Prformance Analysis, Feldman, The King Lf Denmark

70 Percussive Notes Research Edit ion. Volume 25, Number 3

Performance Analysis: Morton Feldman, The King of Denmark

Dary l L. P r a t t (B. E A, California Inst i tute of the Arts, M. A., Universi ty o f California San Diego) is lecturer i n percuss ion at Canberra School o f Music i n Australia. His activi t ies i n contemporary mus i c include the per formance of numerous pieces composed especiaUy f o r him. He was a member o f the contemporary chamber group, Sonor, u n d e r Bernard Rands f r o m 1977-84. Pratt is also a j a z z v ibraphonist-composer and current ly t impanis t w i th the Canberra S y m p h o n y Orchestra.

Feldman's King of Denmark 1965 by C. E Peters Corporation. Reproduced by permission of C. E Peters Corporation.

When a performer is handed a new or recently written piece of music there are two sources of information that should be utilized in guiding the realization of the work. The first source, usually enclosed with the score, comprises the 'written rules.' Written rules clarify the notation, include directions not apparent in the notation, and occasionally contain extra-musical data designed to provide the performer with in.formation about the composer's intentions. The second source, often overlooked by even the most zealous performers, is information that exists outside of, and independent from, the score. For example, a performer can usually gain valuable first-hand information from the composer. Information can also be obtained through research and analysis.

The latter are essential in preparing Morton Feldman's The King of Denmark for performance. Although Feldman provides instructions for performance, these contain a number of omissions and ambiguities, as does the score. Consider the performance instructions (copied verbatim from the score):

1. Graphed High, Middle and Low, with each box equal to MM 66-92.The top line or slightly above the top line, very high. The bottom line or slightly beneath, very low. 2. Numbers represent the number of sounds to be played in each box. 3. All instruments to be played without sticks or maUets.The performer may use fingers,hand, or any part of his arm.

Performance Analysis: Morton Feldman, The King of Denmark 71

4. Dynamics are extremely low, and as equal as possible. 5. The thick horizontal fine designates clusters. ( instruments should be varied when possible.) 6. Roman numerals represent simultaneous sounds. 7. Large numbers (encompassing High, Middle and Low) indicate single sounds to be played in all registers and in any time sequence. 8. Broken lines indicate sustained sounds. 9. Vibraphone is played without motor.

Symbols Used: B-Bell-like sounds S-Skin instruments C-Cymbal G-Gong R-Roll T. R.-Tympani roll h -Triangle G. R.-Gong roll

Among the omissions and ambiguities are the following: The symbol for triangle ( ~ ) appears to have been inadvertently left out of the instructions. It is not clear in 1.if the tempo should remain fixed at a rate between ram 66-92 or if it can freely fluctuate within this range. There are no directions for the jagged diagonal line ( - ) , the ,~sign (~,,1 ") and the grace note. Nor is it clear what is meant by 'cluster' and how clusters are differentiated from 'simultaneous sounds:

Most of the above can be clarified by refe~ing to other scores by Feldman. For instance, in Search of an Orchestration, Feldman refers to the jagged diagonal as "upward slide" or "downward slide: 'I The ~ y m b o l is found throughout his music but probably never defined because it is a common convention signifying Lascia vibrare (allow to vibrate). And it is entirely legal (within the limits of Feldman's definitions) for the performer to play simultaneous sounds that are so close to one another that they sound like a cluster. The rationale for added restrictions in the

H line 2, box 19 vibraphone

hypothetical realization

definitions stems from the necessity that each symbol, denoting a particular type of sound, should be distinguished from all other symbols/sounds. To facilitate the distinction, 'simultaneous sounds' should be discrete, simultaneously activated sounds. 'Clusters' should be masses of indivisible sound.

