Table of contents
click on ± to expand or collapse

with heartfelt thanks for Mark 'Tarquin' Wilton-Jones              



Overture

 

SCORE:  c:\weird\repo\overture\overt.sib

"moissons" played twice, first in plain A minor, then with Hecate tonality counterpoint.

   A      starts in A minor natural, melody and accompaniment
   B      Hecate tonality in the accompaniment
  full 9 note scales
  bugle calls
  whole tone scale subset
  fourths, fifths subsets
   C      ends in A minor melodic

			


ACT I




scene I-I




thunder


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
thunder and lightning c:\weird\repo\sceneI-I\thunder.sib thunder


SCORE:  c:\weird\repo\sceneI-I\thunder.sib



when shall we three


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
When shall we three meet again? The three witches plan to meet Macbeth after the battle. c:\weird\repo\sceneI-I\j15-i-ia.sib WITCHES thunder,
fair is foul,
battle lost and won:
Victory: Symphony V, victory theme Beethoven
Defeat: Sonata op 35, Marche funebre Chopin
They fly to the heath.
Flying Dutchman overture Wagner
Volare Modugno
Walkuerenritt Wagner
Witches' Sabbat, Symphonie Phantastique Berlioz
The weird sisters, hand in hand Hearing Macbeth's approach, they make a charm. WITCHES the weird sisters
fair is foul and foul is fair

 

SCORE:  c:\weird\repo\sceneI-I\j15-i-ia.sib

   A      When shall we three meet again?
   B      flight of the witches 
   C      The weird sisters, hand in hand,

			


scene I-III




foul and fair

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
So foul and fair a day Macbeth and Banquo meet the witches. c:\weird\repo\sceneI-III\fouland.sib WITCHES – silent, MACBETH, BANQUO fair is foul


all hail

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
All hail, Macbeth Witches predict that Macbeth will be Thane of Cawdor, then king. c:\weird\repo\sceneI-III\alhail.sib MACBETH and BANQUO – silent, WITCHES all hail Macbeth
Glamis
Cawdor
shalt be king


Banquo asks

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
 If you can look into the   seeds of time Banquo asks about his own future c:\weird\repo\sceneI-III\banqask.sib MACBETH and WITCHES – silent, BANQUO


answer to Banquo

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Hail! hail! hail! Witches answer to Banquo c:\weird\repo\sceneI-III\hailhailhail.sib MACBETH and BANQUO – silent, WITCHES shalt be king


all hail Macbeth and Banquo

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
...all hail Macbeth and Banquo Witches' farewell and departure c:\weird\repo\sceneI-III\alhmb.sib MACBETH and BANQUO – silent, WITCHES



earth has bubbles

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Stay, you imperfect speakers Macbeth and Banquo puzzle about witches' prophecy c:\weird\repo\sceneI-III\bubas.sib BANQUO, MACBETH stay, imperfect speakers
earth has bubbles


King Duncan's envoys

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
  The king hath   happily received,   Macbeth Riding royal messengers arrive, and confirm Macbeth as Thane of Cawdor. Banquo and Macbeth are even more puzzled. c:\weird\repo\sceneII-III\horshu.sib LENNOX, ANGUS, MACBETH, BANQUO Walkyrie ride ( Wagner )
Wilhelm Tell overture ( Rossini )
Light Cavalry ( Suppé )
Glamis
Cawdor
shalt be king


SCORE:  c:\weird\repo\sceneI-III\fouland.sib

based on fair is foul and foul is fair motif of scene i-i

SCORE:  c:\weird\repo\sceneI-III\alhail.sib


SCORE:  c:\weird\repo\sceneI-III\banqask.sib

libretto to text, using chords only, not durations
in 5/4 so it won't be waltzy


SCORE:  c:\weird\repo\sceneI-III\hailhailhail.sib

based on "shalt be King hereafter!" from  banqask.sib 


SCORE:  c:\weird\repo\sceneI-III\alhmb.sib


SCORE:  c:\weird\repo\sceneI-III\bubas.sib

"the earth has bubbles like the water has"  woven from:
       Water Music (Handel)
       Das Trinklied vom Jammer der Erde  (Mahler)
       Erda leitmotiv (Wagner Tetralogy leitmotif, Donnington 3 = Mann 24 = Collingwood 25 = Wolzogen 31)


SCORE:  c:\weird\repo\sceneII-III\horshu.sib

shorter "horsy" music, woven from

      Walkyrie ride ( Wagner Tetralogy leitmotif, Donnington 47 = Mann 34 = Collingwood 59 = Wolzogen 45b )
      Wilhelm Tell ov. ( Rossini)
      Light Cavalry  ( Suppé )

combined with "Glamis", "Cawdor", "shalt be king" motives.



scene I-V




letter

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Lady Macbeth reads Macbeth's letter c:\weird\repo\sceneI-V\leterb.sib LADY MACBETH Glamis
Cawdor
shalt be king
dearest


milk of human kindness

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Glamis thou art Lady Macbeth wonders whether Macbeth is ruthless enough to seize kingship. c:\weird\repo\sceneI-V\i-vb.sib LADY MACBETH Macbeth's theme
milk of human kindness


dialog

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
My dearest love, Duncan comes here Lady Macbeth tries to convince Macbeth that King Duncan must die. They argue. c:\weird\repo\sceneI-V\dialohec.sib LADY MACBETH, MACBETH Macbeth's theme
dearest
murther counterpoint
I shall be satisfied
milk of human kindness


SCORE:  c:\weird\repo\sceneI-V\leterb.sib

Based on "All hail, Macbeth" music of scene i-iii.
The time signatures to clarify speech rhythm – which should actually be loose.  
Speech epresented by the sizzling cymbal.

