MARQUEZ, JOSHUA T., M.M.

Incorporation of Humpback Whale Song in an

Electroacoustic Concert Piece. (2013)
Directed by Dr. Alejandro Rutty. 94pp.
Inclusion and usage of humpback whale song within the context of an
electroacoustic or acoustic ensemble has been used in recent twentieth and twenty-first
century literature such as George Crumbs Vox Balaenae. New humpback whale song
research techniques enable composers to create more representative ways, than
previously used, to effectively capture the sound environments of the wild by using
instrumental and vocal imitation or through the inclusion. I have composed a piece, Song
of the Sirens, with a researched use of the aforementioned techniques and an
understanding of the pitch material, contour, and development of humpback whale song.
In Song of the Sirens, I present the songs of the humpback whale to be that of the
mythological creature, the Siren.
This thesis investigates the deeper connection between humpback whale song and
composition by including the compositional techniques informed by new research of
humpback whale song and the process in which the techniques may be adapted for human
composition.
I provide original research led by Dr. Patricia Gray, Senior Research Scientist, at
the Music Research Institute of the University of North Carolina at Greensboro
(Appendix A/Appendix B), a score of the work (Appendix C), and the Max/MSP patches
used to perform the electronic component of the composition (Appendix D).

INCORPORATION OF HUMPBACK WHALE SONG IN AN ELECTROACOUSTIC

CONCERT PIECE

by
Joshua T. Marquez

A Thesis Submitted to
the Faculty of The Graduate School at
The University of North Carolina at Greensboro
in Partial Fulfillment
of the Requirements for the Degree
Master of Music

Greensboro
2013

Approved by
______________________________
Committee Chair

UMI Number: 1541314

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 2013 Joshua T. Marquez

APPROVAL PAGE
This thesis has been approved by the following committee of the Faculty of The
Graduate School at The University of North Carolina at Greensboro.

Committee Chair ____________________________________

Dr. Alejandro Rutty
Committee Members ____________________________________
Dr. Mark Engebretson
____________________________________
Dr. Patricia Gray

____________________________
Date of Acceptance by Committee

ii

TABLE OF CONTENTS
Page
LIST OF FIGURES ........................................................................................................... iv
CHAPTER
I. INTRODUCTION .................................................................................................1
II. COMPOSITIONAL FEATURES FOUND IN HUMPBACK WHALE
SONG ...............................................................................................................4
III. PRECEDENTS IN ACOUSTIC AND ELECTROACOUSTIC MUSIC..............8
IV. INSTRUMENTAL TECHNIQUES USED TO EMULATE
WHALE SONG IN SONG OF THE SIRENS ..................................................14
V. VOCAL TECNHIQUES USED TO EMULATE
WHALE SONG IN SONG OF THE SIRENS................................................19
VI. LIVE MANIPULATION OF FIELD RECORDINGS IN SONG OF
SIRENS .............................................................................................................28
VII. INTERACTION BETWEEN ELECTRONICS
AND CHAMBER ENSEMBLE IN SONG OF THE SIRENS.........................30
VIII. RELATIONSHIP BETWEEN SIRENS AND WHALES...................................32
IX. CONCLUSIONS .................................................................................................34
BIBLIOGRAPHY ..............................................................................................................36
APPENDIX A. PITCH LEVEL DIAGRAM OF PAYNE FIELD RECORDING ...........38
APPENDIX B. PITCH LEVEL DIAGRAM OF TYACK FIELD RECORDING ...........39
APPENDIX C. SCORE OF SONG OF THE SIRENS .......................................................40
APPENDIX D. ELECTRONICS PATCH FOR SONG OF THE SIRENS........................94

iii

LIST OF FIGURES
Page
Figure 1. Glissandi used to add movement in Song of the Sirens ......................................15
Figure 2. Instrumental ensemble upward and downward glissandi ...................................16
Figure 3. Vocal glissandi ...................................................................................................20
Figure 4. Whale glissandi vocal imitation 1 ......................................................................21
Figure 5. Whale glissandi vocal imitation 2 ......................................................................22
Figure 6. Upward harmonic glissandi and downward vocal glissandi ..............................23
Figure 7. Vocal vowel change ...........................................................................................25
Figure 8. Instrumental glissandi and vocal vowel change .................................................26
Figure 9. Electronics patch dynamic level and filtering diagram .....................................29

iv

CHAPTER I
INTRODUCTION
Humpback whales (Megaptera novaeangliae) have been known for centuries to
have elaborate vocalizations. Roger Payne and Scott McVay first demonstrated that
humpback whale vocalizations are song in 1967. Payne and McVay define whale song
to be a pattern of repeated, coherent sounds that are intentionally organized in an
aesthetically pleasing manner, intended for communication.1 There are, however,
recordings of humpback whale song collected by Frank Watlington that date back to
1958. These patterns in humpback whale song were determined by Payne and McVay to
have significance to the whale in that the males agree upon and communicate the same
song every year2 with slight variations.3 It is believed that the songs are used by males
during the mating season from November through December. Singing, however, does
occur in other seasons, waning in the spring and escalating in the autumn.4

Roger Payne, Among whales (New York: Scribner, 1995), 141-167

Ibid, 152

Milius, Susan. Humpback Alters Song If Another One Sings Along, Science News,
November 7, 2009, 5.

Clark, Christopher A., Shonda Gaylord, Leila T. Hatch, Sofie M. Van Parijs, Denise
Risch, Michael A. Thompson, Elizabeth T. Vu, David N. Wiley. Humpback whale song
occurs extensively on feeding grounds in the western North Atlantic Ocean.Aquatic
Biology Vol. 14: 175183, 2012. doi: 10.3354/ab00390, 181
1

A single whale will sing up to 23 hours per day during the mating season. A song
lasts between 10-30 minutes and may be broken down into smaller 5-8 minute sections
called themes. The themes are also made up of smaller units called phrases, which last
1-10 seconds (See Appendix A).5
With Song of the Sirens, I attempt to methodically explore the effectiveness of
humpback whale song inclusion. Song of the Sirens demonstrates the effectiveness of
including live manipulation of humpback whale field recordings via laptop performer
with WiiMote, instrumental and vocal imitations of whale song, atmospheric textures that
allude to the aural experience of being underwater or in the world of the whale, and
the informed borrowings and inclusion of directly transcribed or imitated humpback
whale song. The pitch material, contour, ornamentation, variation of material, and song
structure of humpback whale song is used throughout Song of the Sirens to present
humpback whale song through the perspective of sea-faring people of ancient times, who
understood the sounds to be that of the mythological creature, the Siren.
Chapter II outlines the pitch material and structure found in humpback whale song
and contextual information pertinent to Song of the Sirens. Chapter III provides
examples of how the techniques discussed in Chapter II have been used by composers in
previous acoustic and electroacoustic pieces. Chapters IV and V describe instrumental
and vocal techniques found in Song of the Sirens and how the techniques used in Song of

Payne, Among whales, 144

2

the Sirens correlate to the techniques outlined in Chapter II. Chapter VI describes the
electronic component of Song of the Sirens. Chapter VII demonstrates the possible
effectiveness of live manipulation of field recordings by describing the blurred line
between ensemble and recording. Chapter VIII briefly relates the literary references to
Sirens to the modern day understanding of humpback whale song and the correlation
between the two.

CHAPTER II
COMPOSITIONAL FEATURES FOUND IN HUMPBACK WHALE SONG
Several structural elements found in humpback whale song have been utilized in
human-composed music. One of the most striking features of humpback whale song is
the glissandi that connect the target pitches, the pitches that begin and end the glissandi,
of a phrase. This technique of humpback whale glissandi is arguably the most wellknown and most exploited technique found in the repertoire.

