to….oblivion€¦ · walk of a thousand lights," derived from the strings of lights...

TO….OBLIVIONHistoric Landmarks Around Los Angeles

for electric guitar, sound effects and slideshow

Alexander Elliott Miller

TO….OBLIVION: Historic Landmarks Around Los Angeles (2015 - 2017)I. Belmont TunnelII. Dunbar HotelIII. Anaheim’s Center StreetIV. The Walk of a Thousand LightsV. Zanja MadreVI. At Sunset (and Horn Ave.)

Part VI, At Sunset (and Horn Ave.) was generously commissioned by the California Association of Professional Music Teachers.

Duration40 - 45 minutesIndividual Movements may be performed, in any combination or ordering.

Program NoteTo….Oblivion is a suite of pieces for solo electric guitar, electronics and video, inspired by historic and lost landmarks around Los Angeles of some societal or personal significance. Each movement consists of a live electric guitar part, sound effects and a slideshow of historic and contemporary images.

I. The Belmont Tunnel was the first subway in Los Angeles, carrying the Red Cars one mile from 4th and Hill St. underneath downtown traffic to a Westlake neighborhood just south of Echo Park near where 1st Street turns into Beverly Blvd, before tracks diverged to various points north and west. Trains ran from the 1920’s through the 1950’s, with traffic peaking during WWII; the last subway car to pass through the tunnel in June of 1955 carried a banner reading “To….Oblivion.” The tunnel has been sealed off, but the retaining wall at its Westlake terminus still stands, next to the adjoining Toluca Substation. The site, for years a major attraction for graffiti artists, has since been fenced off and surrounded by luxury apartments.

II. The Dunbar Hotel, originally opened as the Somerville Hotel, still stands at Central Avenue at 42nd Street, an intersection once regarded as the hub of Los Angeles’ jazz scene. During the 1930’s and 40’s especially, Central Avenue was crowded with jazz clubs, and the Dunbar, as one of the few hotels to accommodate African Americans in the area, had a guest list that read like a jazz history book: Louis Armstrong, Billie Holiday, Count Basie, Cab Calloway, Lionel Hampton all stayed there, and Duke Ellington was known for his parties at the Dunbar with “champagne and chicks everywhere.” As racial integration in the city slowly improved, the need for the Dunbar diminished. Jazz clubs, including the prominent Club Alabam across the street, closed and Duke began staying at hotels in Hollywood while in town. Today, the Dunbar is a registered historic landmark, and is no longer an active hotel, serving as a retirement home. My thanks to my friends Jamond McCoy (piano) and Zaq Kenefick (tenor sax) for allowing me to record their original jazz improvisations for the soundtrack.

III. Anaheim’s Center Street. In the mid-20th Century, Anaheim's Center Street was a vibrant, typical American main street; a strip lined with hotels, department stores, cafes, theaters, any number of small businesses and the site of several annual parades. By the 1970's, however, as a

result of a major shopping mall opening near the freeway exit, business had dried up, and the area succumbed to significant urban blight, much of the downtown core being completely abandoned.

With much of the town falling into disrepair, the city initiated what it called "Project Alpha:" the complete demolition of a 200 acre section in the heart of the city for redevelopment. Beginning in 1978, most of Anaheim's historic core was entirely destroyed, buildings torn down, streets erased and remapped. Making matters worse, the city had begun demolitions before contracts from redevelopers had been secured. Shortly after all the buildings were gone, the money dried up, and much of the heart of old Anaheim remained empty dirt lots for the better part of the 1980's.

Many of Anaheim's well known present day businesses and attractions, such as DisneyLand, Angels Stadium, the Convention Center and Honda Center, are actually miles south of the original site of the city. But the traditional downtown area is now slowly bouncing back. Precious few remaining historic buildings have found reuse (with the Anaheim Packing House being a recent and notable example), but overall, the downtown district appears to have fully transformed, with much of the actual site of the original Center Street now a strip mall and parking lot.

I have lived on a sliver of what remains of Anaheim's Center Street since 2012. While this neighborhood was at first something of a mystery to me, my work on this project has given me a richer understanding of the changes that my neighborhood has experienced over the years, and that so many neighborhoods around LA are continuing to experience today.

IV. The Walk of a Thousand Lights. Long Beach's downtown waterfront has changed dramatically over the years. Most of the real estate which is now home to the Aquarium of the Pacific, Shoreline Village and the dock of the Queen Mary was originally ocean, built out through landfill projects during the 20th Century. The original beach, located as far north as what is now Seaside Way, was not only a popular bathing beach, but hosted a large amusement park from 1902 through 1979. Its official name was the Pike, but I prefer its nickname, "The Walk of a Thousand Lights," derived from the strings of lights suspended above its main thoroughfare.