The "dearest" motif inserted two times, the 2nd very dissonant – a comment on "greatness" ?

Dynamics fake, just to deal with MIDI. 


SCORE:  c:\weird\repo\sceneI-V\i-vb.sib

Macbeth's theme?  Eb Bb — Eb C — Eb A  (tritones all over in allhail, etc)

Lady Macbeth music starting  "Glamis thou art" is a variation from : c:\weird\repo\sceneI-V\varmelo.sib


SCORE:  c:\weird\repo\sceneI-V\dialohec.sib

Four subsections:

   A        Macbeth announces Duncan's  visit  –  Lady Macbeth reacts (murder motif)
   B        " Thy face  ...  leave all the rest to me "
   C        reprise: " milk of human kindness "
   D        Macbeth and Lady Macbeth argue – orchestral ( murder motif with  "Hecate" tonality, 9 tone Messiaen )





ACT II



scene II_II



Lady Macbeth alone

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
That which hath made them drunk Lady Macbeth has drugged king Duncan's guards, and sent Macbeth to murder Duncan. c:\weird\repo\sceneII-II\ii-iia.sib LADY MACBETH wine
owls


Macbeth has murdered sleep

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
My husband ... Macbeth returns; he has heard accusing voices. He brought with him the bloody daggers and refuses to return them to Duncan's room. c:\weird\repo\sceneII-II\sleepII-IIb.sib LADY MACBETH, MACBETH sleep
Glamis
Cawdor
water


a little water clears us

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Give me the daggers Lady Macbeth returns the daggers. She calms Macbeth. c:\weird\repo\sceneII-II\II-IIe.sib MACBETH – silent, LADY MACBETH what's the business
daggers
water



SCORE:   c:\weird\repo\sceneII-II\ii-iia.sib 

   background : owl screeches, hoots and "Der Wein", Alban Berg, woven with 1st two Lady Macbeth lines.

   owls: 
         melisma on Oboe (screech)
         hoot on Horn

SCORE:   c:\weird\repo\sceneII-II\sleepII-IIb.sib  

    woven from sleep themes:
         innocent sleep,   Wagner Tetralogy leitmotif, Donnington 30 = Mann 43 = Collingwood 52 = Wolzogen 56
         magic sleep,      Wagner Tetralogy leitmotif, Donnington 16 = Mann 42 = Collingwood 53
         Mozart Wiegenlied K350
    plus
         Glamis
         Cawdor

    water
Water music,   Handel
Vltava – the source,   Smetana
     SCORE:   c:\weird\repo\sceneII-II\II-IIe.sib 
    
        what's the business      here with text My hands are of your colour
        daggers                  clevercad
        water                    sleepII-IIb.sib



scene II-III


This is the crowd scene. Seven principal roles onstage together:
  1. Macbeth
  2. Lady Macbeth
  3. Banquo
  4. Macduff
  5. Lennox
  6. Malcolm
  7. Donalbain
plus attendants, etc. (could develop into chorus, especially wherefore did you so? as a fugue).

The scene is subdivided into sections a-e :



good morrow ( II-IIIa )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Good morrow, noble sir Lennox and Macduff greet Macbeth in the morning c:\weird\repo\sceneII-III\II-IIIab.sib LENNOX, MACDUFF, MACBETH namethemes
murder



O, horror ( start II-IIIb )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
O, horror Macduff discovers the murdered king Duncan. Alarm. c:\weird\repo\sceneII-III\II-IIIab.sib LENNOX, MACDUFF, MACBETH namethemes
murder


bells and trumpets ( end II-IIIb )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
What's the business Lady Macbeth and Banquo arrive, awaken by the alarm. c:\weird\repo\sceneII-III\II-IIIab.sib LENNOX, MACDUFF, MACBETH, LADY MACBETH, BANQUO namethemes
murder
what's the business

alarum bells: Mussorgsky, Boris Godunov, Kremlin chimes

trumpet: somewhat authentic bugle calls



general turmoil ( II-IIIc )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Malcolm, Donalbain and Banquo arrive. It seems Duncan was killed by his guards. Macbeth has some explanation for having killed the guards. c:\weird\repo\sceneII-III\ii-iiicd.sib LENNOX, MACDUFF, MACBETH, LADY MACBETH, BANQUO, MALCOLM, DONALBAIN moisson


meeting proposed ( II-IIId )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
And when we have our naked frailties hid Everybody decides to meet later for further inquest. c:\weird\repo\sceneII-III\ii-iiicd.sib LENNOX, MACDUFF, MACBETH, LADY MACBETH, BANQUO, MALCOLM, DONALBAIN


