Singer: Mady Mesple (soprano)
Pianist: Dalton Baldwin
This piece has no words as it is a "vocalise." It is full of changing subdivisions--for example, there is a returning sequential motive that goes up for three notes in a triplet and then up one more and down a second on a duple. There is also a gravitation towards the g--a lot of the vocal play centers around the g throughout. There are a lot of ornaments that fall on the strong beat instead of acting as grace notes, which helps to give the piece a habanera feel. Also the accompaniment is pretty out there tonally. The piano has a lot of vamping on d--dotted eight, sixteenth, eighth, eighth--but over the octave. The voice line doesn't really seem melodic all the time, as it rather experiments with excercises. There is also a part on triplets just before the end where the singer does an elaborated chromatic scale, before trilling on a middle g and then on a high g and then returning in a glissando to the middle g. I wouldn't say I hear many cadences.
Because I'm mean:
A girl died in 1933 by a homicide murderer. He buried her in the ground when she was still alive. The murdered chanted, "Toma sota balcu" as he buried her. Now that you have read the chant, you will meet this little girl. In the middle of the night she will be on your ceiling. She willsuffocate you like she was suffocated. If you post this, she will not bother you. Your kindness will be rewared.