graphical scores 1989-2012

8/2/2019 Graphical Scores 1989-2012

1/44

RichardCooke

TheSultrySouthTheRebirthofWonderBigSkies,OpenRoadsCut-UpsandDreamachinesTheFarSideofYonderAmriques( BitterAmericas)

TalesfromaTimeofDisturbance

ORLookingafterCountryElektroika( EastofMoscow)MusicforaRoadMovieSymmetries&ManifoldsPhantoms&ReflectionsHoursofIronSlumberWalkingwithZimbabwe

ALandMadeinAngerTheGhazaliyatofHafezofShirazAnInfinityofWhiteLulledbyZephyrsTheSorrowfulDarkofHellVehicles&Replicators

NdthatDwellsintheNightMusictoResonate

TheKingdomofGapsDomeoftheTempleofHappinessAGardenofForkingPathsAbstracts&ChroniclesAugurofAutumnRiddlesandKenningsDaysoftheAppointedTimeIncroyablesSaharas

AForestofSpontaneitiesHieroglyphs&SpellsTheIslandofApplesCalledFortunateASeaofUncertaintiesBastilles&EnginesCaravan&RobberStoriesTransports&EcstasiesCitiesoftheHere-BelowStreets&BroadSpaces

AHouseofManyMansionsTheCauldronofPlentyTheBookofEncounters

OR

Formusicdownloads ,pleasevisitandfullinformationhttp://richardcooke.eu

http://rcooke.free.fr

2012

2011

20102009

2008

20072006

2005

2004

2003

2002

2001

2000

19991998

199719961989


2/44

G

is a work of flexibleduration, for 5 - 8 mixedinstruments. It is builtup of constantly-variedr e pe a te d m a te r ia lwhich is shared by allp l a y e r s a n d i s

p er f or me d w i th ou trests in .E a c h o f t h e f o u rmovements contains astave of 3 bars which,u n de r r e tr o gr a de ,i n v e r s i o n a n dtransposition (where+/-1 mean up/down asemitone) generates upto four distinct sections.

Players repeat sectionsin a pre-agreed order.They may vary materialb y o m it ti ng wh it e(empty-headed) notesand alternating noteslinked by forked stems;pointed boxes indicatelocal repeats whilstr ou nd ed boxes a ndcrossed stems allownotes to be reordered.All notes should be reada s q ua ve rs , wh er e

= c i r c a 1 7 0 .

Richard Cooke, 2012

moto perpetuo

SouthThe Sultry

a-5

-5

add

f

TheB

odyElectric9-09=

:

:

a-5

-5

add

Halcyo

nDays9-09=

fff

:

:

ddff

a-2

+2 a

dd

f

Room-shadow

sand

Half-lig

hts9-06=

dd d

g

:

:

a4

4 addd

f

TheRunaw

aySun

9-12=

d ddd

:

:


3/44


4/44

Azldruhs (TheGreenDress)8-23=

aad d

ddd:

:

a6

6

ad f

Olg

a8-09=

dff

:

:

a6

6 af

C

sendle

t(S

tillLife)8-0

9=

df

:

:

a6

6

ad

f

Fiatallany(YoungGirl)8-0

9=

d

ff

:

:

a 6

6

add

Apca(Nun)8-25=

dd

d

:

:

aaddd

Zenszek

(Musicians)8

-23=

dd:

:

a

affdKgyb

uvlo(

Snak

e-ch

armer)7

-01=

df

:

:

a

afffd SrknyokKztt

(Between

Dragons)7-01=

ddf

:

:

a

a

ddd

Tj

(L

and

sca

pe)7

-35

=

d

:

:

a

add

Meseszp(Fabulous)7-35=

d d

:

:

a 6

6a

dgffTermszetanya(MotherNa

ture)6-07=

ggdd

:

:

a

4

4

add ddg

lotn

cosno (Seat

edDanc

er)6-2

0=

dddd

:

:

G

is a work of flexible duration,for 6 - 9 mixed instruments.It is built up of constantly-varied repeated materialwhich is shared by all playersand is performed withoutrests in moto perpetuo. Eachof the 12 movementscontains a stave of 3 barswhich, under retrograde,inversion and transposition(where +/-1 mean up/downa semitone) generates up tof ou r d is ti nc t s ec ti on s.

Players repeat sections in apre-agreed order. They mayvary material by omittingwhite (empty-headed) notesand alternating notes linkedby forked stems; pointedboxes indicate local repeatswhilst rounded boxes and

crossed stems allow notes tobe reordered. All notesshould be read as quavers,where = circa 176.

Richard Cooke, Cardiff 2011

OpenRoadsBigSkies


5/44

generates up tofour distinct sections.

Players repeat sections in apre-agreed order. They may

vary material by omitting white(emp t y- h ea d ed ) n o te s andalternating notes linked by forked

stems; boxes indicate loca lrepeats whilst crossed stems

show notes may be reordered.All notes are read as

quavers, where = 160.

R ic ha rd C oo ke-2011-

is a work of flexibleduration, for 6 - 9 mixed

instruments. It is built up ofconstant l y- var i ed r e p eat e d

material which is shared by allplayers and is performed without

rests in . Each ofthe 6 movements contains a

stave of 3 bars which, underretrograde, inversion and

transposition (where +/-1 mean up/down a

semitone),

moto perpetuo

Citiesofthe

Red

Night

a

a

ddd

:

:

a

af

d

dg

:

:

Side

tripping

Interzone

aad d

d::a

addTornadoAlley

d::

G

aa

ddd: :

ThePlaceofDeadRoads

aa

d dd: :

CobblestoneGardens

Cut-Ups&

Dreamachines


6/44


7/44

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

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

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

2-01 2-02 2-03 2-04 2-05 2-06

TheKatydid'sWarningTheRattlesnake'sRevenge

HunterandBuzzardTheMounds&theConstantFire

PemmicanManandSpider

ArtichokeandMuskratRaccoonandCrawfish

TheMysteriousButteCoyoteandPorcupine

PCset5z18i5z18o5-19i5-28o5z38i

5z38o5z36i5z36o5z12=

G

Am(or ) is anine-movement work offlexible duration, built up ofconstantly-varied repeatedmaterial shared by allplayers and performed inmoto perpetuo withoutrests. It is scored for threeautonomous groups (eachp la yi ng a t d if f e re ntoctaves) of 2-3 percussion

or string instruments.

Bitter Americas

riques A movement is created bylinking all six staves inspecific transpositions.It is possible to createnew staves by swappingnote patterns (but not'key' signatures) withineach pair (2-01 and 02, 2-03 and 04, 2-05 and 06);a further option might beto substitute or add thematching (dyad) material

in Music for a Road Movie.

Each stave generates 4-16 distinct sections, usingtransposition, inversiona n d / o r r e t r o g r a d e .Transpositions are shownb y t h e s e m i t o n eindicators in the tablebelow, where -4 meansdown a Major 3 and +0 isas written. The sectionsare performed by thethree groups in their own

independent order.

