A text setting of Lucky’s monologue from Samuel Beckett’s Waiting for Godot.
Notes for the performer:
When recording the piece, keep the volume of the voice constant. Spoken text, unless otherwise indicated, should be about as loud as the sung text, mf. Some deviations from mf are encouraged as in any piece of music, but they should be tasteful, as this work is more about repetition than variation. When on stage during the playback of the recording, open the mouth very wide and tilt the head back slightly. Do not move unless tackled at the end of the piece. Even then, hold your mouth and head in the same position no matter what position the rest of the body is in. When the piece is over, close the mouth, reposition the head, and carry on as before.
Notes for the editor (of the recording):
When recording this piece, one should record each measure or each grouping of measures separately. Groupings are determined by the style of singing and notation employed. When editing the measures together as a continuous piece, one should not allow the measures to overlap, but rather, let some measures cut off the ones preceding them by fractions of a beat. This will create a cut-and-paste/drag-and-drop sound that is fitting for this piece. One may choose to play with the left-right-back-front pan of the recorded segments, although that should be kept to a minimum and is not required. In the cases of pan changes, they should be held constant for their accompanying phrases for the entirety of the piece. A small amount of reverb is preferred. No echo.
The work was composed by breaking the monologue down into is component parts, determined by repetitions in the text and similarities in themes. Each component is given its own compositional material and often its own notation. The performance of the work is theatrical and is considered to be the first piece of a larger work based on Godot that has yet to be composed.
Download the score: HERE