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OUT-OF-DOORS SUITE walking* music both urban & rural (*and adjunct forms of carriage)

Stephen Chase


Edition of 5

Sheffield, October 2017 Š Stephen Chase

Outdoor music (whatever the weather…) made on the move––made from movement––listening to sound travel disperse draw near––simple ideas with simple/complex results––to be played individually or in sequences––in the middle of nowhere or a bustling city––the act of walking and listening––being both in the world and apart from it

“The soles burn from the red-hot core of the earth’s interior” (Werner Herzog)

Preamble Imagine the walk you are about to take.

Consider the feel of your feet against sock against shoe against the varying textures, inclines of the path ahead [Glasgow, 2-v-15]

RAYUELA with every step you take whistle, hum, sing or play a pitched sound for each step with your left foot the pitch is higher than the preceding pitch for each step with your right foot the pitch is lower than the preceding pitch if stepping with both feet simultaneously the pitch is the same as the preceding pitch [Manchester Piccadilly, 4-iv-12]

Skyline Music a group of people moving through the city each at their own pace starting together in the same location each observe the skyline – 360˚ or a selected stretch – and read it as if it were the contour of a melody (perhaps sharing the same set of pitches) play/whistle/hum/sing your melodies simultaneously – listening for resonance/reflection/echo/etc then everyone sets off walking and listening after 100 paces a player stops, re-reads the skyline and plays the new melody continue like this, ad lib every 100 paces, until you reach your destination [Sheffield, 19-vi-12]

Taking a walk for a line A group of people walking in a line – the person at the rear of the line sings/plays a rising tone lasting 7 paces followed by a pause for 3 paces repeated ad infinitum – as soon as the person at the rear of the line starts the person in front copies this, then the person in front of them and so forth – overlapping ascents


Same as above but singing/playing individual notes of a rising scale with each step taken, this effectively becomes a ‘round’ traveling from back-to-front of the line – stagger beginnings to aim for a continuous overlapping [Glasgow, 7-iv-12]

Resound Find an echoic space play a short sharp sound set up a pulse in time with echo slowly shift in and out-of-phase with echo [Glasgow, 7-iv-12]

piece-in-time-to-pace-of-walking everyone whistles the same tune (e.g. the happy

wanderer) but at a tempo guided by their own walking pace [Manchester Piccadilly, 4-iv-12]

“If a man endowed with a dog’s hearing were to put his ear to the ground at the right moment, he would hear a soft, barely audible gurgling, as when water is poured from one pitcher to another or when sand sifts through an hourglass, that’s what he might hear, that’s what you’re likely to hear if you lay your head on the ground, press your ear to the earth, and let your thoughts bore into the depths of the earth, through the geological strata to the Mesozoic and Paleozoic, through layers of sand and dense clay, boring like the roots of some giant tree through layers of mud and rock, through layers of quartz and gypsum, layers of snails and empty shells, layers of peat and fish bones and fish scales, through the bones of turtles and starfish, of sea horses and sea monsters, through layers of amber and fine sand, layers of seaweed and humus, dense layers of algae and nacreous shells, dense deposits of lime, layers of coal, layers of salt and lignite, tin and copper, layers of human skeletons and animal skeletons, layers of skulls and shoulder blades, layers of silver and gold, layers of zinc and pyrites, because somewhere down there, at a depth of a few hundred meters, lies the corpse of the Pannonian Sea, not quite dead yet, just smothered, crushed beneath ever-new layers of earth and rock, clay and muck, animal corpses and human corpses, corpses of human beings and human works, just immobilized, that’s all, for it is still breathing, has been for thousands of years, through the stalks of waving wheat fields, through swamp reeds, through the roots of potatoes, not entirely dead, just crushed by the Mesozoic and Paleozoic strata, yes indeed, it has been breathing now for several hours, several minutes (in terms of earth time), breathing heavily, asthmatically, like a miner wedged in by beams and struts and great blocks of sweating coal. If you lay your head on the earth, if you glue your ear to the moist clay, especially on these quiet nights, you’ll hear its breathing, its long death rattle.” (Danilo Kiš)