Players may elect to omitwhite ( e mpty- headed)notes, to alternate notestied by forked stems andto reverse those linked byc ro ss ed s te ms ; b ox esindicate local repeats.In every case, the noteschosen are played asquavers, where = 180.Performers should bewareof unusual accidentals, aid-

ing inversion, such as E#.

dd

dd

a

a

d

d

a

a

a

a

d

d

d

d

a

a

a

a a

a

A

mri

ques

A

mr

iques

Rich

ard

Cooke -

Card

iff-

20

1

0-


8/44

Looking after Country (Richard Cooke, Cardiff, 2009) is a multi-movement workof flexible duration, built up of constantly-varied repeated material performed

without rests in moto perpetuo. It is scored for 2 autonomous groups (one playingan octave below the other) of 2-3 pitched percussion and other instruments..A movement is created by linking staves, appropriately transposed, from differentparts o f the s core. N ew movements a re f easible, and these taketheir titles from Australian dream symbols. 4z15i acts to bridge movements.

, like existing ones,Stave

A movement thus consists of 2 or more staves which each generate 4 distinctsections, using transposition (following the

semitone indicators in the table above, where -5 means down a Perfect 4, and +0 aswritten). 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 linkedby forked stems; boxes indicate local repeats. The notes sounded (alwaysquavers, where = 192) are randomly chosen but played in the order notated.

inversion and/or retrograde, as well as

G

dddaa

4-13o

4-13i

dd daa

4-12o

4-12i

dd daa

4-11o

4-11i

dd daa

4-05o

4-05i

dd daa

4-04o

4-04i

dd daa

4-02o

4-02i

dd da

a

dddaa

4z29o

a

d

dd

a4-27o

4-27i

dda4-22ida

4-22o

dd

da

a4-19o

4-19i

d d daa

4-18o

4-18i

d

dd

aa

4-16o

4-16i

ffaa

4z15i-2+4+6

-2+4+64z15i

PCSet

8z15i

6z26=

6z28=6z29=6z37=6z38=6z42=6z45=

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

+0+4 +4+0 +0+4 +4+0 +0+4 +0+4

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

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

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

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

+5+5 +4+6 +6+4 +4+6 +6+4 +6+4

WallabyandJabiruDreaming

GeckoandBandicootDreamingWombatandCockatooDreaming

Sun-WomanandFrogDreamingHoneyAntandEmuDreamingKangarooandRainDreaming

WaratahandGoannaDreaming

4-02 4-04 4-05 4-11 4-12 4-13 4-14 4-16 4-18 4-19 4-22 4-27 4z29

oi oi oi oi oi oi oi oi oi oi oi oi oi


9/44

4-

01 d fa df

a4

-06 da dd

a4

-07 dfa df

a

4-

09 d fa

df a

4-

03 d da dd

a

4-

10 d fa df

a

4-

17 d fa df

a

4-

21

d da dda

4

-23

aa 4-2

4

fadf a

d4

-25

dd

adda

PCSet

9-11o

6z04=6z06=6-08=6z23=6-32=

6z48=6z50=

+6 +0+1 +0 +0

+2-3 +0 +0-1 +0+6 +0

+4 +3+5 +4 -2

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

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

+2 +0+5 -5 +2

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

Kupavna-ElektrougliUsad-Km105

Chukhlinka-ReutovoFriazevo-Vokhna

Khrapunovo-Yesino

Drezna-KabanovoPokrov-Petushki

4-01 4-03 4-06 4-07 4-08 4-09 4-10 4-17 4-20 4-21 4-23 4-24 4-25 4-26

4-

08 dda dd

a

4

-26 d

dadd a 4-2

0 dfa

df a

4-

28 d gda

a+0+3-3

dgd

G

A movement is created by linking staves,appropriately transposed, from different parts of

the score. Additional movements may be createdand these take their titles fromsections of the Moscow-Petushki electric railroad.

Stave

, like existing ones,

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 whilstrounded boxes and crossed stems show that notesmay be reordered. All notes should be read as

q u a v e r s , w h e r e = c i r c a 1 8 8 .

Elektroika EastofMoscowor(Richard Cooke, Cardiff, 2009) is a multi-

movement work of flexible duration, built up of

constantly-varied repeated material playedwithout rests in moto perpetuo. It is scored for two

autonomous groups (one playing an octave belowthe other) of 2-3 percussion or other instruments.

A movement thus consists of 2 or more staveswhich each generate 4 distinct sections, using

inversion and retrograde, as well as transposition

(following the semitone indicators in the tablebelow, where +0 means as written and -5 down a

Perfect 4). The sections are played by the twog ro up s i n t he ir o wn p re -a gr ee d o rde r.

G

201


10/44

d ddda

a2-01

2-01

aa2-02

2-02

dd

da

a3-02o

3-02i

ddffaa

3-03o

3-03i

ddd

aa

3-10

3-10

d

ddaa

3-11o

3-11i

dddaa3-12

3-12

dda

a2-06

2-06

daa

3-01

3-01

d

d daa2-04

2-04

dddaa

3-04o

3-04i

ddd

a

a3-05i

3-05o

dd daa

3-06

3-06

h haa

3-09

3-09

aa

3-07o

3-07idd d

a

a3-08o

3-08i

aa

2-05

2-05

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 3-11o 3-11i 3-12 2-01 2-02 2-03 2-04 2-05 2-06

-2+5 +0-5 +0+5 +04 -4-5 +0+5 -1+5

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

-1+2 -1+2 +06 +06

-3-5 +1+2 +3+4 +04 -3-4 -16

+0-3 +0+3 -1+5 +06

-3-4 -16 +06

-1-5 +0+5 +0-5 +3-4

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

MustangCorralHookerCut

GasolineAlleyHydro

CadillacRanch

DeadMansCurvePeachSprings

ArroyoParkway

PCset6z486z506z236z376z13

6z41i6z267z37

G

MusicforaRoadMovie

A movement thus consists of 2-6 staves which each generate 8 or more distinctsections, 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.

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

RichardCooke,Cardiff,2009

is a multi-movement work of flexible duration, built up of constantly-varied repeatedmaterial performed without rests in moto perpetuo. It is scored for two autonomous,groups(one playing an octave below theother) 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 thesemight take their titles from locations along the historic Route 66.

