Music Notes (and then some more)

   Having begun some more research into the structure of ACT THREE, I find that there is a reference in the Apocalypse that will become a scene. I am using Apocalypse Revealed, written by Emanuel Swedenborg as a primary reference book. 

   From Volume II of that work; this scene is Chapter 14:1-16 (the Book of Revelations, selected verses). This section addresses The New Christian Heaven and is an exhortation to recede from faith separated from charity, which by so doing inverts good works, making them evil.

   How these "scenes" fit together is not yet known, but these summaries will form a collection of selections under consideration, due to their relevance.

    The beauty of it is that here, there is reference to a "new song". 

   I envision that song as a choir that transitions from "the voice of many waters" in verse 2 and could then lead from a choir into SATB. Maybe a quartet leading into solo parts expressing the foundational tenants of the subtext (meaning the internal sense). I have not yet structured the internal sense of the text, but clearly the text guides the theatrical design.

   I do like the idea of using solos to convey the sub-text. In this way, we can express far more information that is relative to the whole ACT, not simply this scene, as the sub-text of other scenes is inferred in the text of this scene.

   I will be rebuilding all three ACTS in this rewrite, but as ACT THREE is more complex, I am rebuilding my lost notes simultaneously to addressing the restructuring of the other two ACTS.

   I know that to get a grip on the flow, it's best to have all the components in place, but the next rewrite (meaning this one) will require moving back and forth to determine and structure the SCENES in all three ACTS simultaneously. This is because the elements cannot be redundant beyond a certain degree and crafting the visual components for maximum effect requires comparison before determination, followed by technical structure.

   In particular, since we have begun discussing music and lyrical composition, I will be reviewing the overall text, to locate those musical moments which should be utilized at various points in the Libretto.

   In previous versions of the "Stage Play", there really was no differentiation between a Libretto and a Score, because the original version started out as a screenplay. Subsequent rewrites adapted the material to an assortment of theatrical staging, but the main concern was how to implement some basic concepts, both as to content and technically.

   Now, after having written "The Gnomes of New Hope" as a full stage musical, addressing the rewrite of "I Am Alpha and Omega" is taking a new path. That new path addresses the material as an overall musical. Not a musical in the Broadway sense of "wham bam, thank you mam", but more like a cross between high and light opera, because as it stands now, I believe there must be moments of dialogue and the musical content must have a classical atmosphere. Not so much classical in the orchestral sense as in the enduring sense.   However, if the essential "doctrinal" points can be made in a prosaic, essentially poetic format in lyrical music, then that would be far more than just acceptable, indeed highly desirable, so long as a certain asethic can be maintained. It clearly cannot be throw-away music, like a three cord structure.

   An asethic quality must be present. One that embraces the abstract that comes out of the realism, which must exist to convey the form of creation. That abstract stands to represent the Spiritual and Celestial degrees. In fact, there is an abstract that is within the abstract, even  aloof, yet still within the reach of cognition, that will convey the Celestial. This, while the abstract of the realistic conveys the Spiritual. Thus making the realistic representative of the natural degree.

    Although the script was written for various versions of the piece, how this will come about in a new form is yet to be seen, but I am certain that it will be largely represented by music, instrumental and lyrical. The lyrical aspect can also be vocal (or other) sounds rather than tangible lyrics.

  In fact, as I find myself explaining this verbally, I realize that this particular moment (Chapter 14: 1-3) and others that become revealed, are an "excuse" to introduce a whole array of musical expression. That's not to say "that moment" should diverge from the text, but by introducing choir, an opportunity to transition to SATB leads to other forms, such as Solos, Duets, Trios and Quartets. One could even go into Quintets, Sextets and above to express core content that is not necessarily founded on the moment that spurred the vocal expression. If course, the textural structure (as well as the sub-text needed to be conveyed) would determine that. But, an initial choir introduction would justify the introduction other forms of SATB.

   However, it could work in the other direction, meaning from a solo toward the choir. Thinking about ACT ONE, it seems reasonable that a Solo might serve as the Voice of God in Creation. I'm not 100% on board with God singing. But, we have to remember, we were created in His image... We sing, why would He not? What if He were to start out humming while He was creating the universe. That could lead to singing in varying degrees as he created the animals culminating in an operatic expression when He creates man. That operatic expression could be primarily orchestral but also add His voice expression joy for what He has done. I think this is a good argument for introducing a solid musical foundation.

   From there it's just a matter of restructuring the SCENES around justifiable musical moments. I do think establishing this structure will make the complexities of "The Science of Correspondences" more palatable and easier to understand, in the limited time and space that a theatrical presentation affords.

   The one thing I want to avoid is intellectual fatigue due to the complexity of the subject matter.

Well, I'll discuss more later, but this is a good start for giving the rewrite clarity, especially as it pertains to adjusting the piece to rest soundly on a musical aspect in the foundation.

AG

Some definitions;

1) Apocalypse - Book of Revelations (the King James version)

2) text; the literal text, the external, the natural degree

3) sub-text; the inferred meaning, the internal, the spiritual degree, and in some instances the celestial degree (mostly presented in the abstract)

4) theatrical design; the overall atmosphere coming from the stage

5) blocking; movement affected by timing, including stage props, LHT EFX, 

6) LHT - lighting,  EFX - effects

7) SATB - Soprano, Alto, Tenor, Bass

8) other references will be explained as needed in the Libretto (Index of Terms)