s
2013 2012 ei n o h p or
2011
D et 4 e in H ci
2010 2009
s u M e er o b o a rr
2008
ki o rf C A a z
2007 2006
a g it n A c n u p ar t sl
2005 n
at o C c ar ter F A m or f
2004 ci s ci u s M u
2003
by Richard Cooke
M o n ai s e
P
2002
c ol la
For music downloads and full information, visit http://richa http: //richardcook rdcooke.eu e.eu or http: http://rcook //rcooke.free.fr e.free.fr
o P S
2001
m
sr
2000
f a
1999 1998
sr e vi D e or y L ci s u
m rf
o M M
u
s
ic
1997 1996 1989
Moodscapes Halcyon Days A la recherche d'un grand peut-être Big Skies, Open Roads Thirty-Five Bells The Far Side of Yonder Amèriqu Amèr iques es (or Bit Bitter ter Ame America ricas) s) Looking after Country Elektroi Elek troika ka (or Eas Eastt of Mos Moscow cow)) 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 Deat De athh-Sn Snar ares es & Hell-So Sorr rrow ows s Vehicles & Replicators Tales from a Time of Disturbance Nûñdä that Dwells in the Night Music to Resonate The Kingdom of Gaps 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
h h a f
Burlaki 8-01= Burlaki 8-01=
f dg a
6-09i
Moodscapes
dd d f a
Sunset over a Forest Lake 8-01= Lake 8-01=
d f a
Bird-Cherry Tree 8-07= Tree 8-07=
ddf d a
g d dd a a dd f o 5 1 6
6-18o
6-15i
dd a
Remains of the Past. Twilight. Finland 7-33= Finland 7-33= i 1 2 - 6
dd d a a d f
6-21o
d a
6z24o
Footpath in a Forest, Ferns 8-10= Ferns 8-10=
Nenuphars 7-34= Nenuphars 7-34=
i 4 3 6
d d a
6-34o
a d d
Zvenigorod 8-17= Zvenigorod 8-17=
g a f ff d d a i 8 1 6
House with Broom-Trees Broom-Trees 8-07= 8-07=
i 4 4 z 6
f f f a
i 9 1 z 6
a d
6z19o
Evening Bells 8-17=
The Vladimirka 8-06= Vladimirka 8-06=
i 4 2 z 6
a dg d d d d d f a 6z25o
Moodscapes is a work of flexible Moodscapes is d ur at io n, f or 4 -8 m ix ed instruments. It is built up of c o n s t a nt n t l y -v - v a r ie i e d r e p e a t ed ed mate ma teri rial al wh whic ich h is sh shar ared ed by al alll players and is performed in moto perpetuo without rest. Each of the twel tw elve ve mo move veme ment nts s co cont ntai ains ns a st stav ave e
i 5 2 z 6
a f f
o 3 3 6
a f
6-33i
d d d a
Spring Flood 9-09= Flood 9-09=
i 4 1 6
f fd a
6-14o
Landscape with Izba 8-24= Izba 8-24=
o 1 1 z 6
f f fd a
6z11i
Richard Cooke - Cardiff - 2013
o 9 0 6
of th thre ree e ba bars rs wh whic ich, h, un unde derr in inve vers rsio ion n and/or retrograde, generate up to six distinct sections, which players rep re pea eatt in a pr pree-a agr gree eed d or orde derr. Empty note-heads are played 0-3 tim ti mes es,, fi fillle led d on ones es pe perh rha aps 33-6 6 times; in all cases, notes are read as qua quavers vers,, wher where e = appr approx ox 180.
G
a i 3 d d 2 7 f f f
f f f a
i 7 4 z 6
5
Halcyon Days is a wo work rk of fle lexi xibl ble e dura du rati tion on,, fo forr 4 - 6 mi mixe xed d instruments. It is built up of constantly-varied r e p e at a t e d m a t er er i a l which is shared by all players and is p e r f or o r m e d w i t ho ho u t rests in moto perpetuo.
a i 1 d f 4 z
a o f 1 4 f z d
± 6
a i 4 4 f f z
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6
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Peaceful and Languishing Rhymes 8-11i Rhymes 8-11i
i 9 0 6
f f f 4 a +
6 z 4 4 i
6 z 1 9 i
d d g 4 a +
a o 1 2 d d d 7 d f
:
+2
= 2 1 9
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5 +
:
:
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The Calmness of Martyrs 8-23= Martyrs 8-23=
:
:
6z43i
o o n e r o F r e m m u S a f o e v i H = 9 0 8 n
d d f a
4 +
:
df a
:
D o 9 1 8 k a e r b y a f o s e t o N d a l G
6-31i
5 -
a f
f f 7 d 2 d 3 o a 5-
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d
f d f 4 a +
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f d f 4 a +
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Play -ers re -ers repe peat at sections in a preagreed order order.. They may vary material by omitting white (emptyhead he aded ed)) no note tes s an and d alterna alt ernatin ting g not notes es linked by forked s t e m s .
o r
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d f 4 a +
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o 9 1 8
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:
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6-33o
i 3 3 6
f f a
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n
6-09i
Birds of Passage 8-23=
6z47o
± 4
2 +
:
+4
6 z 4 1 o
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9 - 0 9 =
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a f
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e
:
d a f f u
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d a
i 3 4 z 6
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u
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e
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e
E
2 -
Sleep and Restoring Darkness 8-23=
v
t
Room-Shadows Room-Shado ws and Half-Lights Half-Lights 9-06= 9-06=
i 5 2 z 6
e
h Y
8 - 0 9 =
+2
6z47i
5 +
:
T
: F
ig f
a
is
n o
z
:
id
y F
h
: M
it
:
:
e
r e
i 4 2 7
h
: H
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d f d 6 a ±
T T
a
6 z 4 1 i
:
a i 4 1 8 s e c n D d n a s g i J
d a d
z
th
ddd d a g ddf a
+5
a
Each of the twenty m o v e m e n t s cont co ntai ains ns a st stav ave e of three bars which, under retrograde, retrogr ade, inve inversion rsion and transposition (where +1 or -1 mean up/down a semitone) generates up to 8 di dist stin inct ct sections.
:
o 7 4 z 6
d
dg d a
+ 4
6
6
H
a i d 9 1 d z d
+ 4
5 +
ff a
B ox o x es e s w it i t h s ha h a rp rp corners corner s indic indicate ate local repeats whilst rounded boxe bo xes s an and d cr cros osse sed d stems allow notes to be reordered. All notes sh ou l d b e r e ad as quavers, where = approximat appro ximately ely 170. Richard Cooke 2012
G
i 4 2 5
dd d a
Heavenly Peach Garden 9-09= Garden 9-09=
:
-2 i 5 2 5
d dd a
:
ddd d a
:
d ddd a
d d d a
d g a
:
a
:
d d d a
:
:
:
:
Honour 8-03= i 8 3 z 5Gate of Rebirth on the Path of Honour 8-03=
:
-3
i 6 0 5
:
+5
i 4 1 5
:
+5
i 1 1 5
i 6 3 z 5
dd a a d dd
:
:
:
i 0 1 5
2 +
d a 3 +
a f f 2 +
dd a
Bridge of Punishment 8-28= Punishment 8-28=
:
±3±6 i 6 1 5
d df f a
i 9 1 5
:
:
:
±3±6
d d d a 6 ± 3 ±
d d d a 5-16o
Terrace of the Star of Longevity 8-28= Longevity 8-28=
:
6 ± 3 ±
5-10o
Eight Trigrams Furnace 8-28= Furnace 8-28=
±3±6
:
6 ± 3 ±
fd d a 5-19o
Grace 8-28= 8-28= 6 i 2 3 5 Monastery of Great Maternal Grace ± 3 ±
dd g a a d d df f 5 -
5z36o
Pure Land of the Jetavana Park 8-21= Park 8-21=
:
Seeking the Great Perhaps
dd d g a a d dd 5 -
5-11o
Ten Thousand Flowers Inn 8-10= Inn 8-10=
:
a
5-14o
-3
i 3 1 5
:
:
dd
5-06o
-2
ddd a a d d d 3 -
:
3 +
5z38o
Tower of Five Phoenixes 8-08= Phoenixes 8-08=
:
Richard Cooke - Cardiff - 2012
d g a a df 5-04o
a f fdd a 3 -
3 +
:
Hall of the Master of Miracles 8-10= Miracles 8-10=
5-29o
Hell of the Mountain of Knives 8-26= Knives 8-26=
Eagle's Sorrow Gorge 8-03= Gorge 8-03=
ddd a a f d 3 -
5 +
dd d a 5-20o
Purple Bamboo Grove 8-08= Grove 8-08=
4 -
5z18o
City of the Unjustly Slain 8-26= Slain 8-26=
+3 i 1 3 5
:
:
-3
fd a a f 4 -
5-28o
Flowing Sands River 8-26= River 8-26=
+3 i 9 2 5
:
i 4 0 5
fd a a d d
5-30o
Double-Forked Peak 8-24= Peak 8-24=
+4 i 8 1 z 5
:
:
4 +
:
+5
dd a a d d df
5-26o
Five Elements Mountain 8-24= Mountain 8-24=
-4
i 8 2 5
:
:
2 -
5-25o
Cave of Water Curtains 8-24= Curtains 8-24=
-4
i 0 3 5
:
Water 8-23= i 0 2 5 Tree with a Spring of Sweet Water 8-23=
fd a a d d
5-24o
Palace of the Lustre of Jade 9-09= Jade 9-09=
-2 i 6 2 5
:
2 -
:
±3±6
:
ddd a 5-32o
i s a w or k o f f l ex ib l e d ur u r at a t io i o n, n , f or o r 5 -8 - 8 m ix i x ed ed instruments. instrumen ts. It is built up of constantly constantly-varied repeated material which is shared by all players and is performed in moto perpetuo without rest. Each of the 20 movements contains con tains a stave sta ve of 3 bar barss wh which ich,, und under er ret retrog rogra rade de and and/or /or inver in versio sion n plu pluss tra transp nsposi ositio tion n (wh (where ere +/+/-1 1 mea mean n up/down a semitone) generate up to eight distinct sections. secti ons. Players repeat sect sections ions in a prepre-agre agreed ed order; they can vary material by omitting white (empty(emp ty-head headed) ed) note notess and alter alternati nating ng note notess linked by forked stems. Boxes indicate local repeats whilst crossed crossed stems stems show notes notes may be reordered. All notes should be read as quavers, where ca 17 176. 6.