Malcolm and Donalbain flee ( II-IIIe )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
What will you do? Malcolm and Donalbain feel in danger and flee from Macbeth's castle. c:\weird\repo\sceneII-III\ii-iiie.sib MALCOLM, DONALBAIN moisson



SCORE:   c:\weird\repo\sceneII-III\II-IIIab.sib 

   initially three themes woven:
      Macduff
      Lennox
      Murder counterpoint (for Macbeth and Lady Macbeth)
   
   then more themes for   Banquo, Malcolm and Donalbain

      what's the business:   from scene ii-ii

SCORE:   c:\weird\repo\sceneII-III\ii-iiicd.sib

   overture (moisson) themes used  for II-IIIc; no automatic composition here.
   
   vilely clobbering the text!
    
   some libretto to text for II-IIId, which is just summons for the meeting,
   not too poetical or emotional.
          file                c:\weird\shazar\ivib\txtii-iiid


SCORE:   c:\weird\repo\sceneII-III\ii-iiie.sib
    
   overture (moisson) themes used  for II-IIIc; no automatic composition here.
 
			



ACT III




scene III-I



Banquo solo

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Thou hast it now Banquo comments on Macbeth's kingship. c:\weird\repo\sceneIII-I\iii-ia.sib BANQUO weird sisters


invitation

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Here's our chief guest Macbeth invites Banquo to feast. c:\weird\repo\sceneIII-I\inviteb.sib MACBETH, LADY MACBETH, BANQUO


ride you

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Ride you this afternoon Macbeth makes sure he knows where Banquo and Fleance will be. c:\weird\repo\sceneIII-I\rideyou.sib MACBETH, BANQUO


all invited

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Fail not our feast All courtiers invited to feast. c:\weird\repo\sceneIII-I\iii-ib3.sib MACBETH, COURTIERS (mixed choir)


our fears in Banquo

INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
our fears in Banquo Macbeth decides that Banquo must be killed c:\weird\repo\sceneIII-I\rosalia.sib MACBETH murder,
Banquo_issue


 
SCORE:  c:\weird\repo\sceneIII-I\iii-ia.sib

    Uses one of the variations in varmelo
           c:\weird\repo\sceneI-V\varmelo.sib
    but not obviously Glamis, Cawdor or "shalt be king" motifs. 
    
    Uses the "weird sisters" motif.
    
    Authentic bugle calls: "mess call", "1st sergeant call" : 
             Macbeth, who is top boss now, calls courtiers to dinner.
 
SCORE:  c:\weird\repo\sceneIII-I\inviteb.sib

 
SCORE:  c:\weird\repo\sceneIII-I\rideyou.sib
    more "horsy" stuff : 
       c:\weird\repo\sceneIII-I\ridesthou11  (my score)
 
SCORE:  c:\weird\repo\sceneIII-I\iii-ib3.sib

SCORE:  c:\weird\repo\sceneIII-I\rosalia.sib
 
A      our fears in Banquo
             rosalia, with witch tonality, much munged
             meas 36-41 in A min, for Banquo's issue I defiled my mind ,  may be taken as theme,
	         or as the motif Banquo_issue

B      murder 'motif' (actually counterpoint) 
	        for the last rhymed couplet -- also munged rosalia 
			


scene III-IV


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
    guests enter
You know your own degrees, sit down Royal pair welcomes guests c:\weird\repo\sceneIII-IV\III-IVa.sib MACBETH, LADY MACBETH, GUESTS (mixed choir)
    murtherer
there's blood upon your face Murderer reports to Macbeth that Banquo has been killed, but Fleance escaped. c:\weird\repo\sceneIII-IV\yab34.sib MACBETH, MURTHERER Mordwerk,
murder,
Ghost Trio
    ghost
Avaunt The ghost of Banquo sits in Macbeth's chair. Macbeth is terrified; Lady Macbeth tries to calm him and reassure the guests, who remain sceptical.

Ghost leaves.

c:\weird\repo\sceneII-III\gho.sib MACBETH, LADY MACBETH, GUESTS (mixed choir) Ghost Trio
Gespenster sind's
bear
    I am a man again
Why, being gone, I am a man again Macbeth and Lady Macbeth pretend nothing out of the ordinary happened.

Macbeth's toast.

c:\weird\repo\sceneII-III\pretend.sib MACBETH, GUESTS (mixed choir) Der Wein
    relapse
Ghost returns and Macbeth relapses. Lady Macbeth dismisses guests. c:\weird\repo\sceneII-III\relap.sib MACBETH, LADY MACBETH, GUESTS (mixed choir) Ghost Trio

 
SCORE:  c:\weird\repo\sceneIII-IV\III-IVa.sib

welcome theme        sung by Macbeth and Lady Macbeth
guests procession    a combination of two themes with Hecate tonality 

SCORE:  c:\weird\repo\sceneIII-IV\yab34.sib

sections
  A        there's blood upon your face
           beginning of murder scene
           my murder theme and Mordwerk leitmotif
           replicated 2 times:  4 voices, 5 voices  (just happened that the text fit so)

  B        saucy
           uses witch tonality and motif from sc.III-I (rosalia.sib)
           ornamented with turns  (why?)

