© Juan Luis de Pablo Enríquez Rohen, 2003 Foot - or the Search for Earth’s Second Moon- Juan Luis de Pablo Enríquez Rohen ...inspired by the possibility of a second Moon orbiting around our Earth... Jules Verne was the first man to mention the existance of Earth’s second Moon.1 In his famous book, Voyage to the Moon, the fierce rocket, while traveling towards our known Moon, is about to crash with Earth’s second Moon. Another remarkable man, G. I. Gurdjieff, also discussed the possibility of such celestial body in his esoteric writings. In my theoretical understanding, there is a clear mathematical possibility according to the sum of the ratios of musical or mathematical intervals. Even if this is just a casualty, it must be remembered that our Earth is surrounded by hundreds of artificial man-made satellites, and the biggest to-date of them all is the International Space Station. To this incredible reality one cannot ignore the fact that the⁄ I.S.S. does travel around Earth in an interesting way: it descends due to Earth’s gravitational forces and it has to be brought up again to an adequate altitude. In a very similar way a foot could go up and down...etc. ¿...? In any case, this piece for trombone and percussion reflects on such matter. Perhaps the trombone is a disguised image of a telescope searching in the sky for the hidden Moon, while the percussion acts like an ‘off stage’ machine, not necessarily hidden, mechanizing coordenates or proposing mere hints to the satellite’s location. ¿...? In any case, the trombonist shall engage in memorizing as much as possible his/her favorite percussion beats and participate on the search with a ‘sharp foot’. The percussionist shall engage in perfection and ensemble cristalization, while an off stage guest tuba player could reinforce Jupiter’s hail. All in favor of having the best fun and maybe even making the audience twist a little shoulder, neck or hip. 1 However, this fact would rule out other possible human epochs before our known times or acknowledge our very narrow knowledge of our brother civilizations. © Juan Luis de Pablo Enríquez Rohen, 2003 Foot - Matrix This matrix is based on the 25 numbers of the celestial row. I took the liberty on taking a spiral journey onto finding each of the original numbers in the row; whenever the next row number presented itself a motive was created to announce this finding. The map of the cover page tells a little bit more on how the story/process was assigned and completed. © Juan Luis de Pablo Enríquez Rohen, 2003 - foot - The Search for Earth's Second Moon Juan Luis de Pablo Enríquez Rohen Written for Matthew E. Dickson Presto 2003 Tenor Trombone ? 