G
5
a f d
± 6
= 9 0 8 ) l r i G g n u o Y (
o 3 0 -5
a d f
+ 1
= 1 : 0 7 ) r e m r a h c e k a n S (
d d a -5
:
:
= 5 3 7 ) e p a c s d n a L (
:
j á T
± 6
a f f d
:
o 1 z 4 6
: a l g O
: 5 2 3 i
1 +
f d f a
5 - 0 3 i
f f d 6 a ±
6 - 0 5 i
= 3 2 8 ) s n a i c i s u M ( k e z
s é n e Z
z 6 4 1 i
d f a
a d d d d a d d f a
5 2 o 7
d d a
:
M e s e s z é p
( F a b l u o u s ) 7 3 5 =
5 - 5
:
i
a 0 3 ± d 6 6 d d
± 6
C s e n d é l e t ( S t i l l L i f e ) - 8 0 9 =
6 1 8 o
d f f a
5
d d
a d d d d
2 1 o 5 - 2
g
i
+ 1
T e r m é s z e t a n y a
:
( M o t h e r N a t u r e ) 6 0 7 =
:
6 -
a d d d
k á n y o k K ö z ö t t (
A p á c a ( N u n ) 8 - 2 5 =
d d 6 a ±
s
5 -
:
:
:
e G r re e e n D e re r s e ss ) 8 s 2 3 3=
6z 2 2 5 5o o
B e t w e e n D r a g o n s ) : 7 - 0 1 =
d f d a
1 +
5 - 0 2 o
Sk i e
s
B
ás ( ( T Th
i 2 0 5S á r
a df f f f
5
:
6 ±
d d gd dd a d a d
a i 7 d f g - 0 f
:
± 4
:
5 2 i 1
-5
i 8 1 6
:
2 0 = 2 ) 6 c e r ) n a e d D t e S e a ( S n o s o á n c : o t á Ü l o
4 i 5 2 z 6 ± A z ö öll d dr u r h u
3i + 6-3 3 i 5
2 7 i 5 - 2
:
6 ±
± 6
:
= 9 0 8
:
d d d a + 5
5 -
:
Big Skie ies s Ope pen n Road ads s is a work of flexible duration, for 5 - 8 mixed instruments. It is built up of constantlyvarie va ried d re repe peat ated ed ma mate teria riall whic wh ich h is sh shar ared ed by al alll pl play ayer ers s and an d is pe perf rfor orme med d wi with thou outt rest re sts s in mo moto to pe perp rpet etuo uo.. Ea Each ch of th the e tw twel elve ve mo move veme ment nts s contains a stave of 3 bars which, whi ch, und under er ret retrog rogra rade, de, inversio inve rsion n and tra transpo nspositio sition n (where +/-1 mean up/down a semitone) generates up to eigh ei ghtt di dist stin inct ct se sect ctio ions ns..
5
y n a l l a t a i F
o l ö v u b ó y g í K
o 3 3 6
a o d - 23
o 5 0 6
O
p
d e a n o R
Players repeat sections in a pre-agreed order. They may vary va ry ma mate teri rial al by om omit itti ting ng white (empty-headed) notes and alternating notes linked by fo fork rked ed st stem ems; s; po poin inte ted d boxes indicate local repeats whilst whi lst rou rounde nded d bo boxe xes s and crossed stems allow notes to be re reor orde dere red. d. Al Alll no note tes s should be read as quavers, whe wh ere = cir irc ca 170 70--18 180 0.
G
Steeple-Stemmed Herons
Switchback Sea i 1 1 4
a d g
+ 4
dd a
1 -
:
i 2 1 4
a d a d
:
+1
4-11o
: e ni h s n o
: o M 4 0 4 i
d f a
4-12o + a
-2
generates up to inct secti sections. ons. four dist distinct ons in a Players repeat secti sections e-agr agreed eed ord order er.. The They y may prepr by omitting white vary material material by t e s a nd nd (empty-headed) n o te orked rnating ating notes linked by f orked altern alte xes s i nd nd ic ic at at e l oc oc al al stem st ems; s; bo boxe osse sed d st stem ems s repe re peat ats s wh whil ilst st cr cros d. ow notes may be reordere reordered. sho sh are read as A l l n o t es ar 160 0. quaver qua vers, s, whe where re = 16 r d C oo o o ke ke R i c h a rd -2011--2011
work k of fl flex exib ible le is a wor ation, ion, for 4 - 6 mixed durat dur truments. ments. It is built up of instru ins t l y -v -v a ri r i e d r e pe pe a t e d c o n s t a n tl ater eria iall wh whic ich h is sha share red d by all mat layers yers and is performed without pla perpetuo tuo. Each of rests in moto perpe cont ntai ains ns a the six mo movem vement ents s co h, under stave of 3 bars whic which, rsiion and retrog ret rograd rade, e, inv inve ers (where here +/transposition (w transposition down a 1 mean up/ up/down s e m i t o ne),
e D
:
4
s o
:
dd a
o 4 0 4
Thirty-Five Bells m
2 +
4 -
dd a
o 7 2 4
-2
:
:
s r e t a W d e r e t t a h S - e g a R
o 8 1 4
a d a d
:
4-27i
-4
4 1 4 o
4 +
:
:
s d n a l s I y r e i F d e l u o s n a M
M u s t a r d s e e d S u n
:
G
2 +
d d d
i 4 1 4
a dd 4-18i
a
4 -
a i 6 d 1 d d 4
a
o
± 6
a i 6 d 1 d d 4
± 6
a o 2 d 0 3
a i 6 d 1 - W d d 4 a
± 6
o oi
o
T
rr
1
f
s tr B
sr 4 1 6 o
d a 6±
a i 5 0 d g d 4 -
e
w
± 6
4 1 6 o
d a 6±
4 1 6 o
d a 6±
o or
B t
f W
o s
T A
a o
3 0 2 i
a i ± a i 5 6 5 0 0 d g d 4 d g d 4 - T o r
± 4
4
e
k d
a i 8 0 d d 3
o
n
m
w a
a i ± a i 8 6 8 0 0 d d d 3 d 3 S
ht
r
t
± 6
r a e y
a
ol
o
d 6 a ±
3 0 8 o
d a
3 0 8 6 o ±
d 6 a ±
e o G
G ir o e
l di
a i 5 0 d 3 -
± 6
d 4 a ±
4 1 9 o
d V
e
r d 4 a ± M
a i ± a i 5 6 5 0 0 d 3 - d 3 - a
lr
K
ci
i
ic G
a
g
ci
f f a 6±
M
a i 7 d 0 3 a i, th s y
P
c
R e
n 3 0 5 o
+ 5
P
t
f f a 6±
a i 7 d 0 3
s
gi 3 0 5 o
+ 5
y
h
f f a 6±
a i 7 d 0 3
d d a 5-
c
h 3 0 5 o
4 2 2 o
i
e
ig K
d d a 5-
A
h
R
n
4 2 2 o
+ 5
g n
o
d d a 5-
4 2 2 o
a
r 3 0 8 o
4 1 9 o
± 6
M S
d 4 a ±
4 1 9 o
S
M
id lr
a
o
a
i
a i 2 d 2 4
5
V
s
e
f d 6 a ±
i
i
a i 2 d 2 4
5
A
u
il
o
i
ar
y
± 6
m ru
M ±
a
i
o
f d a
a i 2 d 2 4
5
C
w
f d 6 a ±
a i ± a i 9 4 9 f 1 f 1 - S 4 4
± 4
C
M T
G
ra
e 4 0 5 6 o
d d a 1+
ur
e
4 0 5 o
3 0 2 i
is a work of flexible duration, for 6 - 9 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 Ea ch of th the e 8 mo move veme ment nts s co cont ntai ains ns 3 st stav aves es whic wh ich, h, un unde derr ret retro rogr grad ade, e, in inve vers rsio ion n an and/ d/or or tran tr ansp spos osit itio ion n (w (whe here re +/ +/-1 -1 me mean an up up/d /dow own n a semitone), generate up to 8 distinct sections. Play Pl ayer ers s rep repea eatt th thes ese e st stav aves es in a pr pree-ag agree reed d ord order er.. They may vary them by omitting white (emptyheaded) notes and alternating notes linked by forked stems; boxes indicate local repeats whilst cros cr osse sed d st stem ems s sh show ow th that at no note tes s ma may y be reo reord rder ered. ed. All not notes es are rea read d as qua quaver vers, s, whe where re = ± 180. Richard Cooke - Cardiff - 2011
