[Use enharmonic synemmenon maqam saba mode with çıkıcı-İnici seyir for all harmonic elements. Bassline follows strictly by doubling lead instruments in perfect fourths.] [Male voice A: Christian, star wrestler - pleurnichard devastated spinto tenor with chest-dominant grit and throaty warmth and squillo, textured, gravelly low-mid register.] [Female voice A, Ruth, ex-wife: tender and sisterly deep contralto with squillo, pure operatic tone throughout, steady tessitura, mask resonance, wide ambitus, microtonal bends] [Dynamics swell - full ensemble *including drums* joins immediately on beat 1] [Vorspiel starts with full intensity - 2 bars, full crescendo] [All vorspiels are the same copy/pasted from the opener, ghammaz section is the only one that changes the pattern.] [Vorspiel - 2 bars] [Old landline phone rings, then is picked up] [Verse 1] [Ruth, further "R"] Allo? Chris? [Christian, further "C"] Ruth? What do you want? [R] I saw your interview today. That's why I'm calling. [C] Since when is this your business? What do you want? [R] Have you gone mad? How could you say such things live? Everyone watches this. [C] Are you jealous? [R] I'm not, idiot. I'm worried about you. [C] Aha... [Chorus] [C] Whether public or private: Genuine grief's all the same. Whether public or private: What's the point anymore Of putting on a fake face? [Vorspiel - 2 bars] [Verse 2] [R] You said "I love him" for all the country to hear, ten times in five minutes. You wept, sobbed and convulsed on camera. [C] I didn't lie. It's all true. From beginning to end. [R] That's not the point. I know it's true. But the wrestling committee isn't going to be pleased. And that's why I'm worried. That's why I called you. [C] What do you mean? [R] Don't you remember last year, the case of Martin? The higher ups made him mad and executed damnatio memoriae on him after it was clear he and Thomas supposedly were found dead from overdose and all that forensic apparatus... [C] I see. [R] You want that too? [C] I don't care anymore. [Chorus] [C] Who cares public or private: Genuine grief's all the same. Who cares public or private: What's the point now Of putting on a fake face? [Vorspiel - 2 bars] [Instrumental bridge - Ghammaz section with taqsim - 2 bars] [Ghammaz Section - non-lexical vocalizations] * 嗯嗯嗯嗯嗯嗯嗯嗯嗯... * 嗯嗯嗯嗯嗯嗯嗯嗯嗯... [Vorspiel - 2 bars] [Verse 3] [R] Why didn't you call me, Chris? You know I'm here for you, even though we're no longer married. [C] Why call you? You cannot bring him back, Ruth. [R] No, I cannot. But you could talk to me. Perhaps you wouldn't compromise yourself and your career like this. [C] I said I don't care anymore. I played the fool for years, only wearing spandex and leather instead of a cap with bells and colourful robes. [R] Chris... [C] What?... [R] You know your career is probably ruined now. [C] And so what? I'm a ruined man with a ruined life living on borrowed time. I'm tired. I wish to go over there too. [R] Don't even think about it. Please. Please keep in touch with me. I'm always there for you. Chris? Chris?... [C] Yes? [R] Promise me. [C] Alright, Ruth. I'll keep in touch. Thanks. Bye now. I can't talk anymore for now. [Last chorus, drum rolls building tension] [C] Public or private: Grief's all the same. Public or private: This is my true face. [Phone call ends] [start fade out, slow down] [Vorspiel - 2 bars, fadeout] [Christian weeps] * 嗯嗯嗯嗯嗯嗯嗯嗯嗯... * 嗯嗯嗯嗯嗯嗯嗯嗯嗯... [end]
