Singing Forgetting

for orchestra

2005
2

Singing Forgetting is dedicated to

David Lumsdaine and David Felder

whose wisdom and courage

has allowed me to know them

and myself

Program Notes:

Singing Forgetting is a composition for chamber orchestra. The title of this work is a quotation of
Zhuangzis sitting-forgetting adapted to a musical context, hence singing instead of sitting. Sitting-
forgetting is described in Zhuangzi as a meditative state where one is detached from body and mind and is
at one with Dao. At this level of attainment, one can take part in the process of transformation with the
Great Universe without hindrance.
I have been interested in the interaction of time and space in music making (composition-
performance.) Through composition I seek to create a musical environment which will condition and allow
the performers to explore his or her physical space through performance. In an earlier work, Dragon
Singing . Autumnal Waters, for example, the music is generated in performance on 2 levels: one through
the interaction between the bodily space of the performer (physiology and anatomy), and the mechanical
and acoustic space of the instrument; and another through the interaction between the musical space and the
physical space of the entire performance venue. Subsequently, further exploration are done through works
for chamber ensembles of various sizes. Finally, in Singing Forgetting, with the opportunity to write for
orchestra, I decided to use the standard orchestra seating plan itself as a physical space in which the music
is distributed and its drama played out within the stage limits of left and right, and front and back. Prelude
to Act One of Wagners Lohengrin provided the initial inspiration.
In earlier works, I have also been concerned with issues of synchronicity within certain controlled
aleatoric performance and compositional circumstances. In Singing Forgetting, the dramatic tension among
groups of instruments in various temporal states are played out; for example, several strands of temporally
independent but related music led us to a brief climax before the Epilogue. Numerous fermatas of various
lengths decided independently by the conductor and certain performers further increases the local moment-
to-moment variables in time, pacing and shaping of the music thus accentuating the aspect of synchronicity
in the work. The anticipation of possible outcomes and the interaction between performers within a fuzzy
environment is an important element in Singing Forgetting. It is therefore this fuzzy environment that
comes close to my understanding of the Great Universe within which musical live interactions among
musicians in performance are manifestations of the unhindered participation in the transformation of Dao.
3

Instrumentation

2 Flutes (II. doubling Alto Flute)

2 Clarinets in B-flat (II. doubling Bass Clarinet in B-flat)
2 Bassoons
2 Horns in F
2 Trumpets in C
2 Trombones
2 percussion parts; see performance directions for more details
1 piano (upright or grand with lid down or slightly lifted) / celesta
1 marimba / vibraphone
Strings: 6. 6. 6. 6. 3.

Score in C; glockenspiel and double-bass parts are notated at written pitch

Duration: ca. 15 minutes

4

Performance Directions
Groupings:
The orchestra is divided into 3 groups:
i) the left and ii)right orchestras, and iii) the 2 percussionists.
The instrumentation groupings are:

Left: Woodwinds
Celesta/Piano
Violin Is
Violas
Double Basses

Right: Brass
Vibraphone/Marimba
Violin IIs
Cellos

Percussionists Left and Right:

1) individually selected but matching set of 3 wooden, 3 skin and 3 metallic
percussion instruments, in high middle and low registers; see parts for more ideas
on selection and possibilities

2) woodblocks, cowbells and tubular bells, also in set of 3 of high, middle and
low registers are obligatory

Seating Plan:

fl. clr. bsn. tbn. hn. tpt.

perc L perc R

double bass
violas cellos
pno

cel. mar.+ vib.

first violins * * second violins

conductor
* violinists are seated such that they are half facing the audience
5

Score and Formal Scheme

The score is in 2 parts. The main part, for the conductor, consists of the main orchestra, Left and Right,
from beginning to the Epilogue where the piano-celesta and marimba-vibraphone parts are not included.
The other part, which the conductor does not need in performance, consists of 2 separate performing parts
for the 2 percussionists, left and right, from the beginning to the Epilogue, and a score of the Epilogue for
the 2 percussionist plus the piano-celesta and marimba-vibraphone parts; these 4 musicians play from this
score of the Percussionists Score in the Epilogue. It might be helpful for the conductor and the two
percussionists to consult each others music as these three musicians perform interact actively with one
another especially in terms of dynamics, timbre and gestures.

