Graphical This PDF combines nearly 400 pieces of music, grouped under 40+ cycles. Together they explore a variety of nonnarrative structures in which the linear development of idea or argument has been abandoned; instead the focus of attention shifts almost casually as if viewing an object or landscape from a new perspective or in a different light. The influence of the spatial arts is evident everywhere but in spite (or perhaps because) of this, the music is concerned above all with our perception of time questioning the nature of change, chance and coincidence - and with ideas of precognition and conflicting memories. Thus all the pieces are open-form (allowing performers choice in the ordering and shaping of events) and are of flexible duration and instrumentation; this freedom is reflected in the highly visual layout of the scores, whose terse notation is designed to fire the imagination of players and to lay bare the methods of composition. For music downloads and full information, please visit http://rcooke.free.fr or contact [email protected]

The music employs pitch-class set theory to examine the universe of 12-tone harmonies and to link these together to suggest new tonalities. While some pieces apply a variety of textural ideas to a single harmony, others assign new harmonies to an unchanging texture; these latter will often juxtapose harmonies with different degrees of tonal "loyalty", in order to create a sense of distance or movement through space. Yet other pieces transpose and recombine sets, kaleidoscope-like, to generate new background harmonies or landscapes. Textures are based less on repetition and more on reconstruction, mimicry and paraphrase. Recent pieces especially are impelled by the so-called "chaotic" patterns associated with natural processes and employ huge leaps in register to suggest a myriad of unfurling melodies or "journeys"; rhythm here tends to be non-metrical, with all beats in theory carrying an equal stress. Canonic and other algorithmic devices abound - retrograde, inversion, transposition, "key" signature change - as a means of generating a hoard of new but kindred ideas.

Angaza Afrika Music in 4D Music from Divers Places Music from Fractals Music from Layers Solo Piano Music Arte Contrapuncti Heterophonies Corroboree

Richard Cooke

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The Gift of Ibn Batuta Doggerlandic Castles in Spain The First Book of Schmoll Moodscapes Halcyon Days A la recherche d'un grand peut-être Big Skies, Open Roads Thirty-Five Bells The Far Side of Yonder Amèriques (or Bitter Americas) Caring for Country Elektroika (or East of Moscow) Music for a Road Movie Indra’s Net Phantoms & Reflections A Land of Great Thirst Walking with Zimbabwe A Land Made in Anger The Ghazaliyat of Hafez of Shiraz An Infinity of White Lulled by Zephyrs Death-Snares & Hell-Sorrows Vehicles & Replicators Tales from a Time of Disturbance Nûñdä that Dwells in the Night Music to Resonate Espelhos fantásticos Dome of the Temple of Happiness Forking Paths & Earthly Delights Abstracts & Chronicles Augur of Autumn Riddles and Kennings Days of the Appointed Time Incroyables Saharas A Forest of Spontaneities Hieroglyphs & Spells The Island of Apples Called Fortunate A Sea of Uncertainties Bastilles & Engines Caravan & Robber Stories Transports & Ecstasies Cities of the Here-Below Streets & Broad Spaces A House of Many Mansions The Cauldron of Plenty The Book of Encounters

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The Gift of Ibn Battuta is a work of flexible duration for 3+ mixed instruments, built up of constantly-varied repeated material that is shared by all players and performed in moto perpetuo without rest. Each of the 50 movements contains a stave of 3 bars which, under inversion and/or retrograde, generates up to 12 distinct sections which players repeat in a pre-agreed order. Performers may vary material by omitting white notes and alternating those linked by forked stems. Boxes allow local repeats while rounded boxes and crossed stems show where notes can be reordered. Wedge-shaped note-heads permit octave transpositions, at times doubled, in the direction shown. All notes are read as quavers where = ±192.

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Hulisa

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Benuta

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Ebura

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Akwesi

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7-21o

Habuka

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Drenan

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Keluz

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Katton

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Richard Cooke 2016

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Castillo del Pozo de los Moros

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Castles in Spain is a work of flexible duration for 3+ instruments, built up of constantly-varied repeated material which is shared by all players and performed in moto perpetuo without rest. Each of the twelve pieces/movements contains a stave of 3 bars which, under inversion and/or retrograde, generate up to 12 distinct sections that players

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Piedra del Lugar Viejo

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Richard Cooke 2015

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Castles in Spain

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Pesebrico del Cid

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Castillos en el aire

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Torre del Palacio de las Cigüeñas

repeat in their own pre-agreed order. Performers may opt to omit "white" notes, to alternate notes joined by forked stems and to reorder those joined by crossed stems or rounded boxes; repeat boxed material at will. Paired accidentals with naturals are applied in sequence. In all cases, notes are read as quavers, where = ca 180.

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Melopee

Lorelei

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Berceuse pour adultes

Feest

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Très petite boîte à musique Danse des Gnomes

Chanson de pluie d'été

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De profundis

The First Book of Schmoll is a work of flexible duration for 3+ instruments, built up of constantly-varied repeated material which is shared by all players and performed in moto perpetuo without rest. Each of the twelve movements contains a stave of 3 bars which, under inversion and/or retrograde, generate up to 12 distinct

sections that players repeat in a preagreed order. A piece can be extended by taking a 7-note bar from elsewhere and transforming it with the new “key” signature. Boxes permit local repeats; empty note-heads are played 0-3 times, filled ones for perhaps 3-6 times. In all cases, notes are to be read as quavers, where = approximately 180.

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Noceur

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Les sons du soir

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Richard Cooke 2014

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Mélopée

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The First Book of Schmoll

Loreley

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Het eerste boek van Schmoll

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Moodscapes is a work of flexible duration for 3-6 mixed instruments. It is built up of constantly-varied repeated material which is shared by all players and is performed in moto perpetuo without rest. Each of the twelve movements contains a stave of three bars which, under

inversion and/or retrograde, generate up to six distinct sections, which players repeat in a preagreed order. Empty note-heads are played 0-3 times, filled ones perhaps 3-6 times; in all cases, notes are to be read as quavers, where = approximately 180.

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House with Broom-Trees

6z19i

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Footpath in a Forest, Ferns

6-33i

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Evening Bells

6-14o

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Richard Cooke 2013

Landscape with Izba

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Distant and Day-Long Ramble 8-19i

Facades of Marble and Iron 8-19i

Teeming and Turbulent City 8-19o

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Song of the Rolling Earth 8-19o

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This Fever of Dreams 8-19i

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Peaceful and Languishing Rhymes 8-11i

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Haze and Vista, and the Far Horizon 8-09=

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Room-Shadows and Half-Lights 9-06=

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Each of the twenty movements contains a stave of 3 bars each of which, under retrograde ± inversion ± transposition (where +1 or -1 mean up/down a semitone) generates up to 8 distinct sections.

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Halcyon Days is a work of flexible duration, for 3 - 6 mixed instruments. It is built up of constantly-varied repeated material which is shared by all players and is performed without rests in moto perpetuo.

P l ay -ers repeat sections in a preagreed order. They may vary material by omitting white (emptyheaded) notes and alternating notes linked by forked s t e m s .

B oxe s w i t h s h a r p corners indicate local repeats whilst rounded boxes and crossed stems allow notes to be reordered. All notes should be read as quavers, where = approximately 170. Richard Cooke 2012

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Seeking the Great Perhaps

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Richard Cooke - 2012

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i s a work of flexible duration, for 3-6 mixed instruments. It is built up of constantlyvaried repeated material which is shared by all players and is performed in moto perpetuo without rest. Each of the 20 movements contains a stave of 3 bars which, under retrograde and/or inversion plus transposition (where +/-1 mean up/down a semitone) generate up to eight distinct sections. Players repeat sections in a pre-agreed order; they can vary material by omitting white (empty-headed) notes and alternating notes linked by forked stems. Boxes indicate local repeats whilst crossed stems show notes may be reordered. All notes should be read as quavers, where = ca 176.

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Big Skies Open Roads is a work of flexible duration, for 3 - 6 mixed instruments. It is built up of constantlyvaried repeated material which is shared by all players and is performed without rests in moto perpetuo. Each of the twelve movements contains a stave of 3 bars which, under retrograde, inversion and transposition (where +/-1 mean up/down a semitone) generates up to eight distinct sections.

Players repeat sections in a pre-agreed order. They may vary material by omitting white (empty-headed) notes and alternating notes linked by forked stems; pointed boxes indicate local repeats whilst rounded boxes and crossed stems allow notes to be reordered. All notes should be read as quavers, where = circa 170-180.

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Richard Cooke, 2011

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d

4-04o

dd a

4-18i

Mansouled Fiery Islands

-4

d

-4

4-27o

4-27i

-2

dd

a

+2

4-18o

a

+4

d

-4

4-14o

dd

a

G

d

Rage-Shattered Waters

4-04i

af

Mustardseed Sun

is a work of flexible duration, for 3 - 6 mixed instruments. It is built up of constantly-varied repeated material which is shared by all players and is performed without rests in moto perpetuo. Each of the six movements contains a stave of 3 bars which, under retrograde, inversion and transposition (where +/1 mean up/down a semitone),

Moonshine Domes

ad

+4

d ag

+4

generates up to four distinct sections. Players repeat sections in a pre-agreed order. They may vary material by omitting white (empty-headed) notes and alternating notes linked by forked stems; boxes indicate local repeats whilst crossed stems show notes may be reordered. All notes are read as quavers, where = 160. R i c h a r d C o o ke -2011-

Thirty-Five Bells

a

4-14i

a

4-11i

4-11o

+1

d a

ad

-1

d

4-12i

d a

Steeple-Stemmed Herons +2

Switchback Sea

3-02o

4-22i

d

4-22i

d

4-22i

d

-5 3-07i

a

d

+5

-5 3-07i +5

a

a

-5 3-07i

d a

a

d

Video Girl Ai Mai, the Psychic Girl

±4 3-05i ±6

+5

+1 4-19i

a a

d

±4 3-05i ±6

f f a

+1 4-19i

a a

+1 4-19i ±4 3-05i

d

d f f a

a

d

3-02o

d

3-02o

d a a

±6

±6

Astro Boy Samurai Crusader Magic Knight Rayearth

±6 3-08i

d a

a

f f a

4-16i ±6

4-05i

dd a a

fd d

±6

3-08i ±6

d

gdd

4-16i ±6

4-05i

dd a

gdd a

d

±6 3-08i ±6

a

fd

4-16i ±6

4-05i

dd a

gdd

Warriors of Tao

d

Mai, the Psychic Girl

d

3-07o

d

3-07o

d

3-07o

a

a

fd

Video Girl Ai

dd

+5

a

4-22o

dd

a

+5

dd

+5

4-22o

4-22o

d

a

-5

a

-5

a

-5

a

3-05o

3-05o

3-05o

Magic Knight Rayearth

±6

d

4-19o

a

d

±6

a

4-19o

±6

d

4-19o

d

d

d

3-08o

Samurai Crusader

af

±4

af

±4

af

±4

Tokyo Mew Mew

Astro Boy

G

dd

3-02i

dd

3-02i

dd

3-02i

a

3-08o

±6

a

3-08o

±6

a

±6

Sailor Moon

4-05o

4-05o

4-05o

Tokyo Mew Mew

a

Warriors of Tao

±6

d

4-16o

a

d

±6

a

4-16o

±6

d

4-16o

Sailor Moon

a

-1

a

-1

a

-1

ad

±6

ad

±6

ad

±6

The Far Side of Yonder is a work of flexible duration, for 3 - 8 mixed instruments. It is built up of constantly-varied repeated material which is shared by all players and is performed without rests in moto perpetuo. Each of the 8 movements contains 3 staves which, under retrograde, inversion and/or transposition (where +/-1 mean up/down a semitone), generate up to 8 distinct sections. Players repeat these staves in a pre-agreed order. They may vary them by omitting white (emptyheaded) notes and alternating notes linked by forked stems; boxes indicate local repeats whilst crossed stems show that notes may be reordered. All notes are read as quavers, where = ± 180. Richard Cooke - 2011

A movement is created by linking all six staves in specific transpositions. It is possible to create new staves by swapping note patterns (but not 'key' signatures) within each pair (2-01 and 02, 203 and 04, 2-05 and 06); a further option might be to substitute or add the matching (dyad) material in Music for a Road Movie.

Players may elect to omit white (empty-headed) notes, to alternate notes tied by forked stems and to reverse those linked by crossed stems; boxes indicate local repeats. In every case, the notes chosen are played as quavers, where = ± 180. Performers should beware of unusual accidentals, aiding inversion, such as E#.

