2012 2011

2010 2009

2008

2007 2006

Richard Cooke
2005 2004

For music downloads and full information, please visit http://richardcooke.eu http://rcooke.free.fr

2003

2002 2001

2000 1999 1998 1997 1996 1989

The Sultry South The Rebirth of Wonder Big Skies, Open Roads Cut-Ups and Dreamachines The Far Side of Yonder Amriques (OR Bitter Americas) Looking after Country Elektroika (OR East of Moscow) Music for a Road Movie Symmetries & Manifolds Phantoms & Reflections Hours of Iron Slumber Walking with Zimbabwe A Land Made in Anger The Ghazaliyat of Hafez of Shiraz An Infinity of White Lulled by Zephyrs The Sorrowful Dark of Hell Vehicles & Replicators Tales from a Time of Disturbance Nd that Dwells in the Night Music to Resonate The Kingdom of Gaps Dome of the Temple of Happiness A Garden of Forking Paths 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

+ 2

a g

The Sultry

dd

South
is a work of flexible duration, for 5 - 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 four movements contains a stave of 3 bars which, under retrograde, inversion and transposition (where +/-1 mean up/down a semitone) 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; 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. Richard Cooke, 2012

d dd

dd

-2

a f

f a

-5

d
Th e R B oo m

d
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-5

a
-5

: :
2=

-s h

El i tr ec c 909 = an d s w

ad o

H al f

:
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lig h

d dd

a fff a
H al cy

-5

: :
Th e R u n aw ay S u n 91

on D ay s 909 =

dd dd

dd

-2
Palace of the Lustre of Jade 9-09=

+5

-2

-3 +3
Gate of Rebirth on the Path of Honour 8-03=

-4

-3

-4

+5

+4
Flowing Sands River 8-26=

+5

36 36
Eight Trigrams Furnace 8-28=

+3
City of the Unjustly Slain 8-26=

-2 +3
Ten Thousand Flowers Inn 8-10=

36 36
Terrace of the Star of Longevity 8-28=

+3
Hell of the Mountain of Knives 8-26=

-3

36
Monastery of Great Maternal Grace 8-28=

+3

-2

36

dd

dd

dd

a f

ddd

36

+2

Pure Land of the Jetavana Park 8-21=

-3

a dd

a f

dd

ff a

dd

dd

a d

-3

dd

dd

+2

Hall of the Master of Miracles 8-10=

a f

-3

ddd

dd d

d dg

af

ddd

36

-5

-4

Double-Forked Peak 8-24=

fd

Purple Bamboo Grove 8-08=

d ddg

-5

-4

Five Elements Mountain 8-24=

f a

Tower of Five Phoenixes 8-08=

dd

+4

af

af

dd a dddd dd

Cave of Water Curtains 8-24=

dd

dd

dd

a f

dg

+3

Eagle's Sorrow Gorge 8-03=

dd

af
-2

dd gd

ad

ddd

+5

-2

Heavenly Peach Garden 9-09=

Tree with a Spring of Sweet Water 8-23=

The Rebirth of Wonder

is a work of flexible duration, for 5-8 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 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 (emptyheaded) 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 = ca 176.

dd dd

Richard Cooke - Cardiff - 2012

Bridge of Punishment 8-28=

ape) 7 -35=

Tj (L andsc

Gir ung (Yo any

09

tal Fia

lg a

8-

d dd

yo

dg

a df

a f

bul

ous

35 ) 7-

tt

:
Ap ca

(B et

ee

Dr ag

on

s)

701

a ff d

rk

dd
se Me

dd

d dd

a
af

dd gd d

Zen

szek (Music

sz

Fa p(

ians) 8 -23=

dd

af

a ff

gy

lo

c tn

ff

o osn

er anc dD ate (Se

2 ) 6-

A zld ru

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0=

dd d d

b uv

lo

S na ke -

ha rm

er

701 =

a f

-0 l) 8

9=

af d
6

Big Skies
Open Roads
is a work of flexible duration, for 6 - 9 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 12 movements contains a stave of 3 bars which, under retrograde, inversion and transposition (where +/-1 mean up/down a semitone) 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; 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 176.

a ff

d dd

d
6

dd

f a f

:
C se nd le t (S til

Term sze

-25 n) 8 (Nu

:
809 =

lL ife )

: :

tanya (Moth er Natu re ) 6-07 =

Richard Cooke, Cardiff 2011

dd gg

The Place of Dead Roads

Cobblestone Gardens

Cut-Ups & Dreamachines

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 of the 6 movements contains a stave of 3 bars which, under retrograde, inversion and transposition (where +/1 mean up/down a semitone),
Sidetripping

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-

ddd
Cities of the Red Night

gd

af

Interzone

Tornado Alley

dd

ad

dd

a d

: :

The Far Side of Yonder

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 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 - Cardiff - 2011

dd

dd

Warriors of Tao

dd

Astro Boy

d
Astro Boy

gdd

gdd

gdd

Samurai Crusader

Tokyo Mew Mew

Video Girl Ai

d
Video Girl Ai

fd

fd

fd

Magic Knight Rayearth

Mai, the Psychic Girl

a
Mai, the Psychic Girl

d
d

Sailor Moon

ff a

ff a

ff a

d
d

ad d

ad d

ad
Warriors of Tao

dd

dd

dd

af

af d

af

a
Samurai Crusader

Tokyo Mew Mew

dd

dd

dd

Magic Knight Rayearth

a d

a d

a
Sailor Moon

Amriques (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 playing at different octaves) of 2-3 percussion or string instruments.

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.

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.

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#.

Am

ues iq r
d Coo ar

2-01

2-02

2-03

2-04

2-05

2-06

a dd

a d

a d

a d

- Car ke

dd

d a
+1-5 +4-2 3+4-2 3+1-5 +1-5 +4-2 +4-2 +4-2 +4-2

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

di

ff - 201

R 0 - ich

-26 -26 +06 6 -2-1 +0-1 -56 -56 +0-5

+5 +0 +5 +5-1 -1 +0 5 -3-5 -3-1

+0+3 +36 +0-3 +0+3 +0+3 +0-3 +0-3 +36 +36

+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

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

-2+4+6

4-13o

4-12o 4-11i

4-11o

4-04o

4-02o

4z29o

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

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

4-04

4-05

4-11

4-12

4-13

4-14

4-16

4-18

4-19

4-22

4-27

4z29

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

oi oi

-1-5 +4+0 -5+0 +0+4 +0-5 +0-5 +0+0 -1+0

oi

-1-5 -5+0 -1+0 -5+6 +4+6

oi oi oi

+2+4 +4+0 -5+0 +0+4 +0+0 +6-5 +6+4

oi

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

-5+6
oi

-5+6 +4+6
oi

+6-5 +6+4
oi

+6+4
oi

oi

Looking after Country (Richard Cooke, Cardiff, 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 2 autonomous groups (one playing an octave below the other) of 2-3 pitched percussion and 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.