, likeexisting ones,

2-03

2-03

aa


11/44

dd

aa

3-06=

3-06=

dd

aa

3-07o

3-07i

d

d

a

a

3-05o

3-

05

i

d daa

3-01=

3-01=

ddaa

3-04o

3-04i

dda

a

3-11o

3-

11

i

dda

a3-09=

3-09=

d daa

3-03o

3-03i

d

da

a3-10=

3-10=

dd

aa

3-12=

3-12=

dda

a

3-

02

o

3-02i

GRichardCooke,Cardiff,2009

is a six-movement work of flexible duration. It is scored fortwo autonomous groups (one playing an octave below theother but

) 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 thesemitone indicators in the table below (where -3 meansdown a Minor 3 and +0as written). These staves, which canalso be read in retrograde, generate distinct sections, builtup by patterning pitch data in any of the following ways:

1 :graduallyextendtheline[1,1..2,1..3etc]2 :graduallyshortentheline[1..9,1..8,1..7]3random :playnotesn..94random [1..n]5 :randomframesof4-6noteseach[r..r+n]6 :sequentialframesof4-6[1234..6789,etc]

7 /extraction:omitnotesatwill

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

accretionatrophy

start-pointsend-points

framingshifting

culling

sharing the same constantly-varied repeatedmaterial

PCSet5-11i5-13i5z18o5-30i5z38i

7-26o

5-26i5-26i

EschersReptilesReutersvrd'sTriangle

EulersBridgesKlein'sBottle

Schaap'sBookshelfPenrosesStairwell

or

3-013-023-033-043-053-063-073-083-093-103-113-12

oioioioioioioi

+1+2+1+0+1+2+0-3+0+1

+1+0+1+2+1+0+2-2-2

+2-2+1-2+1-3+2-3+1+1

-3-2-3+4+6+6+2-3+6

+1+0+2+1+1+0+2-3-3+6

26

26

-2-3-2+0+0+2-2-3+626

+2+1+2+4+4+6+2+1-226

d

d

a

a

3-

08

o

3-08i

Symmetries&Manifolds


12/44

!X

ad

a

a a

a

a

d

df

f f ff

6z37=/4-14o

19i5o

;14i19o

29i

dd

ddd

f

f

f

f

aaa

a

aa

dfdffd

6-29=/4-072318o 16o18i27o;ddd

d

fffdddUngkue

E a c h

of the seven pieces

consists of a single staveprefaced by six possible 'key'

signatures which, when combined

with inversion and/or retrograde,

generate 12 distinct paragraphs or

sections. These sections, which are played

i n a pre-agreed order, are built up from

repeated 'culls' of the available pitches;

the lead instrument exploits all 12 noteswhilst 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

n o tate d.

G

is a work of flexible duration for

three or more pitched percussion

instruments,

i n mo to pe rpe tuo

Six of the seven pieces use enharmonic

derivatives of the same notes (gacd), whichmeans that new sections can be created by

applying the current 'key' signature to

staves of other pieces. Beware of

unusual accidentals such as b#.

RichardCooke,Cardiff

2008

built up of constantly-

varied repeated material performed

wi th ou t r es ts .

Phantoms

andReflections

aa a

a

aa

ddd

g

ghhf

ff

f

6z28=/4-13o11o12i;19oi27o

ddghdd

!O!ung

a ddd

dd

da

aa

aa ddddd f 6z49=/4-2615o29i;27i2527od d

df gh

Aakhoe |Xam

ada aa

aa

dhh

hhh

6-08=/4-14i22i14o;11o1010

gha

dd

dd

a

a a

a

a

d

dd

6z26=/4-22o

21

26

;22i21

20

gdd

dd

d

|Xegw

i

|

a

a

aa

a

a

d

d

gh

h

6

=/4-11o

14o

2

2o;22i23

26

-32

d h

|Xa

ise


13/44

Hoursof IronSlumberis a work of flexible

duration for three or more

p itchedpercuss ion

instruments. It is built up of

constantly-varied repeatedmaterial

performed without rests.

Each of the sixpieces contains three

staveswhich, underretrogradeand/or

inversion, generate 12 distinct

sections. These sections, which

are played in a pre-agreed

order, are built up from

repeated 'culls' of the

availablepitches; thelead instrument isfree to exploitall 1

2 noteswhilst ...

accom-panistsfocus on aninner subse

t,

such as the 5-7filled (black) notes.

In every case, the notes

sounded (always quavers,

where =192)arerandomly

chosen and played in moto

perpetuo in the order notated.Allsixpiecesuseenharm

onicderivatives

of the samenotes (fgabcde), which

means that new sections can be

created by applying the current

'key' signature to staves of

other pieces. Beware of

unusual combinations

of accidentals.Richard CookeC a r d i ff

20 0 8

G

5-16oi

a

a

fgdd

fgdd

5-24

oia

a

fgdd

fgdd

5-22=

a

a

fgdd

fgdd

ddd

dd d5-24

io

a

a

ddd

dd

d

5-15=

a

a

5-26oi

a

a

ddd

ddd

5-34=

aa

dd

d

ddd5-29oi

a

a

dd d

ddd

a

a

ddd

ddd

5-23

io

5-11oi aa ddf g

ddfg 5-35=

a

a

ddfg

ddf

g

ddfg

a

a

d dfg5z36oi

ddfg

ddf g5-06oi

a

a

ddfg

dd fg 5-

32

io

a

a

ddf g

d dfg

a

a5z38io

a

ad dd

dd d

5z18oi

d dd

aa

ddd5-28io

a

a

ddd

ddd

5-06oi

Hours

of

IronSlum

ber

SkyingtheHorizon7z37=

ColourofStrength7-35=

Mulberry-FreshMorning

7-33=

CobwebsofSleep7-17=

Blue-TownBlues7z12=

TheHesitantBreeze7-22=


14/44

Walking w

ith Zimbabwe

is a work o

f flexible d

uration fo

r

three o

r more

pitched

percussion

instrume

nts.

It is b

uiltup

of

constant

ly-varied

r ep e

a t ed

m at e r

i a l

perform

ed

withoutrests

.

Eachgrou

p of4 pie

ces emplo

ys enharm

onic

derivative

s ofthe s

ame5 no

tes (defg

b,

efabcOR g

abcd), w

hichmea

ns that

newpara

graphs ca

n becrea

ted by

applying t

he curren

t 'key' si

gn-

atureto th

e pattern

or 'series

'

of abord

ering s

tave.

Beware of

unusual a

ccid-

entals s

uchas B

#.

R i ch a r d

C oo k

e

Cardiff

2008

G

Eachofth

e12piece

scontains

3stavesw

hich,unde

r

inversion

and/or re

trograde,

generate

12 distinc

t

sections.

Thesesec

tions,whi

charepla

yedina

pre-agreedorder,

arebuiltu

pfromre

peated

'culls' of

the available pi

tches; the

lead

instrume

nt exploit

s all 12 notes w

hilst

accompa

nistsfocus

on inner sub-

sets,such

asthe5-7

blacknote

s.

In every

case, th

e notes

sounded

(always q

uavers,

where

= 192)

are

randomly

chosen an

d

played

in moto

perpetuo

in

theorde

r

notated.

a

a

dddd

a

a

dd

dd

a

a

dd

dd

KanganyaKanganya

5z17=

da

ad

a

a

d

d

a

a

dd

MhashaMhasha

5-27i

da

ad

a

a

d

d

a

ad

d

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15/44

is awork

of flexible

duration

for

threeor m

orepitch

ed percus

sion

instrum

ents.It is

in moto p

erpetuo, withrests

introduce

d for

dramatic

effect or

in order toend

a piece.

builtup o

f constant

ly-

variedrepeatedm

aterialwh

ichisperfo

rmed

ALandM a

d e

i nA n

g er

All

s i x

pieces

e mp l o

y

enharm

onic

deriva

tivesofth

e

same six

notes

(fgacde),

which means

thatnew

sections

canbe

created

byappl

yingthe

current 'k

ey' signat

ure to sta

ves

taken f

romothe

r piece

s .

