The Writings on the Wall

(Dedicated to facebook fanatics)

Text 1 A Text 2 Text 3


e=125 (once only) Repeat A, but with short rests inserted to


punctuate the music
   
The opening interval should exceed an octave

    
W WB WB WB WB
W W WB
 
B B B BBB

BW B
W B WB
B W WB
B WB
B
5 1 5 4 1 5 4 2 1 5 4 2 1 2 1 5 4 2 1 3 2 1 3 1 3 1 3 1 3
2 2 2 2
ff sempre

    
   
 
B B B B
B B BB B WW B WB W WB WB
BB BB BB

W 
WB 
WB 
WB WB

The entire box may be occasionally repeated,

B (r.h./l.h. adjacent notes) but this should be continually varied by repeating Text 4
Text 5
any or all of the four bracketed components. Repeat B,varying the i nterval of the two
When the last beat is repeated, the chord should be accented chords and increasingly punctuate with
this higher figure (hands in close position):
    
7 consistent

 W
B
W W
B
W W
B
W B

 W B W WB W WB B

W


W W

BB BB BB W BB BB
W
p ff
    

W W W W W W
 B B B B


W B W WB W WB

W B

  W


W

BB BB W BB W
 Text 6 Text 7a
(drone note always quieter than 'melodic' material, though these should be varied)
C (fast as possible)

2 11 'A' again (as opening)


express.

W
B
W W mp

B

B B
 
W B W
B
W W B
1432 B (triad) 1432
W
f


mp express.


W
(triad) mp


W W


B B
mf W
W
B 1432
W

Text 7b Text 7c Text 8 Text 9

15 express. express. 'A' again (as opening - short)
(triad)



  B  W 
W
 W
 

B
 
B W W B B B W
B W
W
W
B
B
W W
W B B (triad)
1432 1432 W
f following, fff
and mimicking


express. the word 'update'


B    
B (triad)
 
W  W
 W

 B
B W


B

1432 B 1432

mp mp Text 10 Text 11
19


The rapid drone should be passed arond the various registers.
At first each pitch should be dwelt upon though there should be a gradual
increase in the rate of change and increase in energy. (Always quiet though)
pp
Material that follows the 'C' procedure (a wide dyad,
triad containing a close interval, spread wide-triads and a close position triad).
The new 'drone' should always emerge from within the triad.
This should be varied by exploring registral change at any point in the procedure.


 Text 12 Text 13
23 'A' again (as opening - short)
3



As 'B', but reversed (the interrupting 'salsa' figure should be in the
lowest register0 


 

Here the 'salsa' figure should dominate, interrupted by the original 'B' idea,
which should now be separated between the hands in register. Text 14 Text 15

   

27 Eventually the 'salsa' figure should be de synchronised as below: 'A' again (as opening - short)
W W W W W WB
 

B B B
WB W WB W WB W B
 W W W W W W B
  
W BBW W BB W W BB W B


ff

 
 W W W W B
   
W W W W W W BB W BB BBW
B B B
   
B B W W

W BW W B W W BWB

Text 16


31
Just the drones, as in the secion following 'text 9.
This should be pp sempre.

'A' again, but now mixed with the two figures from 'B'
 This should involve a lot of register changing and be virtuosic in intensity -
Manic...
Eventually, as one hand is playing, the other should remove the mask and throw on floor.
Always maintaining a drone, the performer should remove the costume
(like a strange escapology performance).
The focus should now be on the laptop.

 The 'costume' removed, the performer should alternate rapid tapping on the laptop


keyboard with the drone (as is typing). This should give way to just the laptop, the
performer turning to focus on it. Eventually the performer should 'notice' the audience
and stop (perhaps a little embarassed?).
The performer should shut the lid and stand to acknowledge the end of the piece...?