u
M
4 0 5 o
d d a 1+
s
w
o
3 0 2 i
y
a
o
k
d d a 1+
a i 9 f 1 -
± 6
y
M
A
o
rs a
The Far Side of Yonder
y
io
rr
a o -1 a o 2 2 0 d 0 d 3 3
1
a ht
y rt
a
e M
a
,i
3 0 7 o
d 5 a +
3 0 7 o
d a
3 0 7 5 o +
h
G d i 5 r a +
ic
Amèriques (or Bit Bitter ter Ame Americ ricas as) is a nine ni ne-m -mov ovem emen entt wo work rk of flex fl exib ible le du dura rati tion on,, bu buil iltt up of constantly-varied repeated mat ate eri rial al sh shar are ed by all players and performed in moto mo to pe perpe rpetu tuo o wi witho thout ut rests. It is scored for three autonomous autonomou s groups (each p l a yi y i n g a t d i f f er er e n t octaves)) of 2-3 percussion octaves or str string ing ins instru trumen ments. ts.
A mo move veme ment nt is cr crea eate ted d by link li nkin ing g al alll si six x st stav aves es in specifi spe cific c tra transp nsposi osition tions. s. It is po poss ssib ible le to cr crea eate te new staves by swapping note no te pa patt tter erns ns (b (but ut no nott 'key' 'k ey' sig signat nature ures) s) wit within hin each pai airr (2 (2--01 and 02 02,, 203 and 04, 2-05 and 06); a further option might be to substitute or add the matching (dyad) material in Mu Musi sic c fo forr a Ro Road ad Mo Movi vie. e.
ues q
q i r
è
m
A
Each stave generates 416 dis distin tinct ct sec sectio tions, ns, usi using ng transpos tran sposition ition,, inve inversion rsion a n d / o r r e t r og og r a de . Transpositions are shown by the semitone indi in dica cato tors rs in th the e ta tabl ble e below be low,, wh where ere -4 me means ans down a Major 3 and +0 is as written. The sections are pe perrfo forrme med d by th the e three groups in their own independent independe nt order order..
Players may elect to omit white whit e (em (empty pty-he -heade aded) d) notes not es,, to alt altern ernate ate not notes es tied by forked stems and to reverse those linked by cros cr osse sed d st stem ems; s; bo boxe xes s indica ind icate te loc local al re repe peats ats.. In every case, the notes cho ch o se sen n ar are e pl play aye e d as qua qu avers rs,, wh whe ere = ± 180 80.. Performers should beware of unu unusua suall ac accid cident entals als,, aid aid-ing in g in inve vers rsio ion, n, su such ch as E# E#..
G
2-01
2-02
2-03
2-04
2-05
2-06
a d d
a d
a
a d
a
a d
d d a
d a
-2±6 -2±6 +0±6 ±6 -2-1 +0-1 -5±6 -5±6
+5 +0 +5 +5-1 -1 +0 ±5 -3-5
C ar e - a d R i i i c h o 1 0 a f f o 0 k
C
2
-
f f d
-
r
d C
o
o
-
k 0 r d e 1 C a r a 0 c i R i
2
h
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
a
d a
a
+0+3 +3±6 +0-3 +0+3 +0+3 +0-3 +0-3 +3±6
+2+3 +2+3 -4 +2-4 +3-4 +3-4 +0 +2
+2-3 +4-3 +4-2 -2 ±2 ±2 +4-1 +4-1
d a +1-5 +4-2 ±3+4-2 ±3+1-5 +1-5 +4-2 +4-2 +4-2
PC set 5z18i 5z18o 5-19i 5-28o 5z38i 5z38o 5z36i 5z36o
d a a
i 4 1 4
dd a f a
-2+4+6
4-14o
a dd
i 3 1 4
d
i 5 1 z 4
f a
4z15i
6 + 4 + 2-
d a
4-13o
a d a d dd
dd a
d a d
i 1 1 4
a d
4-02o
dd a
a d
i 2 2 4
dd a
4-22o
i 4 0 4
da
a d
dd a
i 7 2 4
dd a
4-27o i 9 2 z 4
dd a
i 2 0 4
d a
4z29o
4-02 Wallaby and Jabiru Dreaming Gecko and Bandicoot Dreaming Wombat and Cockatoo Dreaming Sun-Woman and Frog Dreaming Honey Ant and Emu Dreaming Kangaroo and Rain Dreaming Waratah and Goanna Dreaming
i 9 1 4
4-19o
dd a
4-05o
a d
da
i 5 0 4
a d 4-04o
i 8 1 4
4-18o
a
4-11o
a dd
dd a
4-16o
i 2 1 4
4-12o
i 6 1 4
4-04
4-05
4-11
4-12
4-13
+0+6 +0+4 +5-5 -5+6
oi
+0+4 +0-5
4-16 -1-5
+0-5
-5+0
+0+0
+6+5
-1+0
+6-5
oi
oi
4-18
+0+4 +0-5 -4+4 -5+4
+6-5
-5+6 +4+6
Looking after Count Looking Country ry (Rich (Richard ard Cooke Cooke,, Cardi Cardiff ff,, 2009) is a mul multiti-mov moveme ement nt wor work k of flexible duration, built up of constantly-varied repeated material performed with wi thou outt re rest sts s in mo moto to pe perpe rpetu tuo. o. It is sc scor ored ed fo forr 2 au auto tono nomo mous us gr grou oups ps (o (one ne pl play ayin ing g an octave below the other) of 2-3 pitched percussion and other instruments. . A mov moveme ement nt is cre create ated d by lin linkin king g sta staves ves,, app appropr ropriat iately ely tra transp nspose osed, d, fro from m dif differ ferent ent parts o f th t he s co core. N ew ew movements a re re f ea easible and these lik like e exi existi sting ng one ones, s, take
+0+4
oi
4z29 +2+4
-1+0
+6+4
oi
4-27
+0+0
-5+6
oi
4-22
-5+0
+4+6
oi
4-19
+2+4 +4+0
-5+5
+5+5
oi
+4+0 -5+0
4-14 -1-5
oi
+6-5 +6+4
oi
oi
+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 semi se miton tone e in indi dica cator tors s in th the e ta tabl ble e ab abov ove, e, wh wher ere e -5 me mean ans s do down wn a Pe Perf rfec ectt 4, an and d +0 as written). These sections are performed by each group in its own pre-agreed order. order. Players Player s may ele elect ct to omi omitt whi white te (em (empty pty-he -heade aded) d) not notes es and to alt altern ernate ate not notes es lin linked ked by forked forked ste stems; ms; boxes boxes ind indica icate te local repeats repeats The notes notes sou sounde nded d (al (alway ways s
g d d a d f a 8 2 4
1 0 4
a d f
f d a
3 0 4
dd a
a d d
Elektro Ele ktroika ika or Eas Eastt of Mos Moscow cow (Richard (Richa rd Coo Cooke, ke, Car Cardif difff, 20 2009) 09) is is a multimovement work of flexible duration, built up of consta con stantly ntly-v -vari aried ed rep repeat eated ed mat materi erial al pla played yed with wi thou outt re rest sts s in mo moto to pe perp rpet etuo uo.. It is sc scor ored ed fo forr tw two o autono aut onomou mous s gro groups ups (on (one e pla playin ying g an oct octav ave e be below low the other) of 2-3 percussion or other instruments.