Deducing the nature of the grace note is more difficult. One possible definition is that grace notes are short, isolated sounds. There are several problems with this interpretation. Firstly, grace notes are not always short. Secondly, they are not always isolated. The biggest performance problem

l i n e S , b o x 4 1 R . . . .

line 1, boxes 22-27

is in distinguishing grace notes from arabic numerals. A survey of other graphic music by Feldman reveals that while grace notes and arabic

line 3, box 13

numerals often coexist a distinction between the two is never defined. Perhaps an examination of his treatment of grace notes in more traditionally notated settings will be of assistance. A brief conventional definition of the grace note would be ornamental materials that are linked to (following or preceding) the main text. Feldman's grace notes are not always subservient in this older sense and often operate on equal footing with all other sounds. They do, however, have a special function. Grace notes affect the placement of weight in the music.The passage from mm 89-101 inExtensions 3 for solo piano, for example, contains grace notes to be placed on both sides of the beat? In this case the silent beat is a reference pulse. The result is a lack of rootedness that could not have been accomplished by placing the sounds "inside of ' the metric structure, on the beat or a subdivision of it. The grace note, therefore, becomes a vehicle for uprooting sounds, allowing them to float freely.

72 Percussive Notes Research Edition- Volume 25, Number 3

Feldman's Extensions III 1962 by G. E Peters Corpora- tion. Reproduced by permission of C. E Peters Corporation.

Notation and symbols provide two performance functions: 1) they signify to the performer what is to be played, and 2) they influence the mood and affect how the performer plays.With this in mind, a very real distinction can be comprehended between grace note groups and all other sounds in Piano Piece. 3 The distinction between numerals

ptA o place (t.) ~XTREI, I ty ~,I~FT

I I

Feldman's Piano Piece (1964) 1965 by C. E Peters Corporation. Reproduced by permission of C. E Peters Corporation.

and grace notes in The King of Denmark can be achieved by referring to the contexts evident in Extensions 3 and Piano Piece. Arabic numerals are t ied to the beat (see discussion of tempo below). Grace notes immediately precede or immediately follow sonic events or beats, represented by each box.

How should the performer treat tempo in the piece? Perhaps Feldman's statement regarding Projections and Intersections, a set of pieces also

notated on coordinate paper, will aid in answering this question.

Weight for me does not have its source in the realm of dynamics or tensions, but rather resulting from a visual-aural response to sound as an image gone inward creating a general synthesis. Weight involves the finding of a pulse which allows for a natural fluidity. Discovered weight implies discovered balance. Discovered balance implies discovered movement from this pulse.The notation is presented graphically where each box is a clock time duration?

The performer should discover a single pulse that remains fairly stable throughout the work allowing for the 'natural fluidity' and 'balance' discussed by Feldman. The rationale for maintaining a stable tempo is that when the pulse is varied, the temporal proportions are violated. Let us consider, for example, the following hypothetical temporal condition. Because 4 boxes at ram 92 are equal to 3

mm69 92 9Z 9Z 9Z 59 Performance I J ] real~ation

m m 6 9 69 69 69 69 Liste~er~ I t ] interpretation /


boxes at ram 69, it is possible for the listener to confuse A and B. This example is, of course, an extreme juxtaposition of the fastest and slowest allowable tempos. Subtle employment of temporal modifiers (accelerando, ritardando, etc.) to shape the work is, on the contrary, pert inent to what Feldman says. A rendering resulting in smooth fluctuations is permissible as long as the large scale temporal design is not irreparably altered.

There are numerous instances in the score where the boxes are inexplicably lengthened.

[ l ine 3, box 23

It is clear in the examination of what appears to be a pre-publication version of the composition (included with Jan Williams' interview of Feldman in Percussive Notes, September 1983) that the work was initially composed on grid coordinate paper? The longer boxes were, therefore, precisely equal to two or more small boxes. By measuring the number of spare beats we find that box 23, line 3 is equal to 3 beats. All of the longer boxes (l isted

111t" " l ine 3, box 23

_J

below) are equal to 2, 3, 4, 5, or 9 beats according to the space - i.e. how many spare beats in the box. To

line 1, box 30 :2 beats line 2,box 6 : 2 beats line 2,box 8: 3 beats line 2,box 15:2 beats line 2,box 21:2 beats line 3, box 23 :3 beats line 4, box 34 :4 beats line 7,box 16:9 beats line 9,box 1 : 3 beats line 9, box 13:2 beats line 9,box 21 :5 beats

maintain the temporal proportions in the composition, the performer should observe the full duration of all extended boxes. The absence of pulse divisions allows the performer the choice of where to place the sounds in these boxes.