  C        safe in a ditch
           end of murder scene
           my murder theme and Mordwerk leitmotif
           ends with Ghost Trio quote to connect with gho.sib


SCORE:  c:\weird\repo\sceneIII-IV\gho.sib

woven from:
     Beethoven      Ghost Trio, Op. 70 No. 2 in E♭ major, IInd movement theme, munged  
     Wagner         Flying Dutchman, act iii, maiden's choir : "Gespenster sind's"

Sections:
    A      iii-ivc      Avaunt...
    B      iii-ivc2     Sit, worthy friends   
    C      iii-ivc3     Approach thou like ... bear ... rhinoceros   

Sections A+B have ( almost everywhere ) the same orch. parts as sec C; the vocal parts are notes picked from that, 
sometimes new notes to complete chords.

SCORE:  c:\weird\repo\sceneIII-IV\pretend.sib

    Berg         "Der Wein" (only vocal part, first measures)
    
    Macbeth and Lady Macbeth sing almost identical tunes (transposition , accompaniment differ)
    
    Closed mouth choir: guests murmur at royals' pretension that it's all OK

SCORE:  c:\weird\repo\sceneIII-IV\relap.sib

Sections:

    A    Macbeth             "can you see such sights"
                                   woven from 
                                   Macbeth's aria in ghost section (  gho.sib  )
                                   one quote of the Ghost Trio theme 

    B     choir              "what sights"
                                   based on Macbeth's aria "Can you see such sights"

    C1   Lady Macbeth chides Macbeth                    based on "can you see such sights"

    C2   Lady Macbeth dismisses guests                  based on Lady Macbeth's welcome, III-IVa.sib

    D     choir              "good night"        guests leave
                                   based on guest procession and 1st choir entry "thanks to yor majesty", III-IVa.sib

                                   cancrizans, of course, as guests leave
			


ACT IV




scene IV-I


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
    cauldron song
The three witches boil a potion in the cauldron. c:\weird\repo\sceneIV-I\liver.sib WITCHES thunder
round about the cauldron go
fillet of a fenny snake
scale of ravin'd salt-sea shark
by the pricking of my thumbs Macbeth will soon enter
    enter Macbeth, Hecate
I conjure you Macbeth arrives, seeking advice. The witches summon Hecate. c:\weird\repo\sceneIV-I\yantrada.sib MACBETH, WITCHES, HECATE
    apparitions
Macbeth, Macbeth, Macbeth Three apparitions. c:\weird\repo\sceneIV-I\apar3plu.sib MACBETH, WITCHES, HECATE
    Macbeth asks
And yet my heart throbs to know one thing Macbeth asks about Banquo's progeny. The witches and Hecate disappear. c:\weird\repo\sceneIV-I\apar3plu.sib
continued
MACBETH, WITCHES, HECATE I shall be satisfied
Alberich's curse
    procession of kings
Procession of kings, all Banquo's progeny. c:\weird\repo\sceneIV-I\proking.sib MACBETH God Save the King
Rule Britannia
I shall be satisfied
     Macduff has fled
Lennox announces that Macduff has fled to England. c:\weird\repo\sceneIV-I\lenox.sib MACBETH, LENNOX
     (optional) witches minuet
But why, but why Hecate and witches reappear before downstruck Macbeth. c:\weird\repo\sceneIV-I\butwhy.sib WITCHES, HECATE
The witches dance. c:\weird\repo\sceneIV-I\wimifix.sib Witches minuet – Haydn

 

SCORE:  c:\weird\repo\sceneIV-I\liver.sib

WITCH TONALITY

Sections:

  A   intro, thunder

  B   cauldron song, 1st verse: Round about the cauldron go

  C   2nd verse: Fillet of a fenny snake

  D   3rd verse: Scale of ravin'd salt-sea shark 
            Liver of blaspheming Jew:   klezmerei on oboe
            There is only one possible counterpoint for that particular tune  GBBB GCCC... 
            (various random seeds don't matter) 
            
  E   By the pricking of my thumbs

SCORE:  c:\weird\repo\sceneIV-I\yantrada.sib

    libretto to notes  
    c:\weird\ivib\drhino.pl made chords, and banal 18/8 which I changed to my own 4/4 rhythm
    much munged 
    
    entrada:  establishing Hecate tonality ( Messiaen 9 notes mode )
    connection to apar3plu.sib  DF#A — D♭ F B♭

SCORE:  c:\weird\repo\sceneIV-I\apar3plu.sib

Sections

    meas7 - meas17 (after 1st apparition)
    meas32 - meas48 (after 2nd apparition)
    "unfix its root ... and yet my heart..."                   MUCH TOO LONG

witches+Hecate music made by     weird\shazar\hec6.pl
Macbeth's music                  drhino.pl 
"I shall be satisfied"           my tune + 
                                 Alberich curse:  Wagner Teratology leitmotif, 
                                                  Donnington 13 = Mann 23 = Collingwood 23 = Wolzogen 29
                                 shazar.pl for weaving motifs.

