two acts from “What Happened”

for singing cellist and projections

derek douglas carter (2018)

program note:
Gertrude Stein, as a person, is very complicated. As a feminist, she was always an advocate for women rights and an
outspoken beacon for queer women. She however, also held some views on immigration that many would nd racist
today, while also expressing support for the Nazi-collaborating Vichy government while living in Paris during WWII
(I feel I must also note she was Jewish). While Stein had a complex political outlook, her writings are lled with an
amazingly straightforward vocabulary. On the surface, however, her words run into walls, stop, stutter, and nd
themselves just beyond reach of comprehension. One critic of her work (while calling her an idiot) reached the
conclusion that “it is a marvellous and painstaking achievement in setting down approximately 80,000 words which
mean nothing at all.” I nd her words and their supposed lack of meaning more as an opportunity to nd my
own meanings and to explore the seemingly in nite interpretations of her prose. Stein constructs so many roadblocks,
as if she does not want you to understand her meanings, while showing that there still is meaning, at least for herself.
Stein infamously for used lies, contradiction, and misdirection in her work; it appears she does not seek Truth. I’m
not entirely sure what she was searching for, but

movements:

1. Act III
2. Act IV
3. Act V
program note:
Gertrude Stein, as a person, is very complicated. As a feminist, she was always an advocate for women rights and an
outspoken beacon for queer women. She however, also held some views on immigration that many would nd racist
today, while also expressing support for the Nazi-collaborating Vichy government while living in Paris during WWII
(I feel I must also note she was Jewish). While Stein had a complex political outlook, her writings are lled with an
amazingly straightforward vocabulary. On the surface, however, her words run into walls, stop, stutter, and nd
themselves just beyond reach of comprehension. One critic of her work (while calling her an idiot) reached the
conclusion that “it is a marvellous and painstaking achievement in setting down approximately 80,000 words which
mean nothing at all.” I nd her words and their supposed lack of meaning more as an opportunity to nd my
own meanings and to explore the seemingly in nite interpretations of her prose. Stein constructs so many roadblocks,
as if she does not want you to understand her meanings, while showing that there still is meaning, at least for herself.
Stein infamously for used lies, contradiction, and misdirection in her work; it appears she does not seek Truth. I’m
not entirely sure what she was searching for, but

movements:

1. Act III
2. Act IV
3. Act V
 text and techniques
Act III:
(Two.)
A cut, a cut is not a slice, what is the occasion for representing
a cut and a slice. What is the occasion for all that.
A cut is a slice, a cut is the same slice. The reason that a cut is
a slice is that there is no hurry any time is just a useful.
(Four.)
A cut and a slice is there any question when a cut and a slice
are just the same.
A cut and a slice has no particular exchange it has such a
strange exception to all that which is different.
A cut and only slice, only a cut and only a slice, the remains
of a taste may remain and tasting is accurate.
A cut and an occasion. A slice and a substitute a single hurry
and a circumstance that shows that, all this is so reasonable when
everything is clear.
(One.)
All alone with the best reception, all alone with more than the
best reception, all alone with a paragraph and something that is worth
something, worth almost anything worth the best example there is
of a little occasional archbishop. This which is so clean is precious
little when there is no bath water. Along time a very long time there
is no use in an obstacle that is original and has a source.
Act IV:
(Four and four more.)
A birthday, what is a birthday, a birthday is a speech, it is the
second time when there is tobacco, it is only one time when there is
poison. It is more than one time when the occasion shows an occasional
sharp separation is unanimous.
A blanket, what is a blanket, a blanket is so speedy that heat
much heat is hotter and cooler, very much cooler almost more nearly
cooler than at any other time often.
A blame, what is a blame, a blame is what arises and cautions
each one to be calm and an ocean and a masterpiece.
[Act IV cont.]
A clever saucer, what is a clever saucer, a clever saucer is very
likely practiced and even has toes, it has tiny things to shake and
really if it were not for a delicate blue color would there be any
reason for every one to differ.
The objection and the perfect central table, the sorrow in
borrowing and the hurry in a nervous feeling, the question is it really
a plague, is it really an oleander, is it really saffron in color, the
surmountable appetite which shows inclination to be warmer, the
safety in a match and the safety in a little piece of splinter, the real
reason why cocao is cheaper, the lecture and the surrounding huge
white soft unequal and spread out sale of more and still less is no
better, all this makes one regard in a season, one hat in a curtain that is
rising higher, one landing many many more, and many more many more
many many more.
Act V:
(Two.)
A regret a single regret makes a door way. What is a door way, a
door way is a photograph.
What is a photograph a photograph is a sight and a sight is
always a sight of something. Very likely there is a photograph that gives
color if there is then there is that color that does not change any more
than it did when there was much more use for photography.
- Gertrude Stein
from “What Happened”
 text and techniques (cont.)

