Tree of Life Pittsburgh

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Set up 2 Percussionist 1: Stopwatch Condensor microphone 2 large terra-cotta pots 1 of these pots has two ‘magic wand’ vibrators in it (vibrators should be turned on, on higher setting, but not plugged in. Player 1 needs a power strip in which to easily plug/unplug the vibrators rapidly.) 2 unevenly tuned tom-toms, one higher than the other Floor tom, detuned as much as possible (without being able to hear rims when they are struck) G#4 almglocken, suspended Heavily detuned picollo tom tom, suspended with a surface transducer attached to the head Shofar Bass drum Two C7 crotales disks 2 bows Midi footpedal Speaker Percussionist 2: Stopwatch Condensor microphone Small cup of sand handful of small sticks Shofar Snare 1 (begin with snare off) Surface transducer (on snare) 2 octave chorales set (minus C7 which is given to player 1) Subwoofer Percussionist 3: Stopwatch Condensor microphone Small piece of thick styrofoam Bow Snare 1 (begin with snare off) Surface transducer (on snare) Piece of lightly crumpled tinfoil 2 octave chorales set (minus C7 which is given to player 1) Speaker Audience
3 Electronic playback: All electronics, consisting of several sound files, are run out of a max patch provided by the composer. Sounds are marked with cue numbers as they appear in the score, and can be cued either by a performer with a footswitch or by an electronics operator. Surface transducers need to be secured to both snare drums. These need to be connected to the max patch as outputs 2 and 4. In the first half of the piece a few elements are amplified. An electronics operator is required to mix these sounds as they occur in the piece. Sounds which are to be amplied are marked with a microphone symbol above the staff. Crotales Section: Mm. 78-98 consist of nearly impossible crotales material for percussionists 2+3. The intention here is for the performers to attempt to play the material as written, with the knowledge that it will likely not be possible to play it accurately note-for-note. The resulting music should be a tense but consistent surface, with random articulations arising due to the performers’ attempt to play all of the material. This piece was written for Line Upon Line Percussion. It is dedicated to the victims of the shooting at the Tree of Life synagogue in Pittsburgh. -Richard Gottfried, 65, of Ross Township -Rose Mallinger, 97, of Squirrel Hill, City of Pittsburgh -Jerry Rabinowitz, 66, of Edgewood Borough -Cecil Rosenthal, 59, of Squirrel Hill, City of Pittsburgh -David Rosenthal, 54, (brother of Cecil), of Squirrel Hill -Bernice Simon, 84, of Wilkinsburg -Sylvan Simon, 86, (husband of Bernice), of Wilkinsburg -Daniel Stein, 71, of Squirrel Hill, City of Pittsburgh -Melvin Wax, 88, of Squirrel Hill, City of Pittsburgh -Irving Younger, 69, of Mt. Washington, City of Pittsburgh
Page 1: Daniel Meyer-O’Keeffe Tree of Lif
Page 5 and 6: 5 whimpering ° 4 0:50 1:00 1:10 {
Page 7 and 8: 7 whimpering ° 13 2:20 2:26 4 sudd
Page 9 and 10: elec. elec. 9 { sine tones mic 2 mi
Page 11: 11 62 9’’ 13’’ 13’’ 3
Page 14 and 15: 13 brown { noise elec. crotales st
Page 16 and 17: 15 brown noise st at 30hz lec.{crot

Tree of Life Pittsburgh

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