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. 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.

ad

ad

dd a

4-27o

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

4-27i

ad

4-04i

d ad
4-02i

4-22o

4-05o

4-22i

ad

ad

4-19o

4-19i

4-05i

dd

4-18o

d a

ad

4-18i

ad

4-12i

d a

4-16o

dd a

ad

4-16i

4z15i

d a

-2+4+6

4-13i

d ad

a d

4z15i

d a

a fd

+0+3-3

4-01 Kupavna-Elektrougli Usad-Km 105 Chukhlinka-Reutovo +4 Friazevo-Vokhna Khrapunovo-Yesino Drezna-Kabanovo Pokrov-Petushki

4-03

+6 +2-3 +1 +2

dd

4-06

a
4-08 4-09

4-07

4-10

4-17

4-20

4-21

4-23

4-24

4-25

4-26

+0+1 +0

+0 +0-1

+0 +0+6 +3+5 +0+3 +0 +0+6 +3 +4 -3 -3 +0 -2 +1-5 +0+5-5 +0+5 -5 -5 +2-3 +2 -5-2

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

d af

a fd

d ad

4-25

dd

4-23

4-26

4-24

4-20

dd

a fd

df

d ad

4-21

A movement is created by linking staves, 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 4-28 serves solely to link movements.

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 = circa 188.

ad

d af

d af

4-17

d af

Elektroika or East of Moscow (Richard Cooke, Cardiff, 2009) is a multimovement 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 2-3 percussion or other instruments.

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.

df

4-10

d af

d af

4-09

dd

fd

dd

ad

d af

df

4-01

4-03

4-06

4-07

4-08

dd

ad

g add

d dg

4-28

dd

2-01

3-12

3-01

3-11o

2-06

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 2-3 pitched percussion instruments. 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.

2-02

3-10

3-03o

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

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 +06 +06 +1+2 +3+4 +0-3 +0+3 -1+5 +06 -16 -1-5 +0-1 -4-5 +2-3 +1+4

3-11o 3-11i 3-12 2-01 2-02 2-03 2-04 2-05 2-06 PC set +04 -4-5 +0+5 -1+5 6z48 -4+5 -2-5 +0+3 6z50 +04 -3-4 +06 +0+5 +0-5 +2-3 -3+4 +3-4 +16 +1+4+5 -16
6z23 6z37 6z13 6z41i 6z26 +3-4 7z37

3-09

3-04o

2-05

Richard Cooke, Cardiff, 2009

2-03

3-08o

3-05o

3-07o

2-04

3-06

dd

2-04

dd

3-06

3-07i

dd

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#.

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.

dd

3-05i

3-08i

2-05

ah

ah

dd

3-04i

dd

3-03i

f af

Music for a Road Movie

2-02

2-06

d a

3-02o

3-02i

dd

a a
3-11i

ad

3-01

dd

2-01

dd

3-12

dd

3-10 3-09

3-03o

3-04o

3-09=

dd

3-02o

3-01=

3-06=

Symmetries & Manifolds

3-08o

3-07i

3-12=

1 2 3 4 5 6 7

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

The two ensembles play sections in their own pre-agreed order. Note-heads represent quavers, where = 192. Richard Cooke, Cardiff, 2009

Eschers Reptiles Reutersvrd's Triangle Eulers Bridges Klein's Bottle Schaap's Bookshelf Penroses Stairwell or

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 +1

3-06 +2 +0 +4 +0 +4

3-07 +0

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

3-09 -3 -3 -3

3-10

+1 -3 -3 +1

o i

+6 +0 +0 +4 o i

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

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:

3-12=

3-07o

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 repeated material) of 2-3 pitched percussion and other instruments.

3-12 26 26 26 26

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

3-11i

ad

ad

3-06=

3-05i

a
3-08i

3-10=

3-10=

d a

3-09=

a
3-05o

3-01=

a a

ad
3-02i

3-04i

dd

3-03i

ad

d a

3-11o

dd a

Phantoms and Reflections

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. 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#. Richard Cooke, Cardiff 2008

ffd f a a d ff d ad

ddd f a a f fd

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

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

hf a a f dd a

!O!ung

Ungkue

gd g a d a d hh a f

f gd d

f dd a a f dd a

df

d ad ad d g ad

ah

ad

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.

|Xaise

|Xegwi |

!X

a hd a h h hh

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

d gd d a fd d a d hd

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

dd a a fd d a
6-32=/4-11o 14o 22o; 22i 23 26

Aakhoe

|Xam

ddd

ag ad h a
6z37=/4-14o 19i 5o;14i 19o 29i

dd d a d ad d ad

f fd a d af f d ad

g ad ahd h

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

fg a dd
Skying the Horizon 7z37=

fg d ad

a fd d g

= 5-35

5-11 oi

fg f g a dd a dd

dg a fd

Blue-Town Blues 7z12=

24

oi

a f ddg

fd gd a

5-

urs of

Mulberry-Fresh Morning 7-33=

dd ad
Colour of Strength 7-35=

24

io

oi 5-06

5-28 io

d dd a dd d a

dd a d

a ddd

The Hesitant Breeze 7-22=

5-

dd d a

5-

23 io

dd ad

5-34 =

d a f dg

d dg af

er

d a dd

Ho

dd a d

io 5-32

5-26 oi

d dd

Iron

f ddg a
5-06

Cobwebs of Sleep 7-17=

oi

fg a dd
o

5-16
5z 3

oi

dg a fd

5z 36 o i

dg a fd d g af d

5-22

is work dura of p i t tion for thre flexible instr c h e d e or p m cons uments . It e r c u s ore tant per l f o r y-varied is bui s i o n lt u me rep p o d f w i t eated m hou Each ater ial t r of t he s est stav es s. ix inve which, u pieces rsion cont nder ain , re sect ions genera trograd s three . Th te ea are play ese sec 12 di nd/or stinc ed i tions orde n t , r, a re b a pre-a which repe gree uilt ated d up acco ' avai lable culls' of from p a n mpitch the lead ist focu es; in s free strumen the i n n e s on a t is n r s to e such ubs xp all 1 et, as 2 no loit filled te whil (bla the 5-7 In e st . s c .. soun very cas k) note ded s. e, th whe e (a chos re = lways q notes perp en an 192) ar uavers, e ran d etuo dom in t played ly he in orde 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 by a ), w ectio 'key hich pply ns ' s i othe ignature ng the can be curr r pi to s ent ec t unu sual es. Bew aves of are co of of a c c mbinat i ide n t a ons ls. Rich ard Cook C a e r d i f f 2 0 0 8