Players s

houldbewa

re of un

usual

combinati

onsof a

ccidentals

, which a

re

desig

nedto

assist

invers

ion.

R i ch a r

d Co o k e

- Ca r d

i f f- 2

0 0 7

Eachof th

e sixpiece

s contains

threestave

s which,

under ret

rograde a

nd/or inv

ersion, ge

nerate 12

distinct se

ctions. Th

esesecti

ons,whic

h are

played in

a pre-agre

ed order,

are built u

p

fromrepe

ated'culls

' ofthe

available

pitches

; thelead

instrumen

t exploits

all 12 notes w

hilstacco

mpanists

focusoninnersub

-sets,e.g

.the

5-7black

notes. In every

case, the

notes so

unded

(always

quavers

,

where

= 192)

arerand

omly

chosen

but

played

in

the order

notat-

ed.

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a

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FourFingerRock6-18i

FishRiverCanyon6z45=

StormbirdBay6-33i

TheGreatWhitePlaceofDryWater

6z26=

Dragon'sBreathCave

6z24o

TheSkeletonCoast6z50=

ALandMa

de inAn

ger

a


16/44

fddha

fddh

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fdd

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fddh

af ddh a

fddhaAn A

rmyof Sorrow

s

7z36i

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une

7-11i

. . .

al .

= 144 =

72/48 =

48/24.

is a work

offlex

ible

duration

for3+

mixed

instrum

ents

which

share t

hesam

e

loosely-repeat

edmat

eri

Eachof th

e 6piece

s consists

of 4 staves

which, co

mbined w

ith inversi

on and re

trograde,

generate

16 distinc

t sections

. These se

ctions, wh

ich

are played

in apre-a

greed or

der,are

builtfrom

'time'

canons w

ith two of

the perfor

mersplayi

ng at hal

f, one-thi

rd or

one-sixth

speed. T

hus

Note-hea

ds are u

sually re

ad as qu

avers bu

t,

within each 'b

ar',an a

greed qu

otaof

random notes i

s length

enedto a

crotchet.

In addition, no

tes from

themidd

le section

of each

bar may b

e reordere

d.

Beware of

unusual

acciden

tals

suchas

c .x

GTh

eG

hazaliyat

ofHafez-e

Shir

azi

RichardCooke

-Cardiff-2006

a

f fgd

a

ffgdaff gd

affgd

aff

gd

af fgd

affgd

aff gdThe

Roadthro

ughAffli

ction

7-10o


17/44

is a work of flexible duration for 3 or moremixed or heterophonous instruments sharing

t h e s a me l oo se ly -r e p e a t e d m a t

Each of the 5 pieces consists of a single stave

prefaced by 6 possible 'key' signatures which, com-

bined 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, withtwo of the performers playing at half- and quarter-

tempo. Note-heads are usually read as quavers but,

within each 'bar', an agreed quota of randomly-

chosen notes are lengthened to a crotchet, and

the middle 2-4 notes may be shuffled.

Beware of some unusual accidentals.

RichardCooke-Cardiff2006

e r i a l .

addd ddd

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AnInfinityofWhite


18/44

6z42=

Lantern

Marshes

6z45=

TwoPondWood

6z50=

Tinker'sWalk

6z28=

GreatDingle

Hill

6z26=

SallowWalk

Covert

6z29=

6-33i

BussCreek

6z37=

BlackstakesReach

6-33o

6-35=

CobIsland

6z48=

Silverlace

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orkofflexib

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Th

e

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/4

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8:4

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6:4

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6:4

:2

144=

96/4

8=

32

/1

6

9:6:2

9:3:2

9:3:1

Note-h

eads

are

usually

read

as

quav

ers

but,within

each

'b

ar',an

ag

reed

quota

of

ran

domly-

chosen

notesare

len

gthen

ed

to

a

cr

otch

et.

Ina

ddition

,th

en

otesfrom

the

mid

dle

section

of

each

barm

aybere

s

huffled.

Rich

ard

Cook

e-

Cardiff-2

006

Lulledby

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d

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d

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a

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a

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g

aa fddgfdd g


19/44

a


20/44

1 :graduallyextendingthelinefrom1to12notes2 :shorteningtheline[1..12,1..11,1..10etc]3random ,playingnotesn..124random [1..n]5 :sequentialframesofsix[1..6,2..7,3..8etc]6 :playingrandomframesofsixnotes[n..n+5]7 /extraction:omittingnotesatwill

accretionatrophy

start-pointsend-points

shiftingframingculling

Vehicles &

Replicatorsis a work of flexible duration for 2-4 pitched percussion instrumentswhich share the same constantly-v ari e d r e pe a te d m a te ri

Each of the three movementsconsists of three staves which,when combined with inversionand retrograde, generate 12distinct paragraphs or sections.These sections are constructed bypatterning pitch data, not toorigorously, in a variety of ways:

Notes sounded (always quavers,where = 192) are played

without rests in moto perpetuo.

RichardCooke-Cardiff-2005

a l .

BabyDollLounge

7-09i

RevolvingDoors7-04o

affdaffd5-05i

afd d

afdd

5-02i

ad

dd

5-10i

addd

affd

affd5

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afdd

5z36

oafdd

ag d

5-02o

agd

HornandHardartAutomat

7-04i

afd

5-19i

affd

5-07i

afdd

afdd

5-19o

affd

afd

G

affdafaafd d

afda afdd ada


21/44

Lallorona

6z10i

Eltemplodepaja6z40o

Loshombresdedoscabezas

6z36o

Unaespigadefuego6-31o

Lacasademando6z25i

Lalagunaquehirvi

6-15o

affdaffd

affd

aff

daffdaffda

ffd

affda

fdd

afd

dafddafd d

afd dafdd

afd

d

afdd

Lalluviadechispas6-22o

a

fdafda

fd

afd

afd

a

fd

afda

fd

affaff

aff

af f

af f

aff

affa

ff

a

ffdaffd a

ffd

affda

ffdaffd

affd

a

ffdafd

g

afdg

afd g

afdg

afdgafd ga

fdg

a

fdg

afffdafffd

afffd

aff

fdaff

fd

afffd

afffdafffd

Elpjaroceniciento

6z17o

afdd afdd

afd d

afdd

add afdd

afdd

afd d

is an 8-movement work of flexibleduration for 2-4 string and percussioninstruments which share the sameconstantly-varied repeated materi

Each movement consists of 4 staveswhich, combined with inversion andretrograde , g en er at e 1 6 d is ti nc tsections. Played in a pre-agreed order,these sections are built up by patterningpitch data in a variety of ways:

al.

G

1 : gradually extend the line,playing notes 1, 1..2, 1..3 etc2 :graduallyshorten theline,playingnotes1..9,1..8,1..7etc3random playnotesn..94random [1..n]5 :randomframesof4-6noteseach[r..r+n]6 :sequentialframesof4-6[1..4>6.