SCORE:  c:\weird\repo\sceneIV-I\proking.sib

    Procession of kings. Macbeth's aria.           Section before aria  TOO LONG.
    
    Based on "I shall be satisfied" woven with British anthems: God Save the King, Rule Britannia.
    
    Interlude, to Lennox's knock at the door.

SCORE:  c:\weird\repo\sceneIV-I\butwhy.sib

SCORE:  c:\weird\repo\sceneIV-I\wimifix.sib

    "Witches minuet", Haydn "Fifths" Quartet, Hob III:76 Op.76 No.2, Menuetto 
    combined with scales and arpeggios in Hecate tonality
    the whole severely chopped

			



scene IV-III


One score only, c:\weird\repo\sceneIV-III\cousin.sib

in England


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
my ever gentle cousin Lennox meets Malcolm and Macduff, reports the murder of Macduff's family. Macduff swears vengeance. They will fight Macbeth. c:\weird\repo\sceneIV-III\cousin.sib MALCOLM, MACDUFF, LENNOX
like_a_man
meas 27-30: I shall do so, but I must also feel it like a man

march
meas 46: within my sword's length set him     and
meas 48: this tune goes manly

 

SCORE:  c:\weird\repo\sceneIV-III\cousin.sib

A    intro: England
             based on English folk tunes and Macduff's greeting my ever gentle cousin, welcome hither

B    Macduff and Lennox
             ancient libretto-to-score file      
                       C:\weird\ivib\prescoreiv-iii

C    Malcolm and Macduff
 
D    Macduff solo  
            accompaniment based on Macduff's tune, sec.C above, like_a_man
E Malcolm and Macduff, bis ?continuing C:\weird\ivib\prescoreiv-iii



ACT V




scene V-I


INCIPIT
SYNOPSIS
SCORE
ALTERNATIVE SCORE
ROLES
MOTIFS
yet here's a spot The doctor and a waiting gentlewoman watch Lady Macbeth sleepwalking.
c:\weird\repo\sceneV-I\ful-v-ia.sib
LADY MACBETH, DOCTOR, GENTLEWOMAN madness: ophelia_mad_laugh, lucia_d_l
fie, my lord
c:\weird\repo\sceneV-I\ful-v-ib.sib
madness:
ophelia_mad_laugh, lucia_d_l
murder:
mordwerk
spot_i, meas 4-5, acc.
spot_ii, meas 10-11, sop.
the smell of blood c:\weird\repo\sceneV-I\nointerl-v-icd.sib c:\weird\repo\sceneV-I\orc-v-icd.sib
wash your hands c:\weird\repo\sceneV-I\nointerl-v-icd.sib, continued c:\weird\repo\sceneV-I\orc-v-icd.sib, continued
DUBIOUS orchestral interlude,
to connect scene V-I to scene V-II
c:\weird\repo\sceneV-I\orc-v-icd.sib, continued to_bed_i, meas 36-38
to_bed_ii, meas 44-46


SCORE:  c:\weird\repo\sceneV-I\ful-v-ia.sib
SCORE:  c:\weird\repo\sceneV-I\ful-v-ib.sib

          weaving motifs:

		  Ophelia's mad laugh, Ambroise Thomas, Hamlet
		  Dolce suono, madness scene, Donizetti, Lucia di Lammermoor
		  Mordwerk  Wagner Tetralogy leitmotif,  Mann 69 = Collingwood 88 = Wolzogen 83


SCORE:  c:\weird\repo\sceneV-I\nointerl-v-icd.sib

   V-Ic

   A      LM: ...all the perfumes of Arabia...

   B      Doctor: What a sigh
          		    libretto to chords applied to V-Ic.
                    sources
                            txtv-ic
                    passed to 
                           c:\weird\ivib\drhino.pl 
                    then rhythm manually from excel
                          vic.xlsx
                    some munging 
   V-Id

   C      LM: Wash your hands 

                    libretto to chords applied to V-Id,   TO BED
                    sources
                            txtv-id
                            ry2bed
                    passed to c:\weird\ivib\drhino.pl
                    minimal munging, but transposed CMAJ --> FMAJ
                    Then woven with lullabies:
                          Brahms lullaby
                          Mozart lullaby, AMAJ piano sonata

 



ALTERNATIVE SCORE:  c:\weird\repo\sceneV-I\orc-v-icd.sib

   V-Ic

   A      LM: ...all the perfumes of Arabia...