G

2-03

2-04

2-05

2-06

a

a

a

a

a d

d

d

2-02

dd

2-01

d a

Each stave generates 416 distinct sections, using transposition, inversion and/or retrograde. Transpositions are shown by the semitone indicators in the table below, where -4 means down a Major 3 and +0 is as written. The sections are performed by the three groups in their own independent order.

a

s e u q i r 1

a

a

a

a

d

a

r

R 0 -- Caich

The Katydid's Warning The Rattlesnake's Revenge Hunter and Buzzard The Mounds & the Constant Fire Pemmican Man and Spider Artichoke and Muskrat Raccoon and Crawfish The Mysterious Butte Coyote and Porcupine

d

dd

di

a ke

d Co ar ff - 20 o

- Car ke0 - Rich

ff - 20 di rd Coo 1

Amè

Amèriques (or Bitter Americas) is a nine-movement work of flexible duration, built up of constantly-varied repeated material shared by all players and performed in moto perpetuo without rests. It is scored for three autonomous groups (each plays at different octaves) of 1-3 pitched percussion or other instruments.

-2±6 -2±6 +0±6 ±6 -2-1 +0-1 -5±6 -5±6 +0-5

+5 +0 +5 +5-1 -1 +0 ±5 -3-5 -3-1

+0+3 +3±6 +0-3 +0+3 +0+3 +0-3 +0-3 +3±6 +3±6

+2+3 +2+3 -4 +2-4 +3-4 +3-4 +0 +2 +4

+2-3 +4-3 +4-2 -2 ±2 ±2 +4-1 +4-1 -2-1

+1-5 +4-2 ±3+4-2 ±3+1-5 +1-5 +4-2 +4-2 +4-2 +4-2

PC set 5z18i 5z18o 5-19i 5-28o 5z38i 5z38o 5z36i 5z36o 5z12=

d a

4-14i -2+4+6

-2+4+6

a

d a

4-12i

ad

dd a

4-18i

4-11i

4-18o

a

d a

4-05i

4-22o

4-04i

d

4z29i

d

a

4-02i

ad Wallaby and Jabiru Gecko and Bandicoot Wombat and Cockatoo Sun-Woman and Frog Honey Ant and Emu Kangaroo and Rain Waratah and Goanna

4-27o

dd a

d

d

4-27i

a

4z29o

4-02 Dreaming Dreaming Dreaming Dreaming +5-5 Dreaming Dreaming Dreaming +5+5 oi

4-04

4-05

4-11

+0+6 +0+4

-5+6 oi

-5+5 +6+5 +6-5 oi

4-12

+4+0 -5+0

-5+6 +4+6 oi

oi

Caring for Country (Richard Cooke, 2009) is a multi-movement work of flexible duration, built up of constantly-varied repeated material performed without rests in moto perpetuo. It is scored for two autonomous groups (one playing an octave below the other) of 1-3 pitched percussion or other instruments. . A movement is created by linking staves, appropriately transposed, from different parts of the score. New movements are feasible, and these, like existing ones, take their titles from Australian dream symbols. Stave 4z15i acts to bridge movements.

4-13

+0+4 +0-5

4-14

4-16

-1-5

-1-5

+0-5 +0+0 -1+0

-5+0

4-19

+4+0 -5+0

+0+4

4-27

oi

oi

+0+4 +0-5 -4+4 -5+4 +6+4

oi

4z29

+2+4

+0+0 -5+6 +4+6

oi

4-22

+2+4

-1+0

+6-5 +6+4 oi

4-18

oi

+6-5 +6+4 oi

oi

PC Set 6z26= 6z28= 6z29= 6z37= 6z38= 6z42= 6z45= 8z15i

A movement thus consists of 2 or more staves which each generate 4 distinct sections, using inversion and/or retrograde, as well as transposition (following the semitone indicators in the table above, where -5 means down a Perfect 4, and +0 as written). These sections are performed by each group in its own pre-agreed order.

G

Players may elect to omit white (empty-headed) notes and to alternate notes linked by forked stems; boxes indicate local repeats. The notes sounded (always quavers, where = ± 192) are randomly chosen but played in the order notated.

d

a

ad

4-02o

d

d

ad

a

d

4-22i

ad

4-04o

d

d

d ad

4-19o

d

4-05o

4-19i

4-11o

ad

ad

a

d

4-16o

d

4-12o

dd

4-16i

d a

ad

4-13o

d

a

4-13i

4z15i

a

d

d

f

a

a

a

d ad

f

4z15i

4-14o

d

4-10

4-17

4-20

4-21

4-23

4-24

4-10 4-17 4-21

4-20

4-08 4-09

4-28

+2-3

4-09

4-24

4-23

4-08

+0 +0-1

4-07

4-06

4-01

4-03

dd

4-25

a

d ad

4-26

a

4-07

+0+1 +0

a fd

4-06

a fd

d

ad

d af

4-25

4-26

+1-5

-5 +2-3 +2 -5-2

+0 +0+6

+1

+3+5 +0+3 +0

+4

+3

-3

-3

+2 +0+6

+0 -2 +0+5-5 +0+5 -5

d af

a

G

d af

d ad

G

df

d af

Players may elect to omit white (empty-headed) notes and to alternate notes linked by forked stems; pointed boxes indicate local repeats whilst rounded boxes and crossed stems show that notes may be reordered. All notes should be read as quavers, where = approximately 188.

a

d af

d af

A movement thus consists of 2 or more staves which each generate 4 distinct sections, using inversion and retrograde, as well as transposition (following the semitone indicators in the table below, where +0 means as written and -5 down a Perfect 4). The sections are played by the two groups in their own pre-agreed order.

a

dd

d af

dd

4-03

+6

d

d af

4-01 Zheleznodorozhnaya Inconsolable Grief Forest Murmurs +4 Tear of a Comsomol Girl The Woman of the East Auf Brüderschaft Chekhov's Last Words

fd

a

a

dd

ad

d ad

a

A movement is created by linking staves, appropriately transposed, from different parts of the score. Additional movements may be created, taking their titles, like Zheleznodorozhnaya, from sections of the Moscow-Petushki electric railroad. Stave 4-28 serves solely to link movements.

a

fd

dd

Elektroika or East of Moscow (Richard Cooke, 2009) is a multi-movement work of flexible duration, built up of constantly-varied repeated material played without rests in moto perpetuo. It is scored for two autonomous groups (one playing an octave below the other) of 1-3 pitched percussion or other instruments.

ad

+0+3-3

PC Set 6z04= 6z06= 6-08= 6z23= 6-32= 6z48= 6z50= 9-11o

a

a

dd

g add

a

df

dg ad

3-02i

a

2-02

f af

2-06

a

3-10

3-11o 3-11i 3-12 2-01 2-02 2-03 2-04 2-05 2-06 PC set +0±4 -4-5 +0+5 -1+5 6z48 -4+5 -2-5 +0+3 6z50 +0±4

-3-4 +0±6 +3-4

+1±6 +1+4+5

3-09

G

3-05o

d

2-04

a

d

d

2-04

a

3-06

dd

3-07i

a

3-06

a

3-07o

a

a

dd

3-08i

a

a

d

dd

d

3-08o

3-05i

a

a

2-03

Richard Cooke, 2009

a

2-05

a

2-05

2-03

Players may elect to omit white (empty-headed) notes and to alternate notes linked by forked stems; boxes indicate local repeats. In every case, the notes sounded (always quavers, where = ± 192) are randomly chosen but played in the order notated. Performers should take note of unusual accidentals, aiding inversion, such as E#.

3-04o

a

ah

a

a

A movement thus consists of 2-6 staves which each generate 8 or more distinct sections, using transposition (following the semitone indicators in the table above, where -4 means down a Major 3, and +0 as written), inversion and/or retrograde. These sections are performed by the two groups in their own pre-agreed order.

6z23 6z37 6z13 6z41i 6z26 +3-4 7z37

d

+0+5 +0-5 +2-3 -3+4

dd

dd

3-09

-1±6

3-04i

d

3-01 3-02o 3-02i 3-03o 3-03i 3-04o 3-04i 3-05o 3-05i 3-06 3-07o 3-07i 3-08o 3-08i 3-09 3-10 -2+5 +0-5 +0+5 +2+5 -1+2 -1+4 -1+2 -1+2 +0±6 +0±6 +1+2 +3+4 +0-3 +0+3 -1+5 +0±6 -1±6 -1-5 +0-1 -4-5 +2-3 +1+4

a

d a

3-03o

Mustang Corral Hooker Cut Gasoline Alley Hydro -3-5 Cadillac Ranch Dead Man’s Curve -3-4 Peach Springs Arroyo Parkway

ah

dd

d

A movement is created by linking staves, appropriately transposed, from different parts of the score. It is also possible to construct new movements, and these, like existing ones, might take their titles from locations along the historic Route 66.

3-03i

dd

is a multi-movement work of flexible duration, built up of constantly-varied repeated material performed without rests in moto perpetuo. It is scored for two autonomous, groups (one playing an octave below the other) of 1-3 percussion / other instruments.

a

a

Music for a Road Movie

d

d

3-11i

d

3-02o

2-02

dd

d

a

a

3-01

a

d

3-12

a

3-10

dd

a

a

3-01

3-11o

2-06

2-01

ad

a d a

2-01

3-12

dd

a

a

a

Amethysts & Rubies Garnets & Tourmalines Jacinths & Adamants Jaspers & Chalcedonies Micas & Peridots Sapphires & Dolomites or

a

3-08o

a

d

3-05i

a

d d

a

3-07i

d

3-07o

a

d

3-12=

3-01 +1 +1

3-02 +2 +0 +2

+1 -2 +2 o i

3-03 +1+0 +1 -2+1 -3 +0 -3 +1 o i

3-04 +1 +2 -2+1 -2 +2+1 -2 +2 o i

3-05 +1 -3 -3

3-06 +2 +0 +4

+1 +0 +4 o i

3-07 +0

+6 +0 +0 +4 o i

3-08 +2-2 +2 +6+2 +2 +2-2 +6+2 o i

3-09 -3

3-10

-3 -3

+1 -3 -3 +1

3-11 +0+1 -2 +1 +6 -3+6 +6 -2 o i

a

ad

a

d

3-12=

d

Richard Cooke, 2009

3-06=

a

3-01=

G

The two ensembles play sections in their own pre-agreed order. Note-heads represent quavers, where = ± 192.

3-06=

accretion: gradually extend the line [1, 1..2, 1..3 etc] atrophy: gradually shorten the line [1..9, 1..8, 1..7] framing: random frames of 4-6 notes each [r..r+n] shifting: sequential frames of 4-6 [1234..6789, etc] random start-points: play notes r..9 random end-points: play notes 1..r culling/extraction: omit notes at will

d

3-11i

d

3-02o

a

a

3-09=

d

A movement is created by linking staves from different parts of the score and transposing them according to the semitone indicators in the table below (where -3 means down a Minor 3 and +0 as written). These staves, which can also be read in retrograde, generate distinct sections, built up by patterning pitch data in any of the following ways:

d a

a

Indra’s Net is a six-movement work of flexible duration scored for two autonomous groups of 1-3 mixed instruments. One group plays an octave below the other, but shares the same constantly-varied repeated material.

a

dd a

3-01=

3-10=

3-10=

d

dd

d a

3-11o

3-09=

a

3-08i

ad

1 2 3 4 5 6 7

d

Net

ad

a

Indra’s

a

3-03i

3-04o

3-05o

a

3-02i

3-03o

a

dd

3-04i

ad

3-12 ±2±6 ±2±6 ±2±6 ±2±6

PC Set 5-11i 5-13i 5z18o 5-30i 5z38i 5-26i 5-26i 7-26o

d

!Xóõ

||Xegwi

d ad ad d g ad

ah

ffd f a a d ff d ad

gd g a d a d hh a f

6z28=/4-13o 11o 12i; 19oi 27o

a

f dd a a f dd a

Ungkue

6-29=/4-16o 18i 27o; 07 23 18o

df

ddd f a a f fd

6z49=/4-26 15o 29i;27i 25 27o

|Xaise

G

a

d gd d a fd d a d hd

ad

6-08=/4-14i 22i 14o;11o 10 10

a

hf a a dd f a

!O!ung

a hd a h h hh

f gd d

Each of the seven pieces consists of a single stave prefaced by six possible 'key' signatures which, when combined with inversion and/or retrograde, generate 12 distinct paragraphs or sections. These sections, which are played in a pre-agreed order, are built up from repeated 'culls' of the available pitches; the lead instrument exploits all 12 notes whilst accompanists focus on an inner subset, such as the 5-7 black notes. In every case, the notes sounded = ± (always quavers, where 192) are randomly chosen but played in the order notated.

6z26=/4-22o 21 26;22i 21 20

Six of the seven pieces use enharmonic derivatives of the same notes (gacd), which means that new sections can be created by applying the current 'key' signature to staves of other pieces. Beware of unusual accidentals such as b#.