Feldman appears to have differing degrees of concern for the various parameters of sound. He provides very explicit directions for dynamics and tempo, only partial directions for timbre, and no directions for rhythm and pitch. This raises two questions central to the performance realization: 1) Is Feldman indifferent to these aspects of sound? 2) Is Feldman relinquishing some of the compositional duties to the performer?

Feldman expresses his concerns with respect to the second question in the following paragraph:

After several years of writing graph music I began to discover its most important flaw. I was not only allowing sounds to be free - I was also liberating the performer. I had never thought of graph as an art of improvisation. . . This realization was important because I now understood that if performers sounded bad i t was less because of their lapses of taste than because I was still involved in passages and continuity that allowed their presence to be felt?

Feldman's compositions are not elaborate forums for improvisation/Ultimately, however, decisions must be made and to this end the performer is a co-composer. The negative conse- quences mentioned in the preceding statement result when the performer's decisions are not compatible with Feldman's intentions. Before one can act as an ally, however, a bet ter understanding of his compositional creed is in order.

Let us consider the following statement by Feldman:

The idea of construction as a subject in music was largely brought about by the breakthrough of musical innovation in the past fifty years. It was assumed that all these ideas could be brought within the existing logical state of order. And in the first half of the century this process worked. The new possibilities of sound suggested by the innovations were not


regarded as having any compositional signifi- cance. What was emphasized was the unifying of all these new musical elements into a significant form. An emphasis on this more evasive element-sound would have upset the precarious balance of the 'Ideal Composition: 8

He appears to be at odds with the notion of construction; the manipulation of sound to fit into a prescribed system. He professes on the contrarz an interest in sound - in and of i t se l f - and how sound acts in determining the shape and character of the work. This idea is clarified in a paragraph from the same article:

Up to now the various elements of music (rhythm, pitch, dynamics, etc.) were only recognizable in terms of their formal relation- ship to each other. As controls are given up, one finds that these elements lose their initial inherent identit~ But it is just because of this identity that these elements can be 1miffed within the composition. Without this identity

there can be no unification. It follows then that an indeterminate music can only lead to catastrophe. This catastrophy I allowed to take place. Behind it was s o u n d - which unified everything. Only by unf ix i~ the elements traditionally used to construct a piece of music could the sounds exist in themselves...9

Feldman's involvement with control and de-control is evident in The King of Denmark. The parameters he has chosen to control are: dynamics and articulation, tempo, register, and duration. Parameters that are not controlled are rhythm and pitch. The remaining element, timbre, is the only parameter that shifts between condi- tions of control and non-control. Throughout the work Feldman has inserted blocks of ordered timbre into a field that is generally unordered with respect to timbre. The blocks or areas of ordered timbre are of a homogeneous character. The predominate type (1-4) comprises a single timbre. The second type (5,6) is homogeneous in the sense that all sounds are of a ringing nature.

m

(1)

3

(2)

ri R _ _

(3)

L_ic_L_m_LI .' CY~,II~IL$ '

!

(4) ^ ~

I I I I I~1 I '1 I I I r I I l l I I i t l i t I . iA~-~ I l l , , . . . , , , , I I I I III I I I I l i l t ' . . ~ L..L~ s ~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . j

(5) B -

I'[! TII I I I _I_._L~.J,_I IC B ~ G a~ B I I 1 6T ISJ. leT 161 ~ H - - l - - l - - i - - - l ~ l - - ~ - - ~ l

c6) ~" B" C" C

B' 'G a T 8. C . 6 ,

1


The performer's task in The King of Denmark is illustrate the connection between controlled and to ascertain how the elements that are controlled uncontrolled elements, the following diagram can affect the elements that are not controlled. To be constructed.