7 ‰ ‰ ‰ ‰ ‰ Œ w / 'F' attachment 4 œ bœ. œ #œ œ œ œ f > > Tambourine Percussion ÷ 47 Û Ó Ó. Û (played by 'in stage' percussion player) Foot > (some 'foot' played by Trombonist) F 2 - - ? bœ œ >œ bœ œ œ #>œ Œ ‰ ‰ ‰ ‰ ‰ Œ ‰ ‰ Œ bœ. œ #œ œ œ #œ > . Sp f v ÷ Û Ó ∑ ∑. ‰ Û > 4 ? j œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ fœ bœ. œ #>œ Fœ œ œ. flœ œ. fœ >œ b>œ œ >œ >œ œ ÷ ∑. ‰ Û Ó. ‰ Û Ó. > > 6 > > ? ‰ ‰ œ œ Ó. œ ‰ ‰ ‰ œ ‰ ‰ œ bœ œ œ œ œ œ > œ œ œ œ . . . P F Hi-hat ¬.. L.V. Tambourine ÷ Ó. ‰ ∑. (foot) ‰ Û Hi/hat only played with foot > F (No mallets) F (Exaggerate all Glissandos as much as possible) 8 gliss. . . > - . ? œ œ bœ ‰ œ #œ ‰ nœ œj ‰ ‰ ‰ œ ‰ œ œ œ Œ œ œ. œ œ > > > . œ œ œ > f ÷ Ó. ‰ Û Ó. Œ ‰ Û Œ ∑ > > Juan Luis de Pablo Enríquez Rohen © 2003 Foot 10 > œ > > ^ > ? œ- bœ ‰ nœ œ ‰ bœj ‰ œ #œ ‰ ‰ bœ ‰ œ ‰ œ bœ ‰ nœ œ. ‰ œ . œ > œ ÷ ∑.. Û Ó Û Ó. > > fall off 12 - quarter tone bend œ œ > ? Œ œ œ. Œ œ ‰ ‰ œ. Œ 6 œ. ‰ œ œ ‰ œ. ‰ œ +œ œ nœ 7 4 4 6 7 ÷ Û Œ Û Œ Œ ‰ Û Û 4 Û Œ ‰ Û Ó. 4 > > Rip 14 >œ >œ ? 7 ‰ Œ Œ ‰ Ó. ‰ Œ ‰ œ. ‰ Œ ‰ œ. œ 4 . œ œ œ . . . j 7 ÷ 4 Û Û Û Û ‰ Û Û ‰ Û Û Û Û Û Û ‰ Û Ó Û > f 16 > . œ œ ˘ œ ? œ. œ. ‰ ‰ œ bJœ ‰ ‰ Œ ‰ ‰ bœ bœ œ œ œ œ œ . F bœ Sp . f j ÷ Û Œ Û ‰ Û Œ ‰ Û Œ Û Û Û Û ‰ Û Û ‰ Û Û > > > > > > 18 - > > ? œ ‰ œ ‰ œ œ ‰ œ Jœ ‰ œ œ œ œ ‰ bœ ‰ œ bœ œ œ ‰ œ ‰ œ œ ‰ > . . . . > hi-hat L.V. ¬.. f ÷ Û Û Û Û Û Û Û Œ Û ‰ Û Û ‰ Û Tambourine > > > Œ P (foot) -2- Juan Luis de Pablo Enríquez Rohen © 2003 Foot 20 ? œ ‰ œ ‰ œ >œ œ ˘œ ‰ œ. ‰ œ >œ ‰ b>œ ‰ œ bœ ‰ >œ ‰ œ ‰ œ >œ ‰ œ ÷ Û Û Û Û Œ ‰ Û Œ Û Û Û Û Œ Û Û Û > > > > > > > 22 ? œ bœ. œ. œ. >œ ‰ ‰ œ œ. œ. b^œ ‰ œ œ ‰ œ œ bœ œ #œ œ. nœ. n>œ œ bœ. >œ œ œ hi-hat Sp ∑ L.V. ÷ Œ Û Û Û Œ Û Ó Û Œ Û Ó > > > > Tambouri>ne > (foot) 24 gliss. - > bœ œ œ œ nœ ? bœ. ‰ ‰ Œ Sp f 25 ? ‰ ∑. œ ‰ ∑. œ > > F j j ÷ Û Û Û Û ‰ Û Û ‰ Û Û Û Û Û Û ‰ Û Û ‰ Û Û > > f 27 ? >œ >œ b>œ >œ ⋲‰ Œ ‰ Œ Œ ‰ ‰ Œ ‰ Œ ‰ Œ ‰ ‰ œ œ œ > > F j j ÷ Û Û Û Û ‰ Û Û Û Û Û Û Û Û ‰ Û Û ‰ Û Û > > > > > > -3- Juan Luis de Pablo Enríquez Rohen © 2003 Foot gliss. 29 >œ œ bœ. œ. . >œ bœ - bœ ? œ Œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ bœ œ œ œ œ œ œ œ . . . > . . > . f ÷ Û Œ Û Œ Û Œ Û Û Û Û Û Û Û Û > > > > 31? œ. bœ. œ flutter-tongue gliss. bœ. œ. bœ. œ. >œ œ. œ. ‰ ‰ ‰ ‰ ‰ œ œ œ bœ bœ œ œ œ . . . œ œœœœœ œ . . hi-hat . . . . . L.V. S S Ó ÷ Û Û Û Û Û Û Û Û Û Û Û Û Û f Tambourine > > > (foot) flutter-tongue (5) Rip >œ œ. 33? ‰ bœ. bœ. œ. ‰ œ. >œ œ. œ. œ. œ. œ.