Rumour tunes a city with a close network of streets perhaps with a large central building around which are scattered at certain points individuals At one of these points there are 2 people One person quietly sings/plays a tune and/or rhythm once only for the other who attempts to memorise it without playing it The 2nd person then sets off to find another person who quietly plays/sings the remembered tune/rhythm to the third person Who then sets off to find a 4th person and so on‌ At an agreed time all individuals gradually return to the 1st person whilst playing their memorised versions of the tune/rhythm Listening for reflections, echoes, etc. from the surrounding buildings adjusting dynamics & phrasing accordingly but not changing their tune/rhythm to fit those of the others they may hear [17-vii-13]

pulse-in-time-to-pace-of-walking everyone plays a short percussive sound with every step and/or every other step at a tempo guided by walking paces allow phasing to arise [Kings X, 12-viii-12]

(tunnel walk)

On entering––passing through––exiting an enclosed/covered/walled space play long “calling” sounds (whistle/alphorn/trumpet) [Manchester Piccadily, 4-iv-12]

re-call-re-frain One person plays/sings a tune to a group The group then proceeds silently by foot, hook or crook to an agreed destination which is at least (but preferably much more than) 5 minutes walk away Whereupon all at once play/sing the tune as far as can be recalled Then the first person plays (or produces playback recording) of original [Tamper, 14-ix-15]

the thinking of the tympanic using sound (or light) communicate across a large open space a game of battleships use morse code to communicate grid positions other signals to communicate ‘hit’ or ‘miss’ [Cole Bros. rooftop with Ross Parfitt, 16-ii-11]

“Resonance is not passive: it is a perceiving organism’s active, exploratory engagement with its environment” (Eric Clarke)

tuning call 1 two people with the same reference pitch (refer, for example, to tuning forks) sound pitch to each other across an open space one person retunes pitch to how they hear the tone produced by the other person begin close together – sound pitches in turn – walk away from each other – sound pitches in turn – continue ad lib/until out of earshot [Essex, 12-viii-12]

Walk now man Walk for several yards as quietly as possible listening without bending your knees [Sheffield, v-11]

instep fall into step with someone walking in the same direction as you – appropriate their manner of walking as closely as you can without drawing undue attention to them [Glasgow, v-12]

tuning call 2 same as for tuning call 1 but both players keep to the original pitch and do not retune then, a third person walks from one of the original two people to where the other person is now located they stop at points en route to sound the pitch in alternation with the original two people and adjust their tuning/intonation in relation to how they hear the pitch of the person from whom they are walking away [Sheffield to London, 17-viii-12]

wandeling buurt van water musiek Two people (A and B) directly opposite each other either side of a river or canal A calls out a 2-syllable word/phrase – 2nd syllable lower in pitch than the 1st B responds with another 2-syllable word/phrase matching pitches of person A A starts walking along the bank - and makes a short sharp sound with their 1st step - then 2 evenly-spaced short sharp sounds with their 2nd step - 3 (evenly-spaced) with their 3rd step, 4 with their 4th, 5 with their 5th, etc., keeping a steady walking pace until the maximum number of short sounds is reached - A stops and the call and response is repeated B starts walking along the bank in the opposite direction to A - and makes a short sharp sound with their 1st step - 2 evenly-spaced short sharp sounds with their 2nd step

- 3 (evenly-spaced) with their 3rd step, 4 with their 4th, 5 with their 5th, etc., keeping a steady walking pace until the maximum number of short sounds is reached - B stops and the call and response is repeated Both A and B start walking along the bank back from whence they came towards each other - they each make a short sharp sound with their 1st step - 2 evenly-spaced short sharp sounds with their 2nd step - 3 (evenly-spaced) with their 3rd step, 4 with their 4th, 5 with their 5th, etc., keeping a steady walking pace until the maximum number of short sounds is reached - both stop and the call and response is repeated Again both A and B start walking along the bank back from whence they came towards each other - this time each makes one short sharp sound for each step taken until they are once again directly opposite each other - the call and response is repeated resonances! echoes! etc.! [Sheffield, 20122012/09062013]

“I walk slowly, like one who comes from so far away he doesn’t expect to arrive” (Borges)

humming piece

Standing still Observing Or walking, very slowly, with caution

Place hands firmly over ears

very slowly and softly hum a tune to yourself let it vibrate through your head compare and contrast the nearness of your humming the distance of other sounds [Rude Shipyard, v-11]