c o n t r o l l e d a f f e c t s --> n o t c o n t r o l l e d

d y n a m i c s a n d a r t i c u l a t i o n

t e m p o ~ ~ _ _ _ _ . _ . . _ ~ w r h y t h m

t i m b r e p i t c h

R h y t h m can be slow must be fast

The prescriptions for register, duration, and timbre function in determining rhythm. Register linel, box27 i T'I linel, boxl and timbre determine where in the playing area [ ! the performer must be positioned and, consequently, affect the shape of the rhythm as he moves from box to box. There are three types of durations in the score: 1) short, 'dry, sounds (any symbol that is not followed by the broken horizontal line or ~sign), 2) sustained sounds of specified duration ( ..... ) and 3) sustained, 'ringing: sounds of unspecified durations (~ 1~). If the performer plays short sounds on ringing instruments either dead strokes must be deployed, which take more time to execute than normal strokes, or time must be taken to adequately dampen the instruments. 1 Duration, therefore, affects micro-rhythmic detail. The velocity of the rhythm is affected by tempo and dynamics and articulation. In keeping with the requirements for dynamics and articulation, the performer must avoid fast velocities and rapid instrument changes that result in loud or uneven sounds. In keeping with the requirements for tempo, the rate of activity in boxes with many sounds must be rapid while the rate of activity in boxes with few sounds can be slow.

Timbre

The prescriptions for tempo, duration, dynamics, and articulation function in determining timbre. Instrument selection (timbre) is affected by the requirements for duration (ringing or dry sounds), for dynamics and articulation. The performer must choose a collection of instruments that can be played by hands and fingers and produce a uniformly balanced sound at the prescribed low dynamic level. Tempo affects the selection of timbre. In performing boxes containing many sounds, the performer is restricted to a small playing a r e a - limited number of instruments - because the time needed to.move throughout and select from the entire collection of instruments is not available.


P i t c h

Timbre is the only parameter that affects pitch. Many percussion instruments do not produce a predominant fundamental tone (e.g., cymbals and" tam-tams); when a collection of diffusely pitched instruments is sounded in succession, the listener becomes less acutely tuned into pitch relationships - 'melody. Although a sense of relative pitch (i.e., high versus low) may remain, it is probably in such a situation (even one that includes precisely pitched sound) that the listener focuses instead upon differences in the quality of the s o u n d - timbre relationships.

Timbre is the key element in the realization of The King o f Denmark. My approach to the

realization of timbre is based on two precepts: 1) the performer's arrangement of timbre must be congruous with Feldman's, and 2) areas that are ordered with respect to timbre must be distinguished from areas that are not ordered. Where Feldman orders timbre he avoids pitches.The instruments that he specifies, with the exception of the last sounds in the piece, are indeterminately pitched. The performer should, therefore, avoid melodies or patterns that suggest an ordering of pitch. The areas that Feldman has ordered with respect to timbre are homogeneous in character, restricted most of the time to a single timbre. In distinguishing these areas the performer must at all other times employ a diverse collection of instruments.

I I

The second stage in the realization is to determine: 1) the collection of instruments, and 2) the setup design. I have tried to establish in the first portion of this article the importance of carefully adhering to the explicit and implicit requirements in the score. Register directly affects instrument selection. To honor the tripartite register division the percussionist must, firstly, extend the range as much as possible. In order to articulate the middle register, high and low registers must not impinge upon it. Secondly, the register boundaries should function as a guide influencing sound selection. This will probably require adjusting the register boundaries based on the practical limitations of the instruments available for performance. Ultimately, the boundaries must be set so that the registers do not shift from line to line or from one instrument class to another.

The following designations appear in the score: G, gongs, G. R. C, cymbals S, skin A, triangle T, T.R. (timpani roll) B,bell-like sounds

Because this list does not provide specific information (size, quantitz type) it is necessary to

.L

examine the contexts these symbols appear within to guide the selection of instruments.

Let us consider the first line of symbols: G, Gongs, and G.R. To be faithful to the score, these designations appear to rule out the use of an instrument often substituted for gongs, the tam-tam. A perusal of the entire list of designations reveals, however, that in every case Feldman seems to have been purposefully inexact. This impreci- sion, consequently allows the performer much latitude in selecting instruments. Furthermore, if gongs are intended to represent the much larger family of gong-like instruments (akin to the bell-like category) then tam-tams could be included in the setup. In any case, there is no evidence to suggest that a particular type of gong is more appropriate than another, or that tam-tams are unsuitable in the composition.

