Instrumentation: The 'Vooruit' Concert Wind Band of Harelbeke .

Alternatively, any instruments that can follow the instructions (8 or more). Notes: This piece attempts to frame, using tools including the proceses of listening, and of learning, the situation from which the original idea for the piece arose. An idea may not be musical in origin: however one may develop music from such an idea. I am less interested in transcribing exactly my own sound-ideas that may arise from a concept-idea, as this seems egotistical, and boring as a process and a result (to me). I am more interested in the processes that develop the concept-idea into the sound-idea. I see this approach as an exploration into a naturally occuring phenomenon. The piece is a reaction to empirical explorations into observed or simulated natural phenomena in Sonic Art and contemporary Composition.

Flourish, 2 BACKGROUND This piece is comprised of 4 socio-musical processes, within a structural framework that they partly create. It is advised to read the entire piece through once before any cross-referencing. Whilst the piece appears to utilise improvisation, that which is expressly important to the piece does not engage with any traditional idea of improv. The piece relies on the inter-personal relationships characteristic of the ensemble, and performers are encouraged to be more or less mischievous, as they are inclined. Whilst the performance can be fun, the music is serious. The piece may appear complex. It need not be.

LAYOUT Arrange the ensemble in a usual manner: higher range instruments to the fore, lower to the back. Align performers so that each has another performer to their front, to whom they may respond (see Process C). Some performers may have to share the performers in front of them. This image is the fall 2011 seating plan of the Central Kentucky Concert Band, altered to provide an example of how the layout could work.

STRUCTURE The diagram represents the total duration of the piece, reading left to right, which may not exceed 20 minutes. Each column of note names is a Process A (see Process A). Process Bs occur in the gaps between Process As. There are few pairs at the beginning, growing to many pairs by the end (see Process B). Process C occurs at some point within this total duration, and therefore may extend final total duration. (see Process C Structure). Process A E C E A Few F D E B E C E C F D E G D B D G E C D A D B D B E C D F Many

Process B Process C

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Flourish, 3 Process A CHORDS STRUCTURE: There are 8 Process As, each consisting of different written pitches, which occur at roughly indicated time intervals (see Structure). The lowest instrument in the ensemble observes Structure in relation to the total duration of the performance, and cues the rest of the ensemble when a Process A should occur; or at another time (see Process A: Games). BACKGROUND: The lowest instruments begin and cease first, and play notes that are the lowest in pitch of the ensemble; the highest begin and end last, and are the highest in pitch; other instruments begin and end according to the pitch/register they are playing in. Therefore the performer of the lowest pitched instrument initiates Process As. All other performers must listen out for this performer's cues throughout the piece (see Process A: Games). INSTRUCTIONS: Choose to play a note, when cued, from the relevant column (see Structure). You may anticipate cues. Some columns may be cued before their suggested position on Structure (see Games). The note you choose to play comes with a pitch-register suggested by it's vertical position within the column, which, as well as indicating which instrument type should play it, and therefore when, also indicates where within the range of that instrument it should be played. Example: the bottom note E in the first column should be played by a tenor instrument in roughly it's lower-middle pitch range, immediately following all bass instruments; it also could be played by a soprano instrument, in it's lower-middle pitch range, but before the last instrument plays (as this note is not the highest note in the column). All instruments should have begun to play within 3 seconds of the original cue. It is up to you to decide which note to play, when, and in what register. Try to avoid situations where a whole instrument class are playing the same note. Keep going in any situation that may arise: the process does not have to be 'exact'. If not the lowest instrument, continue playing whatever you are playing until you are forced to respond to Process A by it's rules. PERFORMANCE: Sustain for roughly one breath, allowing for the above instructions. Dim from sfzfff to ppp over your note duration. GAMES: As the lowest instrument, you may also cue a process A if: some players are being too mischievous; the piece is progressing too quickly or slowly; or otherwise is boring or too confused; or if indeed you yourself are bored or confused. This can be called a 'reset'. If cueing a reset, it will consist of the notes from the next-due Process A according to Structure (this is unavoidable, as the ensemble will be anticipating the next-due Process A). After cueing a reset, you must wait until after cueing the next written Process A, at it's suggested time, before you can cue another reset. Everyone will have to quickly respond to you when cueing a Process A. They will be listening out for you at times suggested by Structure, but not necessarily at other times. This means that you may not be heard when attempting to cue a reset (towards the end of the piece for eg). You may keep attempting to cue a reset if indeed you are not heard.