Glissandi Found in Humpback Whale Song

The glissandi found in humpback whale song define the range of two or more
target pitches that range from a semitone to several octaves in either direction. In the
data I have analyzed, the target pitches always adhere to the set-class (0123) or any
subset contained within. The glissandi may occur in either an upward or downward
motion and may span over 5 octaves. There are two distinct categories of glissandi
present in humpback whale song: smooth glissandi and defined glissandi. The smooth
glissandi occur in a very glossy manner with no defined pitches articulated within the
glissandi. The pitches articulated at the beginning and end are labeled as target pitches.
The defined glissandi contain articulated pitches within the movement between target
pitches.
4

Structure and Substructure of Humpback Whale Song

Humpback whale songs are organized into phrases and themes. Payne and
McVay discovered that a song lasts 10-30 minutes and is made up of smaller sections.
On the micro-level of song structure, phrases last from 1-10 seconds in length. Phrases
make up the themes which last 5-8 minutes.6 My research with Dr. Patricia Gray
suggests that each theme typically falls into one of two categories: static or dynamic. A
static theme contains minimal or no change of pitch level. In a static theme, the phrases
remain dormant on the same pitch level or within a restricted register. Static themes
usually occupy a very high or very low register.
A dynamic theme contains a more rapid change of events in pitch level. In a
dynamic theme, the phrases frequently change pitch level several times within the theme.
The two themes, static and dynamic, alternate and contrast one another on the macrolevel. Appendix A contains my analysis of Roger Paynes field recording from April 13,
1970. This chart outlines the static and dynamic themes along with the change in pitch
level of the phrases within the themes. Appendix B contains my analysis of Peter
Tyacks field recording from April 16, 1978. This recording is of a different whale, in a
different location, and different time. This chart also outlines the static and dynamic
themes along with the change in pitch level of the phrases within the themes. My charts,
based on the field recordings of Payne and Tyack, outline the recordings with my labels
of static and dynamic themes, based on the pitch level of each theme. In both

Payne, Among whales, 144

5

examples, and even though these are distinctively different contexts, the pitch level of the
static and dynamic themes is very similar.

Pitch Content in Humpback Whale Song

The pitch content of humpback whale song analyzed for this thesis, contains
target pitches which always adhere to the set-class (0123), Forte number 4-1, and the
subsets found within. A set-class is defined as a single closely related family of sets.7
The building block of a set-class is a set, which is an unordered collection of pitch
classes.8 A pitch class is simply a group of pitches with the same name.9 This
means that all Cs belong to the same pitch class, regardless of the octave in which they
are placed. It is important to note that the target pitches of humpback whale song are
the pitches that either begin or end a glissandi or any sustained pitch. The target
pitches do not account for the microtonal pitches that appear within the motion of the
glissandi. Every phrase of the analyzed humpback whale song adheres to the set-class
(0123) which can take place on different pitch levels. The pitch level may change within
a dynamic theme upon completion of a phrase. Exact transpositions may take place such
as: [2345] to [3456]. These two pitch-class sets are contained within the same pitchclass (0123), but occur on different pitch levels. If the pitch level does change and the
7

Joseph Nathan Straus, Introduction to post-tonal theory (Englewood Cliffs, N.J.:

Prentice Hall), 1990, 53

Ibid, 33

Ibid, 2
6

set-class is transposed within a theme (found in dynamic themes), the completion of the
phrase is indicated by a break in the vocalization pattern that lasts between 1-5 seconds.

Development of Themes in Humpback Whale Song

Just as humans develop and add variation to music, so do whales. Seasonal songs
contain changes to the durational values, rhythm, length and definition of glissandi
(smooth glissandi or defined glissandi). The changes within the seasonal songs occur
over a considerably long period of time: minutes, hours, days, or weeks.10 Within an
individual song of 10-30 minutes, however, the changes are very minute and do not
drastically change. An appropriate word to define these variations would be
ornamentation.

10

Ibid, 149
7

CHAPTER III
PRECEDENTS IN ACOUSTIC AND ELECTROACOUSTIC MUSIC
Many different composers have used humpback whale song in their compositions
or have been inspired by the recordings of humpback whale song made by Dr. Roger
Payne. Two pieces have used the Roger Payne field recordings of humpback whale song,
directly in the composition: Alan Hovhaness And God Created Great Whales (1970)11
and the Paul Winter, Paul Halley, and Roger Payne collaboration, Whales Alive (1987)12.
Both of these pieces incorporate Dr. Paynes recordings within the music via prerecorded, pre-manipulated tape. Other compositions such as George Crumbs Vox
Balaenae (1971)13 and John Taveners The Whale (1966)14 do not use, but were inspired
by the recordings of humpback whale song made by Dr. Roger Payne.

11

Alan Hovhaness, And God created great whales: orchestra and tape (New York: C.F.
Peters, 1970), 3

12

Paul Halley and Paul Winter, Whales Alive (Living Music ASIN: B0000000UC, 1987),
compact disc
13

George Crumb, Vox balaenae: for three masked players : electric flute, electric cello,
and electric piano (New York: C.F. Peters Corp, 1973), 11
14

John Tavener, The whale; a Biblical fantasy (London: J. & W. Chester 1969), 2
8

Uses of Humpback Whale Glissandi in Previous Literature

Glissandi are the most often exploited technique used in musical compositions.
When done in a similar manner to humpback whale song, it evokes images and sounds of
the animal in the wild. Crumb uses the glissandi in both the piano, via piano chisel15, and
violoncello in his piece Vox Balaenae.16 John Tavener also makes use of the glissandi in
his piece, The Whale, presenting downward glissandi in the horns.17 A final example is
found in Alan Hovhaness piece, And God Created Great Whales. Hovhaness uses both
downward and upward glissandi in the trombones18 and strings19, respectively. In all of
the previous examples, however, the pitch material found in humpback whale song is not
used. Most commonly, the interval of I5 (P4) or I7 (P5) is used in both upward and
downward motions. These intervals are not found in humpback whale song. As
discussed in Chapter II, the pitch material found in my analysis of humpback whale song
adheres to the set-class (0123) which has an interval vector of <321000> and contains
neither an I5 nor I7. Based on my whale song analyses, it is presumed that Hovhaness
adapted the original whale song's pitch material to better suit his compositional aesthetic,
thereby creating a more unified and cohesive sound.

15

Crumb, Vox Balaenae, 4

16

Ibid, 3

17

Tavener, The Whale, 46

18

Hovhaness, And God Created Great Whales, 13

19

Ibid, 15
9

These gestures, however, are not exact transcriptions or direct imitation of

humpback whale song. In my piece, Song of the Sirens (2013), I use exact quotations
along with my own variations of whale song and original material to create an interactive
sound environment in which humpback whale song is able to thrive in a different manner
than before; via live manipulation of electronics through the program Max/MSP.

The Use of Field Recordings in Previous Literature

There are two composers who use pre-recorded tape in their compositions: Alan
Hovhaness And God Created Great Whales, and the Winter, Halley, and Payne
collaboration, Whales Alive. The former example juxtaposes recordings provided by
Roger Payne against an orchestral backdrop, often having the two voices (orchestra and
tape) taking turns with one another as the background and foreground textures.
Throughout the piece, the orchestra often provides a background texture to accompany
the field recordings in an aleatoric manner.20
The latter example, however, allows for slightly more interaction within the
ensemble consisting of field recordings, soprano saxophone, organ/keyboard, and spoken
voice. Whales Alive incorporates more intricate textures throughout the recording either
through contrapuntal duets between saxophone and field recordings or instrumental
accompaniments supporting the field recordings. The manner of setting field recordings
in Whales Alive gives the whale a more individualized voice within the ensemble and

20

Ibid, 1
10

composition. The pre-manipulated recordings found in Whales Alive allow for the whale
to have flowing melodic lines instead of the dense textures created by Hovhaness which
gives the whale a more singing or soloistic voice.
The greatest limitation to using pre-recorded tape, such as Hovhaness And God
Created Great Whales, is the less interactive delivery of the electronic sounds within the
ensemble. When performing the piece, the electronics may only be started and stopped
with little or no alteration being done in real time. The textures that Hovhaness provides
to accompany the whale recordings work very well and achieve the desired effect. There
are, however, limitations to the colors and gestures that can be used in this setting. Live
manipulation provides a more unique aural experience that treats the electronics (or the
whale) as an instrument belonging in the ensemble. This gives more coherence
between the ensemble and electronics by fusing both into an organic ensemble with the
ability to react and inhabit the same sonic space.
The inclusion of pre-recorded field recording whale samples only occurs during
the very quiescent moments of And God Created Great Whales21, which does not allow
for much interaction.22 Although the textures do change slightly, the overall sound and
sonic palette does not. This could be, however, an allusion to the ever-so-slightly
changing variations that occur naturally in humpback whale song.

