“VA” is an exercise in space.

Only one word is sung in this piece. “Va” has many meanings, depending on which of around 50 languages you speak. Among these definitions are a few common threads of exploration, distance and movement: “go,” “now,” “boat,” “understand,” “here you are,” “allow,” “wade,” etc. Even the word itself, consisting of the of the voiced fricative [v] into the open [a], requires a journey through the articulators of the vocal tract—a journey that becomes more complex with the addition of several new vowels in the latter half. This piece takes all of these meanings and allows the listener to hear any or all, in the constant wash of varied sound.

By using only the sounds of the human voice and a tuning fork, “VA” explores the balance between in-time improvisation and notated score. The electronics include three parts:

1. a fixed media component using the recorded voice of premiere soprano, Ava Wadia

2. pre-recorded tracks of the performer

3. live processing of the performer’s singing through MaxMSP

The result is a sonic journey from isolation into complete inability to distinguish the live singer from the processed audio. The singer begins singing distinct from the electronic sounds, existing more as a soloist and accompaniment. As the piece progresses, the electronics become more voice-like, until they are completely derived from the singer in real time, as they converge into the same space and find connection.

Blending improvisation and carefully notated sections, the piece invites the singer to create distance, live in the gaps between the notes, fill the both vast and limited space of a performance hall, and experiment with distance and range.

A sample page of the score and the premier recording featuring Soprano and dear friend, Ava Wadia can be found to the right.