Hou rs of Iron Slu mb er a

a d df g

d dg a f ddg af

8i

dd d a
=

5-15

Sl

umb

a dd d

d dd a

5 z1 8 oi

a ddd
dd d a

5-29

oi

dd d

a dd d

dd d

a
Nguma Nguma 5-23i

Kekeya Kekeya 5-26i

dd a
Kanganya Kanganya 5z17=

dd a
Kwaba Kwaba 5-35=

dd d a a d

dd d a ad

d a

ad

d a

Mhasha Mhasha 5-27i

fd a

Kobvo Kobvo 5-30o

f ad

d a

f ad

fd a

Dzogo Dzogo 5-21i

fd

f ad

fd a

fd a

dd a

dd a

f a

ff a

Chokoto Chokoto 5-14i

ff a

d a r c h R i k e o C o diff Car 8 200

Fekeshe Fekeshe 5z18i

f a

ff

ff a

ic mon nhar ys e (defgb, lo es emp ces e 5 not ns that a 4 pie p of the sam ich me ted by h grou s of ), w be crea ignach e E s ativ abcd n deriv c OR g aphs ca nt 'key' ies' er efab paragr e curre or 's e . th ern s t a v new ing patt apply e to the d e r i n g accid r r atu a b o sual . f unu as B# f o are o Bew ls such enta

a dd d

d ad

d ad

d dd a

a dd

dd a

Kwenja Kwenja 5z37=

dd dd a a d dd d

b Zim for with tion g dura h e d lkin xible itc Wa . of fle e p

ork m o r ruments is a w e o r inst p o f e u ion thr cuss b u i l t ried per i s y-va d It ntl e sta con p e a t a l r e e r i t m a ormed perf o u t w i t h s. rest

e ab w

dd ad
Dzetu Dzetu 5z36i

dd ad

er , und hich tinct es w stav te 12 dis a s3 in a ntain yed ener es co rade, g h are pla eated piec g e 12 or retro ns, whic from rep ad le of th p d/ tio Each rsion an ese sec e built u es; the ilst h inve ions. Th order, ar ble pitc otes wh t a 2n ubsec agreed avail all 1 inner s . pre- s' of the exploits s s on ck note ll t n cu 'cu ume ts fo 5-7 bla notes instr mpanis e as th e, the vers, co h ac , suc cas qua sets every ays 2) are (alw 9 In 1 nded nd = sou re en a chos oto he ly w m dom in ran in ed play p e t u o r e per ord t h e ated. not

dd dd a
Gwedzve Gwedzve 5-25i

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ad
Dragon's Breath Cave 6z24o

Stormbird Bay 6-33i

a ddd

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Fish River Canyon 6z45=

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for ion ion urat le d percuss tlyexib ed an of fl ed onst tch work ore pi up of c perform for lt s is a or m bui ich i oduced ece. is h e i thre ents. It aterial w sts intr a p m nd stru peated m with re to e in d re rder tuo, varie o perpe or in o , hich ot ct es w in m ic effe stav ate 12 t a ee s thr , gener are dram n ntain h s co inversio s, whic up ece ix pi and/or section e built es r of th rade lable er, a hese Each r retrog ions. T eed ord he avai its lo f t nde ct sect re-agr p o u t ex p n lls' disti ed in a ted 'cu strumen panists in m ea lay p rep acco lead . the from es; the s whilst ets, e.g y te b-s n ever itch p 2 no I er su all 1 s on inn notes. ded soun , cu k fo tes blac rs o 5-7 , the n q u a v e ) 92 ase c ays = 1 ly ( a l w re All dom he w ran but x are sen s i es c h o ed in iec p y p l a y order p l o ic the e m on trm nota f the nha e es o d. s e ativ ote deriv s i x n eans m e s a m ), which can be ns he cde (fga w sectio l y i n g t es stav app t ne tha by re to i e c e s . natu ted p al c r e a 'key' sig t h e r nusu o of u ch are rent cur f r o m beware s, whi n. sio en d tal tak ver houl acciden s in ers of ist 007 Play ons ass - 2 inati to mb ff co di ed Car ign des e k Coo d har Ric

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The Great White Place of Dry Water 6z26=

Four Finger Rock 6-18i

a fd

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The Skeleton Coast 6z50=

f a ff fd a fd a d

d L an

fd a ff d

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Ang

ad

d a

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d

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of H

a hf f

az al iya t

a ff fd d

a ff fd d

a dd

a ff fd d

ird F ng-B 1i So 7-1

ne ortu

a dd

a dd

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Th e

a hf f

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hs f Sig te o ibu A Tr 7-32o

a dd

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Gh

a ddf h

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ce

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. . . k wor is a x i b l e fle 3+ of s for ent on rati r u m same du i n s t he l. t ed eria m i x share mat es h ted stav de, whic - r e p e a f 4 ly ts o retrogra hich e is loos cons nd s, w e' eces ersion a section om 'tim or 6 pi v h in hese built fr ne-third the t of s. T o . d wi Each ombine t section der, are at half, 8/24 = 4 h, c distinc reed or laying hic /48 w 72 ag 16 ers p prerate orm 144 = t, gene ed in a the perf s bu = aver lay of re p ith two d. Thus s qu ota of a a ead ed qu ns w spee a lly r e cano -sixth usua an agr ned to re one e ds a ar', ngth tes from -hea h 'b s le Note hin eac notes i ition, no each Ric wit add tion of m o n ha rand tchet. I e sec red. rd l orde cro Co midd y be re sual u the ok ma f un s ebar re o l Ca ewa d e n t a B i rd a c c h as iff The -2 suc x . 00 c 6

Sh ira zi

a dd

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s rrow f So o rmy 36i z An A 7

a ddf h

f a f dg

fl h Af roug th oad 7-10o he R T

n ictio

a hf f

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h Mirt r of Give 5o The 7-2

a fd d

f a f dg

f a f dg

a ff fd d

f a f dg

f a f dg

a fd d

a ddf h

a ddf h

f a f dg

a hf f

a ddf h

a hf f

a dd

a a ff fd d

a dd

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Hva

kta lbu

G gddgd d gddg a g dg d a ad

An Infinity of White
is a work of flexible duration for 3 or more mixed or heterophonous instruments sharing t h e s a m e l o o s e l y- r e p e a t e d m a t e r i a l . 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. Richard Cooke - Cardiff 2006
ns

ddd a

ddd g G a hddd a

a f dd a d dd d a f f dd

d a ff d a d d a ff

dd a ddd dd g a ff a ffd
S cot ts N un ata ker

d ddg dda hdf dd a a a dd dd a dd d g G a fd d

Dj ev el e D an se s al

Slakteren

ffd ff a ff a af

dd a
G dd d a df d a

gG

a a ffd

b Is

fd a dd

r ar ie re n

Lulled by Zephyrs
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#. Use 1 of the 4 sets of ratios per piece; one player changes tempo between sections. Richard Cooke - Cardiff - 2006 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. 6:3:2 8:4:1 6:4:3 9:6:2 Tempi (crotchet=) 144=72/48=48/24 144=72/36=36/18 144=96=72/48/24 144=96/48=32/16 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. 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

