From the State of Emptiness

Description

From the State of Emptiness blends my memories of Tibetan monks chanting heard during my travels in Tibet, with the melodic shape and texture of Western chant. In weaving these two styles together my intention was not to emulate any one style of sacred music, but to bring my own sacred experience to the creation of new music.

Text

O Mani Padme Hum

From the State of Emptiness,
the self flows freely to the sky
breathing the sweet breath of life.

From the State of Emptiness,
the self flows deep within the earth
awakening what once was asleep.

From the State of Emptiness,
I becomes the We,
Self becomes the Whole.

O Mani Padme Hum

Catherine Dalton, 2009

Program Notes

From the State of Emptiness blends memories of Tibetan monks chanting heard during my travels in Tibet with the melodic shape and texture of Western chant. In weaving these two styles together my intention was not to emulate any one style of sacred music, but to bring my own sacred experience to the creation of new music. It is a chant of mindfulness which incorporates harmonic overtone singing. Appropriate for an anthem or centering ritual.

Performance Notes

From the State of Emptiness uses the techniques of Harmonic Singing and Harmonic Humming (see instructions below) made popular in Western choral singing by Sarah Hopkins. For purposes of this piece, the sound produced using these techniques is meant to be both both a reflection and symbiosis of the Dung-Chen, a long trumpet-like instrument, and Tibetan sacred chanting.

This overtone-rich drone provides the base for the chant “Om Mani Padme Hum” and the English text, both of which should be sung using the head voice with no vibrato – similar to Gregorian chant. Finally, although the tempo should be free and breath marks are noted, the song needs to have a consistent sense of forward motion.

*Harmonic Humming: Beginning with a resonant “O,” close you lips to a “hum.” Now raise or lower your tongue slightly letting it touch the roof of your mouth in different places to hear the changes in the harmonics. You can also make slight changes in the spacing of your teeth. The sound should be very resonant and forward. Although, you will be singing the same note, you will hear different harmonics within that note.

**Harmonic Singing:Begin with a forward placed and resonant “O,” then change the shape of your mouth to make the following sounds, mm – o – or – ar – rr – ree. This will make a “second voice” that includes the overtones that are a part of the bass fundamental you are singing. You will want to focus your mouth to get a clear sound.

Accidentals: Accidentals are not repeated for repeated notes unless one or more different pitches intervene.

Percussion: This piece calls for a double-sided frame drum hit with a stick. This produces a dry sound with little resonance. Because the drum is played with a single stick, the drum roll will inevitably be uneven. This is intentional.

“Om Mani Padme Hum”: This common mantra, inscribed on rocks, musical instruments, prayer flags and prayer wheels in Tibet, cannot be easily translated and yet is said to contain the entire teachings of the Buddha. In addition to the numerous translations, there are numerous variations on the pronunciation of this mantra. Below is a phonetic guide which approximates a Tibetan version.

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Phonetic Guide

“Yet the fact remains that we are invited to forget ourselves on purpose, cast our awful solemnity to the winds and join in the general dance.”

“… the very motion of our life is towards happiness…”

	Om	Man-	i	Pad-	me	Hum
Dictionary Pronunciation	ōm	mä	nā	pä	mā	hoom
IPA	oum	mɑ	ne	pɒ	meı	hum

Thomas Merton, American Trappist Monk

The 14th Dalai Lama of Tibet

Performances

SSAA, suspended cymbal and frame drum

*Unity Church – Unitarian Adult Choir, Ruth Palmer, conductor (St. Paul) – World Premiere
Voces Solis, Ryan Keeling, Artistic Director (Coraopolis, Pennsylvania)

SATB, suspended cymbal and frame drum

*Unity Church – Unitarian Adult Choir, Ruth Palmer, conductor (St. Paul) – World Premiere
*Camerata Nova, Mel Braun, conductor (Winnipeg, Manitoba, Canada) – Canadian Premiere
White Bear Unitarian Universalist Choir, Thaxter Cunio, conductor (Mahtomedi, MN)
Community Church Choir, Glenn Mehrbach, conductor (Chapel Hill, NC)
Mahtomedi High School Concert Choir, Robert Pontious, conductor (Mahtomedi, MN)
Unitarian Universalist Musician’s Network National Conference Reading Session (Portland)
Philomusica Choral, Gayle Wieand, conductor (Oreland, PA)
Lebanon Valley College Concert Choir, Kyle Zeuch, conductor (Annville, Pennsylvania)
Infinitus, Julian David Bryson, conductor (Jacksonville University, Florida)

Critical Acclaim

“haunting” ~ Winnipeg Free Press Review

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