Demolished by 1979, the site is now home to the Pike Outlets, a standard contemporary shopping mall bearing no resemblance to its predecessor, its name merely an homage. But in its day, The Pike Amusement Park was known as a sort of "Coney Island of the West," complete with shooting galleries, fun houses, sideshows, a grand bath house, ballrooms and rides including a double ferris wheel, carousels and, most prominently, a famous roller coaster extending off a pier near the water, The Cyclone Racer.

V. The Zanja Madre, or “mother ditch,” was the first aqueduct in Los Angeles, constructed by Spanish settlers in 1781, and providing the city with water for over a hundred years, nearly until the completion of William Mullholland’s Los Angeles Aqueduct in the early 20th Century. Originally an open ditch, and later an enclosed brick pipe, the Zanja Madre took water from a large water wheel on the LA River at a site near the present day Broadway Bridge, channeled it

close to Broadway’s current route, to a small central reservoir building in the middle of the Plaza of the Pueblo de Los Angeles. Pieces of the Zanja Madre have occasionally been discovered by accident during various construction projects in Chinatown, including the excavations for the Gold Line Metro Rail.

VI. At Sunset (and Horn Ave.) Tower Records did not begin in Los Angeles. The famed record store began in Sacramento, California in 1960, eventually operating locations around the world, until going out of business in 2006. Yet, its arguably most famous store stood at the corner of Sunset Boulevard and Horn Avenue, at the heart of LA’s Sunset Strip. Legendary rock clubs, including the Viper Room and Whiskey a Go Go were mere steps away. Celebrity sightings were frequent, concerts occasionally even took place in the parking lot. I chose the Tower Records site as a grand finale for my suite of historic landmarks in Los Angeles for several reasons. It is a symbol of the changes in the music industry over the last decades, it was located in on a street that, for all its excesses, is a cultural focal point for the city, and it is an institution that, in a way, I believe represents a kind of welcoming attitude and celebration of all styles of music. Special thanks to Thomas Kendall Hughes (drums) and Mikey Ferrari (voice, guitar) for improvising their own background recordings for the soundtrack of this piece, and to the California Association of Professional Music Teachers for their commission of this movement.

Alexander Elliott MillerAlexander Elliott Miller (b. 1982, Boston, MA) is a musician and educator based in Southern California whose music has been described as "wild...unearthly...lyrical...a voice worth listening to" (San Francisco Classical Voice) and "deceptively laid back...inventive....unconventional" (LA Times' Mark Swed). Active as a composer and electric guitarist, he has collaborated with and been commissioned by Grammy-nominated musicians including pianists Vicki Ray and Aron Kallay, and soprano Tony Arnold. His compositions have been performed by adventurous new music groups including HOCKET, Juventas New Music Ensemble, Earplay New Chamber Music, the Boston New Music Initiative, the Los Angeles Percussion Quartet, Sound of Late, TEMPO New Music Ensemble, Definiens Ensemble, Quintet Attacca, and the What's Next? Ensemble, a group of which he was Co-Director.

In 2017, pianist Vincent Craig performed one of his compositions at Carnegie Hall's Weill Recital Hall. His music has also been played at London's Mile End Art Pavilion, the Aspen and Carlsbad Music Festivals, and at many new music concert series, including San Francisco's Center for New Music and several Los Angeles based series including Tuesdays at Monk Space, the Hear Now Festival, Synchromy New Music and People Inside Electronics. He has received honors including the Earplay Donald Aird Composers Award and a MacDowell Fellowship.

With backgrounds in rock, classical and jazz guitar, Miller has performed extensively as a solo guitarist, and as a member of the What's Next? Ensemble. He has been a frequent performer of his own compositions for guitar, especially his classical guitar solo Flatiron, and a new large suite, TO....OBLIVION: Historic Landmarks Around Los Angeles, a work for electric guitar, electronics and video that examines the constantly changing landscape of Los Angeles. He has performed as a guest guitarist with the Long Beach Opera, CSULB Chamber Choir, the Color Field Ensemble, and appeared as a lead guitarist for singer Mikey Ferrari at Hollywood's Whisky a Go Go.

Miller is on the faculty of California State University Long Beach, where he teaches music theory, composition and musicianship at the Bob Cole Conservatory of Music. During the Spring of 2017 at CSULB, he served as the Interim Graduate Advisor. He also works at Chapman University, teaching Sight Reading for Vocal Majors and Fundamentals, and in the Spring of 2016, initiated and developed a new Composition and Songwriting course for non-music majors.

He holds a Doctor of Musical Arts degree in Composition from the University of Southern California, a Master of Music in Composition from the Eastman School of Music, and Bachelor of Music degrees in Composition & Guitar Performance from the University of Colorado at Boulder. For more information, www.alexanderemiller.com.

http://www.alexanderemiller.com

Technical GearIn addition to the electric guitar and amplifier, the following gear is required:

1. Laptop with Max/MSP.

2. Audio Interface: two channels of output, hard panned.

3. Simple Stereo PA System, with a monitor.

4. Video Projection: video is sent from the Max/MSP patch on laptop.

5. eBow.

