Description of a Struggle

Instrumentation
Instrumentation
& setup
• Soprano Voice
• Double Bass
• Piano Suggested Stage Layout
• Celesta
• 1st Percussionist (Ratchet, Tam-tam, Foot Pump)
• 2nd Percussionist (Bass Drum, Thunder Tube, Foot Pump)
• Sampler
Technical Requirements
• 3 x Foot Pumps
• 4 x Dictaphones (for finger cymbal tree)
• 8 x Finger Cymbals (for finger cymbal tree)
• 4 x Mini Imac speakers (for speaker tree)
• 2 x Mic Stands (for finger cymbal tree and speaker tree)
• PA
• 1 x Double Bass pick-up
• 1 x Projector and Projector Screen
• 1x Audio Cassette Tape
• 2 x Laptops (1 for video 1 for audio)
Setup of The Finger Cymbal Tree and Speaker Tree
The finger cymbal tree consists of a line of 4 dictaphones hanging upside down from a mic stand arranged in a T shape. Their outer casing should be removed so that the pegs
used to hold and rotate the cassette tape are openly facing towards the ground. A small flat disk of about an inch in radius should be made out of sturdy cardboard or plastic.
This is attached to the rotating peg of the 1st dictaphone (the one on the left) with blu-tack or tape and a finger cymbal is attached to it via fishing wire or strong string. This
finger cymbal should hang off the disk at about 2/3 inches below the dictaphone. Another finger cymbal should be attached to the right-hand side of the dictaphone so that it
stationary hangs. Two small rings should be attached at different points down the wire/string so that when the finger cymbal hangs from the highest ring it is likely to be
struck by the opposite rotating finger cymbal, while on the lower ring it is not (a small fishing hook should be attached to the top of each finger cymbal so that they can be
easily moved and attached to each ring). Dictaphone 1 (on the far left) should be set up so that the finger cymbals are like to hit, while the other 3 should be setup so that they
hang from the higher rings, which mean they are unlikely to hit. An mini jack cable should come out of the 1st dictaphone’s headphone socket and be put through a max/msp
patch that can both record the sound of the finger cymbals colliding (and words spoken into the dictaphone’s microphone) as well as amplifying it and putting it through a
delay. The output of this patch should go to the speaker tree which consists of an identical mic stand to the finger cymbal tree setup up in the same manner except with 4 mini
Imac speakers (or similar speakers of a small size) hanging from the T shaped bar.
 Phonetics
Specific phonetics that appear throughout the piece always occur in Phonetics &
square brackets e.g. [ɛ]. When single unboxed letters occur out of the
context of a phrase it is the name of that letter that should be spoken techniques
not it’s sound (e.g. the ‘n’s’ in the 3rd Speech).
Phrases of the soprano’s speech that are identical to samples of sleep
talk being used in the piece should be pronounced in a similar way
(e.g. Doef-a-fois’). Vocal Techniques
The list of phonetics found in the piece are as follows:
- Gasping breath in.
[ɛ] - ‘e’ as in ‘pet’
[aI] – ‘i’ as in ‘high’
- Pronounce the given letter from the back of the throat and then immediately cut off
[ɑ] – ‘a’ as in ‘balm’
[œ] – ‘a’ as in ‘surf’ the sound by tensing your chest and stomach.
[oʊ]- ‘o’ as in ‘hoe’
[ɒ] - ‘o’ as in ‘pot’
- Spoken from the chest as if having been punched in the stomach (this also requires
[ŋ] – ‘ng’ as in ‘sing’
the tensing of the diaphragm).
[h] – ‘h’ as in ‘ham’
[g] – ‘g’ as in ‘go’
[i] – ‘i’ as in ‘happy’
[ʊ] -‘oo’ as in ‘good’ - The singer is to breath in in a croaking fashion while making an ‘h’ sound
[æ]– ‘a’ as in ‘bad’ (unless otherwise indicated).
[s] – s as in soup
[z] – z as in zip
[d] – d as in do
- Words are to be mouthed but not said. Emphasis should be made on the sounds
the mouth makes in the forming of the appropriate shapes, though essential this is more of
Other Points theatrical device than a musical one.
• Pauses – Lengths of pauses are indicated in seconds above the fermata. These
are only suggestive but their lengths should be taken into consideration e.g. a 5
sec pauses is actually a fairly substantial gap between events and this gap should
really be felt (ultimately it is better to overestimate the pause then - Words should be whispered.
underestimate it).
• Cues – Cues in the score are indicated with a above the top staff. These are - Note should be half-sung as if only attempting to sing.
again only suggestive but if used should be indicated by whoever is playing the
samples.
- Inhalation
• Foot Pump – The foot pump should be ‘played’ with either foot. The symbol for
pushing the pump down and releasing it is . - Exhalation
 Notes on
Performance
As Description of a Struggle is open to interpretation the way in which it is staged can vary from performance to performance. Variations may occur not only in the actual
performance but also in the way the piece is presented. This may include variations such as amplifying the whole ensemble (not just the bass), applying specific costumes or
positions to players, working beyond the stereo field of sound, reinterpreting the ending etc.
There are, however, recommended ways in which to enhance the performance of the piece which includes (most importantly) the distribution of the selected sleep talk
samples to appropriate players within the ensemble (e.g. the soprano and the double bassist) prior to rehearsals, thus giving them the opportunity to hear what they are
sometimes imitating and to give an identity to a character that they often respond to and interact with.
© Copyright Nick Jones May 2009 London
Appendices
 Wordless Rap No.1
- Appendix 1 -
A semi-improvised ‘rap’ using a given phrase as source material. The
phrase should never be spoken in full but can
be hinted at to create moments of near-clarity within the Phrase:
otherwise unintelligible. “I
won der
di d
I/i f
I”

