I wanted to gather frequencies, like stones or flowers or snippets of conversation. The principle here is topographical; layers accrete like sediment and then wash away. The music only uses time as an archaeological tool: it reveals the composition of a particular, pseudo-artificial space, through which one can move at their own pace.
The performer is only concerned with presence: is the frequency in the space, is it coming into the space, or is it leaving the space? Any sense of motion arises out of intervallic relationships, the performance space, and the audience’s position and choices, which generate various splinters and distortions of the “ideal” waveforms. The drone is a mad engineer, crafting lateral byways, always moving between listeners like “like grass between the paving stones.” There are many paths into and out of this piece, and its apparent destination recedes in exact proportion to one’s proximity to it. As usual, the territory exceeds the map.
Recording of a live performance at Rhinoceropolis, Denver 20/01/16
Here is a link to the score