21

Ibid, 9

22

Ibid, 13
11

Use of the Set-Class (0123) and the Subsets Found Within

Another humpback whale song technique used throughout And God Created
Great Whales is the use of the set-class (012). Hovhaness uses this set-class as a stacked
triad as opposed to a melodic line.23 The few examples of this triadic set-class are
presented in the trombone and are brief. The usage of this set-class however, provides a
much needed change of texture that contrasts the previous, more tonal harmonies. This
use of the pitch material, even in its abbreviated form, is used to heighten a connection
with the humpback whale song.

Creating an Underwater Sound Environment

Payne states that the sound of the ocean is an important factor to be conscious of
when listening to humpback whale song. This is because the ocean makes you aware of
the vastness of the mystery that underlies your boat and because whales give the ocean
its voice.24 Taking away the environment in which the whale produces these beautiful
and haunting sounds, is like taking away the context in which the sound is supposed to be
heard.
This effect has been achieved in some compositions either by a continuously
flowing motion, changes in orchestral color, or a combination of the two. One very
striking example of this is found in Debussys Sirens. Throughout the piece, Debussy
creates ocean-like textures with an undulating motion and various techniques to change
23
24

Ibid, 18
Payne, Among Whales, 145
12

the orchestral color that suit an underwater setting and achieve the desired aural
experience.

13

CHAPTER IV
INSTRUMENTAL TECHNIQUES USED TO EMULATE WHALE SONG IN SONG
OF THE SIRENS
Instrumental Glissandi in Song of the Sirens
Throughout Song of the Sirens, the use of humpback whale-inspired glissandi is
used in the instrumental ensemble. Figure 1, below, shows the first instrumental
glissandi technique in Song of the Sirens. It is first introduced by the violin and
violoncello in measure 44. In this example, the instruments overlap upward and
downward I2 glissandi in a surging, undulating fashion. With this, the colors also change
with the placement of the bow ranging from the normal bow position, sul tasto, and sul
ponticello. These glissandi not only give a slight imitation of whale glissandi, but also
provide an increased movement and a needed textural change.

14

Figure 1. Glissandi used to add movement in Song of the Sirens

Shown in Figure 2, the clarinet, violin, and violoncello overlap glissandi of longer
durational values and greater intervallic distance. When juxtaposed against the example
shown in Figure 1, the longer durational values in Figure 2 embody the slowing down
and development of phrases in humpback whale song.

15

Figure 2. Instrumental ensemble upward and downward glissandi

16

Instrumental Pitch Material in Song of the Sirens

The instrumental pitch material found in Song of the Sirens does not always
adhere to the set-class (0123). This can also be seen in previous examples such as the
Hovhaness and Tavener. The pitch material in Song of the Sirens does, however, adhere
to the set-class (0123) when a phrase of humpback whale song is directly transcribed. As
seen in Figure 2, the intervallic distance traveled within the glissandi does not adhere to
the pitch content found in humpback whale song. The gestures found in Figure 2,
however, are not exact whale imitation. As seen in the Hovhaness and Tavener, the
gesture alludes to humpback whale glissandi, rather than imitating it directly. This is due
to the multiple functions of the instrumental ensemble for Song of the Sirens. The
instrumental ensemble imitates humpback whale song, fills the harmonic void, creates
ocean-like textures, and provides a change in timbre and color needed to add variation.
This contributes to the concept of understanding humpback whale song as the singing of
Sirens. Because of this, the sonorities present in the instrumental ensemble throughout
Song of the Sirens do not adhere strictly to the set-class (0123) unless a direct
transcription or quotation of humpback whale song is presented by the instrumental
ensemble.

Creating Ocean Textures with the Instrumental Ensemble in Song of the Sirens
As discussed in Chapter III, to create ocean textures with an instrumental
ensemble, I employ a continuously flowing current with textural changes to aid in the
17

aural experience of being underwater. This is achieved in Song of the Sirens with
dissimilar glissandi, overlapping rhythms and harmonies, and timbral change. Figure 1
demonstrates the use of all of these techniques. The glissandi change durational values
frequently, never lining up exactly the same between the instruments. This creates the
uneven texture by means of the overlapping rhythms and harmonies whereas the timbral
changes occur by means of bow position. The change of bow position from normal to sul
tasto acts as a low-pass filter, taking away some of the higher frequencies present in the
sonority whereas the change of the bow to sul ponticello acts as a high-pass filter. This
filtering is consistent with the real-time filtering of field recordings, discussed in
Chapter VI.

18

CHAPTER V
VOCAL TECNHIQUES USED TO EMULATE WHALE SONG IN SONG OF THE
SIRENS
Vocal Glissandi in Song of the Sirens
As with the previous examples of instrumental glissandi, the glissandi presented
in the vocal choir of the ensemble also effectively communicate the imitation of the
humpback whale glissandi. Shown in Figure 3, the vocal glissandi in this example
strictly adheres to the pitch-class (0123) and provide a substantial imitation of whale song
in a layered fashion.

19

Figure 3. Vocal glissandi

Figure 4 shows a varied transcription of a common phrase found throughout whale song.
Again, the pitch material adheres strictly to the pitch-class (0123), but with larger
intervallic distance travelled within the glissandi. The gesture present in Soprano II has a
contour of <120>. The use of both upward and downward motions throughout the vocal
choir provides contrast.

20

Figure 4. Whale glissandi vocal imitation 1

Shown in Figure 5, the glissandi occur both in an upward and downward fashion,
slowing down by means of longer durational values throughout. The pitch material,
however, does not adhere to what is naturally found in humpback whale song. In this
example, there are three pitch levels represented. Separately, each individual part
adheres to the (0123) set-class, but when together as a choir do not adhere to the pitch
material, as a whole.

21

Figure 5. Whale glissandi vocal imitation 2

Figure 6 contains a variation of George Crumbs seagull effect which appears in the
violoncello of Vox Balaenae25 as well as in the violoncello of Song of the Sirens. This
technique imitates a very high upward humpback whale glissando and is immediately
followed by a downward glissando in the lowest voice. When juxtaposed, the
combination presents a very slow upward and downward glissandi gesture, similar to the
one found in Figure 5, with the exception of the transference of gesture from violoncello
to voice.

25

Crumb, Vox Balaenae, 3

22

Figure 6. Upward harmonic glissandi and downward vocal glissandi

Vocal Pitch Material in Song of the Sirens
As described in Chapter II, the pitch material found in humpback whale song
adheres strictly to the pitch-class (0123). The pitch material found in the vocal parts,
however, does not always adhere strictly to the set-class found in humpback whale song.
If creating ocean-like textures or providing harmonic accompaniment, the pitch material
is not restricted to the pitch-class (0123). This is due to the same, multiple roles that the
voice and instrumental ensemble must fulfill.

23

Creating Ocean Textures with the Voice in Song of the Sirens

As mentioned previously, to create ocean textures, I employed a continuous flow,
incongruent rhythms and harmonies, and timbral change. To change the timbre, the
voices alter between three neutral vowels: a (aah), i (ee), and u (oo). This change
in vowel shape emulates the high-pass/low-pass filter used in the electronics patch and
the bow position of the instrumental ensemble. The a vowel acts as the most neutral
shape the normal bow position whereas the i vowel shape acts as a high-pass
filter and the u vowel shape counteracts as the low-pass filter. These timbral changes
connect the three voices of the ensemble (instrumental ensemble, vocal choir, and
electronics/the whale) by adding coherence in the form of another similar technique.

