Saturday, December 4, 2010

Notes on Morton Feldman's Second String Quartet



I figured I have been working on this recently again, and over Christmas Break in Virginia I think I will re-listen to the Feldman 2nd String Quartet. I listened it to it when I first moved to Colorado and took notes, and now want to record a quartet (any instruments) version with fellow Colorado musicians of my notes on the piece, and title it "Gestures on Morton Feldman's 2nd String Quartet." Gestures because that's exactly what it is, but from an improvising standpoint. So here are the notes, and I am slowly writing them out on notecards to pass around to the ensemble, and record them in sections. The originally piece is 6 hours, but I'm expecting my own "rendition" to be 1-2 hours.

Notes on Morton Feldman’s Second String Quartet

(There are three marked pages to look at, black right edge)

Listened to May 5th and May 6th 2008

5-9

- (Eb, F, Ab, B) floats

- (G up to C down to F# up to C#)

- (D, E, A, B)

- A few minutes each set played over each other, full of sustain with slight variations on entrances. Phasing in and out; reminds me of Hollenbeck, accordion other tones.

- (Ab, G, Bb, C)

- Not as long, followed by dissonance, four note pitch set

- Continuing…

- Less time on each new set

- Into chromatic rhythmic unison; Bees buzzing together then apart for a few seconds, and then back

- Pizz note and three triple stops (REST FOLLOWED BY A QUARTET NOTE), with other members

- Pitch set method from before with pizz and bows combined and more of a rhythmic hocket

- Back to pitch set idea with pizz and bow (BOW QUARTET NOTE, PIZZ QUARTET NOTE, BOW QUARTET NOTE, PIZZ QUARTER NOTE)

- Seems so far like small musical connected ideas that change; new textures/ideas each few minutes

- (LOW PITCH EIGHTH NOTE, HIGH PITCH EIGHTH NOTE, LOW EIGHTH NOTE, HIGH EIGHTH NOTE, EIGHTH REST, LOW EIGHTH NOTE, HIGH EIGHTH NOTE, LOW EIGHTH NOTE, HIGH EIGHTH NOTE, EIGHTH REST, REPEATED)

- (HIGH EIGHTH NOTE, LOW EIGHTH NOTE, HIGH EIGHTH NOTE, LOW EIGHTH NOTE, HIGH EIGHTH NOTE, LOW EIGHTH NOTE, QUARTET NOTE REST, REPEATED)

- Very slow Eb to Db, rhythm varies, with atonal cluster bowed at beginning of each phrase and harmonized very dissonantly

10-14

- Sustained B over romantic sound, then a C over a dynamic cluster

- I feel as if looking at art, with the rug idea going. I am looking at an aspect of it aurally, and then another connected one a few minutes later and so forth. Each few minute moment changes but is connected through sound or some hand off turning into another variation.

- Reminded myself to sit up, twenty-five minutes in.

- Eighth note pitch set (Four notes, 1, 2, 4, 5, in a different key) and (Four notes, 1, b2, 2, b3)

- (1, b2, 2)

- (b2, 2)

- (1, b2, 2, b3)

- Eighth notes and accelerating

- Sustained chords again, dissonant but open sounding

- Sustained B

- Close chord, possibly (1, b2, 2, b3), played as long sus quarter notes at varying dynamics, some very loud.

- Two pitches a whole step away bowed in phase split with all voices.

15-19

- Effortless transition

- Four note chords with some voices, not all changing, every three to five times

- Quarter note equals 60, (QUARTER NOTES, FIRST CHORD, SECOND CHORD REPEATED TWICE)

- Rhythm varies with sometimes (TWO EIGHTH NOTES, QUARTER NOTE REST, REPEATED TWICE) or (TWO EIGHTH NOTES, EIGHTH NOTE REST, REPEATED ONCE)

- Thirty four minutes in, relax have patience

- Lots of whole step relationships (E TO F#, REPEATED THREE TIMES) with different three note chords behind it, usually open with augmented ninths (1, b9 an octave up)

- Pretty quiet

- Piercing C# that doesn’t “fit” with the other notes, a recurring theme in three different small phrases

- Open pizz chords mostly (QUARTER NOTE FOLLOWED BY THREE QUARTER NOTE RESTS) OR (QUARTER NOTE FOLLOWED BY A QUARTER NOTE SOMETIMES ON BEAT TWO, BEAT THREE, OR BOTH BEAT TWO AND THREE, AND BEAT FOUR ALWAYS BEING A QUARTER NOTE REST) with slight variation, unison, rests, one with four rests

- Chords changing, open fourths, octaves and fifths, and whole steps

- Bowed whole steps over a pizz

- Overlap of bow and pizz varies

- Twelve seconds about with each idea, slight variation but repeated 12 seconds or 5-8 times

- Forty three minutes and fifteen seconds

- Sustained E, rare, then F#, (1, 2, 4, #4, #4 IS CIRCLED) playing a figure

- Back to chords

20-24

- Quick transition

- Forte whole steps then pizz gliss down from Ab to F (Ab WHOLE NOTE TIED TO A QUARTER NOTE LABELLED F, REPEATED)

- Quiet chords, follow very sustained but with space

- Starting to get into this, more listening need, less writing.

