Here’s what to hit in the gun bay, specifically
Here’s what to hit in the gun bay, specifically
I’ve spent the last two days taking the morse code rhythms generated thus far, and some more (around the names of the vessels), and thinking about how I could re-use those rhythms and develop them (like a series of variations) using the sounds Claire and Bree discovered in their workshopping in the actual gun bay. I’ve not only extended the score, but I’ve created a “map” of the gun bay in three parts, so that the performers can move around it, in a circle, playing in concert, just as the original operators would have worked together. It looks like this…
The three colours on the floor plan indicate the three areas in the circular gun bay that the players will move around.
Each section has a more detailed page with photographs and diagrams showing exactly what each object mentioned in the score is, and where it is found.
The score is based on the established morse code rhythms from the names of the vessels, including subtle rhythmic development and variation.
Bree referred to the white capsules shown here as “100% asbestos” in the workshop when she played on them. They sound amazing, sort of like deadened claves. So that’s what I called them in the score.
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