A mo move veme ment nt is cr crea eate ted d by li link nkin ing g st stav aves es,, appropriately transposed, from different parts of the score. Additional movements may be created and these, like existing ones, take their titles from sections of the Moscow-Petushki electric railroad. Stave 4-2 4-28 8 ser serves ves sol solely ely to lin link k mov moveme ements nts..
6 2 4
a d d
d d a
5 2 4
4-01 Kupavna-Elektrougli Usad-Km 105 Chukhlinka-Reutovo Friazevo-Vokhna Khrapunovo-Yesino Drezna-Kabanovo Pokrov-Petushki
d d a 4-03
a d d 4-06
+6 +2-3
3 2 4
4-07
4-08
+0+1
+0
+0
+0-1
6 0 4
a d
d d a
7 0 4
+0+3-3
8 0 4
A movement thus consists of 2 or more staves which each generate 4 distinct sections, using inversion and retrograde, as well as transposition (following (foll owing the semit semitone one indic indicators ators in the table below, where +0 means as written and -5 down a Perfect 4). The sections are played by the two g ro ro up up s i n t he he ir ir o wn wn p re re -a -a gr gr ee ee d o rd r d er er.
Players may elect to omit white (empty-headed) notes and to alt notes altern ernate ate notes lin linked ked by for forke ked d stems; pointed boxes indicate local repeats whilst rounde roun ded d box boxes es and cros crossed sed ste stems ms sho show w that that not notes es may be reordered. All notes should be read as quavers, where = ap appro rox ximately 18 188.
G
a 4-09
4-10
4-17
4 2 -
4-20
4
a f d 4-21
fdf a 4-23
4-24
9 0 4
1 2 4
0 2 4
4-25
4-26
+1-5
-5
+0 +0+6
+4
+0 +3+5
+1
+4
-2
+0+3 +0
-3
+2
+0+5-5 +0+5
+0+6
+3
-3
+2-3 -5
d d a f d a
a f d d f a a f d d f a dd a d a d a d f f d a 0 1 4
7 1 4
G
a
d g d a d a d fd a a d f
+2 -5-2
PC Set 6z04= 6z06= 6-08= 6z23= 6-32= 6z48= 6z50= 9-11o
dd a a d
d a d a
d
3-11o
d a
6 0 2
d
2-06
0 1 3
d a
3-10
3-01
Mustang Corral Hooker Cut Gasoline Alley Hydro Cadillac Ranch Dead Man’s Curve Peach Springs Arroyo Parkway
a h
-3-5
1 0 3
d a d a
a d
3-01
i 2 0 3
d a
2-05
-1+2
+1+2
+3+4 +0+3
3-07o 3-07i 3-08o 3-08i 3-09 -2+5
+0-5
+2+5
-1+2
3-10
3-11o 3-11i 3-12
2-01
+0± 4
-4-5
+0+5 -1+4 +0± 6
i 3 0 3
d d a
-4+5
-2-5
2-02
+2-3
+1+4
+0-5
+2-3
-3+4
G
+3-4 +1± 6
i 8 0 3
d d a a
d a a d d
3-05o
a
a
4 0 2
a a d
6 0 3
+1+4+5
+3-4
d a
3-04o
a
i 5 0 3
a d d
PC set 6z48 6z50 6z23 6z37 6z13 6z41i 6z26 7z37
i 4 0 3
d a d
2-03
Richard Cooke, Cardiff, 2009
i 7 0 3
-1± 6 +0± 6
+0+5
Players Playe rs ma may y ele elect ct to omi omitt whi white te (e (empt mptyy-hea headed ded)) not notes es an and d to alt altern ernatenotes atenotes lin linked ked by forked stems; boxes indicate local repeats. repea ts. In every case, the notes sounded (always quavers qua vers,, where where = ± 192) are ran randoml domly y chose chosen n but but play played ed in the order nota notated. ted. Performers should take note of unusual accidentals, aiding inversion, such as E#.
a
-1+5
-3-4
A movement thus 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.
5 0 2
2-06
+0+3
-1± 6 -4-5
2-05
+0± 6 -1-5
+0-1
2-04
+0+5
+0± 4 -1+5
2-03
+0± 6
-3-4
3-08o
a
3-03o
+0-3
a d
d f a f
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.
ha
a
2 0 2
2-02
is a multi-movement work of flexible duration, built up of constantly-varied repeated material performed performed without rests in moto perpetuo. It is scored for two autonomous, groups(one gro ups(one pla playin ying g an oct octav ave e bel below ow theother theother)) of 2-3 pit pitche ched d pe percu rcussi ssion on ins instru trume ments nts..
9 0 3
3-09
a
3-02o
3-02o 3-02i 3-03o 3-03i 3-04o 3-04i 3-05o 3-05i 3-06
-1+2
a
Music for a Road Movie
a
a
d d
d d
2-01
3-12
i 1 1 3
d d a
1 0 2
2 1 3
3 0 2
a
i 3 0 3
a d
a
d
3-03o
3 0 2 i
d d 2 0 o a 3 -
a d
= 1 0 3
a d
da
Indra’s Net is a six-movement work of flexible duration. It is scored for two autonomous groups (one playing an octave below the other but sharing the same constantly-varied constantly-varied repeated material ) of 2-3 pitched percussion and other instruments. 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 do wn a Mi Mino norr 3 an and d +0as wr writ itte ten) n).. Th Thes ese e st stav aves es,, wh whic ich h ca can n also be read in retrograde, generate distinct sections, built up by patterning pitch data in any of the following ways: accretion: gr grad adua uall lly y ex exte tend nd th the e li line ne [1 [1,, 1. 1..2 .2,, 1. 1..3 .3 et etc] c] atrophy: gr grad adua uall lly y sh shor orte ten n th the e li line ne [1 [1.. ..9, 9, 1. 1..8 .8,, 1. 1..7 .7]] framing: ra rand ndom om fr fram ames es of 44-6 6 no note tes s ea each ch [r.. ..r+ r+n] n] shifting: se sequ quen enti tial al fr fram ames es of 44-6 6 [1 [123 234. 4..6 .678 789, 9, et etc] c] random start-points: play notes r..9 random end-points : play notes 1..r culling /e /ext xtra ract ctio ion: n: om omit it no note tes s at wi will ll
G
The two ensembles play sections in their own pre-agreed orderr. Note orde Note-hea -heads ds repr represent esent quav quavers, ers, wher where e = ± 192.
