Jeremy Woodruff

First Element
for Flute and Piano with Audio

Performance directions :
1. Listen several times to the included audio reference track.
It is a more important part of the score than the notation.

The Singers are:

(in order of appearnce)

2. Without looking at the notation try to emulate the singing by playing on your instrument.
Spend considerable time away from the score with the recording until you feel
you can play along with the recording, keeping up with the singing with ease.

Srividhya Chandramouli
Charveh Motlagh
Leadbelly
Karen Dalton
Bjrk

Flute:
3. Add the appropriate microtonal intervals, phrasing, contour, extended techniques
and tone colors at your own discretion in order to emulate the singers even farther.
Be as creative as you like. Write them in to your part. Give each singer particular
individual characteristics.
Piano
3. In the parts of the score that are informed by the audio reference develop furthur
ornamentation and nuance of your own, emulating the voice as far as possible.
Playing inside the piano is also conceivable. Freely notate these inventions on your part
to keep track of them. Give each singer particular individual characteristics.
4. The notation is lacking conventional graphic elements such as microtonal accidentals,
glissando lines, even phrasing marks etc.which you will need to fill in based on your learning
process from the recording and your own ideas. Repeated notes in the notation may
sometimes mean that there is microtonal deviation within the pitch. The audio reference is
a way to add more depth to your playing than graphic notation could. Engage with the
recording as if it were a living teacher from whom you are learning by rote. Deviation
from the written notation is expected and may be taken as far as desired towards the
purpose of emulating the voice.
Capturing the nuances of the voice by means of an instrument generally fall into 2 categories:
1) Reductionary: A cool objective approach which reduces the line to its primary shapes
and most salient characteristics.
2) Illusionary: Adding extra layers and nuances of sound to amplify the initial vocal
characteristics, thereby creating a sort of expressionistic picture of the vocal line. This creates
a 'blurring' effect which can be closer to how we perceive the sound of the voice than an
imitation that is technically 'exactly' like the voice.
Notice that both approaches are metaphorical.
Notice that the transcription is transposed to various registers from the original.
Accidentals carry through the bar.

Audio Reference:
Included with the Flute part:
- One track with the singing passages where they occur in the timeline of the piece
- The passages as seperate tracks numbers one through ten.
Included with the Piano part:
- One track with the singing passages where they occur in the timeline of the piece
- The passages as seperate tracks numbers one through ten.

Audio Accompaniment:
Included:
- Audio track for the live performance
- The passages as seperate tracks to be triggered live

Jeremy Woodruff
First Element

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Specific ornamentation here is just an example.
Always emulate the recorded voice as far as possible.

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First Element

Specific glissandos here are just an example.

Always emulate the recorded voice as far as possible for
pitch (including microtones,) contour, tone color, nuance etc.

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First Element

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First Element

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First Element

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First Element

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First Element

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First Element

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