La-la-la walk Walk for several yards with hands clasped firmly over ears then back over the same ground with hands removed [Sheffield, v-11]

ella… open umbrella, rest stem on shoulder, gently spin umbrella as you walk – if it’s raining, vary the speed of spin and listen for the effects – if it’s not raining, gently filter the sounds around you by angling umbrella and varying speed of spin [Sheffield to London, 17-viii-12]

Another Johnny Cash Machine A group of people walking in a public space. Each sings – internally – the Johnny Cash song I

Walk the Line

During verses of the song each person is stationary. On reaching the drone sections of the song the performer hums the drone aloud and begins walking. On passing another hummer slow down/pause a moment to compare hums before proceeding to your next point Stopping points (non-humming sections) may be predetermined and shared amongst the group or not, or determined by the duration of the hum in the song (slow down/speed up as required) Durations of hums might also be determined by the time it takes to go between two points. A combination of these possibilities, perhaps Begin together and proceed independently repeating the underlying song structure ad lib

Think about the sound of your humming – is it steady? Are you humming to yourself? How does the changing register of the hum affect things? How do the hums work against other sounds? How in/out-of-tune are you when passing other hummers? Is the in/out-of-tuneness a problem? Does your walking influence your humming and/or vice versa? Are you humming to yourself? (The performers could refer to earphone playback of the song for tuning, in which case the piece is more about how distance affects perception of pitch or be done without reference to a tuning source, in which case the piece is more concerned with the drift towards away from ensemble tuning.) [Glasgow, 2-v-15]

Weather Report

Listen to the weather and then the ways in which the landscape, flora and fauna shapes and/or responds to it – make notes [Sheffield, 6-vii-12]

“The true musician composes no music, plays no instrument, and despises virtuosos.� (Gustav Flaubert)

gaited commune listening to the sounds that arise as you walk the swish of clothing the (a)rhythmic rattle of loose items in a bag the jangle of keys & zips breathing, how it changes when noticed not so much the sound of your footsteps (though that too) just observing shifting attention between sounds in isolation and in combination observing these sounds in others in combination with your sounds [Glasgow, 8-v-17]

Gravity Phases A group of people begin a fast unison pulse As members of the group wander apart from one another their pulses slow As members draw near to one another pulses quicken and unison is attempted Various groupings of unison–near unison– independence emerging and receding If using pitches apply shared pitches to unisons and steadily deviate intonation the farther apart you drift Short sounds, generally speaking [Division St, 5-xi-15]

Cream Tart Two people in an open public square or network of streets. Each reads aloud a short story alternating one word at a time – the first person substituting a pause for every even numbered word, the other person substituting a pause for every odd numbered word. Once this alternating pattern is established one person moves off clockwise, the other person anticlockwise around the square or through the streets, still reading aloud in the same manner. On meeting again stop walking for a short while still reading aloud alternate words Then continue walking and meeting, etc. until story is complete. [Outside Sheffield Railway Station with Ross Parfitt and Robert / Louis / Stevenson, 19-ii-11]

humming & walking everyone hums as they walk when walking alongside a fellow hummer hum the same pitch when walking ahead of a fellow hummer hum a higher pitch when walking behind a fellow hummer hum a lower pitch [Sheffield to London, 17-viii-12]

Spring Waves Two people 100 metres apart (preferably more) Both share a pitch (preferably a similar instrument too) or percussive sound One person plays a rapid, quiet pulse on the pitch/sound becoming ever louder and slower pushing the sound towards the second player At a certain point the second person attempts to match the first person’s loud slowing pulse – the sounds meeting and crossing at the mid point between the two people – The first person swiftly fades out their sound The second person gradually draws their sound towards her/himself becoming faster and quieter The piece may immediately be played in reverse, repeat ad lib A second duo may play across the sound line of the first duo preferably using a different pitch/sound Or a number of duos arranged in parallel each with a different pitch/percussive sound – each duo plays independently of the others Consider the space over which you direct sounds – open plains, through/across valleys, alleyways – and the means by which you articulate and direct the sounds [University Arms, 21-v-14]

