HSP-104-04A From the State of Emptiness / Dalton / SSAA, suspended cymbal, frame drum $1.65

From the State of Emptiness

for SSAA choir, suspended cymbal and frame drum

Hickory Street Publishing · hickorystreet@comcast.net · www.catherinedalton.net

Program Notes From the State of Emptiness blends memories of Tibetan monks chanting heard during my travels in the East with the melodic shape and texture of Western chant. In weaving these two styles together my intention was not to emulate any one style of sacred music, but to bring my own sacred experience to the creation of new music.

Performance Notes From the State of Emptiness uses the techniques of Harmonic Singing and Harmonic Humming (see instructions below) made popular in Western choral singing by Sarah Hopkins. For purposes of this piece, the sound produced using these techniques is meant to be both both a reflection and symbiosis of the Dung-Chen, a long trumpet-like instrument, and Tibetan sacred chanting. This overtone-rich drone provides the base for the chant “Om Mani Padme Hum” and the English text, both of which should be sung using the head voice with no vibrato - similar to Gregorian chant. Finally, although the tempo should be free and breath marks are noted, the song needs to have a consistent sense of forward motion.

*Harmonic Humming: Beginning with a resonant “O,” close you lips to a “hum.” Now raise or lower your tongue slightly letting it touch the roof of your mouth in different places to hear the changes in the harmonics. You can also make slight changes in the spacing of your teeth. The sound should be very resonant and forward. Although, you will be singing the same note, you will hear different harmonics within that note.

**Harmonic Singing:Begin with a forward placed and resonant “O,” then change the shape of your mouth to make the following sounds, mm - o - or - ar - rr - ree. This will make a “second voice” that includes the overtones that are a part of the bass fundamental you are singing. You will want to focus your mouth to get a clear sound.

Accidentals: Accidentals are not repeated for repeated notes unless one or more different pitches intervene.

Percussion: This piece calls for a double-sided frame drum hit with a stick. This produces a dry sound with little resonance. Because the drum is played with a single stick, the drum roll will inevitably be uneven. This is intentional.

“Om Mani Padme Hum”: This common mantra, inscribed on rocks, musical instruments, prayer flags and prayer wheels in Tibet, cannot be easily translated and yet is said to contain the entire teachings of the Buddha. In addition to the numerous translations, there are numerous variations on the pronunciation of this mantra. Below is a phonetic guide which approximates a Tibetan version.

Phonetic Guide

Om Man- i Pad- me Hum

Dictionary Pronunciation ōm mä nā pä mā hoom

IPA oum mɑ ne pɒ meı hum

________________________________________

“Yet the fact remains that we are invited to “... the very motion of our life is forget ourselves on purpose, cast our awful towards happiness...” solemnity to the winds and join in the general dance.” Thomas Merton The 14th Dalai Lama of Tibet

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Soprano 1

Soprano 2

Alto 1

Alto 2

Cello

Sus. Cymbalplayed with

stick

Frame Drumplayed with

stick

w

U

Om*

w

U

Om*

w

U "

| |

Û Û Û Û Û Û Û

Senza MisuraAncient, eternal

1/3 of the altos using harmonic humming

10 - 12 sec.

1/3 of the altos using harmonic humming

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From the State of Emptiness

Catherine Dalton

for SSAA choir, suspended cymbal and frame drum†

© 2008 Catherine Dalton, ASCAPHickory Street Publishing, 84 Hickory Street, Mahtomedi, MN 55115 · 651-426-9284 · Hickorystreet@comcast.net • CatherineDalton.net

HSP 104-04A

†Also available for SATB choir, suspended cymbal and frame drum

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A 1

A 2

Vc.

Sus. Cym.

Fr. Dr.

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Om*

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Om*

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Û Û Û Û Û

p

p

p

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Û Û Û Û Û Û

| | |

12 - 15 sec.

ten.

ten.

ten.

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S 1

S 2

A 1

A 2

Vc.

œ#

Om

œ#

Om

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Om*

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Om

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Freely q = 84A

1/3 using harmonic hummingp

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œ# œ œ œ

Man i Pad me

œ# œ œ œ

Man i Pad me

œœ œ œ#

Man i Pad me

F light tone

F light tone

F light tone

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Hum

w

Hum

w

Hum

ten.

ten.

w#

U

w#

U

w

U

F

F

w

"

Om*

w

"

[Silence]

[Silence]

[Silence]

p

p

œ œ œ# œ œ

Om Man i Pad me

œ œ œ# œ œ

Om Man i Pad me

œ œ œ# œ œ

Om Man i Pad me

w#

Hum

w#

Hum

w

Hum

ten.

ten.

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F

F

- - - -

- - - -

- - - -

2 From the State of Emptiness

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S 1

S 2

A 1

A 2

Vc.

œ œ œ œ

From the state of

œ œ œ œ

From the state of

œ œ œ œ

From the state of

p stagger breathingB

[Silence]

[Silence]

p stagger breathing

p stagger breathing

œ œ w

emp ti ness

œ œ w

emp ti ness

œ œ w

emp ti ness

œ œ œ# œ

the self flows free

œ œ œ# œ

the self flows free

œ œ œ# œ

the self flows free

œ œ œ#

ly to the

œ œ œ#

ly to the

œ œ œ#

ly to the

w#

sky

w#

sky

w#

sky

œ- œ œ œ

breath ing the sweet

œ- œ œ œ

breath ing the sweet

œ- œ œ œ

breath ing the sweet

--- -

- - - -

- - - -

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S 1

S 2

A 1

A 2

Vc.

wœ

breath of

wœ

breath of

wœ

breath of

w#

,

life.

w#

,

life.

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Om

w#

,

life.