A look at the area scored for gongs reveals that they must be capable of producing very low, medium, and high sounds. Medium and high

[ i tL ' t,.

. . . . .

line 2, boxes 21-32


sounds can, through the production of harmonics, be obtained on a low gong but low sounds cannot, obviously, be produced on medium and smaller gongs. One of the gongs selected must, therefore, be capable of producing one of the lowest sounds in the piece. The gongs appear in all three registers in rapid succession. The clearest realization of this

l ine 2, boxes 25-29

passage is to employ three distinctly different gongs.

A variety of sounds is required in the area designated 'cymbals: In addition to sound production in the three registers, a glissando and a

I I ~ I |T I l' line 6, boxes 23-29 IRH ~ 1 1 1 I I I~I I|I I

cluster also exist. To satisfy the requirements for clusters, the percussionist should employ- as a minimum - the maxLmum amber of cymbals that can be simultaneously struck. To accomplish this, the cymbals will have to be situated in close proximity. Several medium and high cymbals could be used to perform the glissando that stretches over two beats. Feldman has not specified the type of cymbal but, in the interest of diversity, a variety would be most appropriate.

The third category is designated 'skin: Why Feldman chose the singular instead of the plural 'skins' as he did with 'gongs' and 'cymbals' was probably an oversight. The guidelines for register and predilection for variety that governed gong and cymbal selection should also apply to skins. A medium and a low skin should be very resonant so that their durations are consistent with the other ringing instruments in the passage listed below.

c]' S,, ] " B" ' '&"

o [s,L c" o,, l ine 6, boxes 1-11

The symbol for triangle, A, appears in three registral locations. To distinguish these locations, a minimum of three triangles should be included in the instrument collection.

T~vo of the triangles need to be within striking distance of a tirapano and a gong. In the sixth line, boxes 12-20, the percussionist is required to strike two triangles while rolling first on a timpano and then a gong.

a'" ] ' ; c7 o" i a" 8"

l ine 6, boxes 12-20

The letters T. and T. R. (timpano roll) appear three times in the score. Because they are only located in the lowest register, one large timpano will suffice.

The remaining designation, 'bell-like sounds: does not denote a specific instrumental class. There is no dictionary definition for bell-like sounds but I think that what is desired are metallic resonant and pitched sounds. By this definition, bell-like sounds could be produced on vibraphone and, albeit with more difficulty, on triangles, gongs, and cymbals.As will be recalled, a tenet established in the first section of this analysis requires that areas controlled by Feldman, with respect to timbre, should be differentiated from areas that are not controlled. The concept of differentiation taken one step farther dictates that each instrumental category should be distinguishable from every other category (e.g., 'cymbals' should not be confused with 'triangles'). Because triangles, gongs, and cymbals are already defined as categories they cannot serve as bell-like sounds, which is itself a category The practicality of this principle is evident in the areas where Feldman mixes categories.


I I I IcT I I I I 1ST I laT I I I I ; ICl le t IBT I I~T I I IGT I I Iz~T 1ST

~T 151 lOT I~ltR.l---I--H--t--~H--tal

line 6, boxes 1-21

In this example, substitution of any of the B's with triangles, cymbals, or gongs would blur the category distinctions and render this passage undifferentiated from the rest of the composition. It is, therefore, necessary to include a collection of high, medium, and low bell sounds (cow bells, church bells, tubular bells) that are sufficiently different from other ringing metallic sounds in the setup.

To this point in the analysis, the minimum instruments required are: vibraphone, G~ antique cymbal or glockenspiel, 3 skins (high, medium and low; m. and 1. very resonant), 3 gongs (h., m., 1.), 3 cymbals (h., m., 1.; additional h. and m. for the cluster and glissando), 3 triangles (one large for the medium sound),bell sounds (h., m., 1.) and 1 large timpano. An inventive percussionist could perform the piece with this modest collection. As we continue to probe through statistical analysis it will be revealed that a larger assortment of instruments is bet ter suited to the requirements of the composition.