Weather Report 2 the weather is other than it is at this moment walk and listen accordingly [Sheffield, 6-vii-12]

“I am, a stride at a time�

Running & Whistling

at least 2 people whistling the same pitch set off in opposite directions on a run around the block in a circle/square/figure-of-eight each time you pass each other pause jogging on the spot and compare deviation in pitch (if at all) repeat in ever larger circuits [Outwards from Barkers Pool with Ross Parfitt, 17-ii-11]

航海家 (Hánghǎi jiā)

We have traversed more than 100,000 li of immense water spaces and have beheld in the ocean huge waves like mountains rising in the sky, and we have set eyes on barbarian regions far away hidden in a blue transparency of light vapours, while our sails, loftily unfurled like clouds day and night, continued their course as rapidly as a star, traversing those savage waves as if we were treading a public thoroughfare… (inscription on a pillar erected by Zheng He at Changle, Fujian, 1432. Tr. Louise Levathes)

Tread a public thoroughfare as though traversing savage waves… [Orange St, 3-viii-16]

“I am very interested in noise. Even when a small blade of grass is growing, there is a noise between the grass and the earth.” (JeanLuc Godard)

“I can’t even enjoy a blade of grass unless I know there’s a subway handy, or a record store or some other sign that people do not totally regret life. It is more important to affirm the least sincere; the clouds get enough attention as it is and even they continue to pass. Do they know what they’re missing? Uh huh.” (Frank O’Hara)

Fred & Ginger Piece In a group in an echoic space (e.g. alleyway) compare and contrast the sounds of each of your footsteps – quality of shoe clatter on surfaces, pace and phrasing of walking – notice how each sets off its own particular set of reflections – try various sequences and simultaneous combinations [Edinburgh, 8-iv-12]

(Optional: should you encounter an abandoned trolley near an alleyway push it at speed through the alley – you may yodel Tarzan-style as you do this) [Glasgow, 7-iv-12]

Yodel Walk 2 or 3 people sharing 2 reference pitches sung/played in time to walking pace left foot = pitch 1 right foot = pitch 2 sound every 2-9 steps followed by a pause for 1-8 steps begin together in the same place walk off in different directions if you walk out of earshot of each other move back within range or piece may end here every once in a while check intonation/tuning and recalibrate to match what you hear from the other walkers for the remainder of the time aim to keep your pitches the same in spite of any Doppler drift [Essex to Sheffield, 13-viii-12]

Cross purposes an open plain, a pathway between buildings or a varied land/cityscape 2 people starting at least 100 metres apart walking at the same natural pace towards each other with each or every other step both play a short staccato sound matched in timbre/pitch they pass each other and head for their opposite number’s starting point from here onward coordinating by means of sound instead of vision Variation: 2 simultaneous performances which cross paths – differentiate timbre/pitch of pairs [Sheffield, 2-xi-13]

Cross purposes II an open plain, a pathway between buildings or a varied land/cityscape 2 people starting at least 100 metres apart walking at the same natural pace towards each other with every other step one walker plays a short staccato sound the other walker plays a short staccato sound on the step in between both sounds matched in timbre/pitch they pass each other and head for their opposite number’s starting point from here onward coordinating by means of sound instead of vision [for Michael Parsons, Sheffield, 3-xi-13]

tutti / alla deriva / nello spazio Two or more with instruments or voices attempt to coordinate, by listening alone, a slow, pulsed, rising & falling scale Players are at least 100 metres apart, preferably more but within earshot of at least one other without breaking the connection between the group Form a square, triangle, line, other shapes

[Tamper, 23-v-14]

BEAMING people with the means to produce strongly directional beams of sound and/or light At first steady and sustained beams becoming pulses almost imperceptibly If more than one person, aim to produce similar sound/light beams Slowly spin round on the spot aiming sound/light outwards and level, scanning Even or elliptical spin Each of you spinning at your own rate Note reflections of sound/light as it travels outward and the ways in which the beams/pulses bend and diffuse as you scan the chosen locale On hilltops, across plains, through passageways and forest clearings... [Edale, 26-v-14/Heathrow-Montreal, 9-vi-14]