   B      Doctor: What a sigh
          		    libretto to chords applied to V-Ic.
                    sources
                            txtv-ic
                    passed to 
                           c:\weird\ivib\drhino.pl 
                    then rhythm manually from excel
                          vic.xlsx
                    some   munging 
   V-Id

   C      LM: Wash your hands 

                    libretto to chords applied to V-Id,   TO BED
                    sources
                            txtv-id
                            ry2bed
                    passed to c:\weird\ivib\drhino.pl
                    minimal munging, but transposed CMAJ --> FMAJ
                    Then woven with lullabies:
                          Brahms lullaby
                          Mozart lullaby, AMAJ piano sonata

   interlude  between V-I and V-II,  from to_bed to  march i.e.  soldiers chorus 

   D      mostly to_bed

   E      mostly march 
   

			


scene V-II


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Rebel Scottish army. Angus and Lennox discuss the situation. c:\weird\repo\sceneV-II\V-IIa.sib ANGUS, LENNOX
Soldier's chorus c:\weird\repo\sceneV-IIv-iib.sib SOLDIERS (choir)
Both invading armies. Malcolm orders he tree-bough stratagem. c:\weird\repo\sceneV-II\v-iicde.sib ANGUS, MALCOLM


SCORE:  c:\weird\repo\sceneV-II\V-IIa.sib
   background: initially march, then a free section, starting at "now he feels"

   march, to serve as background for all of the scene V-II
       four square
       tonal: g minor
       based on  within my sword's length set him + this tune goes manly  from scene IV-III
   
SCORE:  c:\weird\repo\sceneV-II\v-iib.sib
   
   soldiers chorus (a must) --- while marching, etc.
       the march
       almost authentic Shakespeare text

SCORE:  c:\weird\repo\sceneV-II\v-iicde.sib
   background:  march 

			


scene V-V




Death of Lady Macbeth ( V-Va )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Wherefore that cry? Doctor announces queen's death. c:\weird\repo\sceneV-V\v-va.sib MACBETH, DOCTOR Lady Macbeth motif "what's the business", scene II-III

dearest motif, scene I-V



Tomorrow and tomorrow ( start V-Vb )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Tomorrow and tomorrow and tomorrow c:\weird\repo\sceneV-V\v-vb.sib MACBETH witches+Hecate : Macbeth, Macbeth, Macbeth


I will not be afraid of death and bane ( end V-Vb )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
I will not be afraid of death and bane Macbeth remembers witches' prediction, takes heart c:\weird\repo\sceneV-V\v-vb.sib MACBETH blues


Macbeth decides to withstand siege ( V-Vc )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Hang out our banners Macbeth will withstand siege in the castle, while the attackers perish from hunger and illness. c:\weird\repo\sceneV-V\v-vc.sib MACBETH, SOLDIERS 2nd march — same notes as blues, V-Vb


Birnam wood moving ( V-Vd )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Thou comest to use thy tongue Messenger announes that Birnam wood is moving. c:\weird\repo\sceneV-V\v-vde.sib MACBETH, MESSENGER tunes from following V-Ve


Macbeth decides on sortie ( V-Ve )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
I now begin to doubt ... the fiend that lies like truth Macbeth decides on sortie c:\weird\repo\sceneV-V\v-vde.sib MACBETH IV-I, Birnam/Dunsinane chords


(optional) Soldiers march out ( V-Vf )


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Arm and out! Soldiers march out of the castle c:\weird\repo\sceneV-V\v-vf.sib SOLDIERS harness on our back
blow wind! come wrack!
march from V-Vc



SCORE:   c:\weird\repo\sceneV-V\v-va.sib 
    
woven from

    Lady Macbeth's motif  what's the business, scene II-III
    dearest motif, scene I-V

SCORE:   c:\weird\repo\sceneV-V\v-vb.sib

A:   tomorrow and tomorrow and tomorrow 
B:   life is a walking shadow, a poor player
C:   a tale told by an idiot

             A,B,C based on scene IV-I, witches+Hecate : Macbeth, Macbeth, Macbeth

D:   orchestral passage 
            weaves blues and Macbeth, Macbeth, Macbeth

E:    blues
    

SCORE:   c:\weird\repo\sceneV-V\v-vc.sib
    
Macbeth's lines repeated as 2nd soldier's chorus

Melody uses the same notes as Macbeth's blues of V-Vb. The rhythm is just a fortunate subdivision of the eternal iambic pentameter.

   blues chords for Macbeth's lines
   chorus sings a canon, with free accompaniment
   the whole is tonal, C Major no less.    
 
SCORE:   c:\weird\repo\sceneV-V\v-vde.sib

An old score, without a formal base (or at least I can't find or reconstruct any)
Melodies are pure recitative, with repeated reciting tones.

sections:
   A:      mostly C Major, bent a little to harmonize with Birnam mention (Hecate tonality)
   B:      Hecate tonality, quotes the harmonies of IV-I, lines: 
Macbeth shall never vanquish'd be until
Great Birnam Wood to high Dunsinane Hill
Shall come against him.
   C:      C Major
 
SCORE:   c:\weird\repo\sceneV-V\v-vf.sib

3rd soldier's chorus 

words: just "arm,arm and out"

music woven from
   harness on our back
   blow wind! come wrack!
   and the previous march from V-Vc
			



scene v-viii


INCIPIT
SYNOPSIS
SCORE
ROLES
MOTIFS
Battle outside Dunsinane castle. brasbatl3923.sib Taps, Last post,   bugle calls
They've tied me to a stake Macbeth and Macduff v-viiiad.sib MACBETH, MACDUFF
bear iii-iv
Roman carnival, Berlioz
beware Macduff iv-i
if he'scape iv-iii
Romeo and Juliet, Allegro giusto theme, Tchaikovsky
of woman born iv-i
Birnam/Dunsinane blues, v-v
march v-v
Hurly-burly Macduff kills Macbeth. Witches reappear. v-viiie.sib WITCHES, CHOIR witches' trio     i-i