6z37=/4-14o 19i 5o;14i 19o 29i

6-32=/4-11o 14o 22o; 22i 23 26

is a work of flexible duration for three or more pitched percussion instruments, built up of constantlyvaried repeated material performed without rests in moto perpetuo.

|Xam

dd d a d ad d ad

Phantoms and Reflections

Richard Cooke, 2008

ag ad h a

f fd a d af f d ad

a

g ad ahd h

dd a a dd f a

Aakhoe

a

ddd

= 5-22

fg d ad

dfg d

5-16

dd d

d dg af

5-26 oi

dd a d

dd d

a

io 523

a

5

d dd

524 i

o

a

d dd a i -06o

d a dd

dd d a

d dd

io

a

d dd o

a

5-28 i

Thir is a st work dura p i t tion for of flex ible thre instr c h e d e p e r or mor c o n uments e cus mat s t a n t l . It is sio y-v erial b n uilt ar perf orm i e d r e up of ed with p e a t e d Each out o rest stav f the s s. es w ix p hich iece inve , und s co rsi sect on, ge er retro ntains t n gra ion hre er are s. Thes ate 12 de and/ e e se or play d is c ed i orde n a tions, w tinct r, a hich prere repe ated built u agreed p acco ' avai lable culls' of from p a n mp t lead itche he ist focu s; in s free strumen the i n n e s on a t is r to e such sub n xp all 1 se as 2 no loit filled the t , tes whil ( b I 5-7 ne lac st . .. soun very cas k) note s. whe ded (a e, the chos re = ± lways q notes perp en an 192) ar uavers, e ran d etuo dom in t played ly he orde in mot o r n otat All s ed. ix pi of th eces u se e mea same n enharm onic ns t otes de ha ( crea ted t new s fgabcde rivatives b ), ec y 'key ' sig applyin tions ca which g natu n be othe re t the cur r unu pieces. o stave rent sual s of B com eware of of b acc i i d e nations nta ls. R ic ha r C o o k d 200 e 8 5-32

a

= 5-35

24 oi

=

hirs

G rea

oi

dd d a

d dd

d a dd

The Hesitant Breeze 7-22=

d dd

5-

5-29

a

5z 1 8o i

d dd a

a

dd ad

dd ad

a

fgdd a oi

of

tT

5-06

5-34

fd gd a

Cobwebs of Sleep 7-17=

d a f dg

dg a fd

=

ddg f a

d df g

Colour of Strength 7-35=

dd d

d df g

fg dd

A

t

L an d

5-15

dd d a

Mulberry-Fresh Morning 7-33=

a

fg a dd

d dg af

fg dd

a

o

8i

Blue-Town Blues 7z12=

oi

a

5z 3

5-11

nd

of G reat

a

fd gd a

dg f a d

Skying the Horizon 7z37=

dfg d

A La

oi

a

5 z 3 6o i

f gd ad

G

a dd d

a dd

a

a

a f ad

a

d a ad

d

a

a

a d dd d

a

a

ff

a

fd fd a

a

dd

a

d

ad

f ad

f a

dd a

a

dd a

f

dd

d d a

a

df

a

ff ff a

fd

a

dd d

d a a d

d ad

f

dd

a

d

d

dd ad

Chokoto Chokoto 5-14i

f ad

ddd

a

d

a

a

dd dd a

a

ad d

df

Kwaba Kwaba 5-35=

Kobvo Kobvo 5-30o

a

f a ad

a

d ad

dd dd a

fd a

d a

a d dd d

a a

a

d a d

d a

fd a

a dd

a a

a

Dzogo Dzogo 5-21i

a Nguma Nguma 5-23i

Fekeshe Fekeshe 5z18i

ff a

Kanganya Kanganya 5z17=

d ad

ff

fd

dd

Kwenja Kwenja 5z37=

ff a

f

d dd a d

d har Ric ke o o C 2008

Gwedzve Gwedzve 5-25i

Dzetu Dzetu 5z36i

a

a

f

f a

Mhasha Mhasha 5-27i

d dd dd d a

ic mon nhar ys e (defgb, lo p s m es e 5 note s that piec of 4 e same h mean d by p u gro of th ), whic create Each atives sign abcd n be deriv c OR g aphs ca nt 'key' ies' r b r e e a r g f r e para the cu ern or 's v e . new tt g ta a s in p ly e app e to th d e r i n g ccid atur a b o r nusual a #. B u f f o o as are Bew ls such enta

Kekeya Kekeya 5-26i

d

G

ork m o r ruments is a w e o r of inst e thr sion i l t u p d s u c per i s b u - v a r i e tly It e d stan con p e a t a l i r e t e r m a ormed perf o u t w i t h s. rest

d ddd ad dd d

a dd d

bwe mba i Z ith n for ratio d ng w i u d k l e e xibl itch Wa . of fle e p

a

er , und hich tinct es w is v d a t 3s a e 12 tains generat layed in p , s con iece rograde hich are epeated p 2 e1 ret ,w mr lead of th p fro d/or tions Each rsion an ese sec e built u es; the ilst h inve ions. Th order, ar ble pitc otes wh a 2n ubsect agreed avail all 1 inner s . pre- s' of the exploits on otes s n ll t u u k n c c 'c ume ts fo 5-7 bla notes instr mpanis the he acco , such as case, t uavers, s y s q set ever (alway 92) are In 1 ded = ± en and soun re os whe omly ch moto d in ran in ed play p e t u o r rde per o t h e ated. not

f fd af

d

d

f ff a

Land

er

f a ff

A

a

a

dd d a

a d

d

a d dd

a ddd

a

d Fish River Canyon 6z45=

d

a Stormbird Bay 6-33i

a d dd

fd a

fd

a

d

a

fd

d a

d

a

The Skeleton Coast 6z50=

a

a

d a ddd ad d

Dragon's Breath Cave 6z24o

Ang

d

ad e i n

M

a fd

d

ff a fff a f

a fff

d

ad

ad

G

f a ff

The Great White Place of Dry Water 6z26=

d a

it of c work e p rform is a or mor built up ich is pe ced for . s i h du e t w iece thre ents. I aterial sts intro a p d m m e n r u d r e inst repeate with er to d rd tuo, varie o perpe or in o , hich ot t c m e f es w 12 f v in e a t es te atic thre nera dram ains ion, ge ich are t n o ers sc wh up iece r inv ctions, six p e and/o built e e s e r h t a e le d f s b , a r o e a r l e h Each r retrog ions. T eed ord he avai its t unde nct sec pre-agr lls' of t t explo disti ed in a ted 'cu strumen panists a in m play repe acco lead . the from es; the s whilst ets, e.g y h s e c t t ver b pi 2 no In e ed er su all 1 s on inn notes. d n sou focu black rs, otes 5-7 , the n q u a v e ) e 2 cas a y s = ± 19 alw y l ( om re All whe and ut r x b are sen s i ces c h o ed in pie y o p l a y order p l c i the e m n o te arm nota e n h ves of th s d e . ati ote deriv s i x n eans m e s a m ), which can be e s d n he c o (fga w secti l y i n g t es e p av n p t s a to y that s. d b ignature p i e c e al e t a s r ' cre y u e n su 'ke oth of u ch are ent m e r o curr fr whi n. ewa en d b dentals, v e r s i o l u o tak h i n s c i c a t ers s of sis Play ation t o a s n i b 07 com n e d - 20 ig oke o C des ard Rich

Four Finger Rock 6-18i

fd a fd a

ger for n A ion ion e in urat s Mad of flexiblcehedd perocnusstantly-ed

a fff d

L

f a ff

ff a fff a f

A and

fd a ff

a fd d

a fd d

a fd d

a ddf h

a dd

a dd

ez -e

of H

az al iya t

a ddf h

a fd d

a ff fd d

a ff fd d

af

f a f dg

a hf f

a dd

a ff fd d

a ff fd d

Gh

a hf f

Sh ira zi

a hf f

f a f dg

Th e

a hf f

a ddf h a dd

f a f dg

f a f dg

a fd d a dd

s Sigh f o e ibut A Tr 7-32o

a ddf h

ne ortu

a dd

a dd

dF -Bir g n i So 7-11

ows Sorr f o rmy 36i An A 7z

a dd

ce

a hf f

a ff fd d

a ff fd d

s en

a ff fd d

G

a hf f

Ab n of o s i i Po 7-19 The

a ddf h

a ff fd d

. . . k wor is a x i b l e l f e 3+ of for ts n o i m e n me t a dura i n s t r u s . the a t e r i a l ed m i x share m es h ted stav de, whic - r e p e a f 4 o ra y g l s e tro ist ich loos cons n and re ons, wh ime' s e i c t o 't e i c i s e p r m or s e inv e 6 ese t fro e-third h l h h i t t i T u f b . w o n s o . d e n h , r e 4 o c f i l a Ea 48/2 t ha mbin nct sect order, ing a /48 = h, co ti d whic e 16 dis e-agree ers play 2 7 pr rat orm 144 = but, gene ed in a the perf = y vers f f a a l o s u p u o q s a o are with tw ed. Th ad a d quot e e s r p n s o y e can to a gre uall sixth e us ', an a thened m r onea ro ds ar ng tes f -hea h 'b s le Note hin eac notes i ition, no each d wit n of om n ad rand tchet. I e sectio rdered. Ric l o o d r c ha mid y be re sual rd u the Co r ma re of un l s a b a ok a t w Be eiden a c c h as 20 The 06 suc x . c

a ddf h

a ddf h

a hf f

a hf f

a fd d

n ictio

f a f dg

f a f dg

ffl gh A u o r d th 10o Roa 7e h T

a fd d

h Mirt

a ddf h

of iver o G e Th 7-25

a fd d

f a f dg

f a f dg

kta

=36

2 4=7 =14

8 7-0

z3 =/6

6z2 3=; 1i 2 9i 2

41

i

9o 1o 3 32

o 47

rr

;6 6i

ba

9 z4

Is

An Infinity of White

ie

6z =/

7

2 z1

4o 46 i4 o 14

=

14

i;

6-

Each of the 5 pieces consists of a single stave prefaced by 6 possible 'key' signatures which, combined with inversion and retrograde, generate up to 12 distinct sections. These sections, which are played in a pre-agreed order, are built from 'time' canons, with two of the performers playing at half- and quartertempo. Note-heads are usually read as quavers but, within each 'bar', an agreed quota of randomlychosen notes are lengthened to a crotchet, and the middle 2-4 notes may be shuffled. Beware of some unusual accidentals.

a dd dd a dd d g G a fd d 14 4

44 6z =/

en D

43o

al

es

a f dd a d dd d a f f dd

s

6-1

d a ff d a d d a ff

9o 4 4o

ve l

3i 1 9i 4 9;

7z

=/6 z4

e

17

7-2 2

Dj

ddd a

2 =3 6

Richard Cooke - 2006

an s

dd d g d a ff d a d d a ffd

=7

i4

6o

7-34=/6z24o 33o 34o; 6-33i 24i 23

is a work of flexible duration for 3 or more mixed or heterophonous instruments sharing the same loosely-repeated material.

d ddg a d d dd hdf a a

o 41

47

n

i3

re

dd

Slakteren

6

fd a

ffd =144=72=36

3 2= =7 44 =1

G dd d a d fd a

a a

ddd g G a ddd h a

dd a

G g dgdd d gd ddg a g dg a ad

ffd ff a ff a af

lbu Hva

er

gG

=72 =36

=14 4

Sco t t s Nun ata k

d af dg

d

dd a d dd a d a

ddd ad

d fd g ad

Great Dingle Hill

Cob Island 6z48=

6z26=

6z28=

6-35=

Blackstakes Reach

Lantern Marshes 6-33o

6z29=

6z37=

6z42=

d af af

dg af d

d dg af d

d af dg

dd

fd a

d

a

ddd fd g a d

fd a

a

Sallow Walk Covert

Note-heads are usually read as quavers but, within each 'bar', an agreed quota of randomly-chosen notes are lengthened to a crotchet. In addition, the notes from the middle section of each bar may be reshuffled.