Before doing so let us review the performance aims. Repetition of sounds and sound sequences should be avoided. Pitched sound should be mixed with unpitched sound. The frequency spectrum should be expanded both up and down. The register partitions should be honored. Every attempt should be made to differentiate the symbols/sounds. With these aims in mind, let us proceed.

Of the 425 discrete sounds and events in the work, 345 are undesignated - i.e., not instrument specific (B, C, T, S, G, h). ~1 The magnitude of this number in itself points out the need to augment the core instrument collection. What kinds of instruments are best suited to produce the required sounds?

There are more high sounds (161) than medium sounds (131) than low sounds (84)? 2 Nonrringing, dry sounds (255) outnumber ringing sounds (117) more than 2:173 This information suggests that

instruments added to the original collection should produce primarily medium to high, dry sounds. While it is true that large ringing instruments are capable of producing such sounds the data reveals the advantage of supplementing the collection with smaller, nonringing instruraents.

The preceding examination of instruments specified in the score (timpano, cymbals, gongs, etc.) touched only briefly upon their arrangement in the percussion setup. To recapitulate, cymbals should be grouped together (the glissando and cluster) and several of the triangles should be within striking distance of a gong and the timpano. I would like to propose that all of the specified instruments should be grouped in clusters by class - skins with skins, gongs with gongs, and cymbals with cymbals.

Grouping by class might also be beneficial in the arrangement of ringing and dry sounds. There are numerous large areas in the score primarily devoted to ringing or dry sounds.

M a i n l y d r y a r e a M a i n l y r i n g i n g a r e a

line 1 line 6

Class grouping is definitely required when we embark on a more telling analysis of boxes containing five or more discrete sounds per icti. 14

line I, box 1

Due to the large number of sounds to be performed simultaneously or in rapid succession, the percussionist has no time to move around the setup and select from more than one area at a time. Dry sounds in these boxes outnumber ringing sounds 5:1.15 The majority of the boxes contain only dry sounds, outnumbering ringing boxes about 6:1 and mixed boxes by an identical proportion. TM

line 1, box 30


Ringing

line 2, box 8

$

line 3, box 25

Although ringing and dry sounds are seldom mixed in these boxes, registers usually are. Boxes that contain two or more registers outnumber boxes with only one register almost 2:1. ~7 These findings indicate that high, medium, and low sounds should be evenly mixed throughout the setup.

Clusters are sounds requiring special treatment. All of the twenty clusters comprise ringing sounds. In order to distinguish them from roman numerals, clusters should be blurred masses of sound. Three attributes will facilitate this distinction: 1) all members of a cluster should belong to the same instrument class, 2) all members should be pitched in close proximity, and 3) cluster members should be located close together to allow the percussionist to activate a large number of tones at one time. Ringing keyboards -vibraphone, crotales,

glockenspiel, tubular chimes, and large collections of bells (e.g., almgloken) - satisfy these requirements. Clusters span the entire range, from very high to very low. The middle and upper registers are adequately represented in the above list of instruments but the low register is absent. Bass marimba and the bottom end of the standard marimba could be added to fortify the low register. The large number of clusters and register formations and Feldman's expressed wish for variety indicate that numerous ringing keyboards are essential to the growing collection of instruments.

The employment of numerous bells in addition to realizing clusters is useful throughout the piece. The majority of designated sounds are bell-like.IS The bells, like the other instrument families, should be grouped together.

In summation, instruments should be grouped in families, instruments added to the specified core collection should be mainly medium to high and dry~ Timbres should b e mixed throughout the setup but generally dry should be grouped with dry and ringing grouped with ringing. High, medium, and low sounds should be evenly mixed in the setup. Numbers of ringing keyboards are useful additions as is a large variety of bells.

