Variables: Sequence of sections can change depending on architecture / sequence of choreography times are based on 2024 iteration and are approximate able to be changed - see ___ instrumentation

Location Above and/or ahead of the lead performer, e.g. visible from a balcony or split landing Instruments Schlagwerk wah-wah tube low played with Balter green cord medium hard rattan mallet (approx. pitch C3) Suzuki tone chimes played with same mallet as above (pitches E5 and B5) Nino energy chimes (approx pitches A6, E7 and A7) Room tone (approx. pitch E) OR Any bell-like sound/instrument (e.g. carilion, hand bells), or mallet percussion instrument performed to mirror a bell-like sound (e.g. xylophone, vibraphone) using pitches that create a similar intervallic relationship between room tone and instruments Score Think of this as a duet with environmental sound - leave space for the decay of each note and listen to room tone, the air conditioning and the resonance of each note within the acoustic. Be mindful that the decay heard by the audience is shorter than expected because of the potentially large distance between performer and audience. Begin with lowest note (C3), allow to decay and then alternate between low note with first the third (E) and then the sixth (A) Gradually include seventh (B) Continue alternating low and high notes, build tension by increasing/decreasing the space between notes Cue Start: first dancer walks into view Finish: 1-minute after last audience moves out of sight (approx 9:45)

Location Behind and/or above the dancers, ideally outside the line of sight of audience Instruments Grover Super Overtone triangle performed with rubber end of beater (Approximate pitch: A) Room tone (Approximate pitch: E) OR Any triangle or cymbal with a central pitch of 1 4th above the central pitch of the room tone performed with an appropriate beater to emphasise overtones Score Create a continuous triangle roll and diminuendo slowly over 20 minutes, ending with individual notes placed very sparsely. As the duration progresses, explore the overtones of the instrument by changing where the beater connects. Notice any rhythmic patterns that emerge as the arm fatigues. Aim to repeat and accentuate these ‘mistakes’, before slowly fading out to the room tone. Through this gradual fade out, the performer’s and listener’s attention is drawn to the acoustic property of the room and the architecture’s sonic potential. Cue Start: Watch clock Finish: Watch clock

Location Above and ahead of the dancers Instruments Suzuki tone chimes (pitches E5 and B5) Schlagwerk wah-wah tube medium played with corresponding mallet (approx pitch E5) Nino energy chimes (approx pitches A6, E7 and A7) OR Any bell-like sound/instrument (e.g., chimes, hand bells), or mallet percussion instrument performed to mirror a bell-like sound (e.g., xylophone, vibraphone, marimba) covering the same pitches as the overture Voice Room tone (approx pitch E) Score Percussion: Begin with lowest note, and alternate between higher notes. Find a slow rhythmic pattern, then begin to build and complexify it. When the pattern reaches it’s logical conclusion, establish a new pattern and begin the process again. Runs 12:00-13:00 Voice: echo/amplify room tone with mouth closed. At 13:00, congregate; sing one note in unison, then 2 other notes chosen based on listening to the environment. Breathe together. Cue Start: watch clock Finish: watch clock, listen for choral interlude, watch dancers for the beginning of next section and play one more note.

Location Below and ahead of dancers Instruments Right hand playing a metal step covered in rubber tread Left hand plays the lower part of a railing Both hands using medium hard cord beaters OR Any metallic percussion instrument with two contrasting sounds (e.g. cowbell, break drum, anvil), with one sound more resonant or ‘ringing’ than the other [not featured visually] Score Play continuous crotchets on less resonant sound, alternate with accents on resonant sound. Begin with placing the accent on 1 of a 4/4 bar, but gradually increase to 5/4, then 6/4, 7/4, 8/4, 9/4 and beyond with crotchet pulse remaining the same. If you lose count, begin again from the nearest number you remember. As dancers get closer, begin to gradually decrease the bar length back to 4/4 and finish with beat on accent sound Approximately 60 BPM Cue Start: Watch/listen for dancers to enter stairwell (or chosen area) to begin End: Leave with last dancer

Location Below and ahead of dancers Instruments Hand railing, played on all sides of a bracket joining it to the wall with medium hard cord mallets OR Any metallic percussion instrument with two contrasting sounds (e.g., cowbell, break drum, anvil) with one sound more resonant or ‘ringing’ than the other - this could be the same instruments as earlier with different mallets Score Play two less resonant sounds followed by the ringing sound in a ¾ pattern (railing was played side of bracket, other side of bracket, top of railing). Begin and remain mezzo forte. Try not to slow down. Approximately 45 BPM Cue Start: enter with dancers returning from break, walk past other performers to location End: exit with first group of dancers to leave ramp

Location With dancers Instruments Voice (dancers) Room tone Score Listen to room tone and hum the same note with mouth closed. Hum one note per breath, and focus on blending the note with room and each other. Begin to sing increasingly higher or lower notes, one note per breath, when you are nearly half way across the space. Subtly increase volume as you reach the mid point. Do this for 3-4 breaths, then return to the room tone note. As you approach the end, fade to nothing and disperse. Cue Start: Find a starting point in proximity to the gallery End: Finish singing at agreed end point