.9or1..6>4..9or1..5>5..9]7 :omittingnotesatwill

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


accretion

atrophy

start-point:end-points

framing

shifting

culling

aa


22/44

is a two-m

ovement w

ork of flex

ible duration,

for 2-4 p

itched pe

rcussion i

nstrumen

ts.

It isbuilt

upof c

onstantly-

varied

repeated

material p

erformed

without

rests

in 'mot

o perpe

tuo'

Eachpiece conta

insthree

staves

which, unde

r

inversio

n and /

or

retrograd

e, genera

te

twelve

distinct

paragrap

hsor

s e ct i o

n s .

Performer

s

shou

ld

repeat

a

a

dddd

d

dd d

d dd

a

ad

d

d

ddd

dd

ddd

a

a

d

d

d

dddd

d

d

d

dt h e

s e

sections,

which may

b ef r e

e l y

transpose

d, ina

pre-agre

edorde

r.

White (em

pty-heade

d)

notes m

ay be om

itted

and bo

xed materi

al may b

e

repeated at wi

ll. All no

tes

should b

e read as qu

avers,

w h er e

= 19 2 .

Richard

Cooke -

Cardiff

- 2005

Nd th

at Dwells in the

Night

G

d

dad

d d

d

e

dd ad

dd

ee

e

ddad

d

d

e

e

e

d

add

d

d

d

e

d da

dd

d e

ee

d

dadd

d

d e

TheOcea

n

of Storm

s

The Lak

e of

Tenderness

onatonat


23/44

ff faa

4-11i

4-10=

ff

aa

4-14o

4z29i

fffa

a4-13o

4-22i

f

aa

4-27o

4-20=

f ff

aa

4-16o

4-16o

ff

aa

fff

aa

4-08=

4-23=

ff

4-11oaa

4-11o

ff

aa

4-14o

4-13i

ff

a4-14oa

4-13i

ff

aa

4-10=

ff f

aa

4-29i

4-14o

ff f

ffffaa

4-26=

4-26=

aa4-20=

4-27o

fff

They may also elect to omit 'white' (empty-headed) notes and to alternatenotes 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.

RichardCooke-Cardiff-2005 G

aa

4-23=

ff

TheStreetsofYourGlances

TheWoodsofOurMeeting

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 . Movement 2 is the inversionof 1 (perhaps transposed and read by turning the page upside down).

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

moto perpetuo

Music

toR

esonate

Music

toR

esonate


24/44

agdddfa

aaa

f

gaddd d d

dd OdesdeRicardoReis

7-15=

ag ggg ddddffa

aaa

ff fffgg

ad

d

d7-33=

UmlivrodeBernardoSoares

ag gdd dddda a

a

adddf

ff

f ag

d

d7z37=

OdiriodeVicenteGuedes

ag

hdffdddd ddda aa

a

ff hh f

h

ad

dd7z17=

UmcontodeAlexanderSearch

a

hh

ff

ddd

f

d

a

a a

a

fh

h

hh

h

a

d

d

d

7z12=

Um

ensaiode

CharlesRobertAnon

a

g g

g

g

gh

d

d

d

d

fd

a

a a

a

fffh

hh

hf f

hh

a

ddg g

7-22=

Traduesdo

HerrProsit

a

h

h f

f

f

f

f

f

fg

a

a a

a

gg gg

hfff

ad

d

7-34=

Conselhosdo

ProfessorTrochee

G

Each of the seven pieces consists

of a single stave prefaced by sixpossible 'key' signatures which, whenc om bi ne d w it h i nv er si on a nd /o rret ro grade, gen erat e 12 dis ti nc tparagraphs or sections. These sections,which are played in a pre-agreed order,are built up from the varied repetition ofthe stave, where white/empty note-

heads allow notes to be omitted, forkedstems indicate a choice of notes andframes or boxes permit local repeats.

In every case, the notes sounded(always quavers, where = 192) are

p lay ed i n t he o rd er n ot at ed .

The Kingdom of Gapsis a work of flexible duration for three ormore pitched percussion instruments.It is

i n m o t o p e r p e t u oAll seven pieces use enharmonicderivatives of the same 5 notes (gabcd),

which means that new sections can becreated by applying the current 'key'signature to staves of other pieces.This feature helps to explain someh i g h l y u n u s u a l a c c i d e n t a l s .

Richard Cooke - Cardiff - 2005

built up of constantly-variedrepeated material performed withoutr e s t s .

a

f dd 4


25/44

d

dd

a

a+

4

-4

f

d

ad

d

+4 f

da

-4

d

da afdd+4

-4

d

d

a

a

ddd-4

+4

d

ddd

a

a-4

+4

da addd-4

+4

d

a

a

d

d

-4

+4

d

d

da

a-

4

+4

ddaad

-4

+4

Domeof the

Temple ofHappiness

is a work of flexibleduration, for 2-4p i tch e d p e rcu s s i o ninstruments. It is built up ofconstantly-varied repeatedmaterial which is performedwithout rests in 'moto perpetuo'.Each of the 3 movements contains 3

staves which, under inversion and/or

retrograde plus transposition (+/-4 mean

up/down a Major 3), generate up to 24 distinctsections. Players repeat these sections in a pre-

agreed order, varying them byomitting 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 = 192.Richard Cooke - Cardiff- 2004

G

The NightofAcacias7z17= 4-04oi

Windmills andBlos

soming Lilacs7z37= 4-14oi

A Filigree ofTrees

7-22= 4-19oi


26/44

df f


27/44

Le b

onhe

urdans

leloint

ain6z43i

dff

dff

dff

dff

dffdff

dff

dffdff

dff

dff

dff

d

ff

dff

dff

dff

Les prome

ssesdes len

dema

insmeille

urs 6

-30i

dff

ddf

ddfddf

ddf

ddfddf

ddfddf

ddf

f

ffh

ffh

ffh

ffh

ffh

f

ffh

ffh

Lepoint

de dp

art 6

z41i

df

df

df

df

df

df

df

dfdf

Douc

e illu

sion 6

-18o

Des sign

esfortui

ts6-05i

dff

is a five-movementw o rk o f f l e xi b leduration, scored for 2-3 pitched percussioninstruments and builtup of constantly-variedre peate d material.

In each movement,players perform the 9staves in a pre-agreedorder. They may alsoelect to omit 'white'(empty-headed) notesand to alternate notesl i nk ed b y f or ke dstems. Pointed boxesindicate local repeats;rounded boxes andcrossed stems allownotes to be reordered.

All notes should beread as treble clefquavers, where = 192, and performedwithout rests in 'motoperpetuo'. Staves maybe transposed up ordown a tritone without

affecting the globalharmony, pc set 8-09.