I I I

The final section of the paper addresses the 'nitty-gritty' of the performance p repa ra t ion - the process of bringing the symbols to sonic life. The catalog of hand and finger techniques and the strategies for realizing the symbols are not intended to be definitive. A significant feature and the source of this writer's ongoing fascination is the degree to which the performer is obligated to take part in the shaping of the work. The composer/ performer collaboration goes far beyond the demands encountered in most other music. To take away the performer's creative i n p u t - the discovery of new sounds and techniques - by reducing all possible realizations to a fixed formula would, in my opinion, be misguided and a great disservice to

Feldman's work. It is, nevertheless, necessary to follow up on the propositions advanced in the preceding sections by showing how they might be implemented in performance.

It is very important to note that observations and techniques grow out of numerous performance encounters and a period of reflection and consoli- dation. In my own case, I began work on The King of Denmark in 1976 and presented it in concert for the first time in 1977. I have, subsequently, returned to it often as a subject in lecture/demonstrations and as a recital piece. It is, undisputably, one of the most significant compositions in the solo percussion repertoire.


Finger and Hand Techniques

Title Description of Action Resulting Sound Application

Finger nail scrape Finger nail(s) are dragged (pushed or pulled) along playing surface

Finger nail flick Playing surface is approached at an angle (.-~).

Finger nail attackSurface is approached at a 90 degree angle ( ~ ) .

Finger tip Surface is approached at a (fleshy) attack 90 degree angle

High frequencies are accentuated

High frequencies are accentuated

Medium to high frequencies are accentuated

High to low sound (depending upon object that is played)

Finger drag Finger(s) are/is pulled High frequencies are (flesh) along surface accentuated

Knuckle tap Knuckles strike surface High to low sound

'Persian' finger snap

'Indian' finger attack

Palmattack

Fingers 2-5 are snapped off High to low sound of thumb into playing surface

The 3rd or 4th fingeris anchored High to medium sound on surface while the 2nd finger attacks

Palm squarely attacks surface High frequencies are suppressed

Heel attack

Finger friction Finger(s) are/is pushed rub along surface

Finger friction rubFinger(s) start on surface, push into (quick release)

Forearm attack (plus fingers andhand

Heel of hand strikes surface High frequencies are vilrtually eliminated

Medium to low sustained sound

Muted sound and away from surface to produce sound (timpano tuning technique)

Arm,hand and fingers simultaneously strike instrument

Best suited for skins

High to low sound

Elbow attack Elbow strikes surface Medium to low sound. Pitch glissandi on low skins

Glissandi, sustained sounds/ events (1- ..... ),not recommended for medium or low sounds

Not recommended for medium or low sounds

General purpose striking action. Not recommended for low sounds

General purpose striking action. Not recommended for extremely high sounds

This technique can produce 'whistle' tones on some instruments. Not recommended for medium or low sounds

Very versatile. Slightly brighter than finger tip attack

Very versatile

Excellent method for producing harmonics on skin instruments. Not recommended for low sounds

Not recommended on small instruments

Not recommended for medium or high sounds

Usefulforsustainedsound (1- . . . . ). Not recommended for high sounds

Recommended for wide clusters on cymbals and keyboard instruments

Best suited for large skins. Not recommended for small instruments


Symbols~Sounds: General

Symbols Sounds Rolls High: finger nail rolls. Low: tie shy finger tip or knuckle rolls. As the angle of the

fingers approach vertical, the sound gets higher.

Clusters To create the sound for wide clusters, combine very low with very high clusters in two simultaneously activated groups. The middle register will be absent but the effect will be that of a single wide cluster. Palms and forearms are useful for producing clusters (see hand and finger techniques).

Glissandi Keyboards are best suited for producing glissandi. Alternative sources include: roto-toms, timpano, and loosely tightened skins that yield a variety of pitches (push into the head with one hand while the other is playing it to produce a slide).

Roman numerals Ideally, every member of these composite sounds should be distinct. The combination of timbres from different instrumental groups assists in this d i s t inc t ion- e.g., skin, wood, metal. On several occasions the size of the number renders such combinations impractical, e.g., example (a) below. A solution for performing large composite sounds is to use pitched sources (vibraphone, marimba, etc.) making sure that half steps are not employed. In my opinion, 3 tones on the marimba, (r.h.) are more easily perceived as a three membered complex than 3 sounds on less precisely pitched pe rcuss ion - e.g., temple blocks. For example, see (b) and (c) below.