- Pizz gliss idea is back with (Ab WHOLE NOTE, AN OCTAVE UP FROM HALF NOTE A AND THEN QUARTER NOTE Bb, Bb IS CIRCLED)

- LOOK! Ab to Bb (FOUR QUARTER NOTES), quicker tempo but still slow. Bowed quiet unison with two violins, slower, slowly all strings in different registers and timbres but still in unison. This builds and takes away instruments, keeping the same tempo.

- Fifty two minutes and fifteen seconds

- Open chords, sounds of Charles Ives, very consonant put polytonal, I to IV almost in the bass though.

- Sounds like a chord progression (ALL CHORDS HALF NOTES, ii, breath, V, breath, vi, breath, REPEATED)

- Fifty seven minutes and twenty seconds

- Eventually starts to become a canon, very emotional/romantic but minimal

- Add one major seventh, one major seventh then some ones displaces in octaves.

- Held major sevenths, held major seconds

- Back to a long pitch set and sustained B (1, 2, 4, #4)

- One hour

- More unisons and minor seconds

- Dark/open (major seconds) chords

- Hearing humidifier in the background

- (G, A, D, OCTAVE UP TO E)

- Think about octave placement more. Lots of large interval relations and keeping with major second theme and half step theme.

- (QUARTER NOTE, ARROW DOWN, QUARTER NOTE) and (QUARTER NOTE, ARROW UP, QUARTER NOTE) at the same time different pitches, both half steps.

25-27

- (5, 4, 3) with a lot of (5, 4) grind

- Seems Feldman is changing it up, but keeps a loose slow theme pace the whole time. Upper high notes played to sound a high overtone in a lower string played.

- Intrusive Bb, QUARTER NOTE played in middle of phrases with lots of space

- Half steps/Whole steps

- (HIGH A, WHOLE NOTE, AN OCTAVE LOWER Ab HALF NOTE AND G QUARTER NOTE) overlaps

- (FIVE QUARTER NOTES, EACH WITH AN ARROW, UP, DOWN, UP DOWN, UP DOWN) half steps planned around and in harmony/dissonant unison

- Listen more

- The pitch A, pizz gliss up, over three note dense chromatic chords

- (Eb, Db) (THREE EIGHTH NOTES, QUARTER NOTE, TWO EIGHTH NOTES, QUARTER REST, FOUR EIGHTH NOTES) FROM 5-9!!!!!

28-31

- (G, A, D, and an octave up E) from 20-24!!

- One hour and sixteen minutes

- Ab and Bb an octave lower

- Planes around keys

- (1, b2, 2, b3) from earlier in 10-14, didn’t last long

- First quarter notes, then eighth notes and a little earlier

- Four note theme (bow, bow, bow, pizz),

- Half steps, one finger down slurred up or down. (FOUR EIGHTH NOTES, QUICK PAUSE, FOUR EIGHTH NOTES, REPEATED)

- Overlapped with fretted pattern is building

- Three note pizz with lots of space, major second double stops, half step up and half step down in different keys

- Three note pizz with space, one finger slurred half steps

- (B, C, D) (THREE QUARTER NOTES FOLLOWED BY A REST WITH A FERMATA OVER IT, REPEATED)

- Sustained Bb after that with things played over top

32-36

- One hour and twenty six minutes

- Staggered (B, C) and other half steps (B, Db) played as a (QUARTER NOTE CRESCENDOING)

- Whole notes, bow pressed into the string

- Quiet chromatic chords

- (B, C, Bb, A) (EIGHT EIGHTH NOTES REPEATED)

- (Bb, C) quick pitch set

- (C, Bb, A, B) (EIGHT EIGHTH NOTES REPEATED)

- Pitch set (Bb, C) quick

- (FOUR EIGHTH NOTES OVER EIGHT SIXTEENTH NOTES WITH ACCENTS ON THE SECOND, FIFTH, AND EIGHTH NOTES, OVER THREE QUARTER NOTES) Space after each phrase.