Lantern Marshes

Cob Island

Buss Creek

dd a d

dd a d

6z42=

6-35=

6-33i

Great Dingle Hill

Blackstakes Reach

Tinker's Walk

6z50=

6z28=

d af dg

6z37=

Sallow Walk Covert

Two Pond Wood

Shingle Street

6z45=

6z26=

fd g a d

a dd

a dd

Moneytree Clump

Silverlace Green

Chantry Point

6z13=

6z48=

fd d a dd

afd

afd

af

fd d a dd

afd

afd

fd d a dd

fdddd

6-33o

af

af a

af

af

fd d a dd

afd

afd

fd d a dd fd d a dd afd

af fd d a dd af

fd a

fd g a d

a dd

a dd

fd g ad

f ddg a

fd a

6z29=

fd a

fd a af

fd a

f ddg a

a dd

a dd fd g ad a dd

fd g a d

fd

a a

fd a fd a fd g a d

d af dg

ad

fd a a a

ddd

dg af d

dg af d fd a

ddd

fd

fd

dd

ddd

fd

a a dg af d a a ddd fd dd

dg af d

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af

dd a d

d a

d a af af d af d a

dd a d

d a

d d af dg

d af
af d

dd a d
dd a d af d

d a
dd a d d a

d a af d

dd a d

d a a fd a dd d afd

f df a

Feuertaufe
6z10o

ff fd a

dg a

dg a

Kampfflur
6-09o

ff fd a

dfd d a

Weltwehe
6z40i

d fd d a

df a

Zwist

dfd d a

Granaten

df a

fdd a

fdd a

fdd a

6-30i

df a

fdd a

dd a

df a

6-22i

Note-heads are usually quavers but, read as within each 'bar', an agre qu ot a of ra nd om ly -c ed ho se n no te lengthened s ar e to a crotch et. In additio from the mid n, notes dle section of each bar may reordered. Pl be ayers need to be aware of some un usual accid entals, aiding invers ion, such as x c. Ri ch ar d Co ok e C a r d i f f 2 0 0 6

ff a

ff a

fdd a

df a

dd a

dd a

fdd a

d fd a

h a l f, one-third or one-s ixth speed, where =144=72 /48=48/2 4.

dfd d a

ff a

d fd a

6-34i

dd a

dfd d a

df a

6-27i

ff a

d fd a

6z12i

d fd a

Urwanderu

ng

dg a

dfd d a dfd d a

ff a

Triebkrieg

d fd d a

dd a

Patrouille

dd a

d fd a

d fd d a

ff 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 4 staves combined wi which, th inversion and retrogra generate 16 de, distinct sect ions. These sections, wh ich are play ed in a pre-agreed order, are bu ilt fr om 'ti m e' ca no ns with two of the pe rf or m er s pl ay in g a t

ff a

ff a

d fd d a

6-18o

dg a

d fd d a

Werttod

d fdd a

d fdd a

d fdd a

f df a

d fd d a

The Sorrowful Dark of H ell

ff fd a

ff a

f df a

6-11i

d fdd

ff fd a

6-05o

ff fd a

Angststurm

ff a ff a

6z25i

ff a

Zagen

d fdd a d fdd a d fd d a

Freudenha

d fdd a dd a fdd a

f df a f df a

ff a ff a

ff fd a dfd d a dg a dg a f df a ff fd a dg a df a

f df a d fd a

f df a

ff fd a

ff a

d fdd a
us

dg a d fd a

d fd d a

dfd d a

ff a

dd a

d fd a

df a

fdd a

a ff d
5-19 i

fd af

5-05 i

Horn and Hardart Automat 7-04i

o 5-19

Baby Doll Lounge 7-09i

a f dd afd

i 5-10

Vehicles & Replicators

is a work of flexible duration for 24 pitched percussion instruments which share the same constantlyva r i e d r e p e a t e d m a t e r i a l . Each of the three movements consists of three staves which, when combined with inversion and retrograde, generate 12 distinct paragraphs or sections. These sections are constructed by patterning pitch data, not too rigorously, in a variety of ways:
1 2 3 4 5 6 7 accretion: gradually extending the line from 1 to 12 notes atrophy: shortening the line [1..12, 1..11, 1..10 etc] random start-points, playing notes n..12 random end-points [1..n] shifting: sequential frames of six [1..6, 2..7, 3..8 etc] framing: playing random frames of six notes [n..n+5] culling/extraction: omitting notes at will

dd d a fd d a

a f dd

ffd a

5z

Revolving Doors 7-04o

36

Notes sounded (always quavers, where = 192) are played without rests in moto perpetuo. Richard Cooke - Cardiff - 2005

g ad

a fd
G

a ff d a ff d
g a f dd a d

a ff

5-04 o

dd d a

a f dd

5 -0 7i

a fd d

5 -0 2i

o 5-02

La llorona 6z10i

La laguna que hirvi 6-15o

El pjaro ceniciento 6z17o

afd

a ff

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 ways:

El templo de paja 6z40o

La casa de mando 6z25i

afff

f af

La lluvia de chispas 6-22o

Los hombres de dos cabezas 6z36o

Una espiga de fuego 6-31o

d af g

f ad

ffd

d af g

ffd

d af g

f ad

f ad

fd

d af g

ffd

ffd

ffd

d af g

f ad

fd

d af g

ffd

f af

afff

afff

afff

f af

ff

f af

afff

afff

ff

1 accretion: gradually extend the line, playing notes 1, 1..2, 1..3 etc 2 atrophy: gradually shorten the line, playing notes 1..9, 1..8, 1..7 etc 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 Notes are played as quavers, where = 192, in moto perpetuo without rests. Richard Cooke - Cardiff - 2005

fd ad

a ff

afd

d afd

d a ff

fdd

afd

a ff

fdd

fdd

fd ad

a ff

afd

d afd

d a ff

fdd

fd ad

afd

a ff

d afff d

fd ad

afd d f af afff d

a ff d

f af

f ad

d af g

ffd

f ad

d af g

a ffd

dd d

d e

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

ed

d d

d d

ed f o' two tch is a 2-4 pi t up o perform e r p e t u for buil aterial t o p t is ated m n ' m o I e i thre repe t s ins d e r a res cont un iece h i c h , d / o r p 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

e d d e

gh t e Ni tion, a n th lls i exible durents. we of fl um d at D nstr rk th ment wocussion i ntly-variet d N -move ed per consta withou

d d

d d

of Lakeess The dern Ten

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. o sp ed) tran g r e e d head itted e - a mpty- om pr y be e (e be Whit may erial ma notes s , at note oxed m ill. All quavers . w 2 b and ted at ad as 1 9 a re repe = be 005 - 2 ould sh r e iff Card he w ke Coo ard Rich

dd d d d d d d

ed

ed

e d

dd d a

cean he O orms T St of

d
a

dd d d a

dd a d

ed

dd d a

d d

o Re t

onat s

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

4-10=

Richard Cooke - Cardiff - 2005

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). All notes should be read as quavers, where = 180 - 190.