This piece requires the performer to give a slide show presentation, and to move
across the stage. Care with set up will be required to present this presentation.

In the presentation, numbers are used to show cues when to activate the next animation in the slide.
e.g. “a blanket is (2) so speedy that (3) heat very much (4) heat is (5) hotter...”

The first animation will start automatically with the changing of the slide.

There are also numbers underlined in the presentation. It is important to show these numbers
with your fingers to the audience in a dignified, confident, and calm gesture, despite the
instructions for how to present the vocal material.
e.g. “...it is the second time when there is (3) tobacco, it is only one time...”

There is a waltz in the first movement. This section should be memorized to allow the performer
complete freedom to waltz about the performance space. One large circle should be followed,
so that the performer ends back near their chair.

In the final movement, a square notehead is used to show the activation of the final slide.

The presentation (in Microsoft and Google formats) can be downloaded at: goo.gl/rHj8mi
The presentation can also be reached using Google Slides at: goo.gl/3vC1yz
 Two Acts from "What Happened"
for Bri Tagliaferro
gertrude stein derek douglas carter (2018)
Speak with a brisk, even pace Act III
and a dry tone
Set up as if you were about to play;
bow the strings, good posture,
big breath in before:

°/ œ œ ≈ œ ≈ œ ≈ œ ≈ œ Œ
A cut A cut is not a slice What is the occasion and a slice What is the occasion
for representing a cut for all of that.
Violoncello pizz.

∏∏∏∏∏∏∏∏∏
? r r r r bw
w
- - - - ∑
¢ w
w
"whoosh" bow " ff " " ff "
through air
sim.
mp

7
°/ œ œ ≈ œ ≈ œ œ ≈ œ ‰ œ ≈ œ ≈
A cut is a slice A cut is the same slice The reason that a cut is a slice
Vc.
? r r r r r
- - - - - - -
¢
" ff " sim.
Quick waltz,
q = 144 get up and begin to waltz
with your cello
slow down gradually natural speaking pattern
rhythmic, yet full of life
13
° 3 Œ Œ
/ œ ¿ 4Ó ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
is that there is no hurry any time is just as useful A cut and a slice is there any - y ques-tion when a
Vc. r r
? ∑ ∑ 3 ∑ Œ -≈ ‰ Œ Œ -≈ ‰ Œ ∑
¢ 4

continue waltz
dramatic stop and turn to audience
19 j
°/ ¿ Œ ¿ ¿ ¿ Œ ¿ ¿™ ¿ ¿ Œ ¿ ¿ ¿ Œ ¿ ¿
cut and a slice are just the same. and a cut and a
Vc.
? Πr r r r
¢ - ≈ ‰ Œ Œ - ≈ ‰ Œ ∑ - ≈ ‰ Œ Œ Œ - ≈ ‰ Œ

copyright derek douglas carter 2018

 stop waltzing. gradually
lose energy of speech.
2 return to chair
24 j ^
°/ ¿ Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ 5
4Y ¿ ¿ ¿
slice has no par - ti - cu - lar ex - change it has such a strange
Vc.
? r r 5
¢ Œ - ≈ ‰ Œ ∑ Œ Œ - ≈ ‰ 4 ∑

natural speaking pattern

Faster, and more dry
28
°/ ¿ œ œ ≈ œ ≈ œ Œ
exception to all that which is different. A cut And only slice, only a cut and only a slice
pizz.
Vc.