Formal scheme:
TIME b.1 beat 4 Q in orch = S in orch. =
N in progress in O in perc.
perc.
ORCH. Conductor Independent S: Orch.
gives cue of perc. parts Q: Conductor arrives at perc
for perc. to gives cue to tempo or at
start perc. to execute quarter note =
their #1 120. Conductor
instruction for gives cue for
N. perc. to go to
Orch. their O.
accelerates to
the tempo of
perc. parts

PERC. Start A. Independent Independently Both perc. parts Perc. parts

Perc. take of orch. arriving at N. should already receive cue
pulse from Only follow The 2nd perc part be playing N from conductor
cond. dynamics as to arrive at N (repeatedly) and and move to O
explained in follows the waiting for immediately
perc score; tempo conductors cue starting together
Also established by to execute and from now
independent the first player. instruction 1 in on following
of each other Repeat N until a score conductors
cue is given by accelerating
the conductor. beat
Formal scheme continues:
TIME U in orch. = Epilogue
P in perc.
ORCH. Orch. Should arrive at U: after P in perc., Conductor conducts orch. (only),
U at the same time conductor gives cue for taking time (ad lib.) between each
perc. arrives at P keyboardist to start. fragment of melody. At the end,
Then orch. moves into conductor gives cue for perc. and
Epilogue keyboardists to fade-out
PERC. Perc. Should arrive at Perc. waits for Perc. and keyboardists repeats
U at the same time keyboardist to start and music of Epilogue until given cue
orch. arrives at P then moves into by conductor for fade-out.
Epilogue
6

Performance Directions

Applicable To All
Fermatas in all parts are like little zoom-in windows on the beats or sub-beats they are applied to.
Therefore, they should not be excessively long and should be about 1.5 to 3 times the note duration. They
should be more like hesitant pauses. Also, they should not be all the same length. They serve to enliven the
otherwise regular duple time. Players in Orchestra Left and Right, follow conductor. Percussion Left and
Right execute fermatas independent of each other and of conductor. From A to Epilogue, conductor
conducts all quarter-note fermatas in subdivisions of 4. Dynamics change over fermata should be slowed
down accordingly.

Fermatas for main orchestral instrumentalists are occasions for individual expression in response to the rest
of the orchestra like soloists in a concerto grosso, sometime commenting on surrounding music and
sometime adding and enlivening the overall texture and sound. Players improvised based on suggested
proportionate notation in square boxes for the duration given by the note values above the boxes. Playing
suggestions may be given in text. When a pair of dynamic values is given, alternate between one and the
other, unless otherwise stated.

Dynamic is a key element in this work. Dynamic is constantly changing, there is no stable state except in
the Episode and some instances in the percussion parts. Reach dynamic level indicated at the end of note
duration and start changing at the very beginning.*

Try to match dynamic levels between instruments to achieve an absolute scale. Dynamic is used here to
indicate degrees of audible pitch qualities rather than just loudness, therefore certain specific and extreme
techniques and/or gestures can be called for; see suggestions below.

Try to realize full dynamic contour and range for every instrument. Beautiful tone is secondary to dynamic
level. For the celesta with limited dynamic range, there is no need to match dynamics of other instruments.

The dynamic range of the work is between ppp and fff, which should represent the full dynamic spectrum
of an orchestra.