f af

4-11o

4-29i

4-11o

a
4-23=

f af

af

4-13o

4-14o

ff a

4-08=

4-14o

4-16o

4-23=

4-22i

ff

ff

4-20=

af

af

f af

af

4-11i

af

4-26=

4-27o

f af

4-27o

4-26=

4-16o

4-10=

ff a

ff

4-13i

ff

f af

af

af

4-14o

f af

f a

4-14o

af

4-13i

e e
The Streets of Your Glances

4-20=

M M

us c usiic
4z29i

Odes de Ricardo Reis

Um livro de Bernardo Soares

The Kingdom of Gaps

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 helps to explain some highly unusual accidentals. Richard Cooke - Cardiff - 2005

Um ensaio de Charles Robert Anon

f dg f f h a hh ahh ffdg ah

h hd a h a h d hf a d

7z17=

7z37=

f fd dga a f f dd ad

O dirio de Vicente Guedes

h d ah f af h d afd

Um conto de Alexander Search

hd d a ff d dd g a dd ad

dd d g dd g a a ad

ff d ah f a gggg ad

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

Conselhos do Professor Trochee

Tradues do Herr Prosit

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.

d gg a f f ad g d g ad

7-33=

fd d a dg

ddd

7-15=

dd g a fd d a

d gg ad a fd f f a ff
7-22=

f ff a a h f ff g ah f

h h ff d a a dd f ad
7z12=

dd g g dhg a a d g dg

af

7-34=

The Night of Acacias 7z17= 4-04 oi

Dome of the Temple of Happiness

-4

dd

is a work of flexible du ra ti on , fo r 2- 4 pitched instruments p e r c u s s i o n co ns ta nt ly -v. It is built up of material w ar ie d re pe at ed without rest hich is performed s in 'moto perpetuo'. Each of th e 3 movem staves whi ch, under ents contains 3 retrograde inversion and/or transp up/down a plus Major 3), ge osition (+/-4 mean sections. Pl nerate up to 24 distinct agreed orde ayers repeat these se 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 s allow no tes to be rounded All notes sh reordered. ould be read as quavers, where = 192. Richard Cook e - Cardiff 2004

dd

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

dd f a +4 a

-4

-4

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

d dd a -4

+4

a +4

dd d a

d a -4

+4

a +4

+4

a -4

fdd a
a -4

dd

a fd d

+4

dd

a d

-4

a +4

dd

dd

a dd d

-4

a +4

A Garden of Forking Paths

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

e d e d d d e d d e d d d d d e d d e d d d e e d d d e d e d d e e d d e d d d d d d d e d d e e e d d e d e d e d f d e d d d f d e d e d e d d d f e f e d d d d d d
Una cornice di castagni

d d d

Un sipario di cipressi

Un fazzoletto di terra

Un ventaglio di collini

d d d d d d d d d d d d e d

e d d d

d d d d d d d d d

d d d d d d

d e d e e d

d e

d d d

Una fascia di pioppi

d d

Un ciuffetto di querce

e d e

d d

e d d d

Una manciata di rocce

d eUn sfondo d'alberi annosi d d d e e d

e d d e d e d 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.

Briciole del passato

e d

All notes should be read as treble clef quavers, where = 192, and are performed without rests in moto perpetuo. Richard Cooke - C a r d i f f 2 0 0 4

ffd fdd fdd fdd fdd fd d fdd fdd

s ne ig s fo ts ui rt

fdd fdd ffd ffd

05 6i

ffd ffd ffd ffd fd fd fd fd

us ill n io 18 6o s Le p

ffd ffd
u lle ei rs i 30 6-

fd

s De

fd

es om r

es

de

n le

de

ns ai

Abstracts & Chronicles

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.

fd fd f f ffh ffh ffh ffh ffh

n oi e td d r pa t6

fd

ffd ffd

c ou

ffh ffh ffd ffd

1 z4 i

ffd ffd ffd ffd

Le

ffd
i 43

nh bo

eu

da

ns

le

in lo

in ta

6z

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 2004

Le

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

Gilded bu

tD

ecaying

d s a nd R un

Cl u s

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.

6-31i

te

es

tless Col

3i

ff d G

R i c h a r d C o o k e Cardiff 2 0 0 3

ains of H

Circle

ff

ff G

ver-Clo Ne

ng si

d the Re an

6z

i 19

63

3i

az

y Days

G G

The An

ff ff

d dd

f df

dd d
h of t h e uis

uid Gra s ng

d G f df

verse So Di

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.

6z4

G G

d dd

d dd G G ff

fd f

d
Ga
rdens

d
G

d
dd d G G d dd

G G

fd f f fd
rs ou

of Popp i rs

in the L a es

6-1 6i

ff d

rrid Sky To

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Rid dle

Th eS tor m

for to f

sa nd Ke nn ing s

rpe

Se

Th eC om

af

ad

dd a dg a a f dd

dd a a a fd d

16+

18+ 27

=/4 -

/4z 29+ 13+ 19

7-2 2

7-0 1=

is a rep keyb o p e eated ard rfo ma work rm of e r teria Eac s t r l pla flexib h o ivin le y pre g ed w dura fac f the itho com ed tion for fou c o n ut re , bui 12 bined by six r pie lt ces s t a sts, are distin with possi nt wit up of inv ble c consi bui ct p v a r h th pitc sts ers ara lt u le e iat ion qua hes; p fro grap ion a f/'key of a ' si . sin ver in e m re hs o nd gna and ret gle ver s, rs pe not perf wher y cas ated ectio rogra tures stav e de, ns. 'cu orm e ate w e, d. R gen hich, ed = the n lls' o The est s f e Tw s m in 'm 192 otes the 1 e sec rate o )a s oto ay add sw re ound 2 ava tions be itch i ins perp rand ed ( ilab ing tional e l ert the mo ed tuo' omly alway e for vem in cho s not t dra s e-p ents ma he or en Ric att tic der can har ern effe dC s o b ct. ook f 7 e cr e-15 eat Car and ed b diff 7-1 7z3 y -2 5= 003 7.