6. Chorus and Light Overdrive Pedals.

7. USB MIDI Controller Pedal: the device must be capable of sending both Continuous 0 - 127 data to Max/MSP, as well as a “bang” message. For this, I use my own multi effects processor, which includes both of these functions as well as the chorus and overdrive.

SetupMy own setup is as follows, in which the “Line 6 POD 300 Pedal” serves many roles. It provides the chorus and overdrive to the signal sent to the amp, it send the Continuous Controller info to the computer via USB (using the Volume pedal with the Volume function turned off), it sends “bang” messages to the computer also via USB, and it serves as the input audio interface, sending the guitar signal to Max/MSP’s input.

LINE 6 POD 300 Pedal - Chorus & Overdrive to AMP - Continuous MIDI Data, “Bang” messages and Audio Signal to Laptop via USB.

GUITAR AMP GUITAR

LAPTOPVIDEO PROJECTOR

AUDIO INTERFACE (for output only)

PA Speakers & Monitor

In the absence of a multi-function pedal and processor such as the Line 6, an alternative arrangement may be possible utilizing separate chorus, overdrive and MIDI Controller pedals. In that case, the guitar signal would have to be sent through the Audio Interface input. Explanation of Electronics PartContained within one master Max/MSP patch are six separate sub-patchers for each of the movements, plus the Jitter patch for running the video.

In all movements, the audience will hear the unprocessed, live electric guitar part coming through the amp. This should be the leading sound, with the electronic part serving an accompanimental or textural role.

Additionally, in all movements, a slideshow of historic and contemporary images will play. These videos are controlled via key-commands in the score.

In each movement, the electronics part contains two basic elements:

SoundtrackPlayback of a fixed recording attempting to emulate the environment of each historic landmark. These recordings are a background texture and do not require any precise rhythmic coordination with the guitar part, except in Dunbar Hotel, where the guitar beat should be aligned with the walking bass on the soundtrack.

Interactive EffectsGuitar Effects based on live processing of the guitar signal in Max/MSP, often triggered by pedaling on the Line 6 Pod 300.

Notation of PedalingThe style in which the Continuous Controller pedal is used varies from movement to movement. Therefore, the method by which this pedal is notated varies from movement to movement.

In Belmont Tunnel and Anaheim’s Center Street, where the pedaling is rather intricate, the notation is precisely controlled: the pedal receives its own staff below the guitar part. The lower the note below the staff line, the lower the pedal is depressed.

In Dunbar Hotel, the use of the pedal is simpler. It is only utilized in the opening prelude prior to the tempo change. As such, a second staff is not necessary, and in the few passages where the pedal is used, a written note “Ped.” is followed by a dashed line showing the duration of the pedal depression.

In Zanja Madre, the pedaling is completely free and improvisatory. Feedback should be controlled, if it becomes too overwhelming, the pedal can be used to limit the effect. Therefore, there is no notation of any pedaling whatsoever in this movement.

In At Sunset (and Horn Ave.) the pedal is used only to control the level of the soundtrack, for live mixing and may be used freely.

In The Walk of a Thousand Lights, the pedal is not used.

Keyboard Commands for Max/MSP Patch Space Bar Audio On/Off

Up/Down Arrows Volume of Electronic Parts

P Start Video Playback

O Stop Video Playback

F Fullscreen Video On/Off

1 Load Belmont Tunnel patch and video

2 Load Dunbar Hotel patch and video

3 Load Anaheim’s Center Street patch and video

4 Load The Walk of a Thousand Lights patch and video

5 Load Zanja Madre patch and video

6 Load At Sunset (and Horn Ave.) patch and video

0 Deactivate all patches and videos

Additional Performance Notes

ScordaturaThe sixth string of the guitar is detuned a major third to a low C, until the finale movement, At Sunset (and Horn Ave.) in which the sixth string is tuned to a dropped D.

Improvisation in Dunbar HotelDunbar Hotel is intended to evoke memories of Central Avenue during its years as a vibrant center for jazz performance. The middle section of this movement is a 3 to 4 minute improvised jazz guitar solo. My own solo combines elements of bebop, modal and free jazz, and in general, stays with the tempo of the walking bass in a fast swing.

Unmetered Passages in Dunbar HotelIn addition to the large, featured solo, there are additional passages which are unmetered. I consider these passages guided improvisation: I take significant liberties with the figures, repetitions, ornamentation, and even meter and pacing during these passages. The notation is only an approximate guide to the progression and form.

