flowing

f sub.

flowingf sub.

f sub.

flowingf ff

P

flowing

f sub.

5

24

24

(q = 60)

(q = 60)

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

Ba

(f)

by,- Ba by,- Ba - -

6

28

28

(q = 50)

(q = 50)

C

C

a tempo q = 160

a tempo q = 160

rit.

rit.

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

mf gentle, as before, but greater intensity


by, Ba by,- Ba by,- Ba by!- Ba


by,- Ba by!-

Don't


you want me? Don't you want me?

Don't


you want me? Don't you want me?

solo

mf


7

(q = 104)

(q = 104)

33

33

(q = 88)

(q = 88)

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

f

f

ff punchy, brightf

ff punchy, brightf

ff punchy, brightf

ff punchy, bright f

ff punchy, brightf

Ba

f

by!- Ba -

You want!

f

You want!

f

ff funky f ff f

ff funky f

ff funky ffff

ff funky

P P P

f

8

37

37

(q = 60)

(q = 60)

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

by! Ba by,-

Don't you, you want me? Don't you, oh?! Me! Want

Don't you,you want me? Don't you, oh?! Me! Want

P

9

(q = 48)

(q = 48)

41

41

D

D

Fairly slow q = 69

Fairly slow q = 69

(q = 96)

(q = 96)

accel.

accel.

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

ff

ff mp subdued, distant

Ba by,- Ba by!

ff

- Ba

p subdued, distant

by,- Ba by,- Ba by!-

me!

ff

Don't

mp subdued, distant

you want me, Ba

me!

ff

Don't

p subdued, distant

you want me, Ba by?- Don't

mp

you want me, Ba

ff p subdued, distant

ff

ff p subdued, distant mp

ff p subdued, distantmp

10

46

46

(q = 112)

(q = 112)

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

mf subdued, distant

mf

Ba

mp

by,- Ba by,- Ba by!- Ba

mf

by,- Ba by,- Ba by,- Ba

by?- Don't

mf

you want me, Ba by?-

by?- Don't

mf


mp mf

mf

mf

11

(q = 132)

(q = 132)

51

51

E

E

q = 160

q = 160

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

pp f playful, dancing



Sidney Bechet–style jazz vibrato


Sidney Bechet–style jazz vibrato




- by, Ba

f

by,- Ba - by, Ba by,- Ba - by, Ba by,- Ba by!

p

-

f p


f playful, dancing

12

56

56

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

bright, energetic

f bright, energetic

f bright, energetic

f bright, energetic

f bright, energetic

p sub.

bright, energetic

f sub. p sub. f sub.

bright, energetic

P

13

61

61

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

p sub. f sub. p sub. f sub. p sub. f sub.

P

14

F

F

66

66

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

p

p

Ba

mf gentle

by!-

Want

mf gentle

me,Ba by!-

Want

mf gentle

me,Ba by!-

mfgentle

f bright, energetic

15

71

71

G

G

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

f p

f p

Don't you? Don't

gradually more energetic, forceful


Don't you? Don't

gradually more energetic, forceful


P

16

76

76

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

f

f

energetic, pleading

Ba

f

by,-

Don't you want,

f

want

energetic, pleading

me,Ba by?!-

Don't you want,

f

want

energetic, pleading

me,Ba by?!-

P

17

81

81

rit.

rit.

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

Ba by,- Ba by,- Ba by,- Ba by!

ff

-

Don't

ff

you want me?

Don't

ff

you want me?

18

85

85

H

H

q = 132

q = 132

rit.

rit.

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

p f ff

To Picc.

p f ff

ff

ff

senza vib.

f merengue, light

ff f merengue, light

senza vib.

ff




ff

Ba by!- Ba by!- Ba by!- Ba by!- Ba by!-

Don't you want me, Ba by?-

Don't you want me, Ba by?-

ff

ff f merengue, very round tone

gliss.



19

89

89

q = 69

q = 69

rit.

rit.

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

mp flat, aggressive mf



flat, aggressive mf

ff

distortionsolo

rocking, espres.

(vib.)

5 5 6

ff rocking, driving

pp espres.f

solo

3 3

3 3

ff rocking, driving

P

20

92

92

Fl. I

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

Piccolo

p

p

p

f ff 3

f ff 3

p

3

f ff 3

f ff 3

flat, aggressive f ff

3

3

fff

fuzz-style distortion3

ff sub. fff sub.3 33 3 3

33 3 3

3

P P l.v.3

21

e = e = 96

e = e = 96

95

95

molto rit. al fine

molto rit. al fine

Picc.

Fl. II

Bb Cl.

Alto Sax.

Bari. Sax.

F Hn.

C Tpt.

Tbn. I

Tbn. II

Tba.

S. I

S. II

M-S.

Elec. Gtr.

Bass Gtr.

Pno.

Dr.

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

Ah!

fff

Ah! Ah!

gliss.

Ah!

Ah!

fff

Ah! Ah!

gliss.

Ah!

Ah!

fff

Ah! Ah!

gliss.

Ah!

fff

fff

(use shaft of sticks on edge of cym.)

22

Documents

Love in the Time of Connectivity - Amazon Web Servicesaarongervais- fileLove in the Time of Connectivity for chamber wind ensemble Aaron Gervais January 2009 Duration: 3’15 for orkest