Shingle Street

Ratios 6:3:1 6:2:1 8:2:1 8:4:2 6:4:1 6:4:2 9:3:2 9:3:1

dd a d

a

fd

d a fd

d a

a a

fd a dd

d

d

a dd

fd g ad

fd a

a dd

a dd

f ddg Silverlace Green

Richard Cooke - 2006

Chantry Point

6:3:2 8:4:1 6:4:3 9:6:2

d

d

fd a

dd a d

a

fd

afd

6-33i

Tempi (crotchet=) 144=72/48=48/24 144=72/36=36/18 144=96=72/48/24 144=96/48=32/16

fd d a dd

6z50=

af

af

d af dg

dg af d fd a

fd a af af

af

af

af

d a

a afd

afd

6z45=

Use 1 of the 4 sets of ratios per piece; one player changes tempo between sections.

afd

fd d a dd

fd d a dd

a

d a ddd

fdddd

dd a d

d

dd a d

ad

a

fd g a d

fd g ad fd d a dd

fd d a dd

af

6z13=

d

Buss Creek

af

Tinker's Walk

af

Two Pond Wood

Each of the 12 pieces consists of 4 staves which, combined with inversion and retrograde, generate 16 distinct sections. These sections, which are played in a pre-agreed order, are built from 'time' canons with two performers playing at slower tempi, as shown by the following metronome markings.

d a

Lulled by Zephyrs

fd

Moneytree Clump

is a work of flexible duration for 3 or more mixed or heterophonous instruments which share the same loosely-repeated material. The notation includes some unusual accidentals, such as E#.

d a

fd

d a

a

a

d

a dd

a dd

afd

afd

d af

dg af d fd a af

a

a

af d af dg fd a

af

dd a d

ddd fd g ad

a a a

fdddd

dd a d dd f ddg fdddd

a

fd a

d a dd

afd

d a fd a dd afd

ff fd a

ff a d fdd a

d fdd a

d fd d a

ff a

6-34i

dd a

dd a

fdd a

Granaten 6-30i

fdd a

fdd a

ff a

dd a

d fd d a

Patrouille

fdd a

dfd d a

d fd a

df a

dfd d a

ff a

dg a d fd a

ff a

ff fd a

ff fd a dg a

f df a d fd a d fd a

df a

ff a

df a

df a

R i c h a r d C o o k e 2006

dd a

fdd a

Note-heads are usually quavers bu read as t, within ea ch 'bar', an agreed quot a of random ly-chosen no lengthened tes are to a crotchet . In addition, the middle notes from section of each bar m reordered. Pl ay be ayers need to be aware some unusua of l accidentals, ai ding inversion, such as x c .

d fdd a

dd a

dfd d a

half , onethird or on esixth speed, where = 14 4= 72 /4 8= 48 /2 4.

fdd a

df a

6-27i

dd a

6-22i

G

d fd d a

fdd a

Zwist

dfd d a

6-18o

Triebkrieg

ff a

df a

df a

Werttod

ff a

6z40i

df a

d fd a

ff a

d fd d a

fdd a

dg a

dfd d a

Weltwehe

ff a

dd a

dfd d a

6-11i

ff a

6z12i

ng

Freudenhau s

dd a

dfd d a

dg a

is a work of flexible duration for 3+ m instruments ixed sharing th looselye same repeated material . Each of the 12 pieces consist s of combined wi 4 staves wh th inversion ich, and retrogr generate 16 ade, distinct sect ions. These sections, wh ich are play ed in a pre-agreed order, are bu ilt fro m 'ti m e' ca no ns with two of the pe rf or m er s pl ay in g a t

d fd d a

d fd a

Urwanderu

DeathSnares & Hell-Sorrow s

ff a

6-09o

dfd d a

dg a

Kampfflur

6z25i

d fd d a

dg a

ff fd a

d fdd a d fd d a

dg a

Zagen

d fdd a

dg a

f df a

ff a

d fdd a

6-05o

ff a

f df a

ff fd a

Angststurm

ff a

f df a

ff fd a

d fd d a

6z10o

ff fd a

Feuertaufe

d fdd a

f df a d fd a

d fd a

d fdd a

f df a

ff fd a

ff a

f df a

f df a

fd af

a ff d

dd d a

5-19

i

a ff d

o 5-19

d f a f dd a

5-02

dd a fd d a d

5-10

i

g a f dd a d

e

is a work of flexible duration for 2-4 pitched p e r c u s s i o n instruments which share the same constantlyvaried repeated materi al.

es l ic h e V

&

R

G

Notes are played as quavers, where = circa 192, in moto perpetuo and without rests.

g d a

a ff

d

5z 36 o

Revolving Doors 7-04o

5-04 o

a f dd

a il c p

rs o t

Each of the three movements consists of three staves which, when combined with inversion and/or retrograde, generate 12 distinct paragraphs or sections. These sections are constructed by patterning pitch data, not too rigorously, in the 7 ways listed above.

o

d f f a

a fd

a fd d

5 02 i

Baby Doll Lounge 7-09i

Horn and Hardart Automat 7-04i

a f d d

i

5 07 i

5-05

1 accretion: gradually extending the line from 1 to 12 notes 2 atrophy: shortening the line [1..12, 1..11, 1..10 etc] 3 shifting: sequential frames of six [1..6, 2..7, 3..8 etc] 4 framing: playing random frames of six notes [r..r+5] 5 random start-points, playing notes r..12 6 random end-points, playing notes 1..r 7 culling/extraction: omitting notes at will

a ff d

Note Patterns

Rich ard Cook e-2 005

a

ffd

d af g

a

d af g

ffd

ffd

ffd

d af g

f af

afff

afff

d

La lluvia de chispas 6-22o

f af

d

afff d

f af

afff

d

a

d

afd

d

a

a ff

d

fdd

a ff

d

fdd

d

d

afd

fd ad

d a ff a ff

d

afd

d a ff

fd ad

afd

a

fdd

El pájaro ceniciento 6z17o

f ad

d afd

d

d afd

d a ff

fd ad

f ad

d af g

Notes are played as quavers, where = ± 192, in moto perpetuo without rests. Richard Cooke - 2005

a ff

ff

d a ff

La laguna que hirvió 6-15o

La llorona 6z10i

fd ad

f af

f ad

a

Los hombres de dos cabezas 6z36o

Una espiga de fuego 6-31o

a

f af

La casa de mando 6z25i

d

d afff

a

f af

f ad

is an 8-movement work of flexible duration for 2-4 string and percussion instruments which share the same constantly-varied repeated material. Each movement consists of 4 staves which, combined with inversion and retrograde, generate 16 distinct sections. Played in a pre-agreed order, these sections are built up by patterning pitch data in a variety of

a

ffd a

a

ffd

1 accretion: gradually extending the line [1, 1..2, 1..3 etc] 2 atrophy: gradually shortening the line [1..9, 1..8, 1..7, 1..6] 3 random start-point: play notes n..9 4 random end-points [1..n] 5 framing: random frames of 4-6 notes each [r..r+n] 6 shifting: sequential frames of 4-6 [1..4>6..9 or 1..6>4..9 or 1..5>5..9] 7 culling: omitting notes at will

d af g

d af g

f ad

f ad

a

ffd

ffd

d af g d af g

a

ff

El templo de paja 6z40o

d afff

d afd

afff

a

fd

a

fd

d afff

Richard Cooke - 2005 Notes are played as quavers, where = ± 192, in moto perpetuo without rests. 1 accretion: gradually extending the line [1, 1..2, 1..3 etc] 2 atrophy: gradually shortening the line [1..9, 1..8, 1..7, 1..6] 3 random start-point: play notes n..9 4 random end-points [1..n] 5 framing: random frames of 4-6 notes each [r..r+n] 6 shifting: sequential frames of 4-6 [1..4>6..9 or 1..6>4..9 or 1..5>5..9] 7 culling: omitting notes at will Each movement consists of 4 staves which, combined with inversion and retrograde, generate 16 distinct sections. Played in a pre-agreed order, these sections are built up by patterning pitch data in a variety of is an 8-movement work of flexible duration for 2-4 string and percussion instruments which share the same constantly-varied repeated material.

d afd

a

fdd

d dd d a

G

d d

d

a

d d

d

se t h e ons, i s e c t may y h whic f r e e l a in b e osed, r d e r. p o s d) tran g r e e d eadetted h a y t e i m pr mp e (e y be o may be s t i h l W a ia note , s m ater note oxed m ill. All quavers . w 2 b and ted at ad as ± 1 9 e a r e repe = ld b shou r e 05 - 20 e e h k o w Co ard Rich

d d

ed

dd d d a d dd a d d d d d

d d

a

d

d

d d d d d d

e d d e

d

ed

d d

e

d e

a

e d

ed

a

e

dd d a

ed f o' two tch is a 2-4 pi t up o perform e r p e t u p ial uil for s b d mater ' m o t o i t I e ate in thre repe t s s n i r res onta nde e c ch, u o r c e i p hi d/ Each v e s w n a n rate s t a e r s i o , gene ct i n v ograde distin r retr lve s o twe a g ra p h n s . par c t i o s e formers Pe r o u l d s h eat rep

d d

e

ight , N e n in th le duratitos. s l l b Dwe k of flexiinstrumen d t a r h ie dä t ement worcussion tantly-vaor ut ñ û e v N with cons -mo ed p

d

d

d d

d

d

a

ed

e

dd d d a

dd d a

dd a d

an Ocem e h T Stor s of

f ke o s a L The dernes Ten

is a two-movement work of flexible duration, for 2-4 mixed instruments. It is built up of constantly-varied repeated material, shared by all players and performed without rest in moto perpetuo. Movement 2 is the inversion of 1 (perhaps transposed and read by turning the page upside down).

The Streets of Your Glances

4-08=

a

f

a 4-11o

a

f

af 4-14o

af

a

f

4-22i

a

f

4-10=

The Woods of Our Meeting

They may also elect to omit 'white' (empty-headed) notes and to alternate notes linked by forked stems. Pointed boxes indicate local repeats; rounded boxes and crossed stems allow notes to be reordered. Within a movement, a stave may also be played in retrograde (from right to left).

G

f af

4-23=

4-11i

a

f af

4-23=

4-16o

4-10=

4-11o

4-20=

af

f af

a

f

a

ff

4-27o

4-26=

4-29i

4-08=

4-13i

f

f af

ff a

a

ff

af

a

4-20=

4-16o

4-26=

4-14o

4-14o

Richard Cooke - 2005

4-13o

af

a

ff

f af

usic a

ff

4-27o

4-22i

4-13o

4z29i

f af

4-14o

4-11i

M

af

ff a

af

f a

a

f

af

In each movement, players repeat the 15 staves in a pre-agreed order.

4-13i

R e o t

e

nat o s

Traduções do Herr Prosit

f dg f f h a hh ahh ffdg ah

7z37=

O diário de Vicente Guedes

dd d g dd g a a ad

f fd dga a f f dd ad

h d ah f af h d afd

7z17=

G

Conselhos do Professor Trochee

7-15= Um conto de Alexander Search

hd dd a f f a dd d d g ad

Richard Cooke - 2005

In every case, the notes sounded (always quavers, where = ± 192) are played in the order notated.

ff d ah f a gd ggg a

fd d a dg

is a work of flexible duration for three or more pitched percussion instruments. It is built up of constantly-varied repeated material performed without rests in moto perpetuo. All seven pieces use enharmonic derivatives of the same 5 notes (gabcd), which means that new sections can be created by applying the current 'key' signature to staves of other pieces. This feature will help to explain some highly unusual accidentals, such as b#.

Each of the seven pieces consists of a single stave prefaced by six possible 'key' signatures which, when combined with inversion and/or retrograde, generate 12 distinct paragraphs or sections. These sections, which are played in a pre-agreed order, are built up from the varied repetition of the stave, where white/empty noteheads allow notes to be omitted, forked stems indicate a choice of notes and frames or boxes permit local repeats.

7-34=

Um ensaio de Charles Robert Anon

7-33=

a

a

Espelhos fantásticos

7-22=

7z12=

h hd a h a h d hf a d

Um livro de Bernardo Soares

f ff a a h f ff g ah f

dd g g dhg a a d g dg

d gg ad a fd f f a ff

d gg a f f ad g d g ad

Odes de Ricardo Reis

af

h h ff d a a dd f ad

a

ddd

dd g a dd f a

a +4

a -4

dd

is a work of flexible d u ra ti on , fo r 2 -4 pitched instruments p e r c u s s i o n co n st an tl y- . It is built up of material w va ri ed re p ea te d without rest hich is performed s in 'moto perpetuo'. Each of th e 3 movem staves whi ch, under ents contains 3 retrograde invers transposition ion and/or up/down a plus M aj or 3) , generate up (+/-4 mean sections. Pl agreed orde ayers repeat these se to 24 distinct headed) no r, varying them by omitt ctions in a prestems. Poin tes and alternating no ing white (emptyted boxes in tes linked by boxes and di forked crossed stem cate local repeats whi lst rounded s allow no te s to All notes sh be reordere ould be re d. ad as quav ers, where = ± 192. Richard Coo ke - 2004

A Filigree o f Trees 7-22= 4-19 oi

-4

a +4 +4

a

d d dd a -4

d

a +4

Windmills and Blossomin g Lilacs 7z37= 4-14 oi

+4

a

d a -4

-4

d

-4

a dd d

dd d a

dd

dfd a +4 a

dd

G

dd

-4

a -4

The Night of Acacias 7z17= 4-04 oi

dd

-4

a d

a

Dome of the Temple of Happiness

d

a +4

+4

dd

+4

a fd d

d d f a

e d

Forking Paths and Earthly Delights is a 9-movement work of flexible duration, for 2-4 pitched percussion instruments, built up of constantly-varied repeated material.

e d

d d d d

d

d

d

d

Una fascia di pioppi

d

d d

d

e d

d

e d

d

d

d

d d

d

e d

e

d

d

d

e

d d

e

d

d e

e

d

e d

e

e

d

d d

f

d e

d

d

d

e

d e d

e d

d

e

d d d

e

d

d

d

d

d Una cornice di castagni

d

d

d d

e d

d eUn sfondo d'alberi annosi d d d

d e

e

d

d d

e

Briciole del passato

d

e d

d d

d

d

e

d

d d

e

e

f f

d

d

d

d

d

d d

d

e

f

Un ventaglio di collini

Un ciuffetto di querce

d

d

Una manciata di rocce

d

d

d

d

e d

d

e

d

d

d

f

d e

d

e

d

d

d

e

e

d

d

d

e

e

Un fazzoletto di terra

d

e

e d

d

e

d

d

e

e d

e

d

d d

d d

d

d

d

e

Un sipario di cipressi

e

d d

e

d d

In each movement the nine staves are reiterated to generate nine distinct sections, which are played in a p r e - a g r e e d o r d e r. Performers may choose to d omit

d

white or emptyheaded notes and to alternate those linked by forked stems. Pointed boxes indicate local repeats; rounded boxes and crossed stems allow note-reordering.