Dashed Bar Lines in Anaheim’s Center StreetSeveral passages in Anaheim’s Center Street are taken with such liberties and extensive fermatas that I have used a dashed bar line to show the flexibility of the approximate time signature.

H Symbol in At Sunset (and Horn Ave.)The use of the “H” symbol followed by a dashed line in the sixth movement, At Sunset (and Horn Ave.) stands for “hit” and indicates a percussive striking of the guitar strings.

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Pedal Position

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(10 - 20 seconds)(subway noises fade in)

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(12)

© 2015 Alexander Elliott Miller

TO....OBLIVION:Historic Landmarks Around Los Angeles

for electric guitar, sound effects and slideshow

Alexander Elliott Miller

I. Belmont TunnelUnmetered, No Tempo

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& 23 44.œb œ .œ œb œ Œ...˙bgggg ‰ Jœnœœœœœ

œœœœœbb œœœœœ# œœœœ## œœœœ#nn œœœœ œœœœnn# œœœœbn œœœœ

3 3 3F

& 44Ped. |

œ œ œ# œ œ œ œ# œ œb3

f¥¥¥¥ggggg wp

Œ œ rœ œœbbU œ5

Œ œœœgggg œ .œU œ> .œwU

P

II. Dunbar Hotel

&Ped. |

‰ jœ œb œ œb œ œn Jœb ‰3f p

Œ œ rœ œb œ ! œ œU5

Œ œœœgggg ˙bwU

&Ped. |

‰ Jœ œb œ œ œb œ œ œU3f p

" Ó ˙###wF

Fast Swing q = 200

& œœœœ ....˙nbnnw

wwwwbbb Ó ˙‰ j

œ.Œ

œ. œ.Œ

(liberties may be taken with these staccato figures) Ó ˙###

w

& œœœœ....˙

wwwww#### Ó ‰ .œ œ. œ.

Œœ.

œb . ŒPED. to Activate Background Track

& Ó ˙###w

(Background track gradually fades in through this passage)œœœœ ....˙nbnnw

wwwwbbb Ó ˙‰ j

œ.Œ

œ. œ.Œ

&œ

Œœ.

œ. Œ Ó ˙###w

œœœœ....˙

wwwwwÓ ‰ .œf

& ‰ jœ.

‰ jœ.

Jœ. ‰ ‰ jœ.

jœ.

‰ œ.œ.

‰ jœ.

‰ jœ.

jœ.

‰ Œœ.

œ. Œ

&˙

······gggggggggƒ

············

······

& "U(allow backing track to play, then continue to next measure when ready, in time with bass).

Jœ ‰ œ œb ˙F

Jœ ‰ œ œb ˙

& œ# œ œ œ œ œ œ œn œ œb œ œ Ó Jœ ‰ œ œb ˙

& œ# œ œ œ œb ˙3

œ# œ œ œ œb œ œ œ œ# œ œb œ ‰ Jœ œ œ

& Jœb ‰ Jœn ‰ œ œ# œ# œ œ œ# œ œ œ œb œb œ Jœb ‰ Jœn ‰ œ œ# œ# œ

& œ œ# œ œ œ œ œ# œ œ œ œ# œ œ œ œ œn œ œ œ œ œ œ# œ#

& jœ# œ œ œ œ œ œ œ œ œ# œ œ œ# œ œ œ Œ3

Jœ ‰ œ œb ˙

&¿ ¿ ¿

œb . œ. œ. ˙b3

œ# œ œ œ œb œ œ œ œ# œ œb œ Jœ œ Jœb

& œb œ œ œ œ œ œ œ œb œ œb œ Jœb jœ .œ œ œb œ œ œ œ œ œ

& œ œ œb œ ‰ jœ œb œ œ œ Œ Jœ ‰ ‰ Jœ(very free and improvisatory in this unmeteredpassage, take liberties with figures, ornamentation and even meter and pacing) Ó œ œ Œ

& Jœ ‰ Œ œb œ œn œ Ó ‰ jœ œb Jœ ‰ ‰ Jœ Œ Jœ ‰

& ‰ Jœ Œ Jœ .œ Jœ ‰ Œ œ œb œ œ Ó ....œœœœ### Jœœœœnbnn

& ˙Uœ œb œ œ œb Œ ....œœœœbb J

œœœœ ˙U œ œb œ

& Jœ ‰ œb œ ‰ ....œœœœ ˙##U œ œb œ œ œb œ Œ ....œœœœ

jœœœœb

& wwww wwwwU "U

(allow backing track to play, then continue to next measure when ready, in time with bass).

