scat singing — orchestra w piano solo (188.8.131.52 – 4.3.2.b tbn.1 – timp, 2perc – str)
SCATTERED is the first concerto of its kind. Comprised of scat singing, piano and orchestra, this new work emerged from a personal desire of mine to combine all of my dearest passions in one: composing, orchestrating, singing and playing. Much of my heart and soul has been poured into the making of this piece, which I feel is the best musical representation thus far in my 15-year journey as a composer and as a performer. The piece blends and weaves musical elements of my native country, Brazil seamlessly with those of my adopted country, the United States of America. I have devoted years of research and experimentation to create this work, beginning with my quest for new sounds through extended vocal techniques to crafting creative ways of orchestrating.And I have succeeded in giving each measure of music equally significant meaning and value. The vocal part of SCATTERED is devoid of any literal meaning. Instead, the voice, treated as an instrument, handles consonances and vowels as tools and interweaves melodic, sustained vocal with pops, cracklings, slaps, thumps and snaps commonly found on beatboxing and mouth percussion. Together, these elements create an array of textures and articulations filled with innovative sonorities. Sometimes, at lightening fast speeds, cascading scales take on the lead, only to be contrasted by sustained and arpeggiated passages, which suggest complex harmonic accompaniment, ornamenting themes and motifs. The third movement showcases complicated ‘tongue twisters’ and virtuosic passages. The concerto follows the standard three movement form, FAST-SLOW-FAST, with three cadenzas, one for each movement. The first movement features a solo piano cadenza and the second movement focuses on the voice. The centerpiece of the third and last movement is a vocal-piano cadenza, which culminates on an exciting coda and a lively orchestral tutti. SCATTERED represents a personal milestone in my career as a composer because it reveals my growth and development like no other work I have written before. This piece is dedicated to experimental vocalists who have inspired and preceded me: Bobby McFerrin, Maria João, Badi Assad, Adam Matta, Aziza Mustafa Zadeh and Carmen Miranda. The voice and piano can be performed by the same performer.