G

All notes should be read as treble clef quavers, where = ± 192, and are performed without rests in moto perpetuo.

Richard Cooke 2 0 0 4

ffd

Abstracts & Chronicles

fdd

is a five-movement work of flexible duration, scored for 23 pitched percussion instruments and built up of constantly-varied repeated material. In each movement, players perform the 9 staves in a pre-agreed order. They may also elect to omit 'white' (empty-headed) notes and to alternate notes linked by forked stems. Pointed boxes indicate local repeats; rounded boxes and crossed stems allow notes to be reordered.

fdd

fdd

fdd

s De

fd

e

c ou

D

us ill

4

Le

p

de nt i o

d

6z

n io

o 18 6-

es m o r

s

es

p

ffd ffd

ffd

ffd

ffd ffd

ffd t ar ép

s Le

fd

ffd

1i

s

fd

ffh

ffh

de

fd

fd

ffh

rs

ffd

fd

f

ffh

ffh

fo

ts ui rt

05 6-

fd

fd

f

ffh

g si

fd

2004

ffh

i

s ne

G

ffd

ffd

fdd

fdd

ffd

ffd

ffd

fdd

All notes should be read as treble clef quavers, where = ± 192, and performed without rests in 'moto perpetuo'. Staves may be transposed up or down a tritone without affecting the global harmony, pc set 8-09. Richard Cooke

ffd

fdd

fdd

ffd

n ai

ffd Le

e nh o b

ur

d

s an

le

t in lo

i 43 6z

de

n le

m

ns ai

m

u lle ei

i 30 6-

d

G 6-31i

rdens

Gilded bu

ecaying

Ga

fd f ff d

G G

Each of the 5 pieces contains 3 G/treble clef staves which, under inversion and retrograde, generate 12 distinct paragraphs or sections. These sections, which can be played in any order, are built up from repeated 'culls' of the 12 available pitches; in every case, the notes sounded (always quavers, where = ± 192) are randomly chosen and performed in 'moto perpetuo' in the order notated. Rests may be inserted for effect or to end a piece.

tD

dd d G G d dd

is a piano work of flexible duration, built up of constantly varied repeated material performed without rests.

d

d

d

G

Augur of Autumn

G

G

G

te Cl u s

s

G

dd d

G

G

d dd

d fd f

G G

d

d G d f f

ng si

i 19

Circle

6z

3i 6z4

G

3i

63

d the Re an

f f G

G

d

ver-Clo Ne

G

d

ains of H

ff ff

G G

verse So Di

m

d dd

G

G

d s a nd R un

uid Gra s ng

ff d G

6i

ff

g

h of t h e uis

G

The An

y Days

rrid Sky To

d

G

az

6-1

d

ff d

Richard C o o k e 2 0 0 3

G

G

G

f df

dd d G G ff

of Popp i rs

in the L a es

tless Col

rs ou

All 15 staves employ enharmonic derivatives of the notes c, d, e, f, g and a, which means that additional movements and extensions can be c r e a t e d b y exchanging notepatterns and 'key' signatures.

es

nts rpe Se

sa nd Ke nn ing s

18+ 27

16+

=/4 -

7-2 2

dd a dg a a f dd

d ad ad a dg

s

roe

old

ard -H

eH o

Th

of He

ad

Th e Da u gh ter ht

/4z 29+ 13+ 19

of Nig

d

a d a fd a dd

for to f

gS hie lds

7-0 1=

/4-

12

4+

Th eC om

rin

is a rep keyb o p e eated ard rfo wo m r rm a e r teria k of f l Eac l p s t lay exible riv pre h of e i n d du g t com faced he fo f o r witho ration u b r b c o n ut re , bui ine y six 12 pie lt dw ces d s t a sts, p i o s are ssi tinc ith nt wit up of con b i b t l v a r h th par nver e cle sist pitc uilt s e iat u s a ion qua hes; p fro grap ion a f/'key of a h m i ' n . n s v s dr i eve rep s or and ers, et igna ngle e s r not perf wher y cas ated ectio rogra tures stav e e de ns 'cu o ate wh e, d. R rmed = ± the n lls' o . The , gen ich, est s f e Tw s m in 'm 192 otes the 1 e sec rate o )a sou oto tion 2a ay add sw r v n be e itch i ins perp rand ded ( ailab s ing tional etu le ert o a m the mo ed o' ly c lways f v i o n e h rd not m ram the osen e-p ents atic ord att c ern an Ric effe er s o har b ct. dC f 7 e cr -15 eat ook eand ed b 200 7-1 7z3 y 3 5= 7.

22+ 1

af

elt e

G

dd a a a fd

a

Sh

/4-

dle

of

03+ 1 1+ 10

7z3 7=

Rid

Th eS tor m

d g a g a dd d d a dd

d a ddd a dd d a dd

afd a ff a

of te

in

w

d a

dd a

dd d c

25oi

=/58-28

s ines mpt of e cho An e

f

ff a f c

G

c

The

dd f a df f a

0 8-

9=

/5

fhf a

o 07

i

r

27oi

wild gee se t ake fligh t

ds el

fi

ar n, eybo duratio d k a is ate le exib f repe hout l f o of wit r up d e rme . t y o l i f a l r u e p b p on l riati eria h the a t v a m nt wit nsta f a s, o t c s e ts o le r r s i o f s ib on ng es c ix poss with c aimi e i s d e p thre ced by ombine istinct e h d c a of t pref which, rate 12 built up h c e a E s s; re tav ne le s ignature ade, ge ctions a e pitche rs, g n i s l s e se gr ailab s quav d in key' d retro . These v ' / a f y e e cl n an ections the 12 d (alwa erform uced o i s r s of dp de rod inve phs or e. ulls' es soun osen an y be int a c ' r piec g a d h a t r c e e o n at pa ly s m d th repe e, the random d. Rest n m e s t a e o e fro a r t c t a o y ) r n ver 192 der orde in e = ± in the or n i ' or re whe erpetuo f f e c t 2003 e p e o ook 'mot a m a t i c rd C a r h d c Ri or

8-23 =/5-

f f d ff d a f c f f c

e

ar

B

g dd a f ddf d f a a

f dd a f ff a d ff f c f

s Day e of th ted oin App e Tim d work

a dd

18 i

5z

-4

o 5-06

dd a

09 i

s Un

i

5-

G

d a dg 5-11

a fd

ns nu

In ev ery c a w s h e e , re the n ote = pe r f o rme ± 192) s sound d in ed are no t a r ' t m a e ndom (always qua retr d. Ma oto pe ly r t o c p e h g e r r o i t sen vers, acco ade or al can uo' in an t i r h n d v e b i o de d r plac ng to th ersion, e play r ed ed or es in nam after t emiton transpo he p e ind e; re sed s t for s may itch-clas icators dr s be i orde amatic n t rodu setr t ced o en effect or d t h e piec in e.

Ric h Coo ard k 200 e 2

e

chaleur

+4

d a dd

7

s

+4

o

o 5-30

d a

a dd

5-29

-3

ad

16 o

5z 1

i -2

5-

5z36

Un pay

a ddd

é de ât 734 =

=

7z 12

de dim

d dd a

i 5z38

ai

5-23 +4 i

Un p

es gn

a dd i

Un

d a dd 5-20 o

d a dd +2

7

dd a

5

+4

a dd

4 +

o

z1 8

de terr

= 7-22

rizon

d ad

5-06

i

5-20

a

d o

5-23

a

d

n m o ta

5-30

nnue co

d d dd a

i

-5

a dd 5-29

51

6i

sion in

Incr oya bles Sah aras

5z 1

a dd

en

ho

i

dd dg 5

a

o

b lé e d ca

= 7z17

d af

ville ac

-0 9

g

-4

o 5z38 -4

o 5z38

e

o

5-11

d af o

5z36

is a k built eyboar d w up o or fr rest s in epeated k of fl exib mo ma form er st to perp terial p le dura la rivin e g for tuo, wi yed wit tion, hou t c h onst Each ant v the pe t of th rariat e thre ion. e st four pie av ce play ed in es whic s contai ns h any form orde can be para a s e c r; thes e tio gra repe ph bas n o r ed ate t h e d 'culls on ' of t ava welve il pitc a b l e hes .

A Forest of -5 Spontaneities 7o 2 is a 4-movement 5 d keyboard work of flexible al W duration, built up of repeated n fe material played without rests, with the e Ti performer aiming for constant variation. m I

Im

Within a piece, staves may be played in any order. Each 'bar' or stave forms a section or paragraph based on repeated 'culls' of the available notes. In every case, the notes sounded (always quavers, where = ± 192) are randomly chosen, different each time and performed in 'moto perpetuo' in the order notated; rests may be introduced to end a piece. Whilst written in treble clef, staves may move up or down one or more octaves; in addition, two entire pieces (marked -5/+5) may be transposed down/up a Perfect 4.

G

Richard Cooke 2 0 0 2

is

r

In

de

fs ol W

s

l ch

uc

h

0 -2 t5

i Im

e ub a Z

re rk

e

i 29 5-

Fo

rs

se au h t

i+ 27 5-

5

d

f

6z48= 86 5-37= 126 5z37= 128

d

e e e

d

d

*4-26= 156

f

4-16o 104

f

f

f

6z29= 176

f

d

5z35= 70

d

e

d

5z37= 174

5z37= 126

e

5-35= 98

e

f

d

4-22o 86

d

f

d de

6-27i 160

*5-31i 88

f

5-32i 182

*5-31i 156 5z18i 90

d

d

*4-12o 100

f

e

*4-13i 190

4-19i 130

f

d e

f

7-32i 280

e

6z48= 132

d

5-30i 140

*3-07o 64 *3-04o 102

d

d

e

d

5z37= 140

*3-07i 84

6z48= 42

d

5z37= 174

e

ded

6z28= 106

5z37= 114

de

4-04o 114

4-23= 106 3-05o 112

d

*5-31i 224

*3-03i 132

d

d

4-08= 230

d

d

6z48= 96

4-16i 230

6z11i 202 4-10= 130

d e

*4-18o 142

d

*4-18o 144

d

d

6z19i 94

5z18o 144

d

5z18o 160

4-07= 76

*3-03o 136

d

*4-14o 108

d

e

d ed

ed

d

4-02i 142

d

*4-14o 248

*4-18i 88

d

de

6z11i 114

5-23o 266 5z36i 94

d

5z18i 76

d

4-16o 216

*4-18i 178

d

6z11i 90

6z11i 168

e

d

5z18i 102

5z36i 94

5-23o 130

de

f

Book of the Coming Forth by Day

Hieroglyphs & Spells is a four-movement work of variable duration for solo keyboard. Each piece or 'book' contains 15-24 staves, some of which they share, as shown above by the overlapping frames. Other page divisions are permissible and might take titles such as Book of Gates or Book of the Celestial Cow.

Each 'bar' or stave builds up into a section or paragraph based on repeated 'culls' of the available notes. In every case, the notes sounded (always quavers, where = ± 192) are randomly chosen, different each time and performed in 'moto perpetuo' in the order notated. Rests may be inserted to end a piece.

G

Within a piece, staves may be played in any order, but it is good to juxtapose material at a different level/register or with contrasting 'sweep' (the distance in semitones from the lowest to highest note) and 'turbulence' (the total in semitones, shown after the pc setname, of leaps between consecutive notes).

Whilst written in treble clef, staves may move up or (especially) down one or more octaves. Seventeen staves, indicated by an asterisk in front of the pitch-class set-name, may be transposed by smaller intervals, provided that the global harmony remains consistent. Richard Cooke, 2001

Book of the Caverns

6z19i 144

Book of the Hidden Chamber

Book of the Litany of Ra

f f

f

f f

f f

f

f

f

The Island 6 of Apples ts u Called Fortunate o Sh is a 4-movement keyboard e re h work of flexible duration, built up fT o of constantly-varied repeated material ill H which is performed without rests. e

f f f

f

f

o

f

f

r

6i z4

f e Th

Th

Within a piece, staves may be played in any order. Each 'bar' or stave forms a section or paragraph based on repeated 'culls' of the 12 available notes. In every case, the notes sounded (always quavers, where = ± 192) are randomly chosen, different each time and performed in 'moto perpetuo' in the order notated; rests can be introduced to end a piece. Whilst written in treble clef, any stave may be transposed up or down one or even more octaves.