Richard Cooke 2004

Abstracts&Chronicles

G

Gd d

G

G

A f A


28/44

d

d

G

G

d

d

G

G

d

d

G

G

6-33i

To

rri

d

Sky

andtheRem

ains

of

Haz

y Days

df

f

dff

G

G

d ff

dff

G

G

df f

dff

G

G

6z43i

DiverseS

oun

ds

and

Rest

less Colo

urs

ff

ff

G

G

ff

ff

G

G f f

ff

G

G

6z19i

The Anguis

h

of

theN

ever-Clo

singCirc

le

ddd

ddd

G

G

d dd

ddd

G

G

dd d

ddd

G

G

Clusters

of Poppie

sin

the

LanguidGrass

6-16i

d

d

G

G

d dd

d

G

G

6-31iGi

ld

edbut

Decaying

Garde

ns

G

is a piano work of flexible duration,

Each of the 5 pieces contains 3 G/treble clef staves

which, under inversion and retrograde, generate12 distinct paragraphs or sections. These

sections, which can be played in any order, arebuilt up from repeated 'culls' of the 12

available pitches; in every case, the notessounded (always quavers, where =

1 92 ) a re ra ndo ml y ch ose n a ndperformed in 'moto perpetuo' in theord er not at ed . Res ts may b e

inserted for effect or to end a piece.

A l l 1 5 s t a v e s e m p l o yenharmonic derivatives of the

notes c, d, e, f, g and a,w h i c h m e a n s t h a tadditional movements

and extensions can bec r e a t e d b yexchanging note-

patterns and 'key's i g n a t u r e s .

R i c h a r dC o o k e

C a r d i f f2 0 0 3

built up of constantlyvaried repeated material performed without rests.

AugurofAutumn

a


29/44

af

dd

d

d

a

add

aa

g

add

TheHoa

rd-Ho

ldof

Heroe

s

7-15=/4z29+13+19

7-2

2=/4

-16+18+27

ad

ddg

a

dd

aadd

df

ad

af

Th

eDaughterofNight

ag

gdd

d dd

dd a

a

a a

f ffad TheStormofShelteringShields

7-01

=/4-

03+1

1+10

7z37=/4-2

2+1

4+12

af

a

d

adddd

add

addd

a

Th

eComfort

ofSerp

ents

G

RiddlesandKennings

is a keyboard work

offlexible duration,

Each ofthe four pieces consists ofa single stave

prefacedbysixpossibleclef/'key'signatureswhich,

combined with inversion and retrograde, generate

12 distinct paragraphs or sections. These sections

arebuiltupfromrepeated'culls'ofthe12available

pitches; in every case, thenotessounded (always

quavers, where=

192) are randomlychosen

and performedin 'moto perpetuo' in the order

notated.Restsmaybeinsertedfordramaticeffect.

Two additional movements canbe created

by

switching thenote-patterns of7-15 and 7z37.


built upof

repeated material played without rests, with the

performer striving

forconstant

variation.

a

d d

a

ddf

a

d d

a

ddf


30/44

is a keybo

ard work

of flexib

le durati

on,

Eachof th

e three p

iecescons

ists of a

single st

aveprefa

cedby s

ix possib

le

clef/'key' si

gnatures

which, co

mbined w

ith

inversion and retr

ograde, g

enerate 1

2 distinct

paragrap

hs orsecti

ons. These sec

tionsare b

uilt up

fromrepe

ated'culls

' ofthe 12 avai

lablepitch

es;

in every

case, the

notes so

unded (a

lways quaver

s,

where

= 192)

are rando

mlychos

en and p

erformed in

'motope

rpetuo'in

theorder

notated.

Restsma

ybeintro

duced

fordramati

c effect

orin o

rderto

endthe

piece.

Richard Cooke

- Cardiff-

2003

built

upof r

epeated

material playe

d withou

t

rests, w

ith the perform

er

aiming fo

r consta

nt variation.

8-0

9=

/5-0

7oi

addf

adf

f

ad dgadf

f

a df

af fh

Barefie

ldsofwinter

affff

f

fddd

a

afff

ddc

ffc

f

ff

fc

affff

f

fddd

a

afff

ddc

ffc

f

ff

fc

The

wild

geese

take

fli

ght

8-23=/

5-27oi

8-0

9=

/5-0

7oi

addf

adf

f

ad dgadf

f

a df

af fh

Barefie

ldsofwinter

affff

f

fddd

a

afff

ddc

ffc

f

ff

fc

affff

f

fddd

a

afff

ddc

ffc

f

ff

fc

The

wild

geese

take

fli

ght

8-23=/

5-27oi

Days

oftheAppo

inted

Time

G

8-28=/5-

25oi affcf

add

cdddad

c

Anechoofemptiness

8-28=/5-

25oi affcf

add

cdddad

c

Anechoofemptiness

a5-30

ddd

a

ddd5-

29 Inc


31/44

5-23o+2

5-23i

+4

aa

ddd d

5-3

0o

+4

0i

ad

d d

5z17

a

dd

5z17

a

d d

5-09o

5-09

i

a

a

ddgd

fd

5-11o a5-11

i+4adgd

f

d5z18o

+4

5z18i

a

a

dd

dd

5-20o

a5-20i+4 addd

d

5-06i

a

dd

5-06o

-4

a

dd

5z38o

-4

d

d d

5-2

9o

9i-

5

aa

d d

ddd

5-16i

5-16

o-3

a

addd

dd5z36

i-25z36o a

Unpt

demo

ntagn

es

7z1

7=

Unpays

de

dim

ension in

con

nue

7z12

=

7-34

=

Un

horizon

de

terr

ainsnus

7-2

2=

Uneville ac

cab

l

ed

echaleu

r

Ineveryc

ase,then

otessounded

(alwaysq

uavers,

where

=192)are

randomly

chosen

and

performedin

'motope

rpetuo'

intheor

der

notated.

Material

canbe

played

in

retrograd

eorinve

rsion,or

transpos

ed

according

tothese

mitonein

dicators

placeda

fterthe

pitch-clas

sset-

name;re

stsmayb

eintroduced

fordram

aticeffecto

rin

ordertoend

thepiece

.

RichardC

ooke Cardi

ff 2002

G

is a keyboard work of flexibleduration,

Eachofthefourpiecescontains

three staves which can be

playedinanyorder; these

forma section or

paragraph based on

repeated 'culls'of

the twelveavailablepitches.

builtupofrepeatedmaterialplayedwithout

rests in motoperpetuo, with the per-

formerstrivingforconstantvariation.

IncroyablesSaharas

5z38i

a

dd

5z38o

-4

a

g

fd


32/44

Im

Forst

haus

e 5-27i

+5

ImTiefen

Wald

5-27

o-5

ImZaub

erkr

eise 5

-29i

Inder W

olfsschluch

t 5-20i

AForest of

Spontaneitiesi s a 4 -m ov em en t

keyboard work of flexibleduration,

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 theorder 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, twoentire pieces (marked -5/+5) may be

transposed down/up a Perfect 4.

Richard CookeC a r d i f f

2002

built up of repeatedmaterial played without rests, with the

performer aiming for constant variation.