Selected Specified Sounds

Very small triangle: finger nail attack

Large triangle: knuckle or finger tip attack

. . . . . . . . . . .

Start at the bell of a very small cymbal (finger nail scrape). Shift gradually to larger cymbals (always start near center of cymbal and move toward the rim) overlapping cymbal sounds to create a seamless gliss. The finger nail scrape should be trans- formed into finger tip rubs or rolls.


Box 21. Large gong: heel attack (below center) Box 22. Small gong: finger nail flick (half-way between center and edge) Box 25. Small gong: finger nail attack (rim) Box 26. Medium gong: knuckle attack (between edge and center)

Large gong: palm attack (center) Box 27. Large gong: heel roll (below center) Box 28. Medium gong: finger tip roll (center) Box 29. Small gong: finger nail roll (rim) Box 30. Large gong: palm attack (center) Box 31. Medium gong: knuckle roll (center)

umnimmDinn l n a a f l i m i n g t

A i

Addi t ional S o u n d Resources

Instrument frames

Scrap metal and aluminum cooking ware

Thunder sheet

Wooden instruments

1. End pieces of some keyboard instruments produce medium and high, dry sound. 2. Resonators of keyboard instruments are another source for glissandi. 3. Rims and shells of drums produce dry sound. 4. Vertical metal tubular bell supports on some instruments produce a high 'ping: Bell-like ringing sound.

Low ringing sound.

(Woodblocks, slit drums, temple blocks, etc.) dry sounds.


Footnotes

Morton Feldman, In Search of An Orchestra- tion (1969). Copyright 1969; London, Universal Edition 15324.

Morton Feldman, Extensions 3 (1952). Copyright 1962; NewYork, C. E Peters Corporation.

:3 Morton Feldman, Piano Piece (1964). Copyright 1965; New York, C. F. Peters Corporation.

4 Everett Helm, "Current Chronicle:' The Musical Quarterly (38):131.

5 Jan Williams, '~n Interview with Morton Feldman:' Percussive Notes 21/6 (September 1983):9.

6 Morton Feldman. "Durations:' liner notes, Time Records No. 58007.

7 The term 'improvisation' is used here to denote the situation in which the performer makes personal decisions not governed by the written or unwritten intentions of the composer.

8 Morton Feldman, "Pre-determinate/Indetermi- nate:' Composer (London) 19 (Spring 1966):4.

9 Ibid.

1o I am not suggesting that the performer should always choose based on what is easiest to perform and control. On the contrarz the performer should devise new techniques, create new sonic designs within the limits of the piece - an approach that is in accord with Feldman's ideas.

1, Discrete sounds are: each member of an arabic numeral, grace notes, each member of a roman numeral, and clusters. Events are: rolls and glissandi.

~2 Excluded in this count are glissandi, clusters, and sounds not restricted to a particular regis ter- e.g.,

13 Excluded in this count are: glissandi, clusters, sounds not restricted to a particular register, and sustained sounds/events - e.g., 1 - - - , R - - -

"The number 5 is an arbitrary limit. Proportions are the focus of this survey not quantities. Had the limit been 4 or 6 the proportions would have remained approximately the same. Boxes included in this survey are:

Line # Box # Line # Box # Line # Box #

1 1 3 3 5 42

1 21 3 4 6 30

1 30 3 25 6 33

2 8 4 10 6 37

2 18 4 28 6 41

2 19 4 38 8 3

2 34 5 28 8 10

5 39 8 15

9 19

9 2O

(Box 1 on line 3 contains five sounds but because it contains three icti it is below the limit).

'5153 dry, 30 ringing.

1625 boxes total: 19 dry, 3 ringing and 3 mixed.

IT16 multiple register boxes, 9 single register boxes.

is 23 bell-like sounds plus 3 clusters. The next largest group is gongs, 20 sounds.

Documents

Prformance Analysis, Feldman, The King Lf Denmark