The piece is extracted from Tom Dalzell's The Concise New Partridge Dictionary of Slang and Unconventional English. Based on the number of text rows in the entire dictionary, three categories of phrase sequences have been obtained, distinguished from each other with the use of the three type-faces: regular, bold and italic. These type-faces were subject to the interpretation of my father and I, whilst reading the phrases aloud. My father spoke boldly, as an old-timey radio newscaster. I used my regular speaking voice as well as an 'italic' voice situated at the breaking points between chest voice and falsetto throughout my entire speaking register. The spectrograms were measured for the fundamental frequency and the intensity (in dB) to determine the tiers for pitch and dynamics throughout the work. These sequences, including a down-mix of the bold and italic tracks, were assigned to a respective instrument of this four-head ensemble based on the pitch contour of the sound.
The role play:
Bass saxophone (regular text)
Trumpet in C (bold text)
Piano (bold-italic text)
Violin scordatura (italic text)
Dynamics are a constant presence in the piece and are used for a fluid modulation, the dynamics in the score are placed regularly one after the other, useful as a counting device. The written dynamic range goes from OO (silence) to fff (as loud as possible on the specific note.) Keep in mind, though, that certain notes can only be quiet and others can only be quite loud. The dynamic indications are then relative to each specific note. The marking 'ppp' indicates 'as quiet as possible on the specific note without being silent'.
The quietest notes possible will certainly be quite loud in the higher register of the trumpet and sax, so additional techniques are used in playing to produce different degrees of loudness, starting from the already loud 'ppp', on these notes. The very soft notes on an instrument during louder passages on the surrounding instruments are played as soft as possible, to submit to a greater power unless the 'p' is more powerful than the surrounding 'f'.