d a d
a
a d
3-04o
3 0 8 i
3-01=
1 2 3 4 5 6 7
a
i 4 0 3
d 8 0 o a 3 -
3 0 5 o
d a
d a
= 9 0 3
d
3-09=
a d
a
d
3-10=
= 6 0 3
a
a d d
3 1 1 o
i d 5 0 a 3 -
da
3-06=
d d a
d a
o 7 0 3
a
3-07i
= 2 1 3
+1
3-02
3-03
3-04
+2
+1+0
+1
+1
+0 +2
+1 -2+1
+2 -2+1
-3
-2
+0
+2+1
-2
-3
-2
+2
+1
+2
+1
o i
o i
o i
3-05
3-06
3-07
+2 +1
+0
-3
+4
+1
o i
3-08
+0
3-09
3-10
-3
+6
a
3-11 -2
+2
-3
+6+2
-3
3-12
+0+1
+2-2
-3
i 1 1 3
d a
3-12=
3-01
Amethysts & Rubies Garnets & Tourmalines Jacinths & Adamants Jaspers & Chalcedonies Micas & Peridots Sapphires & Dolomites or
= 0 1 3
+1
+1 +6
±2±6 ±2±6
+0
+2
-3
-3+6
+0
+0
+2-2
-3
+6
± 2± 6
+4
+4
+6+2
+1
-2
± 2± 6
o i
o i
o i
PC Set 5-11i 5-13i 5z18o 5-30i 5z38i 5-26i 5-26i 7-26o
ddd a d d a f d d a
a h d a a h g d 6 3 2 = / 4 1 1 o 1 4 o 2 2 o ; 2 2 i 2 3 2 6
e s i a X |
h d a a
o 7 2 5 2 i 7 2 ; i 9 2 o 5 1 6 2 4 / = 9 4 z 6
g d h a d a a d d d a a g f d d d a h
a f f d a a f d f d d
Phantoms and Reflections duration for is a work of flexible flexib le duration percussion three or more pitched pit ched percussion of constantlyinstruments, bu buil iltt up of vari va ried ed re repe peat ated ed m aterial performed w it i t h ou o u t r e st s t s i n m o t o perpetuo . es use use enha enharmo rmonic nic Six of th the e se seve ven n pi piec eces (gacd), which derivatives of the same notes same notes (gacd), can be created by means that new sections sections can be applying the current 'key' signature to eces. Bewa Beware re of stav st aves es of ot othe herr pi pieces. ls su such ch as b# b#.. unusuall accid unusua accidenta entals
d g d f a h a f f dd a
a
Aakhoe
e, Cardiff Cardiff Richard Cook Cooke, 8 2008 200 !O!ung
o 7 2 i o 9 1 ; i 2 1 o 1 1 o 3 1 4 / = 8 2 z 6
6 z 3 7 = / 4 1 4 o 1 9 i 5 o ; 1 4 i 1 9 o 2 9 i
õ ó X !
d f d f a f d a
f f d a
|Xam
0 1 0 1 o 1 1 ; o 4 1 i 2 2 i 4 1 4 / = 8 0 6
h h a h h a d h a
a d d
Each the seven seven pieces of the sts of a single stave consists consi ed by six pos possib sible le 'ke 'key' y' prefaced prefac ures es whic hich, h, whe when n com combin bine ed signatur signat invers ion n an and/ d/or or re retr trog ogrrade, with inversio hs or dist stin inct ct pa para ragr grap aph generrate 12 di gene played ions. These These sections, which are a re played sections. sect ilt up from pre-agreed ed order, are bu built in a pre-agre able le pitches; peated d 'c 'cul ulls ls'' of th the e av avai aillab repeate re 12 notes the lead lead instrument exploits exploits all 12 inner ner whilst whi lst acc accomp ompani anists sts foc focu us on an in black not notes. es. subset, such as the 5-7 5 -7 black In ev ever ery y ca case se,, th the e notes sounded where = ± (always quavers, quavers, where ndomly y ch chos osen en 192) 19 2) ar are e randoml ed in the or orde derr butt pl bu play aye notate notat ed.
f h h a a f a df d g a f dd d a d d d g a
G
Ungkue
o 8 1 3 2 7 0 ; o 7 2 i 8 1 o 6 1 4 / = 9 2 6
a a d d d d d 6 z 2 6 = / 4 2 2 o 2 1 2 6 ; 2 2 i 2 1 2 0
i w g e X | |
d a
g d d a
d d a
d d f a f a f a d d d
z 5 3 6 i o
a d g d f
a f d d g
5 - 2 2 =
a f d d g g
A L a a
i o 6 1 5
d g d f a a
a f d d g Skying the Horizon 7z37=
d g f
n d n d
z 5 3 8 i o
a d g f d
o f f G r ea e t a t T h i s hi s a i r r s s t t w d u o u r rk r k r
a t a ti o f i o n o f o f f l n p i t le x or e i t c r t x c h i b l t h b h h l e r r e e i n e e e n s e st d t r r u m r m m o u n p e r o r c o n me n re r e t t c c s s s . u u t a n I t s s t i s m a t s i t i s l t o o Blue-Town Blue-T own Blues B lues e e y b r r - ia i l a u i v a a il l p e a r i e u l t t p n er r f d r u p f o r 7z12= o d o f r m e f d m d d w e p e a f d d t e d g i t th o E a h a c o c g u u h o f h t r e t f f t h es s t t s he s s t s . a e ta v a e v s e i i x x s w h p h i i e e i i c c i c c n n h h e e ve v r , u n s c o s e 5 - rs n d - 11o s i on t de r i o n o n e n, t a i r r e a i i in s s e et n e c t r s h g e r o g ct en e o r t i o = n g i o e r d re r e n n a a e r r i e s . T h s a a d a t h 5 e t t e e e o a h nd n / r r 3 e e 4 e e 1 d o s s 2 e s e e o p 2 r r l l d a a g d e y y i i c t c 5 s s e e t t t d d i i i i 5 o o o n n d r r n s n c t c de d r i n Cobwebs of Sleep n a s, w t e f r , a r h i h ic re b a p r c h re - d d e e h r e a - a g e p a 7-17= pe a u u g e r r i i a l l e e 5 d t t t t e e ed e ' d d A u p d p f r a c - c c a v c u c c o m va i t ul ro m 1 a o l l m - l s i l m s ' l a b L a ' o f 5 bl p a n o s l e p i e f t = a l i r h h e e t t i ch c e e e ad a i s s h d f e i o o t s i o s; t h s cu c s s n s n u 6 n st s o n 2 t r u he m e u 5 f r me n i n h re e n a n n e t r n e 5 - n d e e t t n n 0 0 r r o e x o i i 6o 6 i s s o T s i s u u u u l ch c a l p b s b o h ll l 12 xp l o i s e o t i o e t i t a t t f s s i i l l 2 le l d n o f e t h a ot d he , t e s e e w h e G s r ( b hi I n bl 5 - i l g 3 n e v l s l a c s t -7 a 7 t ... c v k k d e e ) ) 5 ry r c a y s o n o ou n ot e d f u d a a t n e s s d e e s . Mulberry-Fresh ed e , t h d w h e he n s d e a e r a l re = ( a lw a w y e ot o e 5 a t s d e 5 Morning c y s d z h h s s o s o 1 q u s e - e n u a n a ± 19 2 av e 8 2 2) v r p e ) a r e er r s 7-33= r p e n n s, r p t 9 e e d d e i o r t a n a u o u p l a n d o i n o do m ay e o l y m y n t l ed i d = y 4 h h 3 i n n e e 5 o r m t r d de r e o o r n o t o o Al l ta t t a a l s i te d e . ix p i d x d ie c e c es o f d s u s f t h he s e s e e e d e d d d n n a m a h a h me m e a ar r m o m n a n n o ns ot n i s t h t e s ic e c d e s ( f ha t Colour of Strength er a a c r r i f t re a g g b i v a e a t v t a a c n e a b e w t i v te d c d e e w v s de ) d e e s s b ) , w i e e 7-35= y y c c ' k ke y t t i i e ' o o pp l h y ' s a p n n p ic i h c s s l h y y i i c i i n n g g a a g g n n n n a a t o t t t h h b e th e ur u e u e h e r e t er e r p i rr r o t c u o r e n e t ie c i o e n c e s t u n e av a e 4 n u s . B s t v s u e s s 2 s u u a l a e wa e l c o r f a 5 The Hesitant Breeze o f r e o o f o m b w e a c c m f f i n n a a t ti i o i d e i o 7-22= n n s s n t a d d l s . R i ic c h a h d ar r d d C a C a oo o k e k e r d o 2 0 i f f 5 - -2 2 8 8i 0 8 i o o i o
f d g d f d g a
a d
f g d d f a
a d d d d
d d d a a
d d
d d a
f g d a
d f d g d d a
a f g
g d d fd a
a d d d
a d d d
a d d d a d d d
d d d d d a
a d
d d a d d d
6 0 5
d d d d a
i o 3 2 5
G
n d e r c h, u n h i c in c t s t i v e s w 1 2 d i s a a t s e n a n n s 3 n e r a a t e a i n n t a y e d i d e o a a l c g p , s e e t e e c e r a d e h i c h a r e p i e o g r a e p e a e w c f r e t r o h e 1 2 d/ o o m r e a d r o o r r e io n s, l o f t h o i lt u p s; t h e l e E a c h r s n a n h e s e s e c t r e u i t o o b i s s e s l l e i h h t c T t c r,, a b l e n v e i p i t i n e s w b d e r o n s. e d o r d o n o t e la e l a s e c t i - a e a v a i l l l 1 2 i n r s u g r e a e a e n s s h h e e t t n t i r o p l e s. o n k n o t e ls ' o f e n t e x p l o c u l s ' c o c u s 7 a c t e s f o u m n i s r u 7 b l a s t s o e s n s t r i n h e 5 - t h e n r s m p a h a s t h h o , c c , a c s e a v e s s, s u e r y y c a w a y s q u a r e s e t s e 2 ) n e v d e d ( a l w 9 I n 1 = ± s e n a n d s o u n r e e y c h h o o t o o w h e d o m l y in m n a n e d n r a n a y e t u o i p l a p r r e p e o r d t h e a t e d . n o t