24

Figure 7. Vocal vowel change

Figure 8 shows the combination of vocal vowel change and instrumental glissandi. In
Figure 8, the glissandi presented in each instrument of the instrumental ensemble adhere
strictly to the set-class (0123). The instruments, however, are all on different pitch levels.
However, each individual gesture remains consistent with the pitch material of humpback
whale song. The addition of vocal vowel change creates a denser texture and provides
the ocean-like sound to accompany the whale imitation present in the instrumental
ensemble. This combination of techniques not only creates a new texture that has yet to
be present in the piece, but also creates coherence.

25

Figure 8. Instrumental glissandi and vocal vowel change

26

Giving the Sirens a Voice

Just as the whale has a voice in the ensemble, so do the Sirens. The sopranos
act as the Sirens by both imitating and embellishing humpback whale song. This
reinforces the concept of an earlier perception of humpback whale song. The
manipulation of humpback whale song and use of humpback whale song techniques by
the vocal choir in Song of the Sirens support the overall concept of the piece. The
relationship between Sirens and whales is discussed in greater detail in Chapter VIII.

27

CHAPTER VI
LIVE MANIPULATION OF FIELD RECORDINGS IN SONG OF THE SIRENS
Selecting Samples from the Roger Payne Sound Archive
For Song of the Sirens, I chose excerpts from the Roger Payne Marine Archive
based on pitch material, contour, pitch level, and duration. The excerpts are referred to as
samples due to the relation to sampling in electronic music. The samples chosen last
between 2 8 seconds and may be used in conjunction with one another, although
combination is used sparingly. The goal of the samples is to provide a somewhat linear
melodic contour comprised of small samples that weave in and out of the ensemble
texture, creating a dialogue between the entire ensemble.

Real-Time Triggering of Samples

The real-time triggering of samples is achieved through the program Max/MSP.
In the program, each button of the WiiMote is assigned a certain sample of whale song
from the Roger Payne Marine Archive. The button must be held for the durational values
indicated throughout the score and the vertical pitch of the WiiMote must be adjusted to
facilitate the indicated dynamic levels, crescendos, and decrescendos. A third parameter
is set with the filtering of high- and low-pass filter. Figure 9 shows the motion that must
be utilized in order to achieve the parameters set throughout the score.
28

Figure 8. Electronics patch dynamic level and filtering diagram

29

CHAPTER VII
INTERACTION BETWEEN ELECTRONICS AND CHAMBER ENSEMBLE IN
SONG OF THE SIRENS
Giving the Whale a Voice in the Ensemble
To create a more personal connection between the wild and my composition, I
opted to allow the field recordings to speak in their most natural way, keeping the
recordings as close to their original state as possible with minimal altering and layering.
My usage contrasts with the Hovhaness example. Instead of using the humpback whale
song samples to create dense textures, I allow the instrumental and vocal ensemble to
provide support for the whale to weave in and out of the textures, more closely
resembling the Winter, Halley, and Payne, Whales Alive, template.
The laptop performer, however, is able to give nuances to the field recordings in
real time, via WiiMote, to respond to what is occurring within the ensemble at any given
moment. With the interactive electronic component, the dynamic level, filtering, and
entrances are able to be altered for the moment and adjusted in real time to facilitate a
more nuanced performance. Live manipulation allows the laptop performer to give realtime nuance and contour to the recordings, and provides the possibility of interaction
between the performer and the ensemble. This gives the whale a role in the ensemble
that is as interactive as any other instrument or voice, through the lens of a
laptop performer.
To facilitate the original material and adaptations, transcriptions, and quotations,
the samples of the recordings were selected to fit into the ensemble in the most effective
way by means of the pitch material, duration, and pitch level. With the ability to have a
30

more dynamic rendering of the samples, the ensemble has the ability to add slight tempo
fluctuations throughout the piece. The real-time triggering also allows for the most exact
entrances possible. This allows for a more intricate dialogue between the three choirs of
voices (instrumental ensemble, vocal choir, and laptop performer representing the
whale).

Advantages of Live manipulation

The exclusive recordings at my disposal, provided by Dr. Roger Payne out of his
personal collection, and other recordings taken from the Roger Payne Marine Archive are
used throughout the piece with the capabilities of being transformed in real time. The
pitch of the samples are unaltered; however, the entrance, dynamic level, and slight
filtering (high-pass and low-pass) of the samples will be triggered and altered in real
time, providing a more participatory role for the samples of whale song in a live
performance of the composition.

31

CHAPTER VIII
RELATIONSHIP BETWEEN SIRENS AND WHALES
The concept of Sirens in literature and mythology have been present in several
cultures, most notably the ancient Greeks, but also other European and Asian countries
such as the Philippines. The Homeric Greek Sirens are depicted as half-bird, half-human
creatures that lull sailors into a trance until they either go mad, or jump overboard and
die. In literature, Sirens kill the sailors themselves or drive the sailors to suicide.26 In
Asian cultures, Sirens are depicted as mermaid-like creatures, as in the Philippines. No
matter what their physical appearance, though, they are most infamous for their song, as
it is what brings sailors to their demise.
For centuries, the songs of the humpback whale could have been mistaken for
melodies sung by Sirens.27 My goal is to present the beautiful songs created by these
intelligent animals by the inclusion of actual field recordings and imitation of humpback
whale song in a chamber ensemble composition to embody the joy and terror that must

26

Richmond Alexander Lattimore, The Odyssey of Homer (New York: Harper & Row),
1967

27

Payne, Among Whales, 160

32

have overwhelmed sea-faring folk as they encountered these sounds. The songs of the
humpback whale and tales of the Sirens are as beautiful as they are haunting.28
The overall construction of the piece begins with sparse field recordings of
humpback whale song followed by the Sirens (vocal choir) luring the listener with
sweet and docile harmonies which become more and more sinister as the piece
progresses. The Sirens imitate and embellish humpback whale song with the inclusion
of original material. In doing so, the Sirens allude to the exaggerated experience that
ancient sailors may have encountered. This first section includes scarce humpback whale
field recordings in the background, accompanying the vocal choir imitating humpback
whale song. Near the end of this section, the instrumental ensemble enters and engulfs
the sonic palette with the whale imitations and ocean-like textures. The piece then
evolves to have the Sirens sing with a more agile drone that becomes a major theme
throughout the piece an ever undulating sonority that changes rhythmically and
harmonically slightly throughout, much like the evolution of humpback whale song
themes. The middle section of the piece is sweet in nature. The Sirens attempt to lure the
listener into a trance-like state by using aurally pleasing sonorities and textures
intermingled with humpback whale imitation from both the vocal choir and instrumental
ensemble with similar field recordings weaving in and out. The final section of the piece
contains harsher sonorities that are still somewhat sweet, yet unsettling. This signifies
the journey into madness that is described often in the literature about Sirens.

28

Ibid, 161
33

CHAPTER IX
CONCLUSIONS
With this composition, Song of the Sirens, I set out to create an interactive sound
environment in which humpback whale song could fully participate in real time within a
chamber ensemble by means of a laptop/WiiMote performer. My concept for Song of the
Sirens is to present an allusion of the humpback whale song the way ancient mariners
may have perceived it. This perception is reflected in much of mythology.29 By
incorporating the real-time manipulation of field recordings within the context of a
chamber ensemble and using similar imitation techniques found in the former examples, I
give the songs of the humpback whale an interactive sound environment and create a
more intimate atmosphere than in previous literature. By blurring the line between
instrument, voice, and recording, the listener is taken on an aural experience reminiscent
of ancient sailors who fictionalized the songs of the humpback whale to explain the
natural phenomenon that they were experiencing.
To accomplish this, I use techniques I have found in humpback whale song and
expand upon them in order to create the experience of humpback whale song that ancient
people may have understood to be the singing of Sirens. This deeper connection of

29

Ibid, 160
34

humpback whale song and compositional process comes from an informed understanding
and application of humpback whale song into human composition.

