BATH MUSIC

in memoriam John Cage

instructed freedom work for any number of

performers
at least two performers should perform the work
“Instrumentation” – flexible, but shouldn’t be totally neglected

1 Large Bathtub – filled to at least 1/3 depth; water or any liquid that is transparent

1 Clothesline – strung above the bath

1 Large transparent invaluable vase – filled with four different flowers (fake or real, doesn’t matter) – is broken

2 Plastic Ladles

1 Metal Ladle

6 Gold coins – can be real or fake (if fake, make them comedically large)

4 Riverstones – of 4 different sizes (moderately small, but make sure they don’t float)

5 Pots and pans – overturned and moved in and out of the bath

1 Hula-Hoop – used by one player

2 Temple Blocks

4 Javanese/Burmese Gongs – used as water-gongs

3 Bird Whistles

6 Tam-tams – 3 small [not all same type of small], 1 medium, 1 large, 1 very large

1 grand piano – lid open, with free preparation [the piano should have at least six notes prepared]

any acoustic instruments that performers desire should be included as well – don’t hesitate to introduce them into
the work. Although, don’t put any instruments at risk with the bathtub and the water inside.

note: sustain pedal should be held down with a weight for the entirety of the work, and is removed at the
conclusion.

NOTES FROM THE COMPOSER:

This is a presentational work that involves a vast variety of sounds, and should contain a sense of humorous
calamity about it. The interaction on stage between the performer/s and objects should contain a quizzical nature,
but evolve beyond the boundaries of simplicity.

Experiment with the sound of the bath and the objects within it. Test the sounds; similar to a child at play.
Performance of the work should have a totally deliberant air about it, but one should avoid choreographing the
work too much.

The instructions are loose and there is no specific time limit. Although, an adequate length for the work is around
8 – 10 minutes minimum. It is encouraged that performers initiate a story like sequence to the staging of the work
and exploring all the possibilities of their instruments onstage.

It is also encouraged for performers to interact with the audience, be it children or adults. Immersive
experimentation is a key ideology of the work.

This may be used as an installation work, or as a workshop.

Score supplied within contains pure graphic, revealing a contour of what may eventuate onstage. Intepret it as
you please.

THIS WORK WAS WRITTEN IN HONOUR OF JOHN CAGE’S WORK, “Water Walk”