d g a g a dd d d a dd
Da ug hte r of Nig ht

nts

/4-

03+ 11+ 10

d ad ad a dg

Th

eH o

ard -H

old

d a ddd a dd d a dd
7z3 7= /4of He roe

of

Sh

elt e

rin

gS hie lds

22+ 1
s

a d a fd a dd

4+ 12

Th e

dd gg dd a a ff dd dd ff dd ff a a a a
B B

wild gee se t ake fligh t

/5

o 07

The

dd a f ff ff c ff c

d a

dd d c

s ess p in ptin f m f em h o cho A e An e

d d a

c c

ff ff a a ff c c

dd f a df f a

0 8-

fh f a

9=

ffff dddd dddd a a a a a a a ffff ffffffff a dddd ffffffff ffff c c c c ffff

8 3 8-23 =/5/ 27oi 7 i

ar ar

r tion, yboa a ke le dura ated is repe hout lexib of f up of wit er yed erform n. ilt u pla b ial e p iatio ater ith th nt var m , w nsta of a ests for co r sists sible n ng s co x pos aimi iece with p si ree by ined stinct b th d di the com face h of ve pre which, rate 12 built up ; ac E s sta gene tions are pitches , ture ingle ' signa ograde, s sec ble vers 'key nd retr s. These 2 availa ys qua ed in a clef/ n a (alw perform duced he 1 ction io vers hs or se lls' of t unded in and intro ce. grap ted 'cu otes so chosen may be h e p i e ra pa omly he n ests epea d t m r case, t re rand tated. R t o e n fro a o r very 192) order n orde in e e = h in ' in t 003 or re whe erpetuo f f e c t ff - 2 i e Card op ke 'mot a m a t i c oo dr rd C for icha R 25oi =/58-28

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

e e i fi d ds e el f of w i in te te r

dd a
-4

i 5z38

o 5-06
= 7-22

g
Un

dd a
-4

5-

de terr

b l e d ca

= 7z17

ai

ns nu

chaleur

o 5z38
5-11

d ddg

5-06

d ad

a dd

-0 9

z1 8

5-23 +4 i

5z36

i -2

Un p

es

gn

nnue co

a dd

a dd

-5

5-30

5z 1

d dd a

d d dd a

5-29

51

6i

a dd

Un pay

5z36

en

sion in

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, hout th t cons Each he tant of th varia pere fou thre tion. e r pie ces play staves cont wh ed f o r m in any o ich can ains rde b para a s e c r; thes e e tion grap h repe o ated based o r n 'cull the s' of t ava welve il pitc a b l e hes .

Incr oya bles Sah aras

5-23

d a dd
+2

d a dd
516 o
-3

d af

5-20 o

Ri char d Co Ca o r d i ke ff 2 0 0 2

5-11

+4

5-20

d a dd

d a dg

d af
s
7z 12 =

5z38

ville ac

In ev er whe y case, re the n otes = perf orm 19 2) a sounded nota ed in re ra (alw 'm t e n a retro d. Mat oto per domly c ys qu pe er h g r osen avers, i t acco ade or al can uo' in and the inv rdi b o rder plac ng to th ersion, e play e ed or es d in nam after t emiton transpo he e e s ; re sts m pitch- indicato ed for class rs ay b dr e se in orde amat r to ic effe troduce tct d end t he p or in iece .

-4

+4

ho

rizon

5z 18 i

09 i

a fd

a dd
s
Un

5z 1 7

a ddd

a dd

n m o ta

d a
+4

ad

5-29

o 5-30

de t 734 =

de dim

A Forest of -5 Spontaneities o 27 is a 4-movement 5 d keyboard work of flexible al W duration, built up of repeated n e material played without rests, with the ef Ti performer aiming for constant variation. m I 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.

Im

Fo

rs

e us ha t

i+ 27 5-

Richard Cooke Cardiff 2002

In

de

fs ol W

l ch

uc

0 -2 t5

i Im

be au Z

re rk

is

i 29 5-

Book of the Litany of Ra

6z11i 168 6z11i 202 4-16i 230 6z48= 96 6z48= 42

Book of the Hidden Chamber

6z11i 90

de

de d ed d e

d de d d d d e e d

ded d e d de d

6z48= 86

d d d e e

e e

5z37= 114

5z37= 174

4-23= 106

5z36i 94

5z36i 94

d d d d

e d

d ed

5z37= 126

5z37= 128

3-05o 112

4-04o 114

4-02i 142

5-37= 126

5-23o 130

5-23o 266

6z11i 114

5z37= 140

6z48= 132

*3-07i 84

5z18i 76

*4-14o 108

*3-03i 132

d
*3-07o 64
5-30i 140

e
5-35= 98

5z37= 174

4-10= 130

5z18i 102

*4-18i 88

f
*4-12o 100

d
f

*5-31i 224

*4-13i 190

*4-26= 156

*4-14o 248

*3-03o 136

*3-04o 102

*4-18i 178

4-19i 130

4-22o 86

5z35= 70

4-08= 230

4-16o 216

d d

4-16o 104

4-07= 76

f f

f f
Book of the Caverns

*4-18o 142

*5-31i 156

d d

*4-18o 144

6z19i 144

5-32i 182

6z19i 94

5z18i 90

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.

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, Cardiff, 2001

7-32i 280

6z28= 106

6-27i 160

*5-31i 88

6z29= 176

5z18o 144

5z18o 160

f f f f f f f
Th

f
f f

f f f f
6i z4

f f f

f
o hi fW te

The Island 6 of Apples s ut Called Fortunate o Sh is a 4-movement keyboard e re h work of flexible duration, built up T of of constantly-varied repeated material ll i H which is performed without rests. e

e lv Si

33 6-

e Th

nc ra

f
f f f

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.

f f f

f f
f
o w fT o t is M s = 50 6z

Richard Cooke Cardiff 2001

f f f f f
e Th l al W

h fW o

r pe is

6z

47

e Th

n ai Pl

es sd pay Au

us e lot rs d geu man

ff

A Sea of Uncertainties
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.

f f

Les ven ts d

e l ou tre

ff

ff

ff

ff

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.

= 192

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.

f
L es
b u

f f

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
Ach
loo

fs d u so leil

Richard C o o k e C a r d i f f 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

s d fille L es

dd d d
Quelli che va
rina ossess alle B

f
o

f ff
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 .

d d

Ba

d dd

o nn

les & til s

-

ff d ff e
d
+4

- Ci ch iva e

e d e d

dd dd d e
o

il tram

dd

a h

tto de

in

Eng
dd d

= 192

es

e e

d d
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. Richard Cooke, Cardiff, 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
+3

+3

d
+3

d
Caravan & Robber Stories
is work a of keyboard flexible duration, built up o f material without r e p e a t e d played

The

music

should

be

read in bass clef or one octave higher . Each f o r m s a up 'culls' w i

rests, h e

d
+8

s t a v e

paragraph from

built

repeated

d
pitches. case, played the (always a r e chosen, each time, three q u a v e r s ) randomly with the isolated stave (pitch-

p e r f o r m e r a i m i n g c o n s t a n f o r t

or abstracts of the 1215 available In

variation. It may be played as one continuous single or

every notes

m o v e m e n t s ,

different

= 192
+3/-5

and performed in ' m o t o

classes

( o)
bridge

Caravan and Robber Stories

F ) the a

d
d
to the indicators above +3 stave, = raise etc. be a Rests inserted for or in semitone shown

per -petuo' order in notated.