e b a b w m m i Z h t h o r i t io n f o o a t i n g w l e i n u r a d k k l e e h a b c d t c x i b i t W
G
le p l e s. k o f f o r e o r k e n t s m u u r r s a w e o r m n t i s s f n o i e p h r u s s i o o n l t h t u i e c u i l t e d b r p e r c a s s y - v I t i s t a n t l y e d c o n p e a t a l i e r r t e e d m a f o o r m p e r h o u t t a w i t s. e s t s r e f
Kekeya Kekeya 5-26i
f a
f
f a
a d
a f
r d h a R i c o k e C o d i f f f f C a r 8 2 0 0
a
a d d d
d d a
a d d
d d a
d d a
Mhasha Mhasha 5-27i
d a
d a
a d d
a
d f a
f d a
d a d d d
Dzogo Dzogo 5-21i
a d
d a d
d a
a d
d d d d a
d d d d a
d d a d d
a f f f f
a
a
a
d a d
d a d
a d d Kwaba Kwaba 5-35=
d a d
d d a
Kobvo Kobvo 5-30o
d a d a
f d a
f a d
a
a Nguma Nguma 5-23i
Fekeshe Fekeshe 5z18i
a d
a d a d ff f
Kwenja Kwenja 5z37=
d d a
d d d a
f f f a
a d d
Gwedzve Gwedzve 5-25i
a d d
a
a f d
a d d d d
Dzetu Dzetu 5z36i
a f f f f
a f d
d a d d d d
a d d
a d d d
a f f
f f a
Kanganya Kanganya 5z17=
a d d
d d d d a
d d d a
c i c m o n r m e n h a e f g b, s g y o o l d e m p e s ( h a t e e c e s e 5 n o t a n s t h 4 p i e m e d b y p o f t h e s a m h i c u h c o o e r g w o f e a t e E a c h v iv e s g a b c d ), n b e c r e v g n ' s i g iv a t i a y c e R d e r i s k k ' O ie s ' e a p h u r r e n t r ' s a b c a r a r e s e r i a g r a e f a c o p n h e a t t e r n n e w l y a v e . n g t h i n s t a p t e n g a p p y r e d o t h e o i d r i n u e t b o r d e s u a l a c c . a t u u o f u n a s B# o f a a r e e s u c h B e w l s a s e n t a
a f f
a d d
a d d d
a d d d d d d
d d d d a
a a d f
a
a f d
Chokoto Chokoto 5-14i
d d a f f
a
a f f f
A
L a n d d
M aA
r o o e d u p e r c c u s s i t l b l e ly le x i b e n y f l a a d t f e s o h n c t c k m e d r p i t o f c o p e r f o r m o w o r k f e e p r a u o fo lt s t l i s s d o c h i s o r m I t s b u i l w h i c i s d u c e p i e e t o o e c e. e e r r r t . a a i i h h n n s s r i t e a s e n t d m a t e s t s d m e e n r u u r r e t e e h t h i t o n s r e i n t o p e a t t u o, w o r d d e r ie d e e r p e p e u r n in v a r i p c h, o o o o t f f w h i c fe c t e n m i i n a v e s t e t a 1 2 ic e c s e t e a e e a a h r g e n e r r e a m d r a e n s t h a i n o n, w h i c c h a s i o c o n t a r s e s e v c n n , i e e u p s i r n t t p l l o o o o i i i / x x t i u n d e s e c a r e e b b l e h e s r a d e a o f t h la e a d e r, a v a i l o g a n s. T h e s d o r d r o E a c h e r r e e t r e e s o o i i t s e e h h t r t c o o i t l g e f p a a s o u n d i x e ls ' s in c t n l l n t e i s s s u a p r e e t s t n c c ' s m n d i s i u u n r a e d t e n s t r a y e d r e c o m p . t h p l a e e p e a e l e a d i n g h ls t a c s . g s h e w h i l o m e s; t h e r o f r , s t y y e s r h s s e e e c c t t t v i b p n o e r s u n e d l 1 2 o n i n n n o t e s. I n a l l n e s s o u n d e k o c u s b l a c f o a e r s , o t e 7 5 - 7 h e n q u a v e 2 ) , t h 9 s 1 c a s e w y a = ± l y y ( a l w r e l A l l h e e r a n d o m t w u x b e i r a s s e n n e s c h o y e d i n p i e c l o y a a l p e r d d r p o c h e t e m m o n i c t h a a r o f t h h e n o t a e n h i s e d . s v v e i e t t a o v v i d e r i x n e a n s i x s e c h m a n b e s a m ), w h i c c d e c t i h e c o n s g t h o a g g f f ( s e i p l y n y i n w e a v e s . n p t s a o a h a t t h s e t o e b y a t u r u d e c e a l e g n e r p i e s i g e a t e u ' c r e y u e n h k k u s a r e e e n t ' o m o t r e r e e o f w h i c c h c u r r r a f w n . e , o b i n s s l s e a a d o u l d t a k d e n t i n v e r d h i s c c a s s o f s s i s t a y e r i 0 0 7 P l a io n s - 2 n a t o i n o a b t f m f i o c e d a r d i g n - C d e s e k o o d C h a r c i R
i n
G
f f a f d a
a f f f
e
e r o r n g a io n f o o a t i n
a f f f d
a f f df
Four Finger Rock 6-18i
f f f f f a
a f a d
The Great White Place of Dry Water 6z26=
a
Dragon's Breath Cave 6z24o
d
de
d
n a
L
A
a d d
i n
A
n
f d f d d a
a
The Skeleton Coast 6z50=
g
e
r
a d
a d f d f
a d
a d d d
d a
d a
a d a
f f df a
M a
Stormbird Bay 6-33i
d d d d d a
a d
a d f
a f d
d f f f a
f f f a f f f
a d
d f f f
Fish River Canyon 6z45=
d a
d d d a d d d
a
d a
a d a d
a
a d f d a f d d
a f f d g d a f f g g
io n o ic t i c l i f l A f f h g h r o u o f d g f a d t h o R 7 - 1 0 a T h e
a f d f g g
d g f f a a f f g d
d f d a f d
h r t h M i r r o f e v v i G T h e 7 - 2 5 o
a f f h a h f f
d df a d f d a
a
d f d
a d
i z a . . . k r o r k i e s a w x i b h i s b l e e e S l + e f o f n f o o r 3 n t s e s e n c b e o o A i i m t e f a a u o z d u r n s t r h e s a m i a l . i n s o n 9 i f e P o i s x e d a r e t h a t e r 1 e a m i x m h h 7 T s H c h p e a t e d c a v e s e, s t a f w h i l y a d h a - r e o f 4 t r r y g s s t o o o e r s s c c i e o o s w h i e ' c o n s n a n d r e t l o im r io n s, m o 't i o a e c e s v e r s s i o p i e m t s e c t i o o 6 d o e r r y f r d n n s i e e lt t h i r i h l h h t t h h t h i t t i T u f l e b . w o n o e e r , 4. io n s r f f o l a a E a c h m b i n n e d s e c t i 2 2 t h a = 4 8/ z d e r,, i n d o in c t e n g a / 4 n d o r p l a a w h i c c h, c 6 d i s y 8 s t i e a 4 e r s 7 2 a g m h r s e - a e 1 a p r e a t e fo r m e 4 4 = o G e n e r a t, r f in n s b u h e p e s = 1 y e d o o f t h e g p l a v e r s a a u f u q o h e e w w h r a a a s h t e e d. T t h T a n s w i t e a d e d q u o t a ly r e y e h s p r e o o c a n o e - s t g x t h u a l l i x s a s u d e e o n h e n e f r ', a n e s a r 'b a r ', o m o n g t h h e a d a c h b e s r is le , n o t e s e - h e s N o t e e e n c h t o o a n n i i i o e t t i h h n t t d f i R i w m n a d e c t i ch c io n o r e o d. a n d o c t. I n r a a r d e e e s r e o r d o t c h e m i d d C d d l e c r o l e a b u n e u e o o s h h y t o r t u k e F f u n u l s r m a r e o a d b e s r r i - C t a - B B e w a c i d a r d e n d i f S o n g 7 - 1 1 i a c h a s e f h f - c T s u x . 2 0 c 0
d g f f a f d g f
df a d a
h f f a h
f hf a a f f h
h d d f a d d
s r r o w o S f o r m y i A n A 7 z 3 6
a f h a d d d a d
h d f d d da f h
a f f
a f f d f d d f a d f
G
f hf a h f f
a
6
d f f a d f a
d f f f d a f
f f d d f
f a f d d
d d a d
a
g h s S i g f o e e b u t i b A T r 7 - 3 2 o
a d
d d da d
a
d a f d d
a d a d d d f f h h
d a
d a d d
h f a
d d a d d f h
G g g d d d d d d g d g d d a g d g d a a d
a u k t a l b H v
3 6 7 2 = 4 4 = = = 1
7 0 8 / = 6 z 3 i 9 2 1 2 i 3 6 ; = z 2 3 2 1 3 o 9 o
a f d
a a f f d d d
n e r e t k a l S
6 3 = 2 7 = 4 4 1 =
a f f f a f a f a d d a d f f d d G d a
An Infinity of White 7 - 3 4 = / 6 z 2 4 o 3 3 o 3 4 o ; 6 - 3 3 i 2 4 i 2 3
G d g d d d d h d a a d d d a
f d d
= 1 4 4 = 7 2 = 3 6
i 1 4 o 7 4 9 4 z 6 ; i 6 3 i 7 4 o 1 4 z 6 / = 2 1 z 7
more of flexible duration for 3 or 3 or more is a work of sharing heterophonous instruments instruments sharing mixed or heterophonous mixed the same loosely-repeated material.