G

f f

f

f

f f

Richard Cooke 2 0 0 1

e Th

f

f f

i

47

f

f s

f

f

f

f

f

f

n ai Pl

o Tw f o

t is M

= 50 6z

r pe is

f

e Th

l al W

h W f o

s

6z

B

nc ra

h

o

hi fW

te

e lv Si

33 6-

es sd pay Au

ff

us e lot rs d geu man

A Sea of Uncertainties

ff

is a solo keyboard work of flexible duration. Each of the 4 movements is built up of repeated (or paraphrased) material performed without rests, with the player aiming for constant variation.

ff

ff

ff

f

f L es

bœ u

fs d u so leil

G

f

f

f

e l’ ou tre

f

Richard C o o k e 2 0 0 1

PC Sets: 8-25=/7-15= 5z36i 4-18i 5-33= 4-25= 5-15= 4-05i 5-30i 4-19i

The outer staves consist of ‘white’ quavers only; roughly one-third of these should be omitted at each repetition, the notes played being randomly chosen and different each time. A stave may be read in its entirety or broken down into 3 to 5 segments as suggested by the beams above or below. On revisiting a stave, the performer should take care to employ a different type of segmentation.

= ±192

The music should be read in treble clef but whole sections may be transposed up or down a tritone or octave. The tempo may fluctuate freely.

f

Les ven ts d

f

The 5 staves of each piece comprise 2 types of material. The middle staves contain ‘black’ quavers which are always played and ‘white’ ones which may be omitted; where linked by forked stems, only one of the notes should sound. Crossed stems permit notes to be reordered whilst the ‘loop’ symbol indicates groups of 2 to 5 notes which are susceptible to further repetition.

f

f

f

f

f

f

s d’ fille L es

Ach

éloo

s

f

dd d

d

d

Ba

es

tto de

Quelli che va

in

il tram

o

d

e d

e

dd

e

d

ff

d

e

d

e

o

T h e small centre stave serves as a bridge in the 1-movement version and is played at pitch and/or a Major 3 above. Elsewhere, stems pointing upwards indicate 6-note figures which can be used as focal points to end a piece. Here, both black and white notes can be omitted and rests introduced.

dd e

Richard

Cooke,

2000

Pitch-Class Sets (9-12=): 7z37= 3-03oi 4-03= 4-07= 4-17=: 7-22= 3-04oi 4-07= 4-08= 4-20=: 7z17= 3-11oi 4-17= 4 - 2 0 = 4 - 2 6 =

d

f

d d

dd

o

f

+4

d

dd

o

d

B a s t i l l e s & E n g i n e s is a solo keyboard work of variable duration which can be played as one continuous or 3 single movements. Each piece is built up of repeated material performed without rests; the player should aim for constant variation, reiterating staves whilst omitting 'white' (empty-headed) quavers at will. The music is usually read one octave below treble clef .

ff

m

e d

= ±192

a ’h

G

- Ciò ch iva e

dd

s& ille t s -

ff d

ina ossess ller a B

Eng

d

o nn

f

o

o

d

d

d

+3

d

d

d

+3

d

+3 The music should be read in bass clef or one octave higher. Each stave forms a paragraph built up from repeated 'culls' or abstracts of the 1215 available pitches. In every case, the notes played (always q u ave r s ) a r e ra n d o m l y c h o s e n , different each time, and performed in = ±192 'moto +3/-5

d

b

( o)

d

E a n d F ) acting as a bridge or coda.

PC Sets: (7-32)

d

d

Caravan and Robber Stories

6z29: 5z18 5z18i 5-31 5-31i 4-12i 4-13 4-13i 4-27i 6z19i:5-16i 5z17 5-22 4-03 4-07 4-19 4-20 3-04

Caravan & Robber Stories is a keyboard work of flexible duration, built up of repeated material played without rests, w i t h t h e p e r f o r m e r aiming for c o n s t a n t variation. It may be played as one continuous or three single movements, with the isolated stave (pitchclasses

the

+8

d

d

d

per -petuo' in order notated.

d

Eight of the bars may be transposed according to the semitone indicators shown above stave, where +3 = raise a Minor 3, etc. Rests may be inserted for dramatic effect or in +3 order to end the piece.

-5

Richard Cooke, 2000

6z25i:5-20i 5-23 5-25 5-29i 4-10 4-14 4-16 4-27

+5

df df

df

df Transports & Ecstasies

= 192 ±3 ±4

df

is a threem o v em e n t work of df flexible Th duration es un for solo pu ts keyboard, on dan built up of cin g sh r e p e a t e d oes material performed without rests in m o t o p e r p e t u o .

df

He

at d an

df

The performer should aim for constant variation, repeating staves in both part and whole. S/he may further elect to reiterate boxed material, omit 'white' (empty-headed) notes or note-groups and t o a l t e r n a t e n o t e s j o i n e d b y f o r ke d s t e m s .

er haze

df

df

m sum

>= 192 ±4 ±5

df

The music is normally read 1-2 octaves below treble clef but staves may also be transposed according to the es semitone indicators shown l ac np below the tempo si k ac markings (thus ±4 cr means up or down th r Ea a Major 3 etc). Richard Cooke 1999

PC Sets: 6-20= 4-20=: 6z49= 4-17=: 5-27i 4-26=

=< 192 ±3 ±5

4-12i

15i

0a +1 d +5 a

0a -1 b +3 A

2o

5i

0B 0a +2 b -1 b -5 b +4 a

15o

12o

3=

0b +3 b +5 b +4 a

0a 0B +1 d +6 D +4 b -2 a -4 b

21=

11o

11i

-3 a - 5+1 cd

-1 C +3 C +3 b -2 b

10= 13o

13i

+1 C +3 a

+3 a +3 b +4 c +6 D +3 D -5b 0b 0b 0a

+3 C -4 a 0

a

0C

-2 c 0C

0D 0b

8= 27i

29i 27o

29o 16i

22i

+6 a +4 c -4 A -4 a +1 a 0a 0a

+2 a +6 a +3 C -5 a -5 a 0a 0b

+4 a +5 c 0D

26=

PCSet Città...

+5 C -2 c 0D

7-01= 7-33= 7-31i 7-21o 7-35=

dei tragitti diversi dalla polvere giallina di milioni d’occhi a forma di medusa dell’armonico disegno

4-05i 4-27i

4z15i 4-03= 4-13o 4-16i q = 132 = 66 4-12i 4z15o 4-11i 4-27o 4-26= 4-02o 4-21= 4-08= 4-22i

4-12o

Cities of the Here-Below

4-10= 4z29o

4-11o 4z29i

*other transpositions exist 3-10= +3 +4 -3* +1 0

8i -3 -2* +2* +1 0

5o

5i

+3 +3 +6 +2 +2* -6* -5 -5 0 0

2o

8o

2i

7o

7i

PCSet

-1* +2 +3* -5 0*

-3 +2* +3* -5 0

-5* -6 -1* +3 0*

-4* -6 -2* +3 0*

+6* -3 -4* -2 0*

7-01= 7-33= 7-31i 7-21o 7-35=

In the melody layer, element codes indicate 3 permissible 4-13i types of focus: a/A all players focus on (repeat) the same single The piece has 5 e l e m e n t T h e o r d e r o f versions (cities), c/C d/D players sections must be formed by trans- m i x ( s i m u l t - planned before posing various aneously repeat) e a c h p e r f o r m elements of the 2 - 3 e l e m e n t s ance and should material. These which share the take into account transpositions, s a m e l e t t e r v o i c e - l e a d i n g , shown at head b/B play these the number of pitCities of the Here-Below and foot of the elements, along- ches (1-3) shared The descant layer consists is a work of flexible duration page, are aligned side others, only by elements and of semiquaver arpeggios and instrumentation built to the lefthand in passages of the similarity or ranging over 2-3 octaves. up of repeated material e d g e o f t h e rapid change. otherwise of mel- Patterns of 4 (1232, 1213, shared by all (4-5) players. relevant stave Capital letters odic direction. 1323 etc) dominate the It consists of 2 types of and are notated i n d i c a t e t h a t Melody material arrangement of elements material which may be i n s e m i t o n e s , there exist 1 (A may be varied by and notes within them, loosely termed 'harmony- where 0 = as C) or 2 (B D) lengthening 1 or though the type of focus melody' (21 larger staves for written and +4 = o t h e r t r a n s - more of the 'white' used (convergent/diffuse) normally 3 performers, of raise a Major 3 positions of the n o t e s w i t h o u t should contrast with that whom one plays at half etc. No more than e l e m e n t o r s t e m s t o a h e a rd i n t h e m e l o d y. s p e e d ) a n d ' d e s c a n t ' 3 versions of the group within the crotchet, creating Players assume treble clefs (9 short staves of open- work should be global harmony distinct rhythmic but are free to shift register. ended, ascending and/or played in a single of the version in p a t t e r n s w i t h descending arpeggios). p e r f o r m a n c e . q u e s t i o n . each repetition. Richard Cooke, 1998

is a work of flexible duration and instrumentation, built up of repeated material shared by all (4-6) players. It is cast in terms of 3 basic movements ('carriages'), each of which is composed of 2 starkly contrasting types of texture. Lower stave material is percussive; players are synchronised and continually repeat phrases in part or whole. The 3 longer staves are quasi-improvised, with randomly-placed snatches of melody embodying pronounced (de)crescendos. The overall sound-world suggests a train hastening through a landscape of mysterious objects. Each stave allows (usually) 4 different harmonies since forked-stemmed notepairs permit a choice of pitches: players should stay with their selection for several repetitions. Elsewhere, note-groups with 'empty' note-heads may be optionally omitted. Harmonically, the work explores pitch-class sets closely related to, whilst not included in, the whole-tone scale. New movements may be created by transposing the whole of movement 2 down a Major 2 or upper parts of other movements up or down a tone (+2 or -2, as shown). Players should assume treble clefs throughout but they are free to shift octave/register.

ff

k dk k k kd

-4 -4 +4

d

d -1 -1 -5

-4 -4 +4

k k

d

0 -4 +4

d -4 -4 +4

d The 11 tetrads of the melody layer combine to create a 7-note harmonic field which, through a series of transpositions, transforms into 3 other fields. Transpositions are notated above stave in semitones (+4 = raise a Major 3 etc) and for each new section of the piece players together move on to the first, second or third set of transpositions.

df

3

df

t

= ±132

e

d

d

d d

A Tower with Terrass Round is a work of flexible duration and instrumentation built up of repeated material shared by all (4-6) players. It consists of 2 types of material which may be loosely termed 'harmony-melody' (11 lower staves for 3-4 performers, of whom 1 plays at half speed) and 'descant' (2 upper staves of open-ended, a s c e n d i n g and/or descending arpeggios). The order of sections for the entire piece must be agreed before each performa n c e . T h e original (zero) transpositions should be seen as t h e m o s t important, with this section acting as a kind of refrain.

The descant layer should be seen as essentially decorative. Arpeggios may be played in either normal or triplet semiquavers and range over several octaves.

+5 +5 +1

d d d

tr

-2

df

]

e

df

-2

d

dd k

f

+2

3

-2

df

3

t

t

f

+2

3

[

df

3

]

df

f

5-09oi -13oi -24oi -26oi -28oi -30oi 4-11oi -19oi z15oi z29oi 3-04oi -05oi

-2

f

3

f

3

[

]

f

5-34 -24oi -26oi -28oi -30oi 4-16oi -19oi -22oi -27oi 3-07oi -11oi

Richard Cooke, Parma, 1998 - Musica metafisica - 4 open-form pieces

k

k

i s a Har Carnival of Poetry and Lies work of flexible mony players duration and instru- move through the mentation built up of material independently but repeated material shared by all they should always change (3-6) players. It consists of 3 types s e c t i o n t o g e t h e r . of material which may be loosely termed 'harmony' (8 inner staves Descant and melody layers are essenassigned to 2 percussion instruments), tially decorative. They employ independent 'descant' and 'melody' (top and bottom tempi (crotchet = 192 and 108 respectively) but choice of pitches and transpositions s t a v e s ) . should reflect the harmony of the +4 current section. Crossed stems The 8 tetrads in the descant indicate that of the haronly 1 of the 3 notes m o n y -5 -2 +1 +4 should be played and, layer comin the melody, that bine to the 2 notes may create a +4 sound in either 7-note o r d e r . h a rmonic -5 -2 +1 +4 The harmonf i e l d ic structure which, of the piece through may be a series of +4 = 144 likened to transposia kaleidot i o n s , s c o p e -5 -2 +1 +4 transforms with new into 6 other sections fields. These formed transpositions +4 by shiftare notated ing and above stave in recomsemitones (+4 = -5 -2 +1 +4 bining raise a Major 3 etc) e l e and where there is a ments. choice (ie -5 -2 +1 +4), the T h e 7 2 players make different harmonic selections. The resulting aggreareas share only gate harmonies underpin the vari3 pitch-classes (A C ous sections of the piece and need to be agreed before each performance: the original and E) as if the piece is examining A Minor (zero) transpositions are the most impor- tonality from seven different viewpoints. tant since the section they consti- Players should assume treble clefs but tute acts as a kind of refrain. are free to shift octave/register.