35

BIBLIOGRAPHY
Clark, Christopher A., Shonda Gaylord, Leila T. Hatch, Sofie M. Van Parijs, Denise
Risch, Michael A. Thompson, Elizabeth T. Vu, David N. Wiley. Humpback
whale song occurs extensively on feeding grounds in the western North Atlantic
Ocean.
Aquatic Biology Vol. 14: 175183, 2012. doi: 10.3354/ab00390
Crumb, George. 1973. Vox Balaenae: for three masked players : electric flute, electric
cello, and electric piano. New York: C.F. Peters Corp.
Fleming, Alyson and Jennifer Jackson, Global Review of Humpback Whales,
Frederick A. Sharpe, Social Foraging of the Southeast Alaskan Humpback Whale (PhD
diss., Simon Fraser University, 2001)
Handel, Stephen, Sean K. Todd, Ann M. Zoidis. Rhythmic structure in humpback whale
(megaptera novaeangliae) songs: Preliminary implications for song production
and perception.
Acoustical Society of America Vol. 125, 2011. doi: 10.1121/1.3124712
Halley, Paul and Paul Winter. Whales Alive. Living Music ASIN: B0000000UC, 1987,
compact disc.
Hovhaness, Alan. 1970. And God created great whales: orchestra and tape. New York:
C.F. Peters.
Lattimore, Richmond Alexander. The Odyssey of Homer. New York: Harper & Row,
1967.
Milius, Susan. Humpback Alters Song If Another One Sings Along, Science News,
November 7, 2009, 5.
Payne, Roger. Among whales. New York: Scribner, 1995.
Payne, Roger. Recording. Williamstown, MA, April 21, 1958.
Payne, Roger. Recording. Williamstown, MA, April 13, 1970.
36

Straus, Joseph Nathan. Introduction to post-tonal theory. Englewood Cliffs, N.J.: Prentice
Hall, 1990.
Tavener, John. 1969. The whale; a Biblical fantasy. London: J. & W. Chester
Tyack, Peter. Recording. April 11, 1978.
Tyack, Peter. Recording. April 12, 1978.
Tyack, Peter. Recording. April 16, 1978.

37

APPENDIX A
PITCH LEVEL DIAGRAM OF PAYNE FIELD RECORDING

38

APPENDIX B
PITCH LEVEL DIAGRAM OF TYACK FIELD RECORDING

39

APPENDIX C
SCORE OF SONG OF THE SIRENS

40

Song of the Sirens

Joshua Marquez

For Mixed Chamber Ensemble and Electronics

Transposed Score
duration c. 14 minutes
41

Song of the Sirens

Electronics (Laptop Performer)*
Bb Clarinet
Soprano I
Soprano II
Soprano III
Soprano IV
Piano
Violin
Violoncello

Indicates a smooth, whale-like gliss. between given pitches, evenly

over the course of the indicated duration.
IPA Legend:
a = "aah" as in "palm"
i = "ee" as in "fleece"
u = "oo" as in "food"
*The electronics were created with the Roger Payne Sound Archive from the recordings from
April 13th, 1970 (previously unheard). The laptop performer will use the corresponding
Max/MSP patch to facilitate the electronic performance, using the pitch and roll of the WiiMote
to create the proper dynamics and filtering, respectively. There will also be a corresponding patch
that will allow for the same treatment of the electronics without a WiiMote - the trackpad will be
used, instead.
If there is a sustained duration notated in the electonics part, the corresponding sound sample will
need to be "sustained" (given button held down on the WiiMote) and the sample, however sparse,
will continue to sound. The dynamics/filtering should be followed as closely as possible based on
the location of the given instructions in the measure. If the sound does not last the entire indicated
duration, follow the contour of the dynamics and filtering as indicated even if the sample ends
prematurely. The filtering instructions are as follows: No Filtering (WiiMote held "straight"/in a
"normal", non-rotated position), Low-Pass Filtering (WiiMote rotated to the left), High-Pass
Filtering (WiiMote rotated to the right). The rotation from one filtering position to another should
be accomplished over the course of the indicated duration, following as closely to the indicated
position in the measure as possible.

42

Transposed Score

Song of the Sirens

Created Using The Roger Payne Sound Archive

Joshua Marquez
electronics intro:
A
ocean sounds and
sweetly, serenely,
humpback whale song
(c. 1 min.)
with an ethereal,
- hit "1" on keyboard
underwater feel q = 60
to trigger the patch; keep
WiiMote in the downward
No-Filtering
position to start.

..

Electronics

Soprano I

& ..

B
4
.. 4 w

Low-Pass

J
f
n

smooth gliss,
whale imitation

.. 44
bw

Soprano II

Soprano III

& ..
& ..

.. 44

& ..

Piano

? ..

bw

n n

.. 44

4
4

& ..

belltones

& ..

p
j

.. 44
bw
.. 44

High-Pass

w
f

smooth gliss,
whale imitation

Soprano IV

High-Pass

J
P

Joshua Marquez 2013

www.joshuamarquez.com

n n
n -

j

a

43

Song of the Sirens

6

Elec.

Low-Pass

n
6

Sop. I

Sop. II

& j j b

& j

j
b

Sop. III

p
& b j

& bw

Sop. IV

Pno.

&
&

w
a

smooth gliss,
whale imitation

b b

No-Filtering

p
j j j j

n n

b -

3
3

b b
b -

n n
n -

44

Song of the Sirens

10

Elec.

10

Sop. I

J
f

& bw

ah

b j b
J J
a

p
j
&

10

Sop. II

p
j

j j j
b
b

a
10

Sop. III

&

A
B

& j

&

&

Pno.

j

J

p
j j

j

w

b
a

10

bw

p

J

Sop. IV

No-Filtering

b b
J
b j
-

p
j

b b

b -

smooth gliss,
whale imitation

n n

3
3

n -

45

Song of the Sirens

14

Elec.

p
&

Sop. I

14

Sop. II

&

14

z
w
P
p

b
J

High-Pass

Low-Pass

p
j j
b

p
j

J
f

bw

p
j
&

14

Sop. III

n j w
a

Sop. IV

& nw

p
j

j
n

j

n
a

&

&

b -j

b b
J

Pno.

w
a

14

46

Song of the Sirens

18

Elec.

18

Sop. I

& J

18

Sop. II

& bw

J J

p
n

Sop. III

j
b

&

& j j b

&

Pno.

&

J
p

bw

18

p
j

w
a

Sop. IV

No-Filtering

b
b
J J

18

b -

b b

n n
n -

b
a

w
b wbw
b w-

j j

b b
3

b
3

47

Song of the Sirens

22

Elec.

22

Sop. I

&

bw
a

& bw

p
j

bw
a

p
j

j
&

22

Sop. IV

J
f

bw

Sop. III

No-Filtering

p
p

22

Sop. II

z
w

p
j
& j n

22

&

Pno.

&

n n
n -

48

Song of the Sirens

& j

j j

& bw

26

Sop. I

26

Sop. II

j j
&
b w

Sop. III

Sop. IV

p
j

bw
a

a
26

&

&

Pno.

& w

p
j
j j
b b

26

n n
n -

p
j j
b

b b
b -

b
a

b
b
b

49

Song of the Sirens

j
&

30

Sop. I

j
&

30

Sop. II

p
p

j j j j

b b

30

Sop. III

&

p
j

b j

Sop. IV

&

p
j j
j
n

j

a

bw

&

j
b

&

Pno.

30

bw
a

n
n

50

Song of the Sirens

34

Elec.

34

Sop. I

&
p
&

34

Sop. II

up
w

Low-Pass

j j
n
a

bw

Sop. III

Sop. IV

& w

& j b

p
j

&

bw

p p
j j j
b

j
j
b w

p
j

&

Pno.

