Spin
(Or, Sacks Vs. Mitchell)
Composed by Sam Harrold
A conflict.
Listen for (and with) an equine heart, if you can.
Performance Notes
It is not possible to play Spin without reading these notes. Read them carefully.
General notes on score and performance
This piece is written for 4-400 performers of any gender.
Each performer should perform the piece using their mouths and their bodies.
There is no time signature or key.
A musical director must not be used.
There is no direction regarding dynamics or phrasing. Performers may do as they please.
The metronome mark is a rough guide and only applies to the bars that contain body percussion.
No two performers should start the piece at the same time. Each performer should start the piece at a time that suits them, and this should be left entirely to chance. There should be no conversation before a performance about which performer starts when. There will likely be moments of chorus during the performance but if the piece becomes too synchronised then one or several of the performers should drop out and wait before joining back in at a later moment.
There will be a fading of voices towards the end of the performance. Once a performer comes to the end of the piece, they do not have to wait until the other performers have finished. They may leave whenever they wish.
The piece should not sound pleasant. It is a conflict and should sound as such in performance.
Words
In places where spoken words are used, the placement of the words upon the staff bear no indication to pitch or rhythm, and the performer should aim to speak the words with a natural fluency. The performer may take as long or as little time over each spoken word as is desired.
In the event of a recording, the same voice may be used on different tracks, if desired.
Body Percussion
A quick slap with a flat palm to the collar or hip bone is recommended for bars of body percussion, although this is not essential. The performer should spend some time experimenting with the different sounds that they can make with their bodies and hands prior to performance, and they may choose how to articulate the sounds based on personal preference. It is recommended that performers do not strike themselves with a force that is painful.