Streets & Broad Spaces which permit performers choice in the shaping and ordering of events

d

+4 -4 +4

d

[

df

df

k k dk d

d

3

5-08 -09oi -13oi -26oi -28oi 4-02oi -05oi -12oi -19oi 3-02oi -03oi

+4 -4 +4

= 144 = 72

d

-2

ff

-4 -4 +4

+4 +4 -4

df

-2

+2

Pitch-Class Sets: (8-21) 7-08 7-33 7-34

+4 -4 +4

3

+2

+4 -4 +4

+4 -4 +4

d d The 11 mini-melodies are seldom repeated within a part: instead, performers link them into 'super' melodies, playing them more or less in the order shown on the score, reading clockwise but starting at different points of the cycle. Empty note-heads without stems indicate that these notes should be sustained for anything up to 4 quaver beats.

Harmonically the work explores pc sets containing large numbers of major/ minor triads. Players should assume treble clef but are free to shift register.

Pitch-Class Sets (9-12): 7-22 7-17 7-26oi: 5-32oi: 4-3 4-7 4-17 4-20 4-2 4-15oi 4-18oi 4-27oi

d

d

d

d

d

Empty note-heads in the harmony show dyad pairs that can be omitted to create a hybrid

PC Sets (9-10): 7-32oi 7-10i 7-16o 7-19i 7-25i 7-28i: 5-31oi: 4-12oi 4-13oi 4-18oi 4-

dk k k k k k j k

+3 +4 etc

-3

ff

-3

f

-2

d

-5

f

(-5)

+3

d

+3

dd

-2

d

-5

f

(+5)

ff

-2

(-2)

-5

d

-3

dd

+3

= 144 = 72 = 36

4 2 1 3 2 1

D G

is a work of flexible duration and instrumentation built up of repeated material which is shared by all The Bridge of Follies (4-6) players. The 16 staves correspond to 16 sections, the order of which should be agreed before each performance: players will tend to juxtapose sections which are wellseparated on the score or which hold only 1 or 2 pitches in common.

f

(+5)

Normally 3 players are assigned to a 'melody' layer and the others to a 'descant'. Melodies are patterns of 6/8 created by sustaining any 2 of the 4 quavers (different each time) to a crotchet, with 1 or more performers playing at half and/or quarter speed as in a canon by augmentation. Crossed stems show that notes may be reordered but for the most part smooth outlines are preferred. Descants consist of patterns of 6/8 with notes played in sequences such as 432123/421321 or semiquaver chromatic glissandi (D-G/G-D). Harmonically the work explores 'diatonic' tetrads within a chromatic context. Optional transpositions (notated above stave in semitones, with +5 meaning raise a Perfect 4) will create a quasi C Major tonality but appear only rarely. Players should assume treble clefs but are free to shift register. Pitch-Class Sets 8-01: 4-8 4-29oi 4-13oi 4-21 4-16oi 4-11oi 4-10 4-14oi 4-22oi 4-23

6 2 x e + 2 x q =8

4 3 2 1 2 3

D G

A House of Many Mansions

Richard Cooke 1997

Harmonically the work explores pitch-class sets which include large numbers of major and minor triads; triads are linked by shared A mansion is defined as the performance of any number of A House of Many Mansions is a work of flexible duration notes and movement rooms in any order. New rooms may be created by either moving elements and instrumentation for up to 6 players sharing the same repeated material. between them tends to (especially descants and the rhythmic motors of harmony layers) between rooms, by omitting The House consists of 4 basic 'rooms' or movements each of which is cast in terms of 3 layers; be by Major 3. Players whole layers or by transposing an entire room up or down a Major 3. (This will not affect the global harmony.) these layers occupy 3 lines of staves which may be viewed (from bottom to top) as harmony, melody & descant. should assume treble clefs unless otherwise indicated but are free to transpose any of the material into other registers. Room numbers follow the text so that the top right-hand window is Room 4; the numbering reflects dates of composition and does not imply an order of performance.

f

=120=60=30

=120=60

(

dd d

=112=56=28

ff

:

-5

(

:

ddd

(

( ( (

(

=112

7 8

+4

dddde deddd :

=112

:

:

:

gdddd [

f ff f f

dddef

d d

Ab

dedee deeee

dd :

:

x

+3

f

(

:

ff

d

f

2-5 8

(

( ( (

( (

d

( (

dd

The various fragments of descant layers can be transposed: these optional transpositions are shown below stave in semitones, thus +4 = raise a Major 3, -5 = lower a Perfect 4.

Room 2 has only 4 harmonic fields (usually consisting of 6 pitches): aFfE, Ec#DbA plus 2 sets of any 3 triads which exclude E Major. The rhythmic motor builds up cumulatively, with the 3-4 triads played in the sequence A, aB, abC, (abcD); the last chord of each group (capitalised) is held for 2 beats (hence the time signature 2...5/8)

d ±4

(

In the melody layer of Room 1, players are expected to fit 5 notes into a 6/8 pattern by lengthening one note (different each time) to a crotchet. Double-arrow-headed lines show that a melody may also be played in retrograde. Other devices in melody layers force a change of harmony: Inversions (Room 1, revealed by upturning the page) (found in Rooms 1 and 4) Alternative clefs (viz. Rooms 3 and 4) Alternative 'key' signatures

d ±4

d

ce

d d

The scores of all 4 Rooms/movements employ a number of devices which permit material to be varied or extended: Multiple Metronome markings: performers may play at half or even 1/4 speed, as in a canon by augmentation Empty note-heads: the note or note-group may be omitted Semi-attached ties: the preceding note may be sustained Broken ties: the tie may either be observed or ignored Crossed stems: the notes may be played in either order Bracketed repeats: preceding note-groups can be repeated Expanding/contracting boxes: (harmony and descant of Room 2) the line grows progressively longer or shorter Broken beams: (melody of Room 2) the line accumulates notes in the sequence 1, 1-2, 1-3, etc, with repetitions

The divergent 'key' signatures for Room 3 are summarised in the table below right. Any of the 9 basic melodies may appear at any of 5 levels or transmutations (starting on different degrees of the ‘scale’) but players should not mix levels within any one section and should be prepared for unusual ‘key’ signature combinations (eg Eb + Fb + G#). The table gives an example of how sections may be ordered and suitable levels chosen.

=120=60=30

etc

c

C

a

F

f f

The 4 cumulative melodies of Room 2 result from reading either upper or lower note-stems of the 2 basic shapes. The 2 longer (right-hand) melodies link to the 2 boxed groups of 4 triads (hence the long upper stemmed shape to the left-hand box) whilst the shorter (left-hand) melodies accompany any set of 3 chords which does not include E Major.

EC

af (CF)

=96=48

f +4

a

c

f

5 8

: ea (Ea)

Cf

d

CE

Notation Guide

An upward movement of triads is generally preferable (thus in Room 1, E-f rather than f-E), but the most important thing is consistency. In Rooms 1 and 3, chords are held for up to 4 quaver beats (as shown by unattached ties) in order to create the effect of 6/8 or 7/8 respectively. In Room 4, players share the same basic 5/8-5/4 pattern but they move onto the second chord at a point (articulation) in the ‘bar’ of their own choosing.

d

f

c

=96=48

()

=120=60=30

f

c f Ef c f cf

ff

g#e

af

f

:

+4

d

d d

:

+4

()

=120

±4

+4

(

6 4 x e+1 x q = 8

+4

:

±4 +5

: g#f

Melodies closely follow the pre-agreed sections of the harmony layer and should not include pitches foreign to the current harmony. Each room is characterised by a distinct melodic shape which undergoes harmonic transformation, often the result of changes of clef and/or 'key' signature. Note that in Room 1 there are only 8 melodies for 10 harmonic fields (not AbE or g#c) and, in Room 4, 6 melodies for 7 triad-pairs (Ef excluded); sections without melodies are nevertheless important as they may serve as interludes or introductory/concluding passages.

d

±4 Ab C

Cf

Harmony layers are formed by combining a rhythmic motor with (usually) 2 triads taken from the stave to the right. In Rooms 1 and 4, players should choose pairs linked by one of the 4 boxes and in Room 3 any 2 triads which are not juxtaposed on the stave. In these 3 rooms respectively, 10, 7 and 9 combinations of chords are permissible, each producing a distinct 5-note harmonic field. These harmonic fields define the various sections of a room or movement and the order of sections within rooms must be agreed by players before each performance.

:

±4

Melody Layers (1-3 players)

(

a 68

±4

Harmony Layers (usually 2 players) (

f c cf

(

af

=96=48=24 (

d

=120=60=30

f

Descant Layers (1-3 players) The various fragments of descant may be performed in any order and, unlike melodies, do not need to match the harmony, especially when played at high registers. They are the elements most likely to 'migrate' to other rooms. Descant players should aim to exploit the full range of optional transpositions, notated below stave in semitones.

Room 3 Eb Fb Ab G# Level??

cf 3 x 3 x 1

cF 3 x x x 2

CF AbF Cf x x 3 x x x 3 x x 3 x x 4 4 2

ca 3 3 x x 5

af x x x 3 2

A ba A bC 3 3 3 3 3 x 3 x 4 3

Example: Juxtaposing chords Ab + a in the harmony produces a ‘key’ signature Eb+Fb+G# in the melody. On Level 4, the melody will begin on C and end on G#.

Room 1 2 3 4

7-21o: 7-21i: 7-17: 7-37:

Pitch-Class Sets 5-21oi -17 -22 -27i -32oi: 4-19oi -07 -20 6-19i 6-44o 6-20=: 5-21oi: 4-19oi: 3-11oi 5-17 -22 -34 -21oi -27oi -32oi: 4-07 -20 -26 5-17 5-22 5-21oi 5-27oi: 4-03 4-14oi

Music from Legendary Spheres

Other pieces may be described as canons by deduction or deletion, insertion or substitution as additional parts are produced by subtracting notes (groups with empty note-heads) or interpolating rests, by reordering notes (crossed stems) or changing clefs. Deduction is optional and deletion ('omission') mandatory, ie players must omit one of the 'white' note-groups.

= 120 = 60 = 40

cddd cd f c

= 120 = 60

a

d

ac

a cc

= 120 = 60

o

cf

df

df

cf f cf

bf

f de

f

Objects may have historical or geographical links but there are also connections between and within pieces. Nine of them resemble canons by augmentation, with one or more performers playing at 1, 3, 7, B or 2 speed: these are indicated by multiple metronome markings. Seven pieces may be likened to mirror canons, with imitation by inversion and/or retrograde motion. Retrogrades are indicated by lines with double arrowheads. Inversions (which are accompanied by changes of 'key' signature and/or clef) initiate a change of section; players thus turn up the page tog e t h e r.

=

72

c c

= 120 = 60

f

af c

a

= 120 = 60 = 30

f

= 152 = 76 = 38

f

a

f

af

cc

b

= 60

d

af

df af

c ff

b d f

Richard Cooke 1996

Earth Oracles (Pitch-Class Sets 6-30o: 4-12i 4-13o 4-27o) A free rondo, alternating one or both refrains (centre staves) with one or more of the peripheral 'choruses'. These choruses have long and short versions (black notes only) and take their tempi from the second refrain. Wheel of Ambition (7-22: 5-15 5z17 5z18i 5-32o 5z37 5z38i) Canon by augmentation, insertion, retrograde and inversion in 6 sections. The Illusion of Flowers (7-20i: 5-07o 5-20i 5-32o 5-35) Canon by augmentation, deduction, retrograde & inversion in 4 sections. Moon Harvest (6z25i: 5-20i 4-11o 3-02i 3-04o 3-05i 3-07o) The 2 players move round the ideogram in large or small clockwise circles, finishing on the same phrase. They play alternately, normally one (4/4) 'bar' each without intermittent breaks, changing clefs at will. Ornamental notes resemble appogiaturas but players interpret them differently. (7-32i: 5-20o 5-29oi 5-30i) Music with Limitations Canon by deletion, retrograde and inversion in 4 sections. Players should insert quaver rests at different points in the (8 - 2 =) 6-note phrase. (7-19o: 5z18i 5-20o 5-29oi) Calends of Spring Canon by augmentation and deduction in 4 sections. (7-19o: 5-07o 5-15 5-29i 5-31o 4-14o) Music with a Story Canon by deduction. A chaconne with 1 player assigned to a ground bass. (7-29i: 5-29i 5-19o 5-32oi 5-35 5z36i 5z38o) An Embrace of Summer Canon by augmentation, retrograde and inversion in 8 sections. (7-32o: 6z19i 6z24o 6z28 6z29) Fugitive Plains Canon by augmentation, deduction and inversion in 4 sections. (7-35: 5-35) Music by Mirrors Canon by augmentation, retrograde and inversion in 3-6 sections. (8z15i: 5z18oi 5-20i 5-29o) Feast of Epiphanies Canon by augmentation. Crossed stems indicate free ordering of notes (black note-heads) or alternative pitches (empty heads). (7-22: 5-22 5-15 5-20i 5-32o) A Chorus of Hesitations Canon by insertion, retrograde and inversion. Each of the 4 sections contains 4 phrases, any of which may be followed by a quaver rest.

d

df c f

Each piece may be seen as a discrete 'object', with the techniques previously described serving as 'algorithms' and the pitchmaterial as 'data': hence it is always possible to add new 'data' (especially pitch-class sets atypical of major/minor harmony) provided that the global harmony of a piece remains unaltered. Individual notes describe pieces in a clockwise order starting from the 1 o'clock position. Players should assume treble clefs unless otherwise indicated but are free to introduce shifts of octave or r e g i s t e r.