J
f

34

34

High-Pass

b
b
b

b
a

b
b
b

51

Song of the Sirens

38

Elec.

p
& j j j j b

38

Sop. I

p
j
&

38

Sop. II

right No-Filtering

J
n
f

j

bw

j
&

Sop. III

Sop. IV

& j j n
38

&

Pno.

&

p
j

bw

j
j
w

38

p
j

bw

p
j

p
j

j w

n b
n b
J

j
n b

52

Song of the Sirens

p

42

Sop. I

& w

p
j
&

42

Sop. II

a
42

Sop. III

&

Sop. IV

& j j b

b
b

&

Pno.

&

42

Vln.

Vc.

&

j
b n

p
j
b j j n

j
b

b n
b n
J

p
j j
n

a
42

p
j j
b

j j
b

n
n
n

b
b

almost a
dictated vibrato

b
sul tasto

j j
b n b n n
p

almost a
dictated vibrato

b
J
3

53

Song of the Sirens

46

Elec.
46

Sop. I

j

J
f

b j

No-Filtering

p
j

& bw
a

j
&

p
j j
b

46

Sop. II

A
B

& j

46

Sop. III

p
j
b

p
j

p
j

&

b
b
J

&

j
b

46

Pno.

j
& b n

sul tasto
b

? b J
J
3
p 3

46

Vln.

Vc.

p
j

&

b
a

Sop. IV

bw

normal

bw
a

sul pont.

b j n b w
p

b b

p
j

J
3

54

Song of the Sirens

B

Elec.
50

B b Cl.

&

50

Sop. I

&

50

Sop. II

Sop. IV

No-Filtering

# #

p
j

p
j

&

p
j

&

p
j

&

50

Sop. III

gently; delicately flowing

50

&

Pno.

b
J
j
b

& b wwww

50

Vln.

b wwww

&

normal

Vc.

n
n

n n n
j ?P

-
*

n
n
n

55

Song of the Sirens

53

Elec.

z
w

High-Pass

53

&

Pno.

?
-

Low-Pass

53

Vln.

Vc.

Pno.

&

w
P

? w

J
p

55
J

&

?
-

56

Song of the Sirens

56

B b Cl.

&

56

Sop. I

# -

f P

&

# -

n n
J J J J J
J J J
3

56

Sop. II

&

n n
J J J J J
J J J
a

56

Sop. III

&

j
j3 j 3 j
n n j j j j
a

Sop. IV

&

3
3
j j j j j
j j j
n n
a

56

Pno.

&

Vln.

Vc.

&

b b w

56

57

Song of the Sirens

60

Elec.

60

B b Cl.

n n
J J J
& J J J J J

60

Sop. I

n n
& J J J J J
J J J

J J

j j j j j
j j j j
& n n

jj

j j j 3j j 3 j j j
n n

f
3
3
& n j n j j j j j j j j

jj

&

& J
f
?
J
f

60

Vc.

60

Vln.

Pno.

n n
J J J J J
J J J
n n
J J J J J
J J J

60

Sop. IV

J J

Sop. III

60

Sop. II

&

No-Filtering

&

j j j j j
j j j
n n
3

n n n n
J
3
3

3
3
j
nn n
n

58

Song of the Sirens

63

Elec.

Low-Pass

J
f

n
63

B b Cl.

&

P
P
n J n J n n J J J
J J
J J J J
J J
&

63

Sop. I

63

Sop. II

Sop. III

Sop. IV

&

n n
J
JJ J
3

Vc.

ah

n n
J J JJJ JJJ
3

,
f
n
J J

ah

P
P
,
f
3
3
3
3
& n j n j j j j j n j n j j j j j j j n j
n n n
& J n J
3
3
P
3
3
j
j
& n n n n

63

Vln.

,
f
n J
J

P
P
,
f
63
3
3
3
3
j
jj j
j j j jjj jjj j j
& n n n n n

63

Pno.

&
?

ah

ah

J
P
j

n n n n
J

j
n n n n

normal

sul tasto

sul pont.

,
,
,

59

Song of the Sirens

67

Elec.

67

B b Cl.

&

67

Sop. I

&

Low-Pass

b w>

n w>

High-Pass

42 J
f
2
4

2 J
4

44

4 w
4
4
4

67

Sop. II

&

2
4 J

& nw
>

4
4

2 j
4

4
4

67

&

Pno.

Vln.

b
b n >

f
>

& b
f

sul tasto
67

&

2
4 j

Vc.

4
4

2
4

4 www
4

2
4

4 wwww
4

42

sul tasto

J
f

p
n b
J J J J J
J J J
3

n n
J J J J J
J J J

p
j j j j j
j j j
n n

& nw
>

67

Sop. IV

Low-Pass

Sop. III

High-Pass

2
4

44
4
4

w
w

3
3
j j j j j
j j j
n n
a

n n n b n
J
3
3

3
j 3 j
nn n n

J
f

J
f

60

Song of the Sirens

71

Elec.

71

B b Cl.

Sop. I

&

Low-Pass

High-Pass

home No-Filtering

p
f
p
F
P p
71
n b n n
JJ J
& J JJ
JJ J J JJ JJ
3

p
a

P p
F
n n n
& J n J J
J JJ
JJ J
JJ J

71

Sop. II

p
a

Sop. IV

j 3j j 3 j j j

& n n n

71

Sop. III

& n j n j j j j j n
3

a
71

&

Pno.

&
71

Vln.

&

P
n J n J J
J
J J
a

P
F
3
3
3
3
j jj
j jj
jj j
jj j
n
n n
a

n n n n
J
3
3
f
3
3
j
n n n
n

n
J

normal

Vc.

P
n n
J JJ
JJ J

p
P
F
3
3
j jj
j 3j j 3 j j j
jj j
n
n n

b n n n
J
3
3
3
P p 3
3
3
j
n n n

J
f

n
p

f
n
J
f

n
p

n
p

n
f
n
f

61

Song of the Sirens

74

Elec.
74

B b Cl.

Sop. I

w
n

&

Sop. II

Sop. III

F
j
#

f
& J #

f p
74
j
& n

F
n

f p
& j #

j
&
#
p
j & n
#
*
74

&

Vc.

# j

n
p f

n w-

n
-

n
P

p
n

f
p
F
j j
n
#
a

n
n
-

ww

p
F
j

nw

p
j
n

n
w

p
j

J
f

74

Vln.

p
p
j

Pno.

Sop. IV

High-Pass

n n j
b -
P
f
P
p p
p
P
j
j j

f p
74

& J n
74

Low-Pass

n
p
&

p
p

j
j
#

n w-

#
-

w
n J
p
62

Song of the Sirens

78

Elec.

78

B b Cl.

Sop. I

& j

p
p
78
F p
j n
&

F
w

F
&

Sop. II

pj

p
bw

No-Filtering

J
f n

F
w

J U

>

f
>

U
ww

78

left

F
p
j

&
n

F p
n

&

F p F
j n w

78

Sop. III

Sop. IV

F
w

& ww

Pno.

Vln.

Vc.

& ww

78
& j
f

& J
f

78

ww
b w- w
F
? w
w
w*

j

&

*
n

J U U
n

63

Song of the Sirens

D

z
w

Elec.

No-Filtering

n
83

Sop. I

&

J
f
p
F
n n
J J JJJJ J J
a

p
F p
n n J J J J J J n J J n J J J
3

p
83

Sop. II

&

Sop. III

&

&

n n
J
a

F
j

nw

n
a

p
n

J
&

& J
*

83

Pno.

3
n n j j j j
J
J J J

Sop. IV

83

down

64

Song of the Sirens

87

Elec.

Sop. I

No-Filtering

J
f
F
p
F
87
n n
n n
& J J JJJJ JJ
J J J
3

p
& n

87

Sop. II

n
3

87

Sop. III

& w
F

Sop. IV

&

p
n n
J J
a

F
j

p
n j

F
j j

p
j

a
87

Vln.

Vc.

&

j
n n
J

F
n n
J J JJJ

F
j j n j
J J n
3

No-Filtering

A
c

n
a

65

Song of the Sirens

90

Elec.