“…a variable intensity of light, an internal balance of time, a movement within a given space” (Ernie Gehr)

mes kopiame aukĹĄtyn a group of people walking

over the course of every 7 steps play/sing/whistle a rising tone

everyone walking at their own pace

pausing now and then (walking and/or playing)

accompaniment more than focus of attention [Retford to Peterborough, 8-vii-16/f.p.: hcmf, 23-xi-15]

Voigt-Kampff Walk A group of people surrounding (unobtrusively) a busy open public space Each observe the path taken by an individual through/across the space On a cue start together and reproduce your individually observed walk Perhaps focus especially on walkers engaged in use of mobile devices [Mappin Street, 14-x-15]

katajjaq akkulaitok Assign a pitch each to two people or two groups of people The two pitches are played at speed in alternation (hocket) back and forth between the two people/groups The farther apart people are the slower and more divergent in pitch New hockets emerging as subgroups form and disperse Short sounds [Division St, 5-xi-15]

phoning it in Should you have a mobile phone and encounter a public telephone box, take note of the number. Start walking away from the box stopping occasionally to call the number. See how far from the box you can walk before the ringing of the phone becomes inaudible. Observe, listen. If the phone is answered you may engage in a conversation. [Sheffield to London, 17-viii-12]

BIRDCALLS associated with place of residence/ performance and/or residents’ places of origin Sounds made vocally in imitation, with whistles and bird call tools, or by other means A relay of calls to and fro between residencies across the divides Various predetermined and/or free patterns emerging [Mßnster, 1-viii-14]

Plane, Bob, Wander 3 to 8 adjacent notes of a diatonic scale distributed one per person amongst a group of people using related instruments which produce a clear resonant sound (eg. Hand Bells) A free wander across an open space from A to B via your own route, Play all available notes once in unison at point A Pause for a moment – Then walk at own pace(s) sounding note every 11th or 13th step Once all have arrived at point B play a final unison During free wander explore the distance between sounds and the melodies which arise over those distances [Red Deer, 2-x-15]

O Zeno (an opera) The tortoise sets out from point A to point B v-e-r-y s-l-o-w-l-y en route the tortoise tells a shaggy dog tale which may be in the form of a song howsoever the tortoise interprets this sounds sights smells &c. encountered are incorporated into the tale as perhaps are references to the various tellings of Zeno’s paradox from Aesop via Borges to Monterosso the hare, on realising the tortoise is about to reach point B sets off at a lick the hare attempts to recap the tortoise’s yarn in full or in summary whilst on the run Communication devices may be required An audience may accompany either of the tortoise or the hare [Sheffield, ix-17]

Whistle while you walk Listening sometimes whistling whilst out walking by yourself or with others a single whistled tone every 20 or more steps (sometimes many more) variously short and up to a full breath keep an ear out for hockets, chords, beats, etc. relaxed, rarely that loud a melody (melodies) in slow motion guided by feel of embouchure, resonance of location, other pitches heard [Brothers Arms, 30-v-16]

“…when you walk alone you just hear the noise of your feet, and it's not the same when it's the road, the tarmac or the woods with dry leaves. I wanted to feel that, and that people would feel that, because it's the only noise that you hear when you're alone. Little by little, it's like being high, just on the noise of your own feet.” (Agnes Varda)

Airs Go for a walk outside Explore the spaces you encounter where there is a distinct change in acoustic resonance/atmospheric pressure for example, due to an acoustic obstruction (foliage, architecture, traffic, direction of wind, rain) Play with these changes in your hearing Try to replicate the ‘melodies’ which arise from your explorations melodies emerge recede blend from/with [Red Deer, 2-x-15]

39 steps Go for a walk after 39 steps stop. pause describe one thing you have seen, heard, encountered over the preceding steps – take notes pause proceed for 39 more steps – stop. pause describe one thing you have seen, heard, encountered over the preceding steps plus the preceding thing – take notes proceed on further for 39 steps – stop. pause describe one thing you have seen, heard, encountered over the preceding steps plus the preceding two things – take notes And so on… about 39 times or until memory fails Then start again Or sit down for a rest [Red Deer, 2-x-15]

