Part 2 – Scene 1
Music from intermission will continue through Gordon’s monologue, but it will not be very loud. It will create a non-specific soundscape that is neither here nor there.
2.1 – 2.2 Transition
Transition back into music similar to Part 1 – Scene 5. This would be a good spot for a composed cue that is similar to The Album Leaf music which I’d like to use in 1.5
Part 2 – Scene 2
Phone Rings:
until Jean answers (Hermia)
2.2 – 2.3 Transition
From Stationary Store into Bar Music (sultry, smokey jazz) intertwined with snippets of phone ringing. This is setting the mood for a drunken Hermia, so I’d like to use some warble/detuning/pitch shifting to convery the unstableness of Hermia’s state.
Part 2 – Scene 3
Bar music continues throughout
Phone rings:
until Hermia grabs it (Stranger)
4 rings (Stranger)
By the time the phone stops ringing it will be silent. Music will have come to an end.
Music returns when “years of marriage come back to her with a new light shining on them”?
Phone rings:
until Jean answers (Stranger)
Film noir music as Jean decides to go to Johannesburg…
2.3 – 2.4 Transition
…Film Noir music continues…
Part 2 – Scene 4
Phone Rings:
until Jean answers (Stranger – more ominous sound than before)
Sound effects during fight? culminating in smashing of lamp!
Music continues throughout scene and comes to a peak during fight scene.
2.4 – 2.5 Transition
Reversed sounds, snippets of cell phone rings, very cut up and digital. A more immediate version of the sound during Gordon’s soliloquy. A specific sucking sound signals Jean’s entrance into Gordon’s hell.
Part 2 – Scene 5
Recording of Jean from first Scene “Should I stay with him, there seems to be no one in this cafe.” which is filters as though coming though a cell phone and floats across/around the soundstage.
Cell Phone Ballet – I sometimes feel like this should be in 3/4, a strange type of waltz. Or else no time signature at all. I could use different versions of the cell phone ring to create a Steve Reich type of composition, that evolves over time because of the interactions of distinct repeating motifs. There will be many conversations layered over the top coming out of different speakers/directions. I plan to have people call me and leave creative messages on my own phone so I can use those recordings in the piece.
Sucking sound signals Gordon’s entrance into his mother’s hell.
Reverse sounds accompany Jean’s reemergence into the airport.
Benign airport muzak in background? Boring, normal, of-this-world music?
2.5 – 2.6 Transition
Not sure about this cue yet. It will be Jean’s music, whatever I decide that is. Something that tends more towards analog than digital. This is a world where the cell phone no longer exists.
Part 2 – Scene 6
Sucking sound again when Mrs. G throws herself into the fire.
Music in this scene is a little bit of everything, like a reverse overture:
Mrs. G’s hymm
Hermia’s skating music – Toot Toot Tootie Toot
Dwight/Jean’s music, still leaning forward into the future, not resolving, hopeful
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