Forgiveness* (2026) by Dan Senn, for Soprano, Baritone and Found Sounds Backing Tracks


2026 See\|Hear Section 1, Section 2, Section 3, Section 4	Forgiveness* by Dan Senn For Soprano, Baritone & Backing Sounds in Stereo - Four Sections Total duration = ci. 8'00" (see Banner Note)
This work extends a found object improvisation by the same name that is part of a collection named Four Floaters. It uses an almost identical work (Forgivenss without the asterisk) adjusted minutely to assist attaching and anchoring the modal Soprano and Baritone parts. These live parts, while born intricately from the free improv, are "genetic" offsprings in a unique sense, a quality that will become apparent in the final performance. Using other words, the sung parts for Forgiveness* (Sections 1, 2, 3, & 4) are merged with the original free improvisation using, micro-linear adjustments (coordinated using a click-track) in a way that does not hinder the spontaneity of the initial found object performance. This is in contrast to the chance overlaying of one texture over another. The backing tracks here, the aforementioned free improv, was recorded using 32bit float technology and requires a professional sound system to fully realize the depth of the sound. This will not likely be apparent in here using an iPad or iPhoe. Depending on the performance space, the singers may need to be miked, this not given in the Setup Drawing. The work is highy theatrical, almost operatically so, requiring that the vocalists are well lit if possible. The gear used to playback the synchronized backing tracks (and click track), at this writing, need software like Ableton Live on a computer connected to a 4-channel interface like a Focusrite 4i4. A performance quality .wav stereo backing track can be had from Dan Senn at rakutoo (at) me dot com. Forgiveness* should be rehearsed at the outset while virtually "ignoring" the backing tracks, using mostly the click tracks provided in the rightmost column. At first, these resources can be applied casually, individually and in private using an IOS device, like an iPhone. Once mastered, the duets of section 3 and 4 shoud be combine. Lastly, the backing sounds should be added along with the click. The reationale for this sequence is that the backing sounds are initially distracting, the sung parts are modal, traditional with the tight integration of these parts essential to the work's aesthetic. It is an eminently doable and rewarding work if prepared using these simple strategies. Keep also in mind the humor and theatrical elements. Be creative. Section 1 Text Here I was born. Alone amidst the glue, oo Oh me, Oh my, Oh why can’t one ever know Oh, Oh. Now show me the shugah! Day-yah-dee Ma-ma-me? It’s you? I can never be free. Is it you? Ah boo, ah hoo It’s not you? There’s no one here to comfort me. To care for me. To share my painful pockets of sorrow ho, oh Rockets of sorrow surround me, all over me. Here, there, I am amidst the blues of good ole you. Who? Banner Note The portaits in the banner above are of Harold Senn at 17 in 1937, Elayne Bender Senn at 17 in 1940, the composer at 15 in 1966, and Herbert Johnston, about 19 in, say, 1922. Elayne never met Herbert, her father, Harold met Elayne through her adopted family, and I exist because of them all. DS 090326	Click Setup Drawing to enlarge. - Use a 4-out audio interface to insure the full fidelity of the backing tracks. - Use computer with Ableton Live or similar software located near the performers if necessary. - The vocalists will need the click track in one ear. - The backing track is 32bit 48k .wav format. Forgiveness* cannot be played, for example, from CD or an IOS device unless capable of 48k-24bit. - The hirez backing tracks are without reverb but some may be added in small, dead spaces. - The may be lightly amplified. - Contact the composer at rakutoo (at) me dot com for the live performance files. - the work may be performed from the pdf score. - Practice with a metronome or the click tracks