>œ œ œ ‰ >œ œ ‰ œ œ- ‰ œ. bœ œ œ . . . bœ . Sp ƒ ÷ Û Û Û Û Û Û Œ Û Œ Û Œ Û Œ Û Û > > > > > > 35 >œ fall off ? œ œ bœ ‰ œ. œ. ‰ ‰ ‰ ‰ ‰ ‰ ‰ -œ bœ bœ œ œ . . . . œ œ œ œ œ œ œ œ hi-hat > > . . . . . v (7) L.V. Ó ÷ Û Œ Û Û Û Œ Û ‰ Û ‰ Œ ‰ Û Ó f Tambourine > > > v (foot) G. P. 37 broad gliss. ^œ . > > . U ? œ ‰ œ #œ ‰ œ ‰ œ œ. œ. œ œ. œ ‰ œ œ œ. œ. œ ‰ ‰ Œ 6 4 (7) œ œ œ - > f U 6 ÷ Ó Û Ó Û Û Ó Û Û Œ ‰ Û Œ 4 > > > -4- v Juan Luis de Pablo Enríquez Rohen © 2003 Foot Tempo Relaxed (misterioso) - 39 œ ˙ œ ˙ #œ œ œ œ œ ? 6 ‰ Œ 4 f π f P Presto Tempo Relaxed (misterioso) . 41 #œ œ œ œ #œ nœ œ -œ œ œ œ œ ? ‰ ‰ ‰ f F P p F accel. 43 œ œ œ œ. œ. œ. œ. œ. #œ œ. . nœ >œ . bœ ? œ Œ ‰ ‰ ‰ ‰ P p f P f Presto . 45 œ œ œ #œ œ œ œ œ œ >œ . ? œ Œ ‰ ‰ ‰ ‰ ‰ ‰ P F p F Tempo Relaxed (misterioso) 47 œ œ œ œ. . -œ ˙ gliss. œ œ œ œ bœ ? ‰ ‰ ‰ ‰ p F f Presto > > > 49 œ bœ. œ œ œ nœ #œ œ nœ >œ ? Œ ‰ ‰ Œ ‰ Œ ‰ F f Tempo Relaxed (misterioso) Presto rallentando gliss. 51 #œ œ n-œ -œ ˙. œ œ. ? Œ Œ ‰ Œ Œ P F -5- Juan Luis de Pablo Enríquez Rohen © 2003 Presto Foot 53 œ œ œ œ œ . œ œ œ œ. b>œ . . ? ‰ ‰ œ ‰ œ œ œ. Sp P f F 55 - œ œ œ œ - bœ . ? œ œ œ œ œ œ ‰ ‰ Œ ‰ ‰ F Sp F f gliss. 57 - >œ œ. œ. œ- œ ? œ œ œ œ œ. bœ œ. œ. œ. ‰ ‰ ‰ ‰ ‰ f F 59 . > > > œ . œ œ œ œ œ bœ . . . œ. œ œ ? ‰ ‰ œ ‰ ‰ ‰ œ œ œ. œ œ ‰ ‰ f f broad gliss. 61 Rip gliss. > > #œ ? œ ‰ Œ #œ ‰ #œ ‰ #œ #œ ‰ ‰ œ #œ œ. ‰ œ œ œ . #œ . #œ - > . f 63 Rip > ? #œ œ ‰ #œ ‰ ‰ #œ >œ ‰ œ ⋲ bœ œ #œ œ #œ œ ⋲ #œ œ. #œ œ #œ ‰ . fl f 65 > . . #œ nœ œ œ #œ ? 7 ‰ ‰ ‰ ‰ ‰ ‰ nœ ‰ ‰ œ œ œ œ #œ œ 4 . > * œ v Sp F v f 7 ÷ Û Œ Û Ó Û Œ ‰ Û ∑ 4 > > > > Tambourine f (foot) 67 > > ? 7 bœ œ #œ. œ. bœ œ #œ 4 >œ œ bœ. ‰ -œ #œ ‰ ‰ #>œ ‰ Œ œ. ‰ œ #œ œ œ. ‰ ‰ f hi-hat Ó L.V. 7 ÷ 4 Û Œ Û Û Ó Û Ó Û Œ Û Œ Tambourine > > > (foot) f -6- * May be reinforced by an off stage Tuba Juan Luis de Pablo Enríquez Rohen © 2003 Foot flutter-tongue 69 gliss. ? bœ bœ. œ. œ. œ. œ. #œ œ œ. œ. #-œ >œ œ bœ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ #œ bœ œ œ œ #œ > . . . ÷ Û Œ Û Œ Û Œ Û Û Œ Û Œ Û Œ Û > > 71? œ #>œ #œ. >œ œ. œ. œ bœ >œ œ œ bœ >œ œ œ œ œ bœ b>œ œ. œ. œ. œ. ‰ ‰ ‰ ‰ ÷ Û Œ Û Œ Û Û Û Û Û Û Û Û Û Û > > > flutter-tongue 73 >œ œ œ. #œ œ. œ. >œ œ œ œ œ œ. œ. œ. œ. œ œ œ œ œ œ #œ >œ ? 6 ‰ ‰ ‰ ‰ ‰ 4 6 ÷ Û Û Û Û Û Û Û Û Û Û Û Û Û Û 4 > > > > > 75 . #>œ #>œ #œ. Rip >œ ? 46 œ #œ œ œ ‰ #œ. #œ œ #œ ‰ œ. ‰ Œ #œ. œ- ‰ > ƒ F f hi-hat ¬. L.V. 6 ÷ 4 Œ Û Œ Ó Û Û Œ Û > > Tambourine (foot) > ^ - 77 œ #œ œ > > ? #œ #œ #œ œ œ #œ. œ. #>œ œ. œ œ #œ œ. 7 ‰ ‰ ‰ ‰ ‰ #œ ‰ 4 > F f 7 ÷ Œ Û Ó Û Û Œ Û Œ ‰ Û Ó 4 > > -7- > > Juan Luis de Pablo Enríquez Rohen © 2003