= 120 = 80

f

t

= 120 = 60

a

d

d

df c f

cf

af f d

c

t

= 72 = 36 = 18

o

= 120 = 80

d

df

b

bf

f

t

= 72 = 36 = 9

c

df

cc

= 120 = 60 = 40

t

consists of 12 pieces (or musical 'objects') for 2-4 players sharing the same repeated material. Instrumentation and duration are variable but the beat is synchronised and players change sections together in a pre-agreed order: they may either end a piece abruptly or else focus on a section to 'repeat and fade'.

= 152 = 76 = 38

f

o

= 112 = 56 = 14/28

fd

c

fd

fd

fd

dd

f c f cf

df = 125

f

o

= 125

ff

df

The Book of Encounters Chapter 2 Ascent

c

f

Dream Odyssey

s

f

d

..

3

d f dd .

.

..

-6

s

..

.. -6

fs f

-6

.

s

t

f

ds d

s

. +3

d

Pool of Hypotheses +1

dd +4

d

s f

dse , ..

d

s

ds ..

..

s

d

. ..

f f

fs s

ss d +1

ss

ss

+12

s

+7

s f

d

+6

s ..

s .. f s

ff

fs

ss

..

ss

+12

sf s

..

d

d

ds d

s

s ..

..

s s

ds

+12

+12

+5

A Landscape of Veils

f ff

.

s

s

s

d d

s o n (n )

d

d

f

s

(n )

f

d

s +12

..

s

ss

..

s

s

+2

f

s

+12

s s

..

..

..

s

s

s s

d

ss

o

o d

o

o

s

s

s

s

o

..

..

t f

f

3

f

s

s ..

d f

s o n (n )

y

..

f

6

s

d

d

s

d

s

(n )

d

Rain Talisman 8z15i: 3-05oi 3-08oi This piece is built on a rhythmic ground (defined by increasingly larger boxes) which is read first in shifts of 5 (a b c d e, b c d e f .. l m n o p) and then 7, 8, 11, 13, 15 and 16. There are 7 harmonic fields, linked to these shift-cycles in a pre-agreed order and articulated by replacing quaver stems with semiquaver triplet figures derived from any 3 of the 4 pitches shown. Players may also interpolate figures from neighbouring cycles to echo or anticipate past or future events.

f d e fd e

d

Pool of Hypotheses 8z29i: 6z42 6z28 6z29: non-involutions of set size 3 All players follow the same route through the material, repeating part and all of each fragment. Shape the piece into 3 episodes, observing transpositions above stave (mostly down a Minor 3) in part 2 and those below stave (usually a tritone) in part 3.

o

f

f ..

A Landscape of Veils 8z15o: 5-19i 5-28o: involutions of set size 4 Shape the piece in terms of 2-3 episodes, each focusing on the softly-repeated melodic pattern which appears just before the quasiunison final flourish. 'White' quavers may be omitted, whilst bracketed crotchets may be repeated up to a dozen times. Most staves may be transposed (+1 = up a semitone, etc ) and these transpositions feature more prominently as the piece progresses.

A Stream of Toccatas

d f d e d

d e

d

d

d e

d e

d

..

d

d

b

d e f 3

The Book of Encounters is a composite of works which explore a variety of 'cyclical' or 'non-narrative' structures, often associated with games and built up through the repetition of short fragments of material shared by all (2-4) players. There is little linear development of idea or argument: instead centres of attention shift vertically, between areas of unfocused and focused harmony or metre.

Duration and instrumentation are flexible (though homogeneous groupings suggest themselves), whilst tempo, dynamics, articulation and even register are governed by the over-riding need to create stark contrasts of textures between pieces. Such contrasts allow them to be 'layered' or overlapped, with individual players proceeding to a second piece whilst others remain on the first.

In most pieces, the order of events is determined by the performers, who move (except where there is a need to create a 'focus') through the material independently. Rests are important in pieces where the material is highly differentiated: elsewhere players should aim for a more continuous texture. 'Wrong' notes are acceptable where they can be 'rehabilitated' through repetition.

Dream Odyssey 7-28i: 6-21o 6z17i 6-34i All players start at the bottom of the lowest ladder and make increasingly higher ascents of all 3, breaking off suddenly in mid-flight to return to the beginning. They should play triads of one white and two black notes, articulating them with the repeated rhythm shown in the bottom-left corner. During the course of the piece, there should be 2 coordinated ('triggered') returns to the bottom, the first leading into the centre ladder and the second into the top row of chords. Players may occasionally vary the order of rhythmic groups or 'blur' the rhythmic pattern by tying notes. A Stream of Toccatas 8z29o : 6z42 z04 z28 z06 z45 z29 z48: 4z15o 4z29i The main body of the work is built up of fast but fluctuating trill-tremoli (2 black notes) decorated by arabesques composed of either - upper-stem notes only - lower-stem notes only - all notes The slower opening section (left-most stave) serves as a refrain which may occur at any point in the piece whilst the first part of the concluding section (right-most stave) acts as a final focus. Crossed stems permit a free ordering of notes.

d e f d

o

d

3

.

6

f s

d

.

3

Rain Talisman

s

t

d

s

6

d

. . .

..

f



o

d

f

d

o

.

+6

o

d

s

-6

f fs f

.

fs f

.

..

..

..

-1

-6

s

-3

..

.

s ..

-6

f s

-5

.

dd

.

..

..

..

.

s . f s

.

-3

f

d

d

s o n (n ) d

d f f s

.

d

6

..

-4 ..

s

d

fs f

-3

..

.. -3

d

(n )

b

s o n (n )

-3

-3

s

+12

..

.

a

s

Departure

d

Dawn Antiphon

Whilst 'open' (tonally ambivalent) endings are generally to be preferred (thus Music of the Languid Hours should finish on B, never G), some pieces may lend themselves to more definitive conclusions. Dream Odyssey and An Accompaniment of Wings, for example, might focus first on a minor triad which can then be gradually transformed by a tierce de picardie.

Assume treble-clefs unless otherwise indicated. Octave transpositions are always possible (as notation here is designed to minimise ledger-lines) and some pieces include additional transpositions of sections (+4 = up a Major 3, etc). Dream Odyssey has its own 'key' signature, but elsewhere accidentals apply for the length of a (beamed) group. Play ornamental notes as fast as possible.

Dawn Antiphon (12): 8z29i: 5-10i Loud and strongly marcato. Players start at the left and move through neighbouring fragments, playing different variations of each 'call' before proceeding to the next. There are 3 sections (marked by broken triangles), each culminating in an 'Ascent' and finally in an 'Ascent & Departure'. White quavers and brackets indicate material which may be omitted, whilst the overturned 'V' permits interpolations (derived from other calls) and broken staves invite reordering. Legend: a use any pitch from nearby fragments b hit wood c mix these 5 pitches, focusing on one d delicately colour in a second pitch (one player only) Richard Cooke, Lisboa, 1989

..

( (

dd

.. +4

f

+4

d

Shores of Contention +2

d

..

a

s

7 8

d

..

f

f

(

d f f ff

( (

f de b s d e b 58 s 5 8

The Book of Encounters Chapter 1

df

s

o

o

s

o

s

o

s

o

s

o

s

+2

A Dominion of Light

dd

f f f

. . .

f

Music with Shadows

d

f

f d

f de

f d

ffe

o

f

f

e e d f d f

ddd

d

d

ff f

d f d f d

d

d

d

f

f 3

f

d

. . .

ff d

f

f

f

d

e e

dd fd

3

s s

3

s

ddd

f dd

3

dd

3

3

d f o sd f s

s

3

s

s s s s

Habitations of Fire

f e f

f

s

dd fff

3

3

s

s

s

(n )

(o )

ss

ff d

d d

dd 5

s

3

s

3

3

f

f

f f

f

f s

Music of the Languid Hours

5

s

s ss f f o f s f 6 d3 f f o .d e

3 f fd .d e

ff

f n.

s

f f.f d f f ds s gliss

The Book of Encounters is a composite of works which explore a variety of 'cyclical' or 'non-narrative' structures, often associated with games and built up through the repetition of short fragments of material shared by all (2-4) players. There is little linear development of idea or argument: instead centres of attention shift vertically, between areas of unfocused and focused harmony or metre.

Duration and instrumentation are flexible (though homogeneous groupings suggest themselves), whilst tempo, dynamics, articulation and even register are governed by the over-riding need to create stark contrasts of textures between pieces. Such contrasts allow them to be 'layered' or overlapped, with individual players proceeding to a second piece whilst others remain on the first.

In most pieces, the order of events is determined by the performers, who move (except where there is a need to create a 'focus') through the material independently. Rests are important in pieces where the material is highly differentiated: elsewhere players should aim for a more continuous texture. 'Wrong' notes are acceptable where they can be 'rehabilitated' through repetition.

Whilst 'open' (tonally ambivalent) endings are generally to be preferred (thus Music of the Languid Hours should finish on B, never G), some pieces may lend themselves to more definitive conclusions. Dream Odyssey and An Accompaniment of Wings, for example, might focus first on a minor triad which can then be gradually transformed by a tierce de picardie.

A+4 B+2 C+4 D=0 E+2 F+4 B=0 G=0 H+2 C+2 A=0 E=0 I=0 E=0 A=0 C=0 H=0 G-2 B-2 F=0 E-2 D-4 C-2 B-4 A-4 Habitations of Fire (12): 6-27oi This piece is concerned with the gradual unfolding of the centre melody (longest staves) which appears in its entirety (and then largely solo) only at the end. The main body of the work, which fluctuates wildly in terms of speed and dynamics, is conceived in terms of a dozen or more time-frames of roughly equal duration, clearly separated by pauses. Early time-frames are marked by short bursts of activity (perhaps 2 staves only) and long silences whilst later ones are more frenetic (4 or more fragments). Music of the Languid Hours 7-31i: 5-28o 5-10i 5-31i: 3-02oi 3-03o 307i 3-08o Build up a Necker-type continuum texture through the repetition of the 6 fragments of any set of staves (defined by ellipses), freely intermingled. Shared fragments act as pivots leading into different sets, whilst the repeated Major 3 (G-B) figure serves as a final focus. White quaver pairs may be omitted or (at the start of a paragraph) shifted to another part of the phrase.

d

d

s

ss s s

o sd d f s e f d .d o f 3 3 3

s

f

dd

f

so

d

+12

f

s

.

f

s

f

f d d f n d3 d

dd

(n )

d d

f f e s d s

An Accompaniment of Wings (o )

s

f d f d

..

f f3

d d f

d

d d3 f

os

s

Music with Shadows 8-28= 7-31i 6-27i Both 3 x 3 diamonds map onto 5 by 5 networks by means of the semitonal transpositions (+/- 2/4) shown below. Cross each resulting shape diagonally and use the improvisatory centre box (I) as a pivot or final focus. White (empty-headed) notes may be omitted.

Assume treble-clefs unless otherwise indicated. Octave transpositions are always possible (as notation here is designed to minimise ledger-lines) and some pieces include additional transpositions of sections (+4 = up a Major 3, etc). Dream Odyssey has its own 'key' signature, but elsewhere accidentals apply for the length of a (beamed) group. Play ornamental notes as fast as possible.

An Accompaniment of Wings (12): 4-12i 4-13o 4-27o 8-12i 8-13o 8-27o "With sad wing the cicadas avidly beat." Annensky Performers begin at different points of the cycle but finish together on the same (preagreed) fragment, having meanwhile completed 2-3 uni-directional revolutions. Each fragment is repeated several times at wildly fluctuating tempi and for each revolution there is a distinct 4-note harmonic field from which any 3 or 2 notes may be chosen. Players signal the completion of a cycle with a chromatic glissando, individually patterned. Shores of Contention 7-31i: 4z15oi 4z29oi Employ a grace-note triplet group (played in any order) to attack either of the attached white notes, which then replaces the quaver stem for the whole of a shift-cycle. The rhythmic ground should be read first in shifts of 2 (a b, b c, c d ... k l) then shifts of 3, 4, 6, 7, 8, 10, 11 and 12. Repeat the last cycle with omissions and/or accumulations of grace-notes until some kind of rhythmic unison emerges. A Dominion of Light 9-10: involutions of set size 5 For two players who share (uniquely in this collection of works) a synchronised beat, follow the same route through the piece and observe the same optional transpositions. Performers create repeated bars of 5/8 by independently sustaining dyads for 1, 2 or 3 quaver beats. The 7/8 coda is brief and played in unison. Richard Cooke, Lisboa, 1989