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She Made in her Triumph

for voice, piano and percussion

Amanda Feery

Duration 6 Instrumentation - Soprano Piano Percussion

Performance Directions
Drum Key

Where there are square brackets in the score these indicate a free, improvisatory feel.

Taken from The Crazed Girl, by William Butler Yeats No matter what disaster occurred She stood in desperate music wound, Wound, wound, and she made in her triumph Where the bales and the baskets lay No common intelligible sound But sang, 'O sea-starved, hungry sea.' She Made in her Triumph is my first piece to set poetry to music. I thought about art songs I had studied in school. There was a calculated format - a trajectory for the melody, and a close relationship between the melody and the accompaniment. At times I felt that remaining bound to this structural convention neglected the tone of the poetry itself. This piece is my interpretation of an art song; the melody and accompaniment represent the tone and movement that personally drew me into the poem.

Voice

&4 4

U U j # j # # mm
pp

q = 60

but very rubato (b.1-14 are pretty much unmeasured), feel free to breathe where you choose dreamlike, like an improvised melody. (perc. and piano should wait for you)

&

U jU & j # # #

Perc.

15

q = 70 (with mallet) mf

mf

bow ride cymbal

lightly brush bow on cymbal

mp

(in a circular motion)

Piano

&

w w
mp

. J

& ?

mf

J
mf

w w

slight staccato

ballpark register suggestions. does not have to be exact pitches.

mf

mf

A
(cue for perc and piano)

& w

mm

mm

w
mf

mf

no

# j j . .
oh ma tter what

just a little staccato.. :)

25

rub tom skin with brushes or hands stuttering rhythm slow-fast-slow

2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4

&

Crotales

mp

w w w w

<> & ?

mute piano strings,a stuttered rhythm, feathered semiquavers are just a rough idea.

&

stress the 'ss'

di

w sa

sster

j
o ccurred

2 4 4 4

32 B 4 /4

O
p

tremolo ride cymbal (with mallet)

O O O

O O

O O

4 & 4
& 4 4 ?4 4

mf

w w w w

b> b
f

w w

mp

mp

ww

*
&

w w

B mf &4 4
she

stress the 'ss'

i in des

ssstood

per rate mu

# -

sic

j # > wow ound

a slight accent, and stress the 'ow'

j # >
wow ound

C
/
stuttering, frantic rhythm on tom. slow-fast-slow (with mallet)

40

mf

{ {

& &
tenuto

.
f

> > > > > f

(pluck piano string)

j . .

&

bring out the 'aay' in made, bold and assertive

and she maade f

46

w & w > mf & <>

# J

mf

bowed, with pedal

w w w

w w w w U w w w

#
mf

? j <> &

a very subtle glissando

w
maade

in her tri i

i umph

53

(bowed)

(with mallet) f

{ {

& & w w w ?

U w w w


mf

bowed, with pedal

. *
f

mp

w #w w *

w w w

w w w

>

tenuto

& j #
wow ound

mf

j #
wow

D

mp

ound

wound

#w

with force, a convincing statement

f and she made

60

>

O
3

lightly rub cymbal with mallet

> J

>

& >

>

b >

b &

> b > b> b b > >


made

? > & w

>
in her


made

> /
64

j O

lightly rub cymbal with mallet

> J > n> n

w
still tenuto

{ {

& & ?

b J
3

>

> b

w
tri

j3 > > # J
i i i i i umph

&

a stronger glissando glis s.

68

& &

? > > > > > & /

72

q = 75 (bowed)

& & ? &

mp

> > >

mute piano strings,a stuttered rhythm, feathered semiquavers just a rough idea.

w w
mp

mf

where the bales

77

O w w

O ~ w bw *

~ w w

~ U ww

q = 60

w w w

& & <b>w w ?

n w w

mp

*
q = 60

mp

& # and the bas

kets

lay

U
no

comm on in

# w w w w w

#
tell i ge

ble sound

U w

mf

but sang

oh

86

{
{

& w & w w w ? & w

Lightly bow, I don't want the full pitch resonanted, but more of the sound of the bow against the metal. with pedal

w w w w

w w w w

w w w w w w

w w w w w

w w w

w w w w

w w w w w

w w w w w

w w w

w w

&

w w

w w

sea

starved hun mp

gry

sea

oh

sea mf

starved

hun

gry

sea

98

& w & w w &

w w w

w w w

w w w

w w w

w w w

w w w

free time, follow tempo of voice

&

mmm mp

j # j # # w #

free time, same idea again - dreamlike, unmeasured feel.