Suggestions for realizing different dynamic levels: some of these suggestions may be combined with
existing indications in score to produce a specific effect that gives a particular dynamic level its distinctive
characteristic:

ppp pp for winds: breath tone, air tone, wind sound, or white noise with some
pitch*, extreme flautando
for strings: little bow hair, light bow pressure, extreme sul tasto (only when no
other bow position indications are given), white noise with some pitch,
extreme flautando*
for percussion: depending on the materials, use little pressure, soft sticks, brushes,
more white noise

pp ff for all: standard practice

ff fff for winds: breath attacks with noise, almost overblowing*; cuivr
for strings: al tallone, sul ponticello* (only when no other bow position indications
are given), high bow pressure
for percussion: work on attacks and fast articulations, harder sticks

* Due to extreme dynamic changes especially from K to L which require extreme and quick changes in
playing techniques, incidental (microtonal) pitch and timbre (including multiphonics and high partial
mixtures) changes are allowable.
7

Vibrato
Where indicated:
sv senza vibrato
v normal vibrato
mv molto vibrato fluctuation in pitch or dynamics can be irregular, expressive with indicated
dynamics changes
---- transforming to next indication

apply only to note indicated; when nothing is indicated, use normal practice appropriate and
expressive to context

Miscellaneous
Tremolo, indicated by slashes across the stems - /// - are freely unmeasured and a-metric, with varying
speed to match dynamic change and expression

Where indicated:
cs con sordini

Notes in boxes are freely executed within time duration limited by box. Dynamics are usually given in
pairs which can be freely alternated individually. Indications for the expression of notes may also be
indicated; if not, express appropriate to context ad libitum,

Conducting Suggestions for Conductor

You may want to subdivide each fermata into 4 sub-beats so that all the parts with eighth and sixteenth note
fermata get their cues accordingly. In this way, one can further control the focus and vary the differences of
each fermata.

Performance Directions for Winds

Where indicated:
ft fluttertongue
0+0 plunger mute open-close-open

Performance Directions for Percussion

Please see percussion parts.

Performance Directions for Strings

Where indicated:
st sul tasto
n normal position
sp sul ponticello
---- transforming to next indication

make sure all executions are distinct, exaggerate if necessary

apply only to note indicated; when nothing is indicated, use normal practice appropriate and
expressive to context

DACG sting names

All string chords are to be played divisi and single notes played unisoni.
 Singing Forgetting
I. Flute II. Alto Flute / Flute

q = 80 II. air, no pitch

U II.: Alt.Fl. UU U
4
&4 j j I.
II.
6 p pp p
U U U
&

mp

10
A sv--- v
U II. U U
& j j

p ppp

pp p
14
B
&

15 pitch bend
U U U U any direction
& j j j j
b
p pp pp p pp
19
U U U
&
poco a poco accel. to q = 100 at E (b.44)
22
C
sv---mv---sv U U
&
b
p ppp p p mp
26
U U
&

29 mv--------- sv
U U
& j
b
pp p pp p pp
32
U U U U
&
b
ppp mp
2 I. Flute II. Alto Flute / Flute

36
D
U U U
&

40
U U U U
& j

mf mp
44
E q = 100
U U U
&

48
F
U U U
&
b
j
b
pp p pp p mp
G
52
U U U
&

55
U U
& j j j
b
pp p pp p
58
U a2
&
b
j

j
mp mf
60 II.
U U U U
& j

mf mp
63
H
U
&

66
U U U
&

ff f
3 I. Flute II. Alto Flute / Flute
69
U U U
& j
b
f fff
72
I mf f
U U

& I. b
II. u
p ff mf
75 mv
II. U fff / mf
U U
&
b

b. . .

b > > >
f ff f

78 a2
J
U
U
&
f fff
81 a2
U
U
& J

b
fff ff f
84
U II. I. U
& j
ff fff
ff f
87
U U U II. U
& J
j
b b
f ff
ff f

K
90 a2
U U U nv
mv------------------------ U
&
bw

fff ff
94 mv---nv
U U U U a2
& j j j
II. b
b
ppp ff ff fff ff ppp
fff pp fff
97
U U U II. I. mv
II.
& bj
j j j J
b
fff ppp ppp ppp p
fff ppp p fff
4 I. Flute II. Alto Flute / Flute

101
L I.
U UUU U
& br r
p p pp
pp ppp
104 I.
II. U U U
& J J
p b pp p pp
ppp mp
107 U UU
U
& b. . . . . . . b. bj
pp
mp / ppp little shimmerings
110
U U U U
j
& J
p mf mp