achomharc, ačiū, ahoyhoy, ah-zar, aicinājumu, aistidea'alddaewat, alhums, anafonísei, anmodning, annyeonghaseyo, apelului, apello, awawi, bats’akanch’yel, bawl, beckon, bellow, bërtitjeftojnë, bghavum, bonjour, boo, call, chamada, chuchotement, ciao, citkāra, cry, dava, deiadar, deituz, dejuok, dia duit ar, difusió, duudsaaremanaldia, errekurtsoa, eskaera, ewa', exclaim, fluister, flüstern, galwadau, ghlaoch, go raibh maith agat, guǎngbò, haapurororaa, harlapanić, hi, holler, howl, hravirel, htote lwha int, hu, huudahtaa, hushtak, hvala, hvisken, invocant, ipatawag, iravarar, kahilingan, kalakala, kaliṁ, kaukimas, kërkesë, khndrank’y, khshshots’kupiga, krii, kudandaula, kukuwa, kvietimas, lats’ linel, llamada, lõõtsa, magsininggitay, mamihlapinatapei, mapasigaw, midradradradrà, mofuula, molba, moni wokondedwa, moshimoshi, mrrnch’al, mumlen, murmur, nõudes, nutta, obazhdaniya, odvolání, oihurik, ola, nida, pagrindas, pagtawag, pẹlẹ o, pëshpëritje, phát sóng, phis phis, phōna, plea, pleidooi, pokynout, prašymą, prośba, qw, ragindamas, rėkimas, request, roŭ, sain bainna uu, samtalen, šaukia shushurimë, schreeuwen, simu, šnabždesys, summon, sussurro, sušukti, sveiki, szia, talarkhal ilerkhiiliye, tawm, Takon reīyk xxkxākāṣ, Tībrasbarē, tiekwanụ mkpu ákwá, tíqǐ shàngsù, Tontxu, transliuoti, transmisión, 'ughraa, usklikać, ūžesys, vajtoni, verkti, vilioja, voghba, voi, volania, vyklyk, vyklikać, vytí, vyzovov, wail, whisper, wywoławczy, xuxurla, yell, yo, yobidashi, žemiau, zaeaq, zangaharelov, zimakopa, zurrumurru, zžźżz

Walkie, Talkie Two people softly exchange descriptive calling words/short phrases via walkie-talkie One person says a word the other repeats it back (as they hear it), then that person speaks a word for the first person to repeat Build to Inuit-speed exchange of words Start together in the same place and move apart Once far apart compare soft exchange via walkietalkie with projecting voices calling across plane, slowing and extending phonemes (study the calls of newspaper vendors) Perhaps use megaphones or other if necessary Perhaps a network of partners with walkie-talkies and megaphones [Interval, 2-x-15]

Caravan Wave A group of people each assigned adjacent pitches from a scale Use similar resonant sound sources

(eg. Hand bells)

Make your way from A to B across an open space in a line sounding from low to high in turn Then – having reassembled the line to continue forward towards B – immediately high to low A continuous wave And so on until you reach your destination [e.g. 1, 2, 3, 4, 5, 6, 7, 8, 7, 6, 5, 4, 3, 2, 1, 2, 3…]

Perhaps more than one line/group simultaneously [Interval, 2-x-15]

Caravan (rising) A group of people each assigned adjacent pitches from a scale Use similar resonant sound sources

(eg. Hand bells)

Make your way from A to B across an open space in a line sounding from low to high in turn over and over with the person at the back of the line moving to the front to continue the ascending sequence without pause And so on until you reach your destination

Perhaps more than one line/group simultaneously [Interval, 2-x-15]

Caravan cascade A group of people each assigned adjacent pitches from a scale Use similar resonant sound sources

(eg. Hand bells)

Make your way from A to B across an open space in a line sounding from high to low in turn over and over with the person at the back of the line moving to the front to continue the descending sequence without pause And so on until you reach your destination

Perhaps more than one line/group simultaneously [Interval, 2-x-15]