The grid opposite acts as a stimulus and suggestive combination of
sounds. They can be read horizontally, vertically, randomly or not at all;


The letters shown in the grid should be pronounced as
in either case the actual phrase itself should always consciously be in
they would within the actual word. Small ‘i’ refers to ‘i’ as
the performers mind. Ultimately the desired effect is hopelessly trying to
in ‘if’ and ‘did’ while a big ‘I’ refers to ‘I’ as in ‘I wonder’.)
articulate something of importance.
Rhythms are chosen freely though should appear almost like a constant
flow of ‘verbal diarrhea’.
The likeness to rap should be in the delivery, (e.g. strong, arrogant,
violent etc.) and may take up a similar style of phrasing that is at the
discretion of the performer. w er n er i f er d i d i I
The ‘rap’ can either be performed a cappella or with a choice of
backing track (e.g. hip-hop, soundscape etc.) o der on d w er i f f f er o
The descriptive words below are given within the context of the
‘Description of a Struggle’ and are there as a source of theatrical di I i fI on der w w er o n d
stimuli.
I I I w der w o w n der wo n
w er er n I w der i i f f I
Theatrics
o o w o o n er n n d d er
• Aggressive, relentless, uncontrollable.
if if der I der I wo if n er d I
• There should be the sensation of an endless stutter that never resolves
itself and that this disability to coherently speak is increasing the I d er o n der i f f f er on
frustration and violence of the character.
w i d n on f er d er w n der
o der n der if I der i d I i I
n er w er w der on der d i I d
er d i f I on er f i I n der
 Wordless Rap No.2 - Appendix 2 -
In the same manner as ‘Wordless Rap No.1’. Emphasis on the differences Phrase:
between the pronunciations of certain vowel sounds may be employed
(e.g. ‘I’ and ‘a’ (see opposite)), as well as greater coherence with the “Die
within 
a”

word ‘with’ and ‘in’. 

Extra emphasis can also be applied on stuttering over the ‘d’s and ‘a’’s. The letters shown in the grid should be pronounced as
they would within the actual word. Small ‘i’ refers to ‘i’ as
in ‘within’ while a big ‘I’ refers to ‘I’ as in ‘die’.
Big ‘A’ refers to ‘a’ as in ‘bay’ while a small ‘a’ refers to
‘a’ as in ‘apple’.
d I i i n w in a w ith n a
i th n a a d d w in a th n
Theatrics I i a i n n a a w ith w i
With greater uses of gasps and chest pressure almost as if choking w in a th n th n a d i I d
over the words.
i th i th n n a a d d d a
th n a w th n w th in a d d
i d i i I d I w w th n a
n a w ith n a d d i I th th
a A a d I w in a th n a d
d i i I th n a w i n th A
d a d a d I i in wi th n a
a w ith n a in a in A d d i
 Wordless Rap No.3
- Appendix 3 -
Phrase:
Text remains ambiguous though short bursts of whole words (apart from
‘dream’) may be used.


The order of the cutup words should constantly be changing so that it “dream.
An d
can 
p uri fy
my”

is never quite clear what the phrase actually is. Examples include: 

• ‘If – I; m – I (my); can – I; pure – if – I (purify)’ Big ‘I’ and little ‘i’ still hold the same meaning as in the
• ‘Dream. And can purify my, dream.’ previous raps.
• ‘And can dream if – I pure if - I’ Single ‘D’s and ‘P’s are in capitals to emphasis their
plosive nature
D eam D r eam D D eam a nd and c
r eam and c can an a a P pure P P
i f I if I my m m dr dre eam a
Theatrics
• With a larger sense of desperation in trying to say
n nd c a a an can P P if I pure
something but failing to do so. Almost like hastily
solving a puzzle by seeing which bits fit and which if I c an I pure I fy m m I dr
don’t.
P ure if if I my dr e dre eam a a
• Coughing over the words should be included to the
mix of stuttering and choking. a c an can p ure pure if I I my a
c an I i f I dr eam I ure if I
P P pure if I dr dr eam I i eam d
a an c an I P if I ure m I fy
dr eam c an dr eam m I pure i I my
and an c an pure i my d ream c an I