& Jœ ‰ œ œb ˙F

Fast Swing q = 200

Jœ ‰ œ œb ˙ œ# œ œ œ œ œ œ œn

& œ œb œ œ Ó Jœ ‰ œ œb ˙ œ# œ œb œ ˙

& œ# œ Jœ ‰ Jœ ‰ Jœb‰ Jœ ‰ œ œ ‰ œb Jœ Jœb ‰ Jœn ‰ œ œ# œ# œ

& œ œ# œ œ œ œb œb œ Jœb ‰ Jœn ‰ œ œ# œ# œ œ œ# œ œ œ œ Jœ# ‰

& œ œ# œ œ Jœ .œb œ œ œ œ Jœ .œb jœ# œ œ œ œ œ œ œ œ

& œ œ# œ# œ œ œ Œ Jœ ‰ œ œb ˙¿ ¿ ¿

œb . œ. œ. œb . œ. œb .3 3

& œ# œ œ œ œb œ œ œ œ# œ œb œ Jœ œ Jœb œb œ œ œ œ œ œ œ

& œb œ œb œ Jœb jœ .œ œ œb œ œ œ œ œ œ œ œ œb œ Ó

&3 - 4 Minute Improvised Jazz Solo

&jœœœœfl ‰ ¿¿¿¿

œœbb ˙œ œ œœf

jœœœœ###fl ‰ ¿¿¿¿n œœnn ˙œ œ œ

œ

jœœœœbbfl ‰ ¿¿¿¿

œœn# ˙œ# œ# œœ


œœbb ˙œb œ œœ

Jœ ‰ œ œb ˙F

Jœ ‰ œ œb ˙

& œ# œ œ œ œ œ œ œn œ œb œ œ Ó Jœ ‰ œ œb ˙

& œ# œ œ œ œb ˙3

œ# œ œ œ œb œ œ œ

& œ# œ œb œ ‰ Jœ œ œ Jœb ‰ Jœn ‰ œ œ# œ# œ œ œ# œ œ œ œb œb œ

& Jœb ‰ Jœn ‰ œ œ# œ# œ œ œ# œ œ œ œ œ# œ œ œ œ# œ œ œ œ œn

& œ œ œ œ œ œ# œ# jœ# œ œ œ œ œ œ œ œ œ# œ œ œ# œ œ œ Œ3

& Jœ ‰ œ œb ˙¿ ¿ ¿

œb . œ. œ. ˙b3

œ# œ œ œ œb œ œ œ

& œ# œ œb œ Jœ œ Jœb œb œ œ œ œ œ œ œ œb œ œb œ Jœb jœ .œ

& œ œb œ œ œ œ œ œ œ œ œb œ ‰ jœ œb œ

& œ œ Œ Jœ ‰ ‰ Jœ(from here to the end, significant liberties may be taken, as before, with figures, ornamentation, pacing, meter and duration. Additionalimprovisated, soloistic passages may be added to extend the passage.)Ó œ œ Œ Jœ ‰ Œ œb œ œn œ

& Ó ‰ jœ œb Jœ ‰ ‰ Jœ Œ Jœ ‰ ‰ Jœ Œ Jœ .œ Jœ ‰ Œ œ œb œ œ

& Œ ....œœœœ#....œœœœbbnb ....œœœœ ....œœœœ## œœœœ

jœœœœ....œœœœbbb ˙ U

(short improvised solo licks)

& Ó ....œœœœbä

Jœœœœ## ˘

Ójœ œ jœ...œœœb J

œœœ Œ ....œœœœ....œœœœbbb

& wwww#U U(short improvised solo licks)

jœœœœfl ‰ ¿¿¿¿œœbb ˙œ œ œ

œ


œœbb ˙œ œ œœ

(Ped. to activate Bangbackground fades out) jœœœœ###

fl ‰ ¿¿¿¿n œœnn ˙œ œ œœ

&jœœœœbb

fl ‰ ¿¿¿¿œœn# ˙œ# œ# œ

œ

jœœœœfl ‰ ¿¿¿¿œœbb ˙œb œ œ

œjœœœœfl ‰ ¿¿¿¿

œœbb ˙œ œ œœ

&Ped. |

jœœœœfl ‰ ¿¿¿¿œœbb ˙œ œ œ

œ˙ ˙wwrit.

(as background completes fade out) ¥¥¥¥¥¥

gggggggggU

Post-performance:O - stop video0 - deactivate Dunbar

& wwwwwUgggggggg >f

Pre-Performance- set pedal presets- 3: load patch- P: begin video/soundtrack on 5 second countdown.- Strike first chord when countdown reaches 0.