The wind will take us ‫ب رد خواهد را ما ب اد‬‎ On a windy day, wet finger, hold aloft and study the direction(s) of the wind In a group, using your findings, disperse making simple calling sounds/short sharp percussive sounds/long sustained pitches Each participant intersperses plenty of pauses around their sounds in order to hear the differing effects of the wind upon sounds Occasionally walking together, calling into the wind – then turning on the spot Allowing sounds to use the winds as if flying a kite Sometimes imitating the sounds of the wind as if amplifying them [2015/24-xii-16]

phoning it in (hull symphonic) Should you be out walking in a group – each with a mobile phone – and encounter 2 or more public telephone boxes in the same vicinity, take note of the numbers Assign a phone box to each person who stands close to it before slowly walking away stopping occasionally to call the phone box number Each person sees how far from the box s/he can walk (preferably towards another box) before the ringing of the phone becomes inaudible Observe, listen Compare & contrast tonalities/dynamics of the different ring tones and how they merge/recede in relation to the location If a phone is answered you may engage in a conversation or listen for how the phone filters the sound of the location Try differing sequences and layerings Chains of ringing Waves [Sheffield, 1-vi-17]

Bounder Maintain unison pulse throughout (attempted, as perceived) When bunched together the pulse is fast The greater the distance between the members of the group the slower the pulse Consequences for freedom of movement [Division St, 5-xi-15]

ringing singing cycling A town with bell ringing1 No fewer than two people with portable public address systems2 They are also riding bicycles They gather near to the bell ringing When ringing commences they select any one pitch from those heard or two pitches between which they can oscillate freely3 They set off moving around the source of the ringing and over the course of the piece move littleby-little ever further outwards from the source They sing/hum/whistle their pitches aiming to maintain the pitches as originally heard 1

Any tradition, preferably with set practice and observance times, the town might also have a decent cycle network. 2

Like those of tour guides, perhaps, with headset and speaker attached to belt – consider positive potential for distortion or feedback caused by low battery power. 3

Alternatively, all compare the same one or two pitches from those heard Ă la Running & Whistling.

There are a series of stopping points at which the cyclists regroup and gather to compare pitches within earshot of the bells Bicycle bells may be used to provide reference pulses or for conventional road safety purposes [MĂźnster Aasee, 1-viii-14]

points on the curve A series of points along a river At each point is a player with an adjustable pitched sound source Each player’s sound should be just out of earshot of the player at the next point A player in a rowboat (assisted by an oarsperson) repeats the same pitch over and over as they proceed downstream As soon as a player at a point can identify the pitch from the rowboat they repeat it over and over keeping it steady even if/as the rowboat pitch changes as it draws near and sails past French horns and other brass may be thought suitable sound sources [Mßnstersche Aa, 30-vii-14]

the drifters A flowing river* One player on the bank/a bridge another player in a rowboat with an oarsperson stationary and parallel with the first player Both begin a pulse, a simple arpeggio figure, or the bare outline of a water-related theme (eg. An der schönen blauen Donau) in unison The rowboat is then allowed to drift downstream with the speed of the current – the oarsperson ensures a steady course – the first player maintains pulse/tempo while the second attempts to maintain unison Perhaps two or more rowboats each similarly equipped with player and oarsperson might be released one after the other (a reasonable distance apart) Listen to the drift Consider direction of sounds (*If played in ‘still’ water – a lake or canal – the oarsperson aims for the speed of a gently meandering river) [Münstersche Aa, 30-vii-14]

Два бубњара бубњање (Dva bubnjara bubnjare)

Two drummers playing an identical beat – preferably a mid to slow tempo rock beat, e.g. “Back in black” or “When the levee breaks” – on either side of a river (say, the Sava, in the instance of this writing). Drummers coordinate by means of a visual cue or radio (analogue) signal. A boat/raft is acquired to convey listeners from one bank to the other to hear the delays and echoes. The piece is repeated with one (or both) drummers coordinating by hearing alone. [Ada Ciganlija, 15-viii-13]

Alternative version Listeners are stationed on either riverbank, drummers are placed on rafts moving from one bank to another – always in the opposite direction – meeting only when they pass each other in the middle of the river. [Trg Republike, 16-viii-13]

lights out for the territory at dusk or later across a terrain with several kinds of surface walk in silence feeling the ground beneath your feet and listening to the variegated textures of your boots/shoes/feet against floor – careful now [Red Deer, 27-v-14]

suil, suil, suil arun, suil go siocair agus suil go cuin

hic sunt dracones

out-of-doors suite  

A book of pieces for performance in the outdoors.