90

B b Cl.

&

j

J

High-Pass

90

Sop. II

&

n n
a

Sop. III

Sop. IV

n J J n

&

&

90

J
J

p
j

? n - n - - - - - -
J
3
F

n - n - - - J
3
F

pizz.
sul G

n
J

n n

p
j

&

pizz.
mute with palm
of left hand

Pno.

Vc.

p
j

90

Vln.

p
n J J n J J

F
n n j j j
J J J

F
& j j

p
F
j
& n

90

p
F
n n
J J JJJJJ J

p
F
n

& J n J J J J J J J

90

Sop. I

J J

n n n - - J
J
3

- -

66

Song of the Sirens

93

Elec.

&

F
p
n n
& J J J J J

93

Sop. I

93

Sop. II

& n J n

p
n

Sop. III

Sop. IV

93

B b Cl.

Low-Pass

p
93
& j

n j
J

& nw

n - n - J
&

93

n
J J

F
j
n J

F

J J J J

p
j3

p
j

j j
n n

#w
p
p
n

F
j

#
a

n - .

Pno.

&
Vln.

Vc.

&
J

93

L.V.
? n - n - .

nw
p
narco
w
p
67

Song of the Sirens

95

Elec.

High-Pass

Low-Pass

42

&

U
2
4 j

f
f U
2
4 J

& J

p
n

95

Sop. I

Sop. II

Sop. III

& nw
a

p
p
j

#w

&

a
95

&

&

95

Vln.

Vc.

& w

? w

p
n
4 w
4

No-Filtering

J
f

n w
w

p
f U
42 j 44 n w

f
p
24 j U 44
nw

Pno.

4
4

f
p
2 j U 4 b w
4
4

p
f
j
n

Sop. IV

p
95
j
& n J n
95

95

B b Cl.

44

2 U 4 b ww
4
4

ww

2 U 4 n w
4
4 nw

U
2
4

4 j 4
f
2 J U 4
4
4
f

w
w

68

Song of the Sirens

100

3
100

B b Cl.

# n # n

f
w

p
b
J

f
& w

p
n
J

&
&

f
w

f
Sop. IV

n
& n
w3
bw
& ww

Vc.

# n
3

n b

&

#
# J
f

100

Vln.

j
n

& w

100

Pno.

J
f

p
n
J

# n

100

Sop. III

Low-Pass

100

Sop. II

High-Pass

&

100

Sop. I

Elec.

improv with given pitches following

the contour of the line;
any octave, as quickly as possible
gliss

gliss.

n n b n

*

J

n J
p

#
f

b
f
nw
p
69

Song of the Sirens

103

Elec.

smooth gliss,
whale imitation

103

Sop. I

&

p
n
a

F p

J n j j

103

Sop. II

No-Filtering

p
#
J
a

&

103

Vc.

&

b
3

J n
gliss.

&

Vln.

F
n J
J

gliss.

Pno.

smooth gliss,
whale imitation

103

&

J
f

1
B

b
f

b
F

70

Song of the Sirens

105

Elec.

High-Pass

Low-Pass

J
f

n
105

B b Cl.

&

p
n
& J

Sop. I

p
& j

105

Sop. II

J n j j

105

&

n
a

gliss.

105

Vln.

Vc.

&

?
J

p
F p
n
J J n j j
a

p
#
J

F
j j
n

p
j

gliss.

F
n
J

gliss.

Pno.

&

&

Low-Pass

105

105

smooth gliss,
whale imitation

Sop. III

down

n
f

smooth gliss,
whale imitation

n
f

b J
F

n
f
n
f

b J
F

n
f

71

Song of the Sirens

High-Pass

107

J
f

Elec.

107

B b Cl.

Sop. I

High-Pass

J
f

- - - - - - - - - - - - - - - - f

107

&

& j j

very slow,
long gliss

& #

j j
n

Pno.

Vc.

&
?

gliss.

gliss.

&

Vln.

107

107

&

p
b
a

&

p
Sop. IV

107

Sop. III

Low-Pass

&

107

Sop. II

n
f

p
#
p

n
f

72

Song of the Sirens

110

110

Sop. I

&

Elec.

f
w

right High-Pass
3

Sop. II

&

Sop. III

Sop. IV

&
&

b www
& w

Pno.

&

Vln.

Vc.

3 j
4

43

3
4

? n b
b
p F

n b 3
j
j

4 b
p
p
p f

&

j # n 43
j

n
p f
p
p

&

# n

3
4 J

110

wwww

110

43 J

f
110

J
f

43 J

f
110

Low-Pass

73

Song of the Sirens

E

Elec.
113

B b Cl.

Sop. I

&

4
4

4
4

+ No-Filtering

J
n
f

113
n b 4
&
J
4 JJ
3

n n 4 b
&
4 JJ
J

113

Sop. II

& n n j 44 j J

113

Sop. III

Sop. IV

& n j 44 j j
n

113

&

Pno.

Vc.

- - - - - 4
4
J

3
f3
n b - - - - 4 n
&
4
J
3
3
*

113

Vln.

n n

&
?

44

4
4

P
b

espress.
sul tasto

espress.
sul C

J
*

w
w

74

Song of the Sirens

118

Elec.

left

No-Filtering

&

f
&

& J
f

? J
f

118

Vln.

Vc.

3
4

.
3 .
4 .

4
4

118

Pno.

4 U4

3
4 ..
.

4
4

b
U
b b

U
-

3
4

4 U
4

43

44 U

n
-J

F
121

B b Cl.

&

121

Sop. I

&

Pno.

&

121

?P 3

b
b b
3

p
b
a

b
b J
pbn n www
# wp

w
w
ww
www
w
75

Song of the Sirens

124

Elec.

124

B b Cl.

&

124

Sop. I

&

f
n #
J J J J J J
a

124

Sop. II

&

Sop. III

&

&

p
n j

()

w
w
& ww

Vln.

Vc.

#w

#
J J

p
b

w
w
ww

? ww
ww

124

p
#

J
f

124

Pno.

p
n

Sop. IV

No-Filtering

a
124

w
w
ww

www
w

www
w
n
#

normal

&

w
w
w
76

127

Elec.

127

B b Cl.

Sop. I

&

+
z

Song of the Sirens

No-Filtering

f
# n #
J

f f
f
127
n
& J

f
& J n

Sop. II

2
4

42

J
p
w

127

2
4

n
J J

Sop. IV

f
& J n

()
j

127
n n
& #
J
j f
? n
n
n
*
a

Pno.

n
& J
f f

127

Vln.

Vc.

? J
#
f
f

44

4 J #
4

F
2 4 n
J J J J 4
4 J
J
3

127

Sop. III

4
4

f
& J #

j j
#

j j j j3 2
4 j
# # 4 # # 4
a

2
4

w
w
w

2
4

4
4

ww
w

2
4

4
4

smooth gliss,
whale imitation

smooth gliss,
whale imitation

n
f

42 n
J
p
p
n
24
p

4 j
4

4 w
4
44

w
77

Song of the Sirens

131

131

B b Cl.

&

131

Sop. I

&

131

Sop. II

&

Sop. III

f

J

& j
&

Pno.

&

131

Vln.

Vc.

&
?

w
w

p
n

w
f

nw

#w
p

nw
a

131

Sop. IV

131

Elec.

+ No-Filtering


J
f
n
n

nw
a

n n # n
n n #
nf n #
3

J
f

J
f

sul tasto

n
P

sul tasto

w
f

w
f
78

Song of the Sirens

135

B b Cl.

& j
p

connected; almost like

an accented vibrato

p
a

Sop. IV

f p
& j n

Vc.

&
p
?

jj
n n
J

f
j

f
j

f
j

a i

a i

jj

#
i

jj

a i a

jj jjj jjjjjjjjj

a i

j j j j j j j j j
n
3

i a i a i

a i a

i a i a i a i a

p
j j j j j j
n
f

bow when necessary

135

Vln.

f
j

i i i i i

connected; almost like

an accented vibrato

j
& #

135

Sop. III

j
j j j j j
& # - - - - -

135

Sop. II

j
j jjjjjj
& n - - - - - -

135

Sop. I

bow when necessary

79

Song of the Sirens

138

B b Cl.

