2

A
Voce *)

all physical movements must be very mechanical, almost robotic, in a highly stylized way for the singer in secion 1.

MAD JUDY 1
Ju
2

= ca. 160

(When

the

ham let hailed a birth m.d.
2 2

dy used to cry:
2 2

When she
2

heard

our christening mirth

**)

2

2

2

2

2

m.s.

V. She would kneel and sigh. She was crazed,we knew, and we Hu moured her in fir mi ty.)

3

*) the text in section A is only mouthed. Accents are indicated by the jaw. **) none of the notes are sounded in section A, but the keys indicated by the music must be lightly touched in the rhythm indicated, producing a light percussive effect. Also the dynamics must be mimed physically.

B
V.

a tempo Iº

***) When

the

ham let hailed a m.d.
2 2

birth

Ju
2

dy used to
2

cry:
2

When she
2

heard

our christening mirth

***)

2

2

2

2

2

m.s.

***) come sopra, but notes that have black note-heads must be sung and played.

3

V. She would kneel and sigh. She was crazed, we knew, and we Hu moured her in fir mi ty.

3

C
V.

a tempo Iº

When

the

ham let hailed a

birth

Ju

dy used to

cry:
2

When she
2

heard

our christening mirth

m.d.

2

2

2

2

2

2

2

2

2

m.s.

(ca. 3")

V. She would kneel and sigh. She was crazed, we knew, and we Hu moured her in fir mi ty.

3

4

2
When the daugh ters and the

V.

V. son (s) Ga thered them to

sempre legato

V. wed, And we like in ten ding one (s)

(

)

poco

staccatissimo

V. Danced till dawn was

molto

5

V. red,

V. Danced till dawn was red, ( = )

V. She would rock and mut ter,

V. m o
4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1

4

3

2

1

4

3

2

1

4

3

2

1

4

3

2

1

6

V. o er to i sto y shore!

4

3

2

1

continue these fingerings and follow the general, circular contour of the line indicated. The specific notes are not important, and the percentage of notes accurately played is not important. Gradually play fewer and fewer notes, but make sure percussive finger thuds against the keys are heard.
4 3 2 1

( )

( )

V. She would rock and mutter, "More cor ners to this sto ny shore!"

No notes playing, just thud of fingers on keyboard. Slowly lift fingers off the keyboard and into the air. Fingers hover over keyboard continuing fingering and circular motion.

V.

(più veloce possibile) più lunga corta

senza pedale

MOLTO

repeat these pitches in any order, with varying patterns as fast as possible, experimenting with different lip formations of "w" almost spasmodically twitch-like in the jaw. ca 5" ca 3"

3
3 3 3 3

7

= ca. 60

V. ww w when ww w ol d ww w

3 3

m.s. only using 3rd finger in both hands peck at these notes staccatissimo, sost. pedal almost as if the two fingers were fighting over the notes.

poco a poco the singer starts loosing control of tongue until tongue is flapping around and in and out of mouth creating a kind of blubbering trill. Singer becomes more and more visibly disturbed by this.

= ca. 60
very breathy "h", almost labored V. H (h)ea

moltissimo

(poco)

ca 3"

dsman Dea

th

l

[l]

= ca. 72 - 84
normally. Visibly relieved. V. lai (più veloce possibile) (d) ha nds

senza pedale

8 slap hand across mouth. wide eyed terror.
6 6

= ca. 60
clear diction
6 6 6

diction starts to dissolve
6

V. on a babe or twain on a babe or twain on a babe or twain (on a babe or twain)

Not even touching keys, then poco a poco finger thud against keys, then playing.

With hand still over mouth, begin blowing air into hand. Slowly at first, then faster, begin moving / jerking jaw around. V.

staccatissimo sempre 3
3 3

= ca. 60

3

3

sempre 3

V.

V.

Violently remove hand mechanical, like a robot. NO visible reaction.
7 7 7 7

9

V.
She would feast, and by her brands She would feast, and by her brands She would feast, and by her brands She would feast, and by her brands

= ca. 60
V. sing her

8ba

senza pedale

8ba

3

V. song a gain

V.

10

go into crouching position slowly, tuck head into knees.

= ca. 50
V. She would

Eyes blinking, face twitching, Begin swatting at imaginary flies. mouth contorting, tongue flailing.

3

(

)
a gain

3

Begin muttering to yourself. Slowly lift up head in wild-eyed terror, but with a sense of detachment. Almost a parody of horror. Begin interjecting "Blptht!" here and there. Slowly disintigrate into tongue babbling (blubbering trill). Tongue takes over physicalization, first through "blpht!" then forming all sounds (i.e. tongue becomes more and more active until it is the main production). ca. 10 - 20’ V. più veloce possibile

Spoken: "What she liked we let her do, Judy was insane, we knew.

senza pedale