113 II.: change to flute

II. U U U
& j j I. j
b b b
p
mf pp
116
U
& j
mp
119
M simile
a2 a2
U
& j J J bj
p pp mp mp
f f
122 U
U U U
J

& b j b
mf p p f mp mf mp
mf
N
125
U b U
U
& J
f mf

129
U w U U
&


J
J

mp mf ff mp ff f ff
mf
5 I. Flute II. Alto Flute / Flute

b U
O b
I.
U bU
132
J U U
& J J
f
b
f mf mp ff mf

135 a2
J U U b
& J J
ff mf f mp ff mf

138 b b U
U U
& J J j j b j
b b
ff mf f fff ff ff fff ff
mf f

141
P
UU U
& j J

ff fff ff f
fff

b
145
U U b b
& J J
ff
b
f ff f fff ff fff
mf

148
U U I. II. change to Alt. Fl.
& b b b> - b- > >


ff fff
f
ff
150 I. b b
U U II. Uj U
& j
# #
subito ppp

accel.
perc. tempo (q = 120) at S (b.180)
Q to
continuous poco a poco cresc. to fff at S(b.180)
all intermediate dynamics are shown
153 bU b I.
II. U U U U II.
J j R j
& # j # #
poco a poco cresc... #
6 I. Flute II. Alto Flute / Flute
156 b
I.
U U II.U
& J J j

( pp poco a poco cresc. ...) # #

159 I. bU
b
U UU U
&
#

(p poco a poco cresc. ...)

R
162 I.
II. b II.
& # # R J j
# #
I.
b b
165
II.
& j #
(mp poco a poco cresc. ...)
#

169 b a2
R
& j r #
# (mf poco a poco cresc. ...)
#

172 b b II. a 2 b

& J r
# # j #
( f poco a poco cresc. ...)
175
II. a2 b
& j
# #

177 a2
b
& j r I. r #
# II.
#
( ff poco a poco cresc. ...)

j - - -
179 I. b S -j b b
q = 120 -j -j b j
divisi b
& fff sempre II. # # J

J # #J #
J- - - J- - J-
7 I. Flute II. Alto Flute / Flute
- - - - - - b - - - - - - - -
182 -j b b -
- b
b
& # J
# # #

J-

J # J- #
- - - J- - - - - - J-

- - - - T poco a poco accel. - - towards q = 150- at-U (b.202)

- -striving - - -
-
- b -
- b b -
185
b b
& # J # #
J #

J J
- - - J- - - - J- - - - -
- - - - - - - - - - - - - -
188 b - b j -j - b b
b b j
& # J
- # #
# J #
- - J - - - - - - - J-
-
- - - - - - - - - - - -
191 - - b b - - b b - - b b

& # # # - - # # - - b
- - - - J - J - J-
- - - -
- - - - - - - - - - -
194
b j b - - b b - - b b - -

& b b b n
# # - - # # - -
- - J- - - - - J- - - J- - -
- - - - - - - - - - - - - - -
197 b - -
b b j
- b b

- b b

&
# # # # - - # # - - #
J- - - J- - - J- - - J-
- - - - - - - - - - -
200 - - b b b j b - - b b - -j
-
& # #
#
- - - - # J - - # J - - - - # J - - J-
- - -
U
203
U U
&
 I. Flute II. Alto Flute
Epilogue
These are musical fragments A-H which are to be freely placed over the perc. Epilogue.
The conductor determines when to start each fragment.
There is more expressive rubato than before, but observe the fermata as before.
A
q = 80 B
I. U b
4
&4 & I.

mf pp II. f
pp
4
C
U U b

& pp

p
pp f

9
D sv----------mv E
a2 bw II. U U
& &
pp f
f

14
F
U U ba2 a2 b U
&
f p f ff
f

18
G
3 I. w
& I.
II.
pp
f
slowly introduce
23
H a2 flutter-tongue
bw w U U


&
pp p f
f
end of conductor gives
30 metered ca. 15 - 20 sec. percussionists and keyboardists
II. conducting cue to fade off
&
b >
ff