G

86

96

42

68

00

2

30

r

BookoftheLitanyofRa


33/44

f*4

-12o

100

f4

-16o

104

f*4

-13i190

4-

08=

230

f*5

-31i156

6z

48=

8

ed6z48=

9

d

5

z37=

114 e ed

dd

e6z48=

4

d d

*3

-07o

64

edd

5

z37=

174

ed5z

37=

128

ed5

-37=

126

4-

22o

86

5z

35=

70

*4

-26=

156

ed4-19i130

5-

35=

98

edd

5z

37=

126e

d4

-04o

114

ed

5-

30i140

6z

11i16

d e

5z

36i94

dd e

5z

18o

160 d

*4

-18o

142

d

*4

-18o

144

d

4-

16o

216

*4

-18i178

d*4

-18i88

d

6z

11i9

d

5z

36i94

d dd

ee

*4

-14o

248

*4

-14o

108

6z

11i20

d e

5

-23o

130

4-

10=

130

6

z11i114

d de5

-23o

266

3-

05o

112

d4

-02i142

d e

*3

-07i84

d

*3

-03i132

d4-16i23

4

-23=

106

d

5z

18o

144

d*3-03o

136

f5z

18i90

5z

18i102

d5z

18i76

d e5z37=

140

d ed

d5z

37=

174

ed6z48

=

132

d4

-07=

76

f6

-27i160

f7

-32i280

f*5

-31i88

f5-32i182

f6z28=

106

f

6z

29=

176

d6z

19i94

f*5

-31i224

f*3

-04o

102

6z

19i144

d

Boo

ko

fthe

Hidden

Cham

be

Book

ofthe

Caverns

BookoftheComingForthbyDay

G

Each bar or stave builds up into a section orparagraph based on repeated culls of the

available notes. In every case, the notessounded (always quavers, where = 192)are randomly chosen, different each time andperformed in moto perpetuo in the ordernotated. Rests may be inserted to end a piece.

' '' '

' '

Within a piece, staves may be played in anyorder, but it is good to juxtapose material at a

different level/register or with contrastingsweep (the distance in semitones from thelowest to highest note) and turbulence (thetotal in semitones, shown after the pc set-name, of leaps between consecutive notes).

' '' '

Whilst written in treble clef, staves may moveup or (especially) down one or more octaves.

Seventeen staves, indicated by an asterisk infront of the pitch-class set-name, may betransposed by smaller intervals, provided thatthe global harmony remains consistent.

RichardCooke,Cardiff,2001

Hieroglyphs & Spells is a four-movementwork of variable duration for solo keyboard.

Each piece or book contains 15-24 staves,some of which they share, as shown above bythe overlapping frames. Other page divisionsare permissible and might take titles such asBook of Gates or Book of the Celestial Cow.

' '

f


34/44

ff

f

f

ff

f

f

f

f

The H

illof

Three S

hout

s 6z46i

f

f

f

f

f

f

ff

f

The W

allof

Whisp

ers 6

z47i

f

f

f

ff

f

f

f

f

The P

lain o

f Two Mi

sts6z50

=

ff

The Bra

nch o

f Whit

e Silv

er6-33

o

f

f

f

f

f

G

T h eI s l a n d

o f A p p l e sCalled Fortunate

is a 4-movement keyboardwork of flexible duration, built up

of constantly-varied repeated materialw hi ch i s p er fo rm ed w it ho ut r es ts .

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, thenotes sounded (always quavers, where = 192) are

randomly chosen, different each time and performed in' mo to p er pe tu o' i n t he o rd er n ot at ed ;

rests can be introduced to end a piece.Whilst written in treble clef, any stave

may be transposed up or downone or even more octaves.

Richard CookeC a r d i f f

2001


35/44

f

fff

f f

ff ff

f f ff

ffff ff

f ff f

The outer staves consist of white quavers only; roughly one-third of these should be omitted at eachrepetition, thenotesplayed being randomly chosenand differenteach 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.

The 5 staves of each piece comprise 2 types of material. The middle staves containblack quavers which are always played and white ones which may be omitted; where linked byforked 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.G =192

The musicshould be

r e a d i ntreble clef

but wholes e c t i o n s

m a y b etransposed

up or downa t ri to ne

or octave.The tempo

may fluct-uate freely.


C a r d i f f 2 0 0 1

P C S e t s :8-25=/7-15=

5z36i 4-18i5-33= 4-25=

5-15= 4-05i

5 -30 i 4 -19 i

Aupay

s des

mangeurs d

e lotus

Lesbufsdu soleilLes

filles d

Achl

oos

Lesventsde loutre

A Sea ofU n c e r t -

a i n t i e s

is a solok e y b o a r d

w o r k o f f l e x i b l e

d u r a t i o n .Each of the

4 m ov e -m en ts i s

built up ofr e p e a t e d

( or p ar a-p h r a s e d )

m a t e r i a l

performedw i t h o u t

rests, withthe player

aiming forc o n s t a n t

va r i a ti on .

fo

dd


36/44

dd e

d

d d

d

d d

d

o

d

o

ff

ff

ff

f

f

f o

B a s t i l l e s& Engines

is a solo keyboard work ofvariable duration which can be

played as one continuous or 3single movements. Each piece is

built up of repeated materialperformed without rests; the player

should aim for constant variation,reiterating staves whilst omitting'white' (empty-headed) quaversat will. The music is usually

read one octave belowt re bl e c le f .

d

+4

T h es m a ll c e n t r e

stave serves as a bridgein the 1-movement version

and is played at pitch and/or aMajor 3 above. Elsewhere, stems

pointing upwards indicate 6-notefigures which can be used as focal

points to end a piece. Here, bothblack and white notes can be

omitted and rests introduced.

Richard Cooke, Cardiff, 2000 P i t c h - C l a s s S e t s ( 9 - 1 2 = ) : 7 z 3 7 = 3 - 0 3 o i

4 - 0 3 = 4 - 0 7 = 4 - 1 7 = : 7 - 2 2 = 3 - 0 4 o i 4 - 0 7 =

4 - 0 8 = 4 - 2 0 = : 7 z 1 7 = 3 - 1 1 o i 4 - 1 7 =

4 - 2 0 = 4 - 2 6 =

dd d ee

d e

d d e

d

d

d

d de

d

d

d eo

d o

G=192Que

lli

ch

evan

no-Baller

ina ossessiva

-

Ci

che

mha

dettoiltram

Basti

lles &

En

gin

es

d


37/44

dd+3

d

d

d+3

d+3

d

=192

()o

b+3/-5

d

d

d

-5

+3

+5

d+8

d

d

d

T h e m u s i c s h o u l d b e

r e a d i n b a s s c l e f o r o n e

o c t a v e h i g h e r . E a c h

s t a v e f o r m s a

p a r a g r a p h b u i l t u p

f r o m r e p e a t e d ' c u l l s '

o r a b s t r a c t s o f t h e 1 2 -

1 5 a v a i l a b l e p i t c h e s .

I n e v e r y c a s e , t h e

n o t e s p l a y e d ( a l w a y s

q u a v e r s ) a r e

r a n d o m l y c h o s e n ,

d i f f e r e n t e a c h t i m e ,

a n d p e r f o r m e d i n

' m o t o

p e r

- p e t u o ' i n

t h e o r d e r n o t a t e d .