E a n d acting or

as

coda.

Eight of the bars may b e t r a n s p o s e d according

PC

Sets:

(7-32)

6z29: 5z18 5z18i 5-31 5-31i 4-12i 4-13 4-13i 4-27i

-5

where

Minor

3,

may 6z19i:5-16i 5z17 5-22 4-19 4-03 4-07

+3

dramatic

effect

order to end the piece.

4-20

3-04 R i c h a r d C o o k e 2 0 0 0

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

C a r d i f f

4-16

4-27

+5

df df df
Transports & Ecstasies

df df df df

df

= 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 .
He

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 . The music is normally read 1-2 octaves below treble clef but staves may also be transposed according to the ces semitone indicators shown pla in below the tempo ks ac markings (thus 4 cr means up or down rth Ea a Major 3 etc). Richard Cooke Cardiff 1999
PC Sets: 6-20= 4-20=: 6z49= 4-17=: 5 - 2 7 i

at
d an

m sum

>= 192 4 5

er haze

df

=< 192 3 5

4 - 2 6 =

4-12i 0a +1 d +5 a

15i 0a -1 b +3 A

2o

5i

15o 0b +3 b +5 b +4 a

12o

3=

21= -3 a - 5+1 cd

11o

11i

10= 13o +1 C +3 a +3 C -4 a

13i

8= 27i

29i 27o

29o 16i

22i

26=

PCSet Citt... 7-01= 7-33= 7-31i 7-21o 7-35= dei tragitti diversi dalla polvere giallina di milioni docchi a forma di medusa dellarmonico disegno

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

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

-1 C +3 C +3 b -2 b -2 c 0C

0 4-05i

0C

0D 0b

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

+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 +5 C -2 c 0D

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

Cities of the Here-Below

4-12o 4-10= 4z29o

4-11o 4z29i

*other transpositions exist 3-10= +3 +4 -3* +1 0 8i -3 -2* +2* +1 0 5o 5i 2o -1* +2 +3* -5 0* 8o -3 +2* +3* -5 0 2i -5* -6 -1* +3 0* 7o -4* -6 -2* +3 0* 7i +6* -3 -4* -2 0* PCSet 7-01= 7-33= 7-31i 7-21o 7-35=

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

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 Cardiff 1998

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.

df

= 132

df

df

-2

df

df

df

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

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

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

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

+4 -4 +4

k dk k k kd

k k
+4 +4 -4

k k dk d

-4 -4 +4

dd k
i s work duration mentation of and built up

k
a H a r flexible instruof move

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

k
through the material independently but they s e c should t i o n always t o g change e t h e r .

-4 -4 +4

d
-1 -1 -5

d d

+4 -4 +4

d
= 144 = 72

Carnival of Poetry and Lies mony players

Streets & Broad Spaces

which permit performers choice in the shaping and ordering of events
are essenlayers of pitches reflect and the transpositions harmony of the current section. Crossed stems in the descant indicate that only 1 of the 3 notes

repeated material shared by all (3-6) players. It consists of 3 types of material which may (8 be loosely staves

A Tower with Terrass Round

is a work of

d d d
d d

+5 +5 +1
s

termed assigned 'descant' t a v

'harmony' to 2

inner

Descant

and

melody

percussion

instruments), and bottom

tially decorative. They employ independent tempi (crotchet = 192 and 108 respectively) but choice

and e s

'melody' ) .

The of

tetrads hary

the o n

(top

+4

should

-4 -4 +4

flexible and ation

duration

instrumentbuilt up of

+4 -4 +4

layer combine create to a

repeated ial shared

materby all

(4-6) It

players. of 2

d
+4 -4 +4
f t

7 - n o t e h a r-

d
+4

-5 -2 +1 +4

should be played and, in the the melody, 2 notes in d that may either e r .

-3

sound o r

consists of

m o n i c i e l d

-5 -2 +1 +4

ff
d

-3

-2

d d

0 -4 +4

types

material may be

The ic of

harmonstructure the piece b e to

which loosely

w h i c h , through a series of transposii o n s ,

d
-4 -4 +4

termed

+3

+3

'harmony-melody' (11 lower 3-4 of at

+4

= 144

m a y likened

staves

for

performers, whom half 1 plays

transforms

speed)

and ( 2 of

+4 -4 +4

into

other These

d
The 11 tetrads layer of the to melody combine create a 7-note harmonic field series which, of through a

' d e s c a n t ' upper staves

o p e n - e n d e d , a s c e n d i n g and/or ing descend-

d d
The 11 mini-melodies are seldom repeated within a part: link instead, them performers 'super' them into playing melodies,

fields.

transpositions a r e n o t a t e d stave in = 3 etc) is a

d
make different

d
+4

a kaleido-

dd d

-2

-5 -2 +1 +4

with

new

sections formed by shift-

-3

above

semitones raise and a

(+4

arpeggios).

Major

where

there

d
the varineed to be and tonality Players are

ing

and

ff

-2

-5 -2 +1 +4
e

r e c o m b i n i n g l e -

+3
shared The sections, 16 the by

The

order for

of the

choice (ie -5 -2 +1 +4), the 2 players T

m e n t s . h e 7

sections

entire piece must be agreed before

selections. The resulting aggregate harmonies sections underpin the

h a r m o n i c areas 3 share (A only C

dd

is a work of flexible duration built up and of repeated w h i c h i s

instrumentation m a t e r i a l all

The Bridge of Follies

of which tend to should be juxtapose only 1

staves order

transpositions, into 3 other are in a

each

performT h e (zero)

ous

of

piece

pitch-classes

transforms fields.

a n c e . original

more or less in the order shown on the score, reading clockwise but starting at different points of the

agreed before each performance: the original (zero) transpositions the are the most imporconstiof refrain.

and E) as if the piece is examining from should to seven different treble

A Minor

performance:

players score

will or

Transpositions above (+4 stave =

viewpoints. clefs but

= 144 = 72 = 36

separated

on

the

which

hold

notated

transpositions should be seen as t h e m o s t

tant since tute

section they as a kind

assume

semitones

raise

acts

free

shift

octave/register.