III. Anaheim's Center StreetFree, improvisatory meter circa q = 60 ! ‚ ‚ ! ‚ ‚ ‚

! ‚ ‚ ‚! ‚ ‚ ‚œ œ œ# œ œ œ œ œ œ œ œ

p F

("harp" harmonics)

& ‚U .œ œF

IVU œ œ œ jœ

3

wgggggg˙#U œ œ œ Jœ

3

& œ# jœ# œ œ œ œ jœ3 3

Œ .˙ggggU

wU

& ! ‚ ‚ ! ‚ ‚ ‚! ‚ ‚ ‚

! ‚ ‚ ‚œ œ œ# œ œ œ œ œ œ œ œp F

‚U .œ œF

& œU .....œœœœœ

gggggggg >

U jœ œ jœ3

œ#U ......œœœœœœn

nggggggggg >

UJœ œ Jœ

3 œ# jœ# œU ˙˙nggggggggg >

U‰ œ# œ .œ œ

3

& Jœ œ ˙˙gggggggg >

Uœ

3

œ œ œ œ œœœœ

bUggggggggggœ œ œ œ œ

œœœœœ

bb Ugggggggggggœ

& .œb œ œ œ ! Rœ œ œ œb ‰ œ œb œ œ œb .œ

& œb œ œb .œb! ‚b ‚b ‚b .‚ œ œ œb .œ œb œ œb .œ œn! ‚b ‚ ‚ .‚U

& œ œ œ œ# jœ œ jœ3

! ‚ ‚ ‚ ‚U œ# œ œ œn œU jœ œ jœ3

Œ ! ‚ ‚ ‚ ‚ ‰ Œ

& œ# jœ# œ œ œ œn œU jœ# œ jœ3 3

! ‚ ‚ ‚ ‚ ˙U

& ! ‚ ‚ ! ‚ ‚ ‚! ‚ ‚ ‚

! ‚ ‚ ‚œ œ œ# œ œ œ œ œ œ œ œp F

·U

&

ã

‚

"IV

7 ·#U ‚ ‚ ‚ j‚3

œUœU ˙

II

7

.·U ‚œU

œU ˙A.H.

5

&

ã

·#U

œUœU ˙

I

4 ! œ# œ œ ! œ œ œ‰

‚n ‚# ‚# ‚ ‚

"F

&! œ# œ œ ! œ œ œ‰ ‚n ‚# ‚# ‚ ‚

.˙! œ# œ œ ! œ œ œ‰ ‚n ‚# ‚# ‚ ‚

.˙#

&

ã 41 44

! œ# œ œ‚# ‚n ‚# .œ#U

"

‚#

"#IV9 ·# ‚ ‚# ‚

J‚3

œUœU ˙

II

9

&

ã 86

..

..

‚ ‚ ·U

Ó œUœU

I I

5 5

A.H.

! œ œ œ ! œ œ œ‰‚# ‚ ‚ ‚ ‚

Jœ ‰ ‰ Œ .p P

! œ œ œ ! œ œ œ‰‚# ‚ ‚ ‚ ‚

.˙"

& ..! œ œ œ ! œ œ œ‰‚# ‚ ‚ ‚ ‚

.˙! œ œ œ ! œ œ œ‚ ‚# ‚ ‚ ‚ ‚

repeat ad lib.

& .. ...œ>

U.œ>

Urepeat as needed, building in intensity, increasing pedal pressure and volume knoband vibrato as "bull dozer" sound effect nears.

ÓUœ#

(wait for first "crash" of debris on soundtrack)

ƒ

(this melody on 6th string, intense vibrato)

&

ã 44˙b

·····#>

Ó jœ ˙Ï

·····U

‰ jœ# œb j

œ3

˙U ˙ ƒ

&

ã˙

·····### >

Ó jœ ˙Ï

·····##U ‚‚‚‚‚ œb œ# œ˙U ˙

œ jœ# œ

·····>

3

Ó jœ ˙Ï

&

ã 42

·····U ‚‚‚‚‚ œ# œ jœ#

3

˙U ˙˙n

·····#>

Ó jœ ˙Ï

.....·····

Uœ

˙U ˙f

& ˙˙

‰ jœ .œ œ˙b˙b˙

œ œ˙

& œ œ# œ#˙#

œ œ# .œ# œ˙˙˙

œ œ#˙#

&

ã

~~~~~~~~~~~~~~~~~~~~

˙"ƒ

·····# >U

jœ ˙U

jœ ˙˙

˙Ï ˙

"ƒ

&

ã

~~~~~~~~~~~~~~~~·····### >U

jœ ˙U

jœ# ˙˙#

˙Ï f

‰ jœb œ˙

"

œ œb .œ œ˙b

"

& œ œ˙

œ œ .œ œ˙bœ œ œ œb3

˙œ jœ œ˙ ‰

jœ .œb œ˙b

&œb jœb œbœb Œ

‰ jœ# .œ œ˙

œ# jœ œœ Œ

‰ jœ .œ# œ˙b œ# jœ œœ Œ

&

ã 44

˙

"

Ó ·····#>

˙#Ó jœ ˙

ƒ Ï·····

U‰ j

œ# œb jœ

3

˙U ˙ ƒ˙

·····### >

Ó jœ ˙Ï

&

ã

·····##U ‚‚‚‚‚ œb œ# œ˙ ˙

œ jœ# œ

·····>

3

Ó jœ ˙Ï

&

ã

·····U ‚‚‚‚‚ œ# œ jœ#

3

˙U ˙˙n

·····#>

Ó jœ ˙Ï

·····#U

wU

&

ã

.. ..