E i g h t o f t h e b a r s m a y

b e t r a n s p o s e d

a c c o r d i n g t o t h e

s e m i t o n e i n d i c a t o r s

s h o w n a b o v e s t a v e ,

. R e s t s

m a y b e i n s e r t e d f o r

d r a m a t i c e f f e c t o r i n

o r d e r t o e n d t h e p i e c e .

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

C a r d i f f 2 0 0 0

w h e r e + 3 = r a i s e a

M i n o r 3 , e t c

C a r a v a n &

R o b b e r S t o r i e s

i s a k e y b o a r d

w o r k o f f l e x i b l e

d u r a t i o n , b u i l t u p

o f r e p e a t e d

m a t e r i a l p l a y e d

w i t h o u t r e s t s ,

w i t h t h e

p e r f o r m e r

a i m i n g f o r

c o n s t a n t

v a r i a t i o n . I t m a y

b e p l a y e d a s o n e

c o n t i n u o u s o r

t h r e e s i n g l e

m o v e m e n t s ,

w i t h t h e i s o l a t e d

s t a v e ( p i t c h -

c l a s s e s

E

a n d F )

a c t i n g a s a

b r i d g e o r c o d a .

P C S e t s : ( 7 - 3 2 )

6 z 2 9 : 5 z 1 8 5 z 1 8 i

5 - 3 1 5 - 3 1 i 4 - 1 2 i

4 - 1 3 4 - 1 3 i 4 - 2 7 i

6 z 1 9 i : 5 - 1 6 i 5 z 1 7

5 - 2 2 4 - 0 3 4 - 0 7

4 - 1 9 4 - 2 0 3 - 0 4

6 z 2 5 i : 5 - 2 0 i 5 - 2 3

5 - 2 5 5 - 2 9 i 4 - 1 0

4 - 1 4 4 - 1 6 4 - 2 7

Caravan

andRobber

Stories

d f

d f


38/44

is a three-m o v e-

m e n twork of

f l e x i b l eduration

f or s ol ok e y b o a r d ,built up of

r e p e a t e dm a t e r i a l p e r -

formed without rests inm o t o p e r p e t u o .

The performer should aim for constant variation, repeating staves inboth part and whole. S/he may further elect to reiterate boxed

material, omit 'white' (empty-headed) notes or note-groups andt o a lt er na te n ot es j oi ne d b y f or ke d s te ms.

The music is normally read 1-2 octavesbelow treble clef but staves may alsobe transposed according to thesemitone indicators shownb e l o w t h e t e m p omarkings (thus 4means up or downa Major 3 etc).


Cardiff1 9 9 9

P C S e t s :

6 - 2 0 =

4 - 2 0 = :

6 z 4 9 =

4 - 1 7 = :

5 - 2 7 i

4 - 2 6 =

Thesunputsondancing shoes

Heatand

sum

mer

haze

Transports&Ecstasies

Earth

cracks

inpla

ces

==19245

d f

d f


39/44

Citiesofthe

Here-Below

q =132=66

*othertranspositionsexist

3-10= 8i 5o5i 2o 8o2i 7o 7i

+3 -3 +3 +3 -1* -3-5* -4* +6* 7-01=

+4 -2* +6 +2 +2 +2*-6 -6 -3 7-33=

-3* +2* +2* -6* +3* +3*-1* -2* -4* 7-31i

+1 +1 -5 -5 -5 -5+3 +3 -2 7-21o

0 0 00 0* 00* 0* 0* 7-35=

PCSet

Cities of the Here-Belowis a work of flexibleduration

and instrumentation builtup of repeated material

shared by all (4-5) players.It consists of 2 types of

material which may beloosely termed 'harmony-

melody' (21larger stavesfor

normally 3 performers, ofwhom one plays at half

s p e ed ) a n d ' d e sc a n t'(9 short staves of open-

ended, ascending and/ordescending arpeggios).

The piece has 5versions (cities),

formed by trans-posing variouselements of the

material. Thesetr an sp os it io ns ,

shown at headand foot of the

page, are alignedto the left hand

e d g e o f t h er e l e v a nt s t a v e

and are notatedi n s e m it o n es ,

w he re 0 = a swritten and +4 =

raise a Major 3etc. No more than3 versions of the

work should beplayed in a single

p e r f o r m a n c e .

In the melodylayer, element

codes indicate 3p e r m i s s i b l e

types of focus:all players

focuson (repeat)the same single

e l e m e n tplayers

m i x ( s i m ul t -aneously repeat)2 - 3 e l e m en t s

which share thes a m e l e t t e r

play theseelements, along-

side others, onlyin passages of

rapid change.Capital letters

i n d i c a te t h a tthere exist 1 (A

C) or 2 (B D)o t h e r t r a n s -

positions of thee l e m e n t o rgroup withinthe

global harmonyof the version in

q u e s t i o n .

a/A

c/C d/D

b/B

The descant layer consistsof semiquaver arpeggios

ranging over 2-3 octaves.Patterns of 4 (1232, 1213,

1323 etc) dominate thearrangement of elements

and notes within them,though the type of focus

used (convergent/diffuse)

should contrast with thath e ar d i n t h e m e l od y.Players assume treble clefs

but are free to shift register.

Richard Cooke Cardiff 1998

T h e o rd e r o f sections must be

planned beforee a c h p e r f o r m -ance and should

take into accountv o i c e - l e a d i n g ,

the number of pit-ches (1-3) shared

by elements andthe similarity or

otherwise of mel-o d i c d i r e ct i o n .

Melody materialmay be varied by

lengthening 1 ormore ofthe 'white'

n o t e s w i t h o u ts t e m s t o acrotchet, creating

distinct rhythmicp a t te r n s w i t h

each repetition.

4-12i 15i 2o5i 15o 12o 3= 21= 11o 11i 10=13o 13i 8= 27i 29i 27o 29o16i 22i 26= PCSet

0a 0a 0B0a 0b 0a 0B - 3a -1C+3C +1C +3a +3a+3b 7-01=

+1d -1b +2b-1b +3b +1d -5+1cd +3b -2b +4c +6a+4c +2a+6a +4a 7-33=

+5a +3A +5b +6D +4b +3C-4a +6D +3D -4A -4a +3C +5C 7-31i

-5b +4a +4a -2a -4b -2c -5b +1a -5a-5a +5c -2c 7-21o

0a 0C 0C 0D 0b 0b0b0a 0a0a 0a0b 0D 0D 7-35=

C ...

deitragittidiversi

dallapolveregiallina

dimilionidocchi

aformadimedusa

dellarmonicodisegno

itt

Citiesofthe

Here-Below

4-12i

4z15i

4-02o

4-05i

4z15o

4-12o

4-03=

4-21=

4-11o

4-11i

4-10=

4-13o

4-13i

4-08=

4-27i

4z29i

4-27o

4z29o

4-16i

4-22i

4-26=


40/44


41/44


42/44


43/44


44/44

graphical scores 1989-2012

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