provided in the rightmost column. - The work must eventually be rehearsed as demonstrated in the image above, that is, with synchronized 32-bit backing tracks played over high quality external speakers plus in-ear click tracks. Dan Senn (Prague-Watertown) is an intermedia artist working in music composition and production, kinetic sound sculpture, installation work, experimental and documentary film. He has been a professor of music and art in the United States and Australia and travels internationally as a lecturer, performer, producer and installation artist. He lives in Prague directing the Echofluxx Media Art festivals, and Watertown, Wisconsin, the USA, with his partner-collaborator, Caroline. Dan's work moves freely between expressive extremes and languages depending on the aesthetic joust at hand. He is cofounder of Roulette Intermedium in New York City (Brooklyn), Cascadia Composers of Portland Oregon, and the Echofluxx media festivals in Prague. (read more) Section 2 Text Oh what a glorious life. A wonderful slice of magic. Dad loves me. Mom loves me too. They pray for? One, two, three, for me in my diapers, in the sunlight bakery, cakery, fakery do-whop, Who do Ya want for president? Putin with a wig? Or some other priggly pig? Let hamburgers rule! The silly man I am. Mommy mixed the linen light with shining hope to comfort me. Shattered and battered so tattered no matter what the cost of it. So flattered by the drama, Sir? Jee whiz He lived and she lived for comfort, for comfort, comfort. Section 3 Text I am in love with you. Me too! And I am in love with you. In love with you. You’re in love with me! Happy days are here again. Happy days are here again. Happy days are here again. Happy days are here again. Happy days are here again. Are here again. here again. I fear again.	REHEARSAL RESOURCES Section One, Soprano, 2'17" PDF Score, Text only A)Score+Soprano+Backing+Conducting Line.mp4 B)Score Video+Soprano+Backing+Click+CL.mp4 C)Score+Backing+ClickTrack+CL.mp4 D)Score+Backing+CL.mp4 E)Score+Click+CL.mp4 F)Score+Soprano+CL.mp4 a)Soprano+Backing.mp3 b)Soprano+Backing+Click.mp3 c)Backing+Click.mp3 d)Backing Alone.mp3 e)Click Alone.mp3 f)Soprano+Clck.mp3 Section Two, Baritone, 2'25" PDF Score, Text only A)Score+Baritone+Backing+Conducting Line.mp4 B)Score Video+Barione+Backing+Click+CL.mp4 C)Score+Backing+ClickTrack+CL.mp4 D)Score+Backing+CL.mp4 E)Score+Click+CL.mp4 F)Score+Baritone+CL.mp4 a)Bariton+Backing.mp3 b)Baritone+Backing+Click.mp3 c)Backing+Click.mp3 d)Backing Alone.mp3 e)Click Alone.mp3 f)Baritone+Clck.mp3 Section Three, Soprano+Baritone, 1'06" PDF Score, Text only A)Score+Sop\|Bar+Backing+Conducting Line.mp4 B)Score+Sop\|Bar+Backing+Click+CL.mp4 C)Score+Backing+ClickTrack+CL.mp4 D)Score+Backing+CL.mp4 E)Score+Click+CL.mp4 F)Score+Soprano+CL.mp4 a)Soprano+Backing.mp3 b)Soprano+Backing+Click.mp3 c)Backing+Click.mp3 d)Backing Alone.mp3 e)Click Alone.mp3 f)Soprano+Clck.mp3 Section Four, Soprano+Baritone, 2'27" PDF Score, Text only A)Score+Sop\|Baritone+Backing+ConductingLine.mp4 B)Score+Sop\|Baritone+Backing+Click+CL.mp4 C)Score+Backing+ClickTrack+CL.mp4 D)Score+Backing+CL.mp4 E)Score+Click+CL.mp4 F)Score+Sop\|Baritone+CL.mp4 a)Baritone+Backing.mp3 b)Sop\|Baritone+Backing+Click.mp3 c)Backing+Click.mp3 d)Backing Alone.mp3 e)Click Alone.mp3 f)Sop\|Bar+Clck.mp3 Section 4 Text My way is best! You always put it that way. Ya, ya-ya. Your way is nuts! Nutty like you! You, you are a fool! Now a fool. Yes, a fool and a scamp! WHAT! A SCAMP AND A FOOL!? NO! A fool and a scamp. Oh! Sorry, sorry. Always sorry, sorry, sorry, sorry, sorry. Sorry, sorry, so sorry. Bull shite! Really! Bee ess, Bee ess, Bee ess… Like sorry. I’m so confused. But be fair. Bee ess, Bee ess, Bee ess… You’re intolerable! Please. C’mon Be nice! Bee ess, Bee ess, Bee ess… Hey! You ok? Are YOU ok?! Like, I’m ok. Kay. (Shouting match. See score.) That blond with boobs! Oops! See! (Pause) You’re right. Your way is best. Forgive me, Forgive me dear. Forgive me please. Forgive me dear.