SCORE:  c:\weird\repo\sceneV-VIII\brasbatl3923.sib
 
 enigma built over  taps + last post + taps
 bugle calls added to enigma
 
SCORE: c:\weird\repo\sceneV-VIII\v-viiiad.sib
motifs:
    bear                     scene iii-iv        bear-like I must fight the course / approach me as the rugged Russian bear
    Roman carnival, Berlioz                      Why should I play the Roman fool
    beware Macduff           scene iv-i
    if he'scape              scene iv-iii
fight:
    Tchaikovsky Romeo and Juliet  Allegro giusto theme, in counterpoint with itself (orig, cancer, table, mirror)
various motifs:
    of woman born
    Birnam/Dunsinane from the blues, V-V
    march from V-V in counterpoint with Romeo and Juliet
SCORE: c:\weird\repo\sceneV-VIII\v-viiie.sib
 
a capella

Begins with "hurly-burly" in choir, then the three witches.


When were he sections composed?

The "date created", "date modified", etc., which I can check in the files directories, are unfortunately rather irrelevant, because I copied and reorganized files a lot. Using weird.htm, all I can see is that the first ideas are from December 2012, and the opera was complete in May 2014. As for remembering ... that was too much longer then 10 minutes ago.

I made a list of dependency of sections and motifs, using my own motifs only. The reason is that a motif has to be ready, before being used in some section. So, the section where it first appears – let's say where it first appears with a defining text or situation – precedes the sections where it is used ( with similar words or situations ). Then I wrote a topological sort – for the how manieth time, and how much stupider than old ones – applied it to the dependency ordering, and here is the result:

I composed first the witch scenes; rather obvious, because this is the main attraction of the whole opera. The order is, probably:
1 cauldron song, IV-I composed witch tonality
2 all hail, Macbeth I-IIIb libretto to chords
3 when shall we three I-I
4 the flight of the witches I-I weave motifs
5 the rest of IV-I Hecate tonality
6 the rest of I-III
7 the rest of I-I
Then, IV-III, "in England" is relatively early, because I kept trying my libretto to score final solution on it. V-II, "invading armies" certainly follows, because it uses elements of IV-III for soldier's march
8 my ever gentle cousin IV-III libretto to chords
9 the rest of IV-III
10 V-II
The sleepwalking scene, V-I, was ready, either before or after V-II, because it does not depend on other original motifs (it quotes, of course, madness scenes from "Lucia di Lammermoor" and "Hamlet")
11 V-II weave motifs,
add vocal part
After which, according to my memo, I composed act III, before 3/24/2014. This is mostly independent of the other sections; it uses many motifs, but not mine, and defines only two: "bear", "Banquo's progeny" (the last one not reused, I think):
12 III-I Macbeth invites nobles to feast;
in order III-Ia to III-Id
weave motifs
13 III-IV feast, guests procession weave motifs Hecate tonality
happens to sound like a pavanne
14 III-IV Banquo's ghost at feast;
in order III-IVa to III-IVe
weave motifs
The overture and scene II-III, "Duncan's murder discovered" are based on an ancient tune of mine, "moissons". This gets combined with several other motives, in particular "name themes".
15 overture composed
weave motifs
natural minor;
Hecate tonality
16 II-III a-b name themes
weave motifs
natural minor
17 II-III c-d, e composed;
add vocal part
minor
18 end of II-III c-d libretto to chords
The last three scenes were V-V, II-II and V-VIII.
19 V-V a-c death of Lady Macbeth weave motifs;
add vocal part
20 V-V a-c I will not be afraid composed blues
21 V-V d-f messenger reports Birnam wood moved weave motifs;
libretto to chords
22 II-II weave motifs;
Scene V-VIII, which is also the last scene of the play, quotes motifs from many of the preceding scenes.
23 V-VIII battle enigma;
weave motifs
24 V-VIII Macduff kills Macbeth weave motifs
25 V-VIII finale weave motifs



DETAILS




Rosalia

is in fact a misnomer; the tune is not simply transposed, but changes according to witch tonality.

Witch tonality :

rapid changes, unprepared:
C MAJ  →  b min  →  A MAJ  →  g min  →  F MAJ  →  e min  →  D MAJ  → 
c min  →  B MAJ  →  a min  →  G MAJ  →  f min  →  E MAJ  →  d min  → 
C MAJ  →  b min  →  etc...



Formal music

This is any music in which becomes interesting – or important, or attractive – when one considers the method of composition, instead of the musical piece. Basically, more musicology than music.

As an idea, it is remarkably ancient: rather than starting with Musiques Formelles or dodecaphony, it can be found in Josquin des Prez's method of building tunes by translating the vowels A E I O U of the Latin text into the scale steps LA/FA RE MI/SI SOL UT. Why should the result be, in any sense, palatable (tympanable?) But as an intellectual exercise – and, hopefully, intellectual may be spiritual – it will avoid profane connotations and the modus lascivus...