∏∏∏∏∏∏∏∏∏
? bw
w r r
- - - -
¢ w
w " ff "
mp

accel. rit. natural speaking pattern

slower even faster with power and confidence fastest yet natural speaking pattern
33 f
°/ œ œ œ œ≈ œ œ œ ≈ œ
the remains of taste may remain and tasting is accurate A cut And an occassion a slice and a substitute a single hurry and a circumstance that shows that,
Vc. all this is reasonable when everything is clear
? r r
¢ - -
" ff " " ff "

fast as possible suddenly!

while still clear natural speaking pattern natural speaking pattern
38
°/ œ very gradually add pitch until singing
nw ¿ U
Ó ¿ Œ
& /
no bath water A long time a very long time
All alone with the best reception, all alone with more there is no use in an obstacle
than the best reception, all alone with a paragraph and something that is original and has a source.
Vc. worth almost anything, worth the best example there is of a little set down cello,
occasional archbishop. This which is so clear is precious little whom there is stand up Ÿ~~~~~~~~~~~
? -
¢
attacca
 3

Slide 1: a birthday

very confident defeated

“A birthday (1), what is a birthday, a birthday (2) is a speech it is

the second time when there is (3) tobacco, it is only one time

when there is (4) poison. It is more than one time when (5) the

occasion shows an occasional sharp separation is unanimous.” (6)

Slide 2: a blanket
reminescent, nostalgic:
accel. rall.

“A blanket (1), what is a blanket, a blanket is so speedy that (2)

heat much (3) heat is (4) hotter and (5) cooler, very much (6) cooler

than almost nearly (7) cooler than at any other time often.”
 4

Slide 3: a blame

sad peaceful

“A blame (1), what is a blame, a blame is what arises and

cautions each one to be calm and an ocean and a masterpiece.”

Slide 4: a clever saucer

as fast as possible! (return to cello)

“A clever saucer (1), what is a clever saucer, a clever saucer

is very likely practiced and even has toes, it has tiny things to

shake and really if it were not for a delicate blue color would

there be any reason for every one to differ.”

 5
sofly, timidly
q = 72
44 Sung:
°& 45 œ œ œ œ œ ‰ œJ œ œ œ œ œ œ™ œ œ œ ‰ œ œ 3œ œ ‰ œ œ œ œ™ œ œ œ 6œ œ œ Œ œ œ œ ‰ œ œ œ 3œ œ œ ‰ œ œ
J
the ob-jec-tion and the per-fect cen-tral ta ble the sor-row in bor-row-ing andthe hur-ry in a ner-vous feel-ing the ques-tion is it real-ly a plague is it
Vc. œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œœ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
?5 ‰ J ‰ J ‰ ‰
¢ 4 arco, molto sul tasto 3 6 3
p mf p

47 Spoken: Sung:

° œ œ œ œ7 œ œ œ ‰ œ œ ‰ œ œ ‰ œ 3œ œ œ œ ‰ Œ ‰ ‰ œ
3
œ œ œ œ6 œ œ œ ‰ œ œ Œ œ œ œ™
& ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
Vc. real-ly an ol - e-and-er is it real-ly saff -ron in col-or the sur-mount-ab-le ap-pe-tite which shows in-cli-na-tion to be warm-er the safe-ty
œ œœœœ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ™
? œ ‰ ‰ œ ˙™ œ ‰ œ
¢ 7 3 6
mf p f p f p

50
° œ œ3 œ ‰ œ œ œ œ™ œ œ œ œ œ ‰ œJ œ œ™ Œ ‰ œJ œ œ œ ‰ œR ≈ Œ œ œ œ œ œ ‰ Œ
&
Vc. in a match and the safe - ty in a litt - le piece of splin-ter the real reas-on why co - coa is cheap-er
œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ s.p.
? ‰
¢ 3 œ œ œ œ >œ œ œ
f p f p f p f p f

53
° œ œ 3œ œ ‰ œ ≈ ‰ œ œ ≈ œ ‰ œ ≈ œ™ œ™ œ œ œ ‰ œ œ œ ≈ ‰ œ ‰ œR ≈ Ó 3
& R R J ≈ J ‰ J R 4
the lec-ture and the sur roun - ding huge white soft un - e - qual and spread out sale of
Vc. s.t.
œ œ œ œ œ œ œ œ œ œ™ œ™ œ œ œ œ
? ‰ ‰ J 3
¢ >œ œ 4
3 œ œ œ œ œ œ œ œ œ œ ˙
>
p f p f p f p f p f p f p f p f
6