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

Major 3 etc) and for each new section of the piece

cycle.

Empty

note-heads indicate
Empty note-heads in the harPC Sets (9-10): 7-16o 7-19i 7-32oi 7-10i

important, t h i s acting o f

with

without

stems

in a canon by augmentation. Crossed stems show

players together move on to the first, second or third set of transpositions.

s e c t i o n as a kind

that these notes should be sustained up to 4 for anything beats.

mony show dyad pairs that can be omitted to create a hybrid

7-25i

7-28i:

4 2 1 3 2 1

most

part smooth

outlines

are preferred.

Descants

5 - 3 1 o i : 4-13oi 4-

4 - 1 2 o i

played in sequences such as 432123/421321 or semiquaver chromatic glissandi (D-G/G-D).

r e f r a i n .

quaver

4-18oi

The

descant

layer

should

be

seen

as

Harmonically the work explores pc sets containing minor large numbers of major/ assume

essentially decorative. Arpeggios may be played in either normal or triplet semiquavers and range over several octaves.

triads.

Players

should

treble clef but are free to shift register.

dk k k k k k j k

D G

Harmonically

the

work

explores

'diatonic'

tetrads

+3 +4 etc

positions (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

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

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.

+2 3

ff

-2

df
-2

+2 3

+2

ff

<> -2
3

df

tr

df

<> -2
3

df

+2

<> -2
3

-5

f f

(-5)

-5

(+5)

(-2)

-5

(+5)
players. to 16 each well-

(4-6)

correspond agreed

before which

sections or 2

are

pitches

in

common.

e+2 q=

6 8

that notes may be reordered but for the consist of patterns of 6/8 with notes

4 3 2 1 2 3

within

chromatic

context.

Optional

trans-

D G

4-14oi 4-22oi 4-23

Richard Cooke Cardiff 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.

A House of Many Mansions

: ce 6 4 N e+1 N q = 8 =120 g#f g#e

Notation Guide 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 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 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.

d
4

d
4

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. CF A>F Cf 3 x x x x x 3 x x 3 x x 4 4 2 A> a A > C 3 3 3 3 3 x 3 x 4 3

2-5 8
(

=112

etc

( ( (

7 8

ddd

Room 2 has only 4 harmonic fields (usually consisting of 6 pitches): aFfE, Ec#D>A 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)

=112=56=28
: +3

(3) Room for Rhetorical Discourse of Room 2 result from

f
-5

ff

+4

=112

dddde deddd : gdddd [

d d
: :

dddef dedee deeee

:

dd
:

f ff f

f
f

dd d

=120=60=30

=120=60

f
( (

ff

The 4 cumulative melodies 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.

Room 3 E> F> A> G# Level??

cf 3 x 3 x 1

cF 3 x x x 2

Example: Juxtaposing chords A> + a in the harmony produces a key signature E>+F>+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

dd

8 a6

( (

( (

( ( (

ff

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.

=120=60=30

(2) Room for Justice & Moderation T h e

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 E> + F> + G#). The table gives an example of how sections may be ordered and suitable levels chosen.

5 8

()

af (CF)

=96=48

()

CE

Cf

A> C

c f Ef c f cf

=120=60=30

f c cf d d

4 +5

d d

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.

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 A>E 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.

+4

+4

: EC

af

=96=48
(

ca 3 3 x x 5

:
(

af

=120=60=30
(

(1) Room for Enquiry & Reflection

Harmony Layers (usually 2 players)
( (

=96=48=24
Melody Layers (1-3 players) +4

(4) Room for Speculation & Doubt

+4

f
+4 : ea (Ea)

Cf

af x x x 3 2

fd

= 112 = 56 = 14/28

The Cauldron of Plenty

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 d

cddd cd f c

= 120 = 60

df

= 120 = 60 = 40

bf

= 60

cf

af

= 120 = 60 = 40

bf

cf

R i c h a r d C o o k e Cardiff 1996

d f f

d f de

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.

ac

a cc
72

df

= 120 = 60

c c

af

cf f cf

= 120 = 80

c ff

= 120 = 80

f c f cf

= 152 = 76 = 38

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.

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.

af

= 120 = 60 = 30

df c f

cc

cc

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.

= 120 = 60

df

= 120 = 60

df c f

af

dd

df af

fd

ff

= 125

df

df

= 125

df

fd

fd f
= 72 = 36 = 9

= 72 = 36 = 18

The Book of Encounters Chapter 2

c Ascent Departure d

Dawn Antiphon

d
f
. .

Dream Odyssey
3

f d
. . . 3

d s f dd
. . a

d s

(n )

d
.

. .

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. 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. 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. 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.

o n (n )

b 6

-3 . .

. -5 . -6 .

-6 .

-6

-1

-6 .

+6

+1

dd
+4

dse
, . .

+1

+12

A Landscape of Veils Rain Talisman

+12

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.

o d

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.

ss

. .

. .

s s

+12

<>

. .

s s

s f

s . f .

+5

. .

ss

Pool of Hypotheses

. .

. .

ss d

ss
+7

+12

ss

-6

-6

. .

f f s

f f f

s ..

s.

. .

s ..

. .

+3

ds

. .

. .

. .

. .

-3

s ..

s.

f f

-3

s ..

-3

s ..

. .

-4

-3 .

. .

f f s

-3

. .

f
. . .

f
(n )

f o

f f
ff

f
d f

d d

s
. .

+6

s
. .

ff

fs
. .

ss

. .

sf s
+12

+12

ss

ds d

ds
. .

. .

ss
+2

d
. .

. .

f d e fd e
A Stream of Toccatas

d f d e d
. .

d e f d d e f

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.

d f f

dd

+12

o n (n )

o n (n )

t o n (n )
s
6

(n )

f d e d e

d d e

. .

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

+2

A Dominion of Light

Music with Shadows

f f3

d f d f

d d f

f f de d o f d f

f d

d f d f d

ff f

d d f f f e f e f f f f dd
3

ffe

d f

d f f f

f fd s dd f
3

s d s s dd
3

f d d f n d3 d

dd

s so fff

s s s ss s d d s dd s
3

s s s s f

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

s s

Habitations of Fire

ss

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.

s s

..

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

3 f fd .d e

ddd

d f o sd f s
3

ff d

f
Music of the Languid Hours

ff

f n.

f f.f d f f d

gliss

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.

8 b5

. .

7 8

. .

. +4 .

dd d d3 f
. . .

f f d e e d f d f e

ff d

d f d f d
(n )

os dd
s
+12

An Accompaniment of Wings (o )

. . .

f f f

f ddd

dd

f
(o )

(n )

5 8

f de

. .

dd

d f f ff

+4

f d

Shores of Contention
+2

The Book of Encounters Chapter 1

( ( ( (

df

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. 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. 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