Most of my music qualifies as formal; it is composed using various programs which implement apriori rules, and cannot implement anything having to do with feeling or beauty. I do, of course, listen to it, and sometimes munge it till it sounds better to me, but I wouldn't call any of it beautiful. And it's not the case that The music is ugly, as always in my compositions; it corresponds with my artistic and spiritual disposition. I would only write beautiful music, the world is unpleasant enough as is.

And then, very seldom, I get an idea which I like, and which, if I knew how, could become music. For instance, the overture:
is something that occured to me, complete, around 1965. It seemed (and still seems) ready to turn into a piano concerto, but... At the time, I called it
Pavote, Intervention et Bruchollerie
composées par ...
et dediées à Mlle ...
pour la Fête des Moissons
and kept whistling it; there was a long time till I noted it down, with all the rhythm changes and the exotic scale, A minor natural excluding any G or G#.

BTW, this may be part of my musical personality (style? let's not exaggerate). Macbeth's blues is also in C Major, omitting B.

Even more seldom, some mechanically composed strain actually is a melody, that you can take home and whistle. In this whole opera it happened once: Lady Macbeth motif

just appeared as a possible line on top of given counterpoint for scene II-III. But notice there is nothing hideous about it, nor any rage about being woken up – I certainly would express strong opinions, even musically, about being woken up.


Name theme :

The name (e.g. Malcolm) passed to the
clevercad program, resulting in a reasonable phrase with melodic/harmonic cadences.


Blues:

This is an actual 12 bar blues, or as much as I understand about 12 bar blues. It exists, because in Leonard Bernstein's The joy of music, which I read around 1965 or so, there is a chapter on jazz, with the remark that any iambic pentameter couplet may be used as blues text. The example Bernstein gives is precisely
I will not be afraid of death and bane
Till Birnam Forest come to Dunsinane.
So I couldn't resist; surprisingly, the same notes fit neatly into a march. As for blue feeling, jazz harmony, swing... my music lacks many much more essential components, anyway.


Pavote, Intervention et Bruchollerie

... pavane, gavotte, invention, badinerie ... But see
Bruchollerie.


Profound philosophical point

The finale is different from Shakespeare's one:

After Macbeth's last words:

                                                   Lay on, Macduff,
And damn'd be him that first cries, Hold, enough!
Macbeth and Macduff fight. Nothing is heard, except the clash of weapons. Then the choir, unseen, starts pianissimo hurly burly – these are the only words. Macbeth is slain. At this point the two actors freeze, and the scenery curtain lifts to show the choir and all the principals, motionless, continuing with hurly burly. The three witches enter, sing and dance. All ends in silence and dark.

One good reason for that is that an opera (seria) should end with everybody on scene. Then they can take curtain calls.

Besides, I don't think there is a clear cut victory of good over evil. The witches are ever ready to turn an upright hero into a criminal. The fact that the principals sing in the choir means that this fate may apply to anyone, independent of status. All in all, a very consoling thought about moral responsibility.

But then, witches don't particulary exist ...




Hecate tonality

This is the unique
Messiaen "mode à transposition limitée" containing nine distinct pitches:
C C# D E F F# G# A A#
and its three possible transpositions:

CDD#EF#GG#A#B
CC#D#EFGG#AB
C#DD#FF#GAA#B
I tried to use only one of such a transposition in any musical number; it is not always possible, if I let my counterpoint programs transpose freely in order to optimize harmony.

Anyway, the Overture uses

CC#D#EFGG#AB
because it allows the bugle notes,
C E G
in addition to other interesting subsets:

whole tone scale:

C#D# FG AB
arpeggio in fourths:
B E A
arpeggio in fifths:
A E B



Bugle calls

The play is definitely about battles and military – the "Dramatis Personae" presents Macbeth and Banquo as :
    "Macbeth, Banquo, generals of the King's army"
So there is much
military music, and (mostly authentic) bugle calls, which are surprisingly effective melodies using only five notes:
In my scores they will, of course, appear transposed in various counterpoint settings.

BTW, "Bella figlia dell' amore" ( Rigoletto, Verdi ) is a bugle tune:

in the scale of D♭. Why D♭ ?


Three marches

  1. "A soldier"

    Based on the notes for two verses from scene IV-III :

    • Macduff: "Within my sword's length set him"
    • Malcolm: "This tune goes manly"

    and serving as background for all of scene V-II.

  2. "Hang out our banners", from scene V-V (V-Vc)

  3. "Arm, arm and out", optional ending for scene V-V (V-Vf)



Libretto to chords

Use the
"libretto to score" program, but ignore the durations it creates. Use the chords only – this still produces somewhat meaningful music, because the prescribed cadences get implemented at the matching syllables.


Weaving motifs

Adds shorter phrases "motifs" to a specific ground, optimizing to get the best harmonious counterpoint.

See further details.




Add vocal part

Given a score, add to it one vocal part, as harmonious as possible and following a specific rhythm. Basically, the program emits all the notes consistent with the sound in the scores, considered as chords.

See further details.