What Justice Looks Like

What Justice Looks Like was written for Payton MacDonald to perform at South Pass City as part of his Sonic Divide project. Esther Hobart Morris (1814-1902) served as Justice of the Peace there in 1870, during the Gold Rush, right after women were given the vote in Wyoming Territory. After her term was over, she had her husband arrested for assault and battery. She eventually left both him and South Pass City, becoming an activist for women’s rights nationally.

What Justice Looks Like is part of my ongoing project, A Book of Days. You can listen to my recording by visiting Valentine’s Day, which is the day when Esther was sworn in as Justice of the Peace.

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Here’s the vocal score at the transposition that works best for me. I am happy to supply you with a different transposition, just let me know what you need when you click the donation button below.

I think you want to think of this piece as an intimate invocation to Esther. You’ll want to find the transposition that lets both the lowest and the highest notes of the (rangy) vocal line be vulnerable and loving. You are welcome to do the piece slower (or faster) than the marked tempo if you like, and you don’t need to stick too precisely to the notated rhythms as long as the phrases stay coherent.

You can do it as a solo vocal piece, or you can invent a rhythmic accompaniment that helps you express the piece, adding extra bars of rest between verses for improvisational flourishes as you prefer. If you like a drone, feel free to use one. For the demo, I used Henry Lowengard’s excellent iPhone app, Srutibox, in just intonation mode. And I added a couple of totally optional samples from “Suffragette City”, which I’ll send you if you want them.

And thank you for supporting this low-key way of publishing:

Pump Music

 

Pump Music is inspired by a series of hand pumps I encountered in campsites while traveling down the Mississippi River in 2009. I recorded this pump at a campsite called Wanagan’s Landing, which was the place we stayed after the very first day of paddling, on 1 August 2009. It’s maybe ten miles down from the headwaters of the Mississippi River, in northern Minnesota.

I was struck not only by the raucous noise of the pump, but also by the unearthly melody of the afterglow as the water recedes back into the earth when you stop pumping. The melody is not a simple overtone series as you might expect, but some curious phenomenon emerging from the length and diameter of the pipe that I don’t have enough physics to understand.

Pump Music was commissioned for the Guidonian Hand and Mary Rowell by Meet the Composer/Commissioning Music USA, and is dedicated to them with vast affection.

Pump Music is part of my ongoing project, A Book of Days. To hear the premiere performance (at Roulette on 1 June 2012), please visit August 1st.

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Here is a score of the complete piece in pdf format.

After you click the donation button below, you’ll get all the necessary materials to perform the piece.

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You can also read this blog post about 1 August 2009 of The River Project.

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