pieces s con consis sists ts of a single stave Each Ea ch of the 5 piece which, comp ossible 'key' signatures signatures which, prefaced by 6 possible prefaced by up to 12 ion and retrograde, generate ge nerate up bined with invers with inversion played in a These sections, which are which are played distinct sections. sections. These canons, with d order, order, are built from 'time' 'time ' canons, pre-agreed pre-agree quarterperformers playing at half- and half- and quartertwo of the the performers rs but, ads are usually read as quave as quavers tempo. Note-he Note-heads 4 o randomly'bar', an agreed quota of o f randomlywithin withi n each 'bar', i 4 6 4 notes are are lengthened to a crotchet, cr otchet, and chosen notes chosen o 4 1 shuffled. 2-4 no note tes s ma may y be shuffled. the middle 2-4 6 i ; 4 ware of of some unusual accidentals accid entals.. Beware Be 1
d d g d d d d f f d a f a a f f f d d
Richard Cooke - Cardiff 2006
7 - 2 22 = / 6 6z 4 43 i 19 i 4 9 ; 6 - 1 9 o 4 4 o 4 3 o
r e k a t a n u N s t t o c S
6 3 = 2 7
o 6 i 4 4 z 4 6 / = 7 1 z 7
d d d d d d f f f a a f d fd a d d a d f a a
I s b a r r i e r e n
f d h a g d d a d d d d a d
a a d d d d f a d d d d d g G = 1 4 4 = 7 2 = 3 6
D j e v e l e n s D a n s e s a l
a f d
fdf a
a f d
a f d
a dd
dd d d a
a d d d
a d d
d a f
a d f f
a f d
a f d
d a
d
a d
a
u
T
s
n u a
n c
6z13=
6z45=
6z50=
6-33i
ti
d f a
a f d dd a f d d
d ff a
d d d df a
a f d d d d
a f d d d d
d d a
d a dd f d g a d
ddd a a g dd f
a f d d g
a f d d g
d f a
d f a
d a f d a d
a df a d dd
a d d d
a d d
Great Dingle Hill
Cob Island
6z48=
6z26=
6z28=
6-35=
f d d a d d
d d d df a f a
a f
a f
a f
g d f d a
g d f d a
s
f d g a d d a f
a g dd f a df
a f d
a f d
d d d a
dd a d
dd a g d df a
a f dd g
a f d d g
a f d d g
d d d a
m s n la e 1 e r o c f h th e 4 e s s e te
a f d
ts m o f p ra o ti b e o tw s p e e r n p ie s e c c e ti ; o n s
a f d
.
o n e s
6-33o
6z29=
f a
a f
f a
f a
d f a
f d a
d f a
a d f
a f dd g
g d f d a
g d df a
6 : 2 : 1
q v
c
fr y m e
c
e ff id
6 .
d
le le
d
ll y h
m ly 'b a
re a a
c
m u
0
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ro
h 0
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o
th s
s e
d a
re
u
n to
o b
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d
a -
h
e s
a
re
f n
m
a it
e te
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s
o
o r
-
d w
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a t,
g
b k
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ta
e
o
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n
h
a
h
r'
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e
h
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o
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a
t=
rs q
,
e
o
d
n
h
e
re
e
tc
a
a
f
ro
u re
te io
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g o
it
f
a f d
8 : 4 : 2
6 : 3 : 1
e
o
fd a
6 : 4 : 2
8 : 2 : 1
a
C
d f a
6 : 3 : 2
s
if
d f a
8 : 4 : 1
n
rd
g d f d a
6 : 4 : 3
d
d o
6z42=
6z37=
9 : 3 : 1
T e m p i
1 4 4 = 7 2 / 4 8 = 4 8 / 2 4
6 : 4 : 1
a n
Lantern Marshes
9 : 6 : 2
4
1 4 4 = 7 2 / 3 6 = 3 6 / 1 8
In ti
h
Blackstakes Reach
1 4 4 = 9 6 = 7 2 / 4 8 / 2 4
o
c ic rd
Shingle Street
1 4 4 = 9 6 / 4 8 = 3 2 / 1 6
n t
e
R a
Chantry Point
f io
c
9 : 3 : 2
e
o
n re
t
s y
rs ti
il
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e
a u
rs
y
ts v
is
b e
b
is
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rm
s in
ic re
w
n h
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o
o
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a
o
c it
w r,
rf
rk
w
, e
h a
s
te s
e s
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n
p
m
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ra
rd o
ie
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o
a
p
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e
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e
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p in
n c
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o
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it
n
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re w
o
d d d a
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g
te
o ,
a
r tr
c e
e -
n
e
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s
o
e h
e
n e
th ic
ra
re
w
f h
g h
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o
o T
p
lo
h w
. a
c
c
tr s
in
s
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n
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g
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d e
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v
o
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e
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ti e
a
s re
n
y
g
a c
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m
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m in
g
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la
y
n
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p
s
o
a
d d d d f a
fr
u e
la
in
fo o
a p
.
n
l.
w
n o
th
e
s
h
ri
o
o
re
m
ll
ti p
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ra
a
o
e
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h
s th
d te
a
s
g
e
m s
a
le h
s
e
in
Sallow Walk Covert
ic d
h
a d d d
Silverlace Green
h
ib r
te
c
a d d dd a
a d d d
a
x o
e d
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e
h
lu
d a
d a dd a d
w
c
.
d a
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u
fl d
p
s
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,
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ly n
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#
d f a
o
w
e s
E
d d d a
m
u
a m
o ta
a n
Buss Creek
lo o
l
L u l l e is
r tr
e
e
Tinker's Walk
o s
e s c
Two Pond Wood
in m
u
id
Moneytree Clump
a h
a d
n
e
s
o
d n
, s
a f f d a d d d
a f f d
f d a f d
Note Patterns 6
5
2
1
n
g o
d
in
m n
if
h
3
n
fr 4
ll
u
c 7
h
o
c
5 - - 0 05 i 5 i
Baby Doll Lounge 7-09i
- 5 0 2 i
d d f
o 9 1 5
a d f d
i 0 1 5
d d d a
f d d a
Horn and Hardart Automat 7-04i
d f f a a
a g 5 d -
d f a
f d d a
d f d d a d f f
a f
o 6 3 z 5
e in o ,
ts la
p
m
e
n
m ix
s 1
..