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p

p

œ œ œ œ

Man i Pad me

œ œ œ œ

Stagger breathing

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Hum

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w

w

œ œ œ œ

From the state of

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(m)*

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,

œ œ œ

From the state of

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P

P

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œ œ w

emp ti ness,

œ œ w

emp ti ness,

œ œ œ# œ

the self flows deep

œ œ œœ

the self flows deep

- -

- -

- -

3From the State of Emptiness

!!!!!!!!

This page intentionally left blank. !!!

For a perusal score, please !contact the composer at !

Catherine@HickoryStreetPublishing.com

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S 1

S 2

A 1

A 2

Vc.

œ œ wœ

Self be comes the

œ œ wbœ

Self be comes the

w

,

(m)*

œb œ w œb

Self be comes the

Ó

w#

Whole.

w#

Whole.

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Om

wn

Whole.

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p

p

œ œ œ œ

Man i Pad me

œ œ œ œ

w

Hum

w

w

w

œ œ œ œ

From the state of

w#

Om*

w

(m)*

œ œ œ œ

From the state of

w

E

P

P

œ œ w

emp ti ness

œ œ w

emp ti ness

- -

- -

- -

-

-

-

&

&

&

&

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ã

S 1

S 2

A 1

A 2

Vc.

Sus. Cym.

œ œ œ# œ

the self flows free

w#

(m)*

w

(m)*

œ œ œ# œ

the self flows free

w

w

w

w

w#

(m)*

| |

p

| |

10 - 12 sec.

Û Û Û Û Û Û|

æ

5From the State of Emptiness

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S 1

S 2

A 1

A 2

Vc.

Sus. Cym.

œ

œ#

œ

œ#

œ

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U

F

[Silence]

F

[Silence]

[Silence]

[Silence]

[Silence]

F

F

F

F

F

œ

Om

œ

Om

œ

Om

œ

Om

œ

P

P

P

P

P

œ œ œ œ

Man i Pad me

œ œ œ œ

Man i Pad me

œ œ œ œ

Man i Pad me

œ œ œ œ

Man i Pad me

œ œ œ œ

w

Hum

w

Hum

w

Hum

w

Hum

w

w

w

w

w

w

- -

- -

- -

- -

6 From the State of Emptiness

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S 1

S 2

A 1

A 2

Vc.

w

w

w

w

(m)

w

(m)*

w

(m)*

w

(m)*

w

(m) o or ar rr ree

S 2

Smallgroup(2-3 onpart)

** Harmonic Singing: Gradually change the shape of your mouth to make the indicated phonemes in any order. As everyone sings you will hear the shimmering of high harmonics. (See performance notes for more detail)

(m) o or ar rr ree

** Harmonic Singing: Gradually change the shape of your mouth to make the indicated phonemes in any order. As everyone sings you will hear the shimmering of high harmonics. (See performance notes for more detail)

A1

(m) o or ar rr ree

** Harmonic Singing: Gradually change the shape of your mouth to make the indicated phonemes in any order. As everyone sings you will hear the shimmering of high harmonics. (See performance notes for more detail)

A 2

40 - 60 sec.

7From the State of Emptiness

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S 1

S 2

A 1

A 2

Vc.

w

(m)*

w

(m)*

w

(m)*

w

(m)*

w

slowly, one by one, everyone returns to a resonant hum

slowly, one by one, everyone returns to a resonant hum

slowly, one by one, everyone returns to a resonant hum

10 - 15 sec.

p

p

p

p

p

8 From the State of Emptiness

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ã

S 1

S 2

A 1

A 2

Vc.

Sus. Cym.

Fr. Dr.

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(m)

w

(m)*

w

Om*

w

Om*

w

| |

| | |

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p

p

w

w

w

|Û

Û Û Û Û Û Û|

æ

10 - 15 sec.P

P

P

P

P

P

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Û Û Û Û Û

| | |

w

w

w

|

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fade to nothing

fade to nothing

fade to nothing

fade to nothing

fade to nothing

p

p

9From the State of Emptiness

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She Rises SSAA double choir, a cappella HSP-109-05

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The Path You Walk Upon SATB, piano, violin HSP-100-01B SSA, piano, violin HSP-100-05 SA, piano HSP-100-02

Today will be warm: A Story Cloth in Sound SATB, Tibetan hand chimes, djembe, hand-chimes HSP-106-01B Narration: Kao Kalia Yang

Solo VoiceFly with Me Solo voice, piano HSP-203-01

Magnolia Trees Solo voice, piano HSP-207-01 Text: Vikram Seth

Siana Solo voice HSP-206-01

Silent Tears Solo voice, piano HSP-201-01

Turning into April Solo voice, piano HSP-205-01 Text: Ann Bushnell

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Dalton’s choral, instrumental and solo voice compositions are inspired by classical, jazz, folk, world music and chant. Winner of MacPhail Center for Music’s Composition Scholarship, Dalton was recently selected to participate in Nautilus Music-Theater’s nationally recognized Composer-Librettist Studio. Her music has been performed in the United States, Canada and Europe. Performers of her music include the internationally known new music ensemble Zeitgeist, vocal ensembles Amaryllis and Camerata Nova and singers Carrie Henneman-Shaw, Jeffrey Hess, Nita Gilbert and Nicole Warner in addition to numerous choirs. Dalton recently served as Composer-in-Residence for Global Harmony Community Choir and Community of Peace Academy Choir. Her recent commissions include works for concert band, women’s choir and world-music choir. Dalton lives in Mahtomedi, Minnesota with her husband, three children, one dog, two cats, two guinea pigs, an armadillo lizard and a giant African millipede.

Hickory Street Publishing · HickoryStreet@comcast.net · 651-592-2383 · www.CatherineDalton.net