The 22. Open Score
Part of the band wants a structured approach, some want just to improvise as the 22 hours progress. To satisfy all, we can use both attitudes, as long as we play with the provided natural environmental sounds. To give an example: one series could be to only play on instruments from the group (6 1-hour sessions), and then another series could be to combine 2 groups (15 1-hour sessions), together 21 sessions, to end with all instruments together in the 22nd hour. It is like a periodic table of elements. This way we give a continuously changing timbral character to the monolytic 22 hour piece, leaving still enough freedom to the musicians to fill it out individually and precisely. The second thing is that it provides an orientations point for on the spot invited artists to participate the day itself. For instance, Honza can check when he is welcome to bring and play his guitar, and Lucka can drop by at the right time to sing along a capella. Below is an example of the chart. Keep in mind it could be shuffled and rearranged in the proposal column according to specific needs by the musicians.
Instrumental Cheat Sheet (starting with a timbral legend)
- P plates
- S strings
- T tubes
- V voices by humans and other animals
- E earophones
- G generative code and electronics
Below is a sketch of a possible schedule. All players enter their Initial for a number of duets or trios or quartets, play in the 2 ›alls‹. I cut the jokers, seems not so make sense with the larger number of players now. Players can be replaced according to present taste. Kirsten and Geza put in possible times for them + proposed duet partners, all subject to change, only a proposition.
| Series | Time-W | Time-E | Proposal chart | Logical People |
|---|---|---|---|---|
| 01 | 14 | 21 | P+T | all |
| 02 | 15 | 22 | S | Ki+Do |
| 03 | 16 | 23 | P+V | Ge |
| 04 | 17 | 24 | S+T | 0 |
| 05 | 18 | 01 | V+E | Ge+Ma |
| 06 | 19 | 02 | P+E | |
| 07 | 20 | 03 | E+G | Ge+Do |
| 08 | 21 | 04 | V | Ki+Gi |
| 09 | 22 | 05 | P | |
| 10 | 23 | 06 | T+G | Ki+Ge |
| 11 | 24 | 07 | S+V | Ge |
| 12 | 01 | 08 | T | |
| 13 | 02 | 09 | S+G | Ge+Gi |
| 14 | 03 | 10 | V+G | Ge+Ak |
| 15 | 04 | 11 | S+E | |
| 16 | 05 | 12 | T+E | |
| 17 | 06 | 13 | G | Ki+Ak |
| 18 | 07 | 14 | P+G | Ki+Ma |
| 19 | 08 | 15 | P+S | Ge |
| 20 | 09 | 16 | E | |
| 21 | 10 | 17 | T+V | |
| 22 | 11 | 18 | ALL | all |
Preparations
- Recording nature for re-use in compositions, transmissions, inspiration …
- Continuous open-microphone streams from geographically dislocated rural locations [icecast nodes]
- Natural sounds as initiator of dynamical compositions (it's where it starts and ends, and goes on forever, without us)
Performances
- Using the natural elements as instruments, structures, approaches, methods, accidental ideas [sonobus p2p]
- Constructing a spatial virtual/real natural environment [+/- human]
- (Multi-)site-specific outdoor/off-grid installations and activities [+/- music]
Of course there is more to it, so check for some early ideas that will somehow pop up later again. The ghost in the bottle?