56 rit.
3
° 3 ∑ 5 œ œ œ œŒ Œ Œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ5 œ œ ≈ œ œ ≈ Œ Œ œ œ œ5 œ œ ≈ œ ‰ bœ 3 œ nœ Œ
&4 4 R R R œ
more and still less is no bet-ter all this makes one re-gard in a sea-son one hat in a cur-tain that is ri-sing high-er
Vc. >œ œ œ œ œ œ œ >œ
œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ s.p. s.t. nœ nœ
?3 5
¢ 4 ™ 4
œO œO œO œO œ œbœ œ bœ
˙ ˙™ œ 5 œ œœ 5 œ œ >œ
3 3 3
p f f p f p f p f p f pf f p f

60 q = 60
° Ó 3 3
œ ≈ ‰ Œ ≈ œ œ ‰ Œ œ ≈ ‰ Œ Ó œ nœ Œ œ ≈ Œ
& R R œ bœ Œ ‰ R
Vc. one land-ing and ma - ny ma - ny more
œ œ œ œ
? j
¢ ™ >™ >œ œ™
>œ >œ œ œ œ œ >œ œ œ
>3
œ œ œ >œ >œ ˙
>
3
f p f p f p f p f

63 rall.
° 3
œ ≈ ‰ œ œ œ œ œ œ œ nœ Œ ˙
& Œ R Œ œ bœ Œ œ bœ Ó Œ œ b œ
3 3
Vc. and ma - ny more ma - ny more ma - ny ma - ny more
œ >œ >œ >œ
? nœ nœ nœ
¢ œ >œ ™ œ œ bœ œ œ œ bœ œ ™ ™ ™ œ bœ
3 3 >œ >œ >œ >œ >œ >œ 3
œ ˙
p f p f p f p f f p pp
 Meditative, q = 66
Act V 7
natural speaking pattern natural speaking pattern sim.

° 4¿ Œ ‰ ¿ ¿
/4 ∑ ∑
a regret, a single regret makes a doorway. What is a door way, a door way is a
Violoncello pizz. photograph.
œ»
? 44 ∑
¢ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
sfz mp
71
°/ Œ ¿ Ó ∑ Œ ¿ Œ Œ ¿ 4
4
What is a photograph, a photograph is a sight and Very likely There is a photograph that gives
a sight is always a sight of something.
Vc.
» œo
œ œ» œ # œ
? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
¢ œ œ œ œ œ œ œ 4
œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ
sfz mp sfz mf

76 3 6 3 6 3
° / 44 Ó Œ ¿j ¿ 43 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
j
¿¿ ¿ ‰ Œ Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿
co lor if there is then there is that co-lor that does not change an y more if there is then there is that co-lor that does not change an y
Vc.
∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏
? 44 œ œ œœ œœ 3 œ œ bœ nœ œ œ bœ
∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏
œœ
¢ œœ œœ œœ œœ 4 œœ œ
œœ
bœ
œœ
nœ
œœ œœ
œ
œœ
œ
œœ
œ
œœ
bœ
œœ
œ
f p f

80 6 5 3
° / ¿j ‰ Œ Œ ∑
4
4 Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿™ ¿ ¿ ‰ 3
4
more œ than it did when there was much more use for pho -to - gra-phy
Vc. ∏∏∏∏∏∏∏∏∏ œ»

∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏
? nœ œ œ bœ 4 nnœœ œœ œœ œœ 3
¢ œœ
œ
œœ
œ
œœ œ œ #œ œ bœ œ œ œ bœ bœ #œ 4 œ œœ œœ œœ 4
6
œ
p f 3

83
° / 43 ∑ ∑ ∑ 6 Œ Œ ∑ ∑ ∑
activate final slide, slowly decsrendo until complete fade out then, snap pizz.
Vc. #œ œbœ œ œ œ »
? 43 œ œ œ bœ œ bœ #œ
¢ bœ œ œ
f 6 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ
3 ppp sff