PROCESS B PAIRS

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STRUCTURE: Process B occurs immediately after (or partially during) Process A, and then is repeated until the next Process A is initiated, or until a Process C is initiated. At least one pair must be playing at all times; or: pauses of no greater than 1 second are permitted. Nearer the beginning, fewer pairs are playing at the same time, and slowly; nearer the end, all pairs are playing, and faster (see Structure). BACKGROUND: Prearrange working groups of 2. you do not need to be physically proximate, although this may be easier. You must pair with an instrument that shares some if not all of your pitch range. One of you ascends in pitch, one descends in pitch. Both of you always begin and cease playing at the same pitch and time as each other (these 2 pitches may be different). INSTRUCTIONS: Pair A ('any pair') starts. Pair B ('any pair') may begin just after and just above or below the 'current' pitch of Pair A. Pair C ('any pair') starts just after Pair B, and if Pair B is below Pair A, just above Pair A, or below Pair B; or: if Pair B is above Pair A, above Pair B, or below Pair A (above or below starting pitches of all playing pairs see diagram). Either member of any pair suddenly reverses direction, and aims to cease at the same pitch-time as the opposing member of the pair that began just before them, who continues their current direction. You must be the highest (or lowest) pitched instrument at the moment you are first to change direction. Every member who is of the same direction as this member must also change direction and aim to cease at the same pitch-time of the opposing member of the pair preceding them. No new pairs may join after this point, and no existing pairs may go higher (or lower) than the point of change of the first member to do so. Do this one by one. You must change direction before any player ceases. You must cease before the player who changed direction immediately before you ceases, and after the player who changed direction immediately after you ceases. The first direction changer sets total duration of process, as they are the last to cease (along with their new partner). During Process B, any pair not playing may initiate another Process B. You may not join another Process B until you have completed your current Process B. A minimum of 2 pairs per process is permitted (several processes may occur at the same time). PERFORMANCE CONSIDERATIONS: You may begin fff or ppp, and must dim or cresc to the opposite dynamic by the time you cease. Accent (sfz/marcato) the point at which you start, if initiating a process. Accent the point at which you change direction, if the first to do so in that process. Performers may ascend or descend using any combination of: chromatic gliss (discrete notes); drunk gliss (discrete notes up and down but generally in one direction); trills, turns, etc (generally in one direction); portamento (sliding): all of these at any speed. Speed may vary at all times, and within pairs. The first pair (that initiates each process) may choose legato (continuous) or staccato (short) notes, and other pairs who join the same process must use a similar technique. GAMES: As a whole group, you are attempting to create a situation where a Process C is possible (see Process C); however, as individuals you may influence the group. When a pair or pairs are playing, other pairs should see themselves as attempting to both attain close to the suggested number of pairs or attain an inappropriate number of pairs, i.e., too few or too many (see Structure). To this end, you may, for example, restrain from playing for long periods (forcing compensation (slowing down) by playing pairs if desired number is not reached), or, in the contrary, begin to play as quickly as possible (forcing another pair to quickly change direction to stop others from beginning, if at or over the desired number). Similarly, performers may 'race' each other to be the lowest or highest in pitch first, and therefore be the first direction-changer. Towards the end of the piece especially (when many pairs are playing), confusion may arise. Eye contact and other forms of silent communication are permitted.

Flourish, 5 PROCESS C Part I and II 3D and 3D LOOPS STRUCTURE: Process C may be triggered by any member of the ensemble (excluding the lowest instrument), at any time during a Process B that all players are playing simultaneously (be it separate Process Bs or the same Process B). Process C consists of 2 parts. Part II immediately follows Part I, after a deep inhale and exhale. Within 2 seconds of ceasing Part II, the lowest instrument must cue the Process A that would have been next, had a Process C not taken place, as suggested by Structure. This may slightly increase or decrease the total duration of the piece. BACKGROUND: see Layout. PART I - 3D: INSTRUCTIONS: Performer A ('any') performer plays any sustained note (see Performance Considerations). Performers to the left or right respond by playing a note that is very close in pitch, but not the same. Performers in front of Performer A respond by playing a note very close but higher in pitch; performers behind Performer A respond by playing a note very close, but lower in pitch. Performers to the left, right, in front or behind of those performers respond in the same way. You must respond at any time within 2 seconds of the performer to whom you are responding. During a Process C, any other performers not yet forced to respond may initiate another Process C. 'Any' player may initiate cease when no player has had to respond for more than 2 seconds, and all players are playing. To initiate cease, 'any' player attains fff (see Performance Considerations) and abruptly ceases, in which case those left, right, in front of or behind must abruptly cease within 2 seconds, and those left, right, in front or behind of those performers must cease; and so on. PERFORMANCE: All performers to begin notes sfzp (sforzando, immediately piano). Sustain the note until cease is initiated. Cresc until ff; but try to save the ff until you are about to cease. Repeated sounding of the same note is permitted as according to breath. You have one chance to respond make an attempt confidently and swiftly. Aim for between less than 1 semitone and less than a 5 th above or below the pitch to which you respond. Small corrections are permitted. Respond to new Process Cs by simply changing your note to a note that responds correctly to the new note that you are responding to. Maintain whatever your current dynamic situation. GAMES: Keep an 'eye on the time'. 'Any' performer may re-initiate Process C Part I after a cease if less than 2 minutes have elapsed since the first Process C Part I was initiated. (Another Process C Part I may not occur if more than 2 minutes have occurred.) PART II 3D LOOPS: BACKGROUND: You have a looped duration of time that is roughly less than one second, which you will gradually fill with a gamut of notes. Your loop begins empty, and can only attain a note in response to a proximate performer. You respond to proximate performers who have added a note to their loop by adding a note to your loop. INSTRUCTIONS: You must respond within 3 seconds. Of those performers whose loops are empty that are proximate to a performer whose loop contains a note, only one may respond. If more than one player tries to respond to a shared proximate player, quickly 'allow' the continuation of only 1 player i.e., all but one, cease (silent communication is permitted). Those performers whose loops contain notes must respond to all proximate performers. The notes that you add to your loop, in response to proximate performers adding notes to their loop, must be 1 semitone or 3 semitones above or below their added note. You may play several other notes, and speed up the playing of them, whilst searching for the note you require (see Process C Part II Performance). You may cease if more than 1 minute has elapsed since initiation of the process and all performers are playing. 'Any' performer initiates cease by abruptly ceasing, in which case performers proximate to him must abruptly cease within 2 seconds, and so on. A cease may also occur if more than 1 minute has elapsed since initiation of the process and the performance has collapsed in confusion (as performers drop out in response to the confusion). If less than 1 minute has elapsed, 'any' performer may re-initiate Process C Part II. PERFORMANCE: Fill your loop with short, stacc notes, ppp, at uneven intervals. Be prepared for confusion, but try to avoid ceasing in response to the confusion.