&

p
f
p
3
& # #

j j
#

138

Sop. I

p
3
3
& # jjjj jjjj # j j # j j j j j j j j

138

Sop. II

i a i a

i a i

138

Sop. III

&
f

Sop. IV

& n
a

138

Pno.

Vc.

j j

a

&

& w

j

i

a i

p
p
j

f
j n j

p
f
j
#
a

p
f
j j j j j j j
n
a

i a

p
f
3
3
3
j j j j j j j j j j
n n

138

Vln.

n
J
f
f
j j
n

&

J
F

n >
n n
J
fj

b
n b
>

sul pont.

j

F

sul pont.

f

f

80

Song of the Sirens

141

Elec.

High-Pass

J
f

#

4
4

2 j
4

3
4

4
4

24 j

43

44

& w

2 j
4

3
4

4
4

ww
& w

gg w
ggg ww

& ww
w

ggg b ww
gg b w

& w

141

Sop. IV

& w

141

Pno.

141

Vln.

Vc.

141

Sop. III

3
4

&

Sop. II

2
4

+ No-Filtering
3
4
4 .
4
3
4 .

&

141

Sop. I

Low-Pass

2
4 J

2
4 J

141

B b Cl.

& w
?

J
p

2
4 J
P
2 j ?
4

42
42

bow when necessary

normal

bow when necessary

normal

3
4

...
.

4
4

4
4

3
4 ..
.

4
4

43 .

44

.
43

44

81

Song of the Sirens

G

Elec.

B b Cl.

4
4 J
f
145
4
&4 w

p
4 n
&4

Sop. I

& 44

145

Sop. II

Low-Pass

j
#

p
p

w
P

smooth gliss,
whale imitation,
with a slight lift

145

F
n
J J J

p
n

F
n
J J

a
smooth gliss,
whale imitation,
with a slight lift

n
a

p
n
a

F
j
b
J J

High-Pass

J
f

F
n
J J
p
b
a

smooth gliss,
whale imitation,
with a slight fall

& 44

145

Sop. III

p
F
j
n j j n

w
& 44 www

www
w

?4 w
4 w
w

145
4
&4 w

ww
w

145

Pno.

Vln.

Vc.

?4 w
4

w
P
w

* sul tasto
b

p
tasto
sul

82

Song of the Sirens

148

Elec.
148

B b Cl.

& J

F
j j
& J n

148

Sop. II

148

Sop. III

&

p
n

a
smooth gliss,
whale imitation,
with a slight lift

Sop. IV

& n
a

148

&

Pno.

?
148

Vln.

Vc.

Low-Pass

J
P

& w

148

Sop. I

High-Pass

p
b
J

j #

p
p

w
F
w

F
j j j
n

n
a

F
j n j j

belltones

p
&

n J

j

J

w
ww-

& w

w
F

? w

83

Song of the Sirens

151

Elec.
151

B b Cl.

Sop. I

Sop. II

&

No-Filtering

f,
151

& J
f ,
151

& J
f ,

& J

151

Sop. III

Sop. IV

Pno.

f ,
& J

( )
151
j

&

Vc.

J
f

J
p

p
nw

nw

,

J

,

J

,
j

f ,

High-Pass

& J

& J
p

151

Vln.

?
J
p

&

84

Song of the Sirens

H
155

Elec.

155

Sop. I

&

155

Sop. II

&

Low-Pass

No-Filtering

J
P

w
a

155

Sop. III

&

No-Filtering

p
F

w
J J

F
J

J
f

p
F

J
J

p

J

F
J

P
Sop. IV

Vc.

&

] normal
harmonic gliss
b

&

]
b
P

steady fall
downward in pitch

J J

85

Song of the Sirens

159

Elec.

1
2 No-Filtering


J
n
f
f

159

B b Cl.

&

Sop. I

p
F

& J
a

&

159

Sop. II

159

Sop. III

Sop. IV

&
&

J
n

159

High-Pass

smooth gliss,
whale imitation

P
p

JJJ
a

sing and gliss the bottom pitch downward

(indicated by a smaller notehead)
from the desired starting pitch
to the target pitch while playing
the upper pitch, simultaneously.
All pitches are transposed.
If male, use "falsetto"

p
P

J

J
a

86

Song of the Sirens

163

Elec.

w
&

163

B b Cl.

Sop. III

,
f

& J
J

Sop. IV

&

f
,

J
a

163

Pno.

&

Vln.

Vc.

&
?

nw
a

nw
a

w
w

&

p
p
nw

b n n n
b n n

express.
normal
163

p
nw

163

J
fj

f ,

&

No-Filtering

&

163

Sop. II

f ,

163

Sop. I

up 1

ww

nw
p
nw
p

87

Song of the Sirens

167

Elec.

Sop. I

f
167

& J
f
& J

167

Sop. II

167

Sop. III

2

J
P P

No-Filtering

b J

f
j

& j

improv with given pitches following

the contour of the line;
any octave, as quickly as possible
gliss.

& n n

& j

167

f
Sop. IV

No-Filtering

1
B
j

gliss.

gliss.

Pno.

&

smooth gliss,

167

Vln.

&

Vc.

smooth gliss,
whale imitation

b
P
f

whale imitation
j
j
n
P
f

88

Song of the Sirens

No-Filtering

170

Elec.

170

Sop. I

j

J
P

&

+
w

Low-Pass

p
n

High-Pass

p
n

170

Sop. II

& j

170

Sop. III

Sop. IV

& j

&

n
a

n
a

170

Vln.

Vc.

&
?

b
f

n
f

n j
F

b
f

j
j
n
f
P
n

b
f

n
f P

n
f

b
f

89

Song of the Sirens

174

Elec.

174

B b Cl.

&

& J

174

Sop. I

f
& J

174

Sop. II

Sop. III

Sop. IV

f
174
j
&
f
& j

Vc.

p
w

p
w

w
a

w
a

n
f

j

P

b
f

n
f

j

P

j

P

+ No-Filtering


J
n
f

Low-Pass

&

174

Vln.

High-Pass

b
f

f

J

f
j

f
j

n
f

j n

n
F

90

Song of the Sirens

178

Elec.

home No-Filtering

w
J

& J

178

B b Cl.

178

Sop. I

&

178

Sop. II

&

p p

J

p p

J

p
& nw

178

Sop. III

Sop. IV

p
& n

&

p p

J

b
f

P
w
P

p

J

p p
j

p p
j

p p

J

p p

J

p p

J

p p

w
J

p p
j
w

j
j
n
F

p p

J

178

Vc.

Vln.

p
nw
p
n

J
P

A 2 No-Filtering
j

J
f
P

n
F

j
b
F

n
F

n
F

91

Song of the Sirens

182

Elec.

182

B b Cl.

&

182

Sop. II

&

182

Sop. I

&

p
& w

No-Filtering

&

p
nw

p
p

J

p p

J

Vln.

Vc.

&
?

b
F

p
p

J

p
p
j

p

J

182

p p

J

J
f

J
p
p

Sop. IV

182

Sop. III

A
z No-Filtering

p
j

p
n

p
j

P
w

F
b
F

92

Song of the Sirens

j

J

185

J
&
185

Elec.

B b Cl.

No-Filtering

p
p

J
&

185

Sop. I

185

Sop. II

&

p
w
a

Sop. III

&

p
p

Sop. IV

p
p
w
J

Vln.

Vc.

&

p p
j

n
F

p p

J

P
b

185

+ No-Filtering
j


J
J
f

J
J
p

p p

J
J

High-Pass

p
& w

p p

J

p p

185

1
B Low-Pass

p p
j

a

n
F

93

APPENDIX D
ELECTRONICS PATCH FOR SONG OF THE SIRENS

94