1
[
in
e
f
o
s
li th 1
, li 1
1 fr m
3
1
8
0
1
..
1 e
to 1
ra d o
n in
y
g
in g
n o
n s
te
o
o
n s
te
s
..
r.
s
te a
o
1 il
r l
mate ma teri rial al..
R i ic c h ha r a r d C d o o o ok e k - e C a C ar r d di i f f f f - 2 2 0 00 5 0 5
u a y te d g e 2
[1
s
t
d
ra
n
a g
e
m m
la y
g
l n
,
ti
: o
n g
p
G
d
fr
e
in
Not otes es are played as as quavers, quavers, where = ci circ rca a 19 192 2, in mot moto o perp perpetu etuo o and an d witho without ut res rests. ts.
o 4 0 5
x
e e
th
in
ts :
e s 2 -4 p it ch ed l c i p e r c u s s i o n h i n s t r u m en e n ts t s w hi h i ch ch V e share the the same constantlyconstantlyrepeat repe ated ed
ll
a
fr
g
in
n a
ti
y
n
n
q
o
o
w
rt
-p
it
r s o a t c i l p is a e work R f l e x i b of l e & du dura rati tion on fo for r
e
u
o
s la
o ti
d d f
h
rt
c
- 5 0 i 7
e
s
:
p
-p a
ti y
:
d tr
re p
:
ta n
x
c
g
s
e
a tr
g m
Each of the t hr ee e e mo move veme ment nts s consis cons ists ts of th thre ree e st stav aves es wh whic ich, h, wh when en combine comb ined d wi with th in inve vers rsio ion n an and/or d/or retrogr retrograde, ade, generate 12 dis distin tinct ct par parag agrap raphs hs or sec sectio tions. ns. These secti sectio ons are cons constructe tructed d by patte patterning rning pitch data, not too rigo rigorously, rously, in the 7 wa ways ys listed above.
Revolving Doors 7-04o
f d f a
o
/
a ti
d m
f a d a
var arie ied d
0 2 o
ra
in
5 - -1 9 i i
s a
ra
f ix
.. n te
..
2
,
.. ,
n
6
.1 2 o
e o
7 s , [r .. .. r+ e ]
tc
5 ]
tc
2 ] s
te
o
n
a f d d
a f d d
d d f a a f d d
a f f d
La llorona 6z10i
d d f a
a f d d a f f f f d
a f f f d is an 8-mov ovem emen entt wo work rk of fl flex exib ible le duration for 2-4 string and percussion inst in stru rume ment nts s wh whic ich h sh shar are e th the e sa same me constantly-varied repeate repeated d mat materi erial. Each movement movement co consi nsists sts of 4 sta stave ves s which wh ich,, com combin bined ed wit with h inv invers ersion ion a nd retrograde retrograd e , g en en er er at at e 1 6 d is is ti ti nc nc t sections. Played in a pre-agreed pre-a greed order, these thes e sect section ions s ar are e bu buil iltt up by pa patt tter erni ning ng pitc pi tch h da data ta in a va vari riet ety y of wa ways ys::
a f d
f a d
a f d g a f d
d f a
f a d
d d f a a f f f d f d f f f a a f a f f f d
a f f
a f f d g
f d a
a
g d f a
a d
a f f d
a f d d
f d f f f a a f g d f a a f f f d a f d g
a f f d
g d f a
f a
f f f d a
d d f a
d d f f a a f d f f a d f f a
a f f
f f a
f f a f d f a a f f d
Una espiga de fuego 6-31o
d f f a
f dd a
d d f a a f d d
El pájaro ceniciento 6z17o
La casa de mando 6z25i
Los hombres de dos cabezas 6z36o
La lluvia de chispas 6-22o
f d a
d d f a
d f f a
f f d a f f f a
a f f f f d
d f f a
La laguna que hirvió 6-15o
El templo de paja 6z40o
d f f f a
a f f f d
d f f a
a
d d f a
d d f a
1 accre accretion tion: gradually exten extend d the line, playin pla ying g no notes tes 1, 1.. 1..2, 2, 1. 1..3 .3 et etc c 2 atrophy: gradually shorten the line, playing notes notes 1..9, 1..8, 1..7 etc 3 random random start-point: play notes n..9 4 random end end-points -points [1..n] 5 framing: random frames of 4-6 notes each each [r [r..r+n] ..r+n] 6 shifting : sequential frames of 4-6 [1..4>6..9 [1..4>6. .9 or 1..6>4..9 or 1..5>5..9] 1..5 >5..9] 7 culling : omitting notes at will
G
Notes are played played as qua quavers vers,, whe where re = ± 192, 192, in moto perpetuo without perpetuo without rests. Richard Cooke - Cardif f - 2005
c e a n m s T h e O o r m t o o f S
d e d d d d e e d a
a d e d d d d
w o - p i t c h e p o f c f t c m e d p e t u o ' o r m s a t w f o i s r 4 4 u e 2 p t t l l l ia t o p e r a o r s f o b u i a t e e r i s i m m o ' m d t t I e t e a e e n n i e h r e p t h e t s r e s n n i r a a s e r e c o n t , u n d r e c h e e c p i h i c d / o E a c h v e s w o n a n e r a e a t e s t a v e r s i e, g e n c t in n a d i n r s t i d i s o g r a e t r o o r r e e v a h s . p w e l v a t w r a g i o n s p a r a t e r s s e c r f m s r m o o f e P o u l d s h e a t e p r e
d e e d
e d
g h t , i g N e h h io n o a t i n t d u r a i n
s x i b l s e e n t s e s. e l l w le b l t r e f l D u m d u f r t o s a k k n n ie h n t w o r s i o e n i l v a r i d ä t h ly - v e e r c t y u s o s t a t n m c u a e o v h h N û ñ m p t o n m o w i t d
a d d d d d e
a d d d
ed
e e d
a
d e
a
d
d d d
d d d a
d d d a d
d
d d d d d d a
d d d d d d d d d d d
s e , t h e o i o n s s e c t h m a y y c e e l w h i c f r n a r. n b e p o s e d, io r d d e ) a n s r e r a e d h t r d e d d e e g a p t y - h a m i t e t e y t t p r e - ( e e m b e o a y b e e e t t i e s W h m a y t e ia l m n o t e a i l v e r s e s d m a e r. A l l s, n o t e ll a l x e t w i l u . o q b 9 a d a s 1 2 a n d t e d e ± a e e p e a b e r e r e = 2 0 0 5 d d l u s h o r e f f f i f C a r d w h e e C o o k d r a c h R i c
d d
a
G
a
d d a d d d d d d d d d e o f L a k n e h T d e r n e s s T e n
t e ona t s
s e is a two-movement two-movement work of flexible duration,
R
for 2-4 mixed instruments. It is built up of constantly constantly-varied -varied repeated material, shared by all players and performed without rest in moto perpet perpetuo uo. Movement 2 is the inversion of 1 (perhaps transposed and read by turning the page upside down).
M
In each movement, players repeat the 15 staves in a pre-agreed order. o t u c i s
a f 4-14o
f f a f f a f a f
i 9 2 z 4
4-11i
4-13o
a f a f a f a f f a f
= 0 1 4
4-27o
i 2 2 4
4-16o
4-29i
= 0 2 4
ff o 6 1 4
f o 4 1 4
f a a f a f a f a f a f a
4-22i
4-26=
4-08=
f
4-11o
The Streets of Your Glances
f a a ff a f f f a f f a a
o 3 1 4
4-14o
= 6 2 4
4-13i
= 3 2 4
4-20=
a a f f a
o 1 1 4
4-23=
4-10=
They ma They may y al also so el elec ectt to om omit it 'w 'whi hite te'' (e (emp mpty ty-h -hea eade ded) d) no note tes s an and d to al alte tern rnat ate e notes linked by forke forked d stem stems. s. Poi Pointed nted boxes indicate indicate loca locall repea repeats; ts; 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). All notes should be read as quavers, where = 180 - 190.
G
Richard Cooke - Cardiff - 2005
i 3 1 4
f a o 4 1 4
a f o 7 2 4
f a = 8 0 4
f f a i 1 1 4
f f a
g n i t e e M r u O f o s d o o W e h T