.. .. 41 86

····U

"(play any chord of harmonics on the 5th, 7th, 9th or 12th frets, with pedal depressed,fading away until "reconstruction" photos in video have passed)

œ#

jœœ

pœ œ œ# .œ

"

&....

œœœœ#gggggggg

U .œ œ œ œ .œ .....œœœœœ

## Uggggggggg .œb

& .œ œ œ œ ! Rœ œ œ> œb . ‰ œ œ œ Jœ .œ# œ œ# œ .œ! ‚ ‚ ‚

& œ# jœ Jœn œrit.

œ œb œ .œ! ‚b ‚ ‚ œ œb œ .œ

! ‚b ‚ ‚ .œ œIV

&U œ œ œ jœ

3

wgggggg˙#U œ œ œ Jœ

3 œ# jœ# œ œ œ œ jœU

3 3

Œ œggggU

˙

& .. ..! ‚ ‚ ! ‚ ‚ ‚! ‚ ‚ ‚

! ‚ ‚ ‚œ œ œ# œ œ œ œ œ œ œ œ(wait for final photograph of oldAnaheim before beginning this measure)

·U 4x

Post Performance: - O: stop video- 0: deactivate patch

& 44 42 .. .. 44!U(waves, roller coaster)

IV. The Walk of a Thousand Lights q = 100

Pre-Performance- 4: load patch- P: begin video/soundtrack.

‰ œ œ œ jœw(wait for first "scream on roller coaster soundtrack)

pjœ œ

jœ(repeat ad lib.)

& 44 42 .. .. 44jœ œ œ œ >Ó . œ œF p

jœ œjœ(repeat ad lib.) œ œ " œ œ œ

F

& 44 .œ œ œ œ œ œ œ œ œ .œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3

& 42 .. .. 43.œ‰ œ Jœ Jœ œ JœwpJœ œ Jœ

(repeat ad lib.) œ œ œ œ œF

& 43 44œ œ œ œ œ# œ œ œ œ œ œ œ(0) (5)

(0) (5) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& 43~~~ ~~~ ~~~Œ œ œ œb œ œ> œ œ œ œ œ œ>w

" œb œ œ .œ> œ œ œ œ>

& 44œ> œ œ œ œ œ œ œ œ œ œ œ œ3f sub.

œ œ œ œ œ œ œ œ#

Jœ œ jœ jœ œ jœ

& 42 44 42‰ œ œ œ jœwpjœ œ

jœ jœ œ œ œ >Ó . œ œF p

& 42 .. .. 44jœ œjœ œ œ " œ œ œ

F.œ œ œ œ œ œ œ œ œ .œ œ

& 42œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 .œ‰ œ Jœ Jœ œ Jœwp

& 42 43 44Jœ œ Jœ œ œ œ œ œF œ œ œ œ œ# œ œ œ œ œ œ œ(0) (5)

(0) (5)

& 44 43~~œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œb œ œ> œ œ œ œ œ œ>w

& 43 44~~~~ ~~~" œb œ œ .œ> œ œ œ œ> œ> œ œ œ œ œ œ œ œ œ œ œ œ3f sub.

& 44 42œ œ œ œ œ œ œ œ#

Jœ œ jœ jœ œ jœ ‰ œ œ œ jœwp

& 42 .. .. 43 .. .. 44œ œ. œ. œ. œ. œ. œ. œ.(repeat ad lib.)

œ œb œ œ œ œ(repeat ad lib.)

& 44 42 .. .. 43 .. .. 44wwwwwwbb

@

U measured, one finger tremolo, tasto,ad lib. duration, beginning on first photoof modern Long Beach skyline

Fœ. œ. œ. œ.

(repeat ad lib.)

pœ œb œ œ œ œ(repeat ad lib.)

& 44 42 167wwwwwwbb

@

U

F

sim. wwwwwwb

@

U

p(w/pick)œœ>

œ œ œ. œf

& 167 165 164 44œ œ. œ œ œ. œ œ œ> œb œ œ. œ. œ> œ œ œ. œ. œ> œb œ œ.

& 44 42œ> œ œ> œ œ œ œ .œ> œ œ œ œ> œœ>œ œ œ. œ œ œ. œ œ œ. œ œ œ.

& 42 43 44œ œ. œ œ. œ œ. œ œ. œ œ# œ œ œ œ œ. œ.œb œ œ. œ.

œ> œ œ> œ œ œ œ .œ> œ œ œ œ>

& 42 .. .. 44œœ>œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ- œ. œ. œ. œ. œ. œ. œ# . œ> œ œ# . œ. œ> œn œ# . œ.(repeat ad lib.)

ƒ

& 44 165 164jœfl

œœœb â œ œ œb . œ œ œ. œ œ œ. œ œ œ œ. œ. œ# . œ œ œ. œ. œ# .

& 164 44 43 42œ œ œ. œ. œ# > œ œ> œ œ œ œ .œ> œ œ œ œ> jœfl

œœœb â œ œ œb . œ œ œ.

& 42 44 42œ- œb . œb . œb . œ. œb . œb . œ. œ œ œ œœbb > œb œ œœœbb > œœ œb œ œ

& 42 .. .. 44œ> œb œn . œ. œ> œb œn . œ.

ƒ

(repeat ad lib.)

(dim. through repeats)

wwwwwwbb

@

U

p Fsim.

wwwwwwb @

U

p F

& 42 43wwwwwwbb

@

U

Fwwwwww

b@

U

p(w/pick)‰ œb œ œ

˙f

& 43 85 44œ œb œ œb œb œ œ œ œ œ œ œ ‰ œ. œb . œ.

œ.

œ. œ. œ. œ.

œ .œ

& 44 165œb > œ œ ‰ œb > œ œ œœœnn> œœœ œœœ

>œœ

œœœbb œœ

œ ƒ‰ œ œb œ œ œ œ œ œ œ œ œ œ œ œwb

& 165 164 42œ œb œ œb œ œ œb œ œb œ œ œb œ œb

& 42 43 85‰ œb œ œ˙f

œ œb œ œb œb œ œ œ œ œ œ œ

& 85 44‰ œ. œb . œ.

œ.

œ. œ. œ. œ.

œ .œœb > œ œ ‰ œb > œ œ œœœbbb

> œœœ œœœ>

œœœ

œœbb œœœ ƒ

&wwwwwwbb

bb@

U

p F

sim. wwwwwwbbbb

@

Up F

wwwwwwbbb

bb@

Up F

& .. ..wwwwwwbbbbb

@

U

p F œb œ œ œ œ œ œ œ#(repeat ad lib.) Œ ‰ jœ .œ jœœœn œ œ œ œ œ œ œ

freely

p

(wait for slide of "Walk of a Thousand Lights")

& 42 .. .. 44 42wwœ œ œ œ œ œ œ œ œ œ œ œ(repeat ad lib.) Œ ‰ œ œ >

œ œ œ ‰ Jœ œ œF p

& 42 .. .. 44jœ œjœ(repeat ad lib.) œ œ " œ œ œ

F.œ œ œ œ œ œ œ œ œ .œ œ‰ .œ .œ Jœ

& 42œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 .œœ œ œ œ œ œ œ œp

& 42 .. .. 43 44Jœ œ Jœ(repeat ad lib.)œ œ œ œ œF œ œ œ œ œ# œ œ œ œ œ œ œ

(0) (5)(0) (5)

& 44 43~~œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œb œ œ> œ œ œ œ œ œ>w

& 43 44~~~~ ~~~" œb œ œ .œ> œ œ œ œ> œ> œ œ œ œ œ œ œ œ œ œ œ œ3f sub.

& 44 ..œ œ œ œ œ œ œ œ# Jœ œ jœ œ œ œ œ œ œ Jœ œ jœ

& .. 42 .. .. 44jœ œ jœ œ œ œ(repeat ad lib.with small improvisations) ‰ œ œ œ jœwp

(wait for final slide of Cyclone Racer) jœ œ

jœ(repeat ad lib.)

& 44 42 .. .. 44jœ œ œ œ >Ó . œ œF p

jœ œjœ(repeat ad lib.) jœ œ œ œ >U

F Post-Performance: - O: stop video- 0: deactivate patch

& !UNo MeterV. Zanja Madre

clean tone, light chorus

Pre-Performance:- set pedal presets- 5: load patch- P: begin video

wUJœ" (free pedaling throughout,

more pedal = more feedback)

wU wUJœ# wU

& 44wU

Jœ wbU wbUJœ wU wU jœ wU !U

& 44 œ œ œ# œ#pq = 60

. .˙ jœ wU œ œ .œ# jœ#

& . .˙ jœ# wU .œ Jœ œ œ . .˙ jœ

& wbU œb œb .œ jœ . .˙b jœ w

U

& 42 44 42œ œ œ œ ˙ .œjœ œ œ Jœ .œ ˙

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Post Performance- O - Stop video- 0 - Deactivate Path- Down Arrow - Volume Down- Space Bar - Audio Off

wwww#U

to….oblivion€¦ · walk of a thousand lights," derived from the strings of lights...

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