- Half steps, changing notes, keeping notes, occasional theme, lots of space after three to four times. (FOUR EIGHTH NOTES REPEATING OVER EIGHT SIXTEENTHS WITH ACCENTS ON THE FIRST, FOURTH AND SEVENTH NOTES, OVER THREE QUARTER NOTES)

- (TWO QUARTER NOTES, TWO THIRYSECOND NOTES, THAT ARE HALF STEPS, OVER THE FIRST QUARTER NOTE, AND THREE TRIPLET SIXTEENTH NOTES OVER THE SECOND QUARTER NOTE THAT ARE PITCHES 1, b2, 2)

- The pulse is interchanging

- Cello pizz with some double stop fifths and sixths

- Tremolo violin with space (QUARTER NOTE REST QUARTER NOTE)

- All pizz in

- Aggressive bowed chords, some scraping sounds, angry and then open

- First Instrument (QUARTER NOTE FOLLOWED BY THREE QUARTER NOTE RESTS, REPEATED) played pizz with the same chord as the

- Second Instrument (TWO QUARTER NOTES FOLLOWED BY TWO QUARTER RESTS, REPEATED) played pizz with the same chord as the first instrument

- Third Instrument (QUARTER NOTE FOLLOWED BY THREE QUARTER NOTE RESTS, REPEATED) a different chord that is higher in pitch

- Fourth Instrument (TWO QUARTER NOTES FOLLOWED BY TWO QUARTER RESTS, REPEATED) a chord that is lower in pitch, same both times

- All four of these previous instrument lines are played at the same time, repeated a few times

37-41

- (Bowed Low Eb (WHOLE NOTE), high E (HALF NOTE), F (QUARTER NOTE), REPEATED) and occasional pizz gliss.

- Both themes from earlier

- One hour and forty minutes

- Listen, suddenly sounds like Penderecki or Lutoslawski, with half step theme

- Quick eighth notes, single theme, then different reharmonizations of it

- Solo, then reharmonized with all half steps

- Happy-ish pizz

- Coyle entered

- (LOW PITCH QUARTER NOTE, HIGH PITCH EIGHTH NOTE, LOW EIGHTH NOTE, HIGH QUARTER NOTE, LOW QUARTER NOTE WITH A PARENTHESIS AROUND IT, REPEATED) Paul’s piece?

- (HIGH EIGHTH NOTE, LOW EIGHTH NOTE, HIGH EIGHTH NOTE, LOW EIGHTH NOTE, EIGHTH NOTE REST, LOW EIGHTH NOTE, LITTLE HIGHER EIGHTH NOTE, LOE EIGHTH NOTE, LITTLE HIGHER EIGHTH NOTE, EIGHTH NOTE REST, REPEATED)

42-46

- Took a twenty-minute break for food, paused and returned.

- One hour and fifty three minutes

- Half steps with huge glissandos of major second/thirds with weird slurred sounding colegno or other bowing

- More rhythmic hockets with pitch sets

- (FOUR EIGHTH NOTES, ONE PIZZ EIGHTH NOTE, FOUR EIGHTH NOTES BOWED, ONE PIZZ EIGHTH NOTE, REPEATED) and (BOWED THREE EIGHTH NOTES, PIZZ ONE EIGHTH NOTE, REPEATED) and other not as subtle variations

- (b3, 2, b2, 1) (FOUR EIGHTH NOTES REPEATED)

- More clouds of sounds with harmonics and glissed A to C, and D to G, the G floats

- Two hours and two minutes

- Dark low pitch cello pizz with some double stops,

- Chromatic chords bowed

- Very high violin harmonies

- Cello pizzed “d” against violin chords bowed

- Snakey glisses between two chords by half step relations.

- (BOWED CRESCENDO INTO ONE PIZZ QUARTER NOTE, FOLLOWED BY SPACE, AND THEN REPEATED)

- Doppler effect chords (E TO C#) (E TO C# alternating, FOUR EIGHTH NOTES, EIGHTH NOTE REST, ONE EIGHTH NOTE, EIGHTH NOTE REST, ONE EIGHTH NOTE, REPEATED)

47-51

- (Cs AND Bs)

- (C AND B) overlapping, pitch set from earlier

- Two hours and nine minutes

- One finger slurs from earlier as well as rhythmic hockets from 42-46

- (STAGGERED BOWING, CRESCENDO, QUARTER NOTE, PIZZ GLISS, SPACE, UP DOWN NONE, REPEATED) overlapping some

- Note to self, a series called “pages” developing quartet compositions with drums, arco bass, two Bb horns (tenor sax/clarinet) and (trumpet). Using an interpretation of these notes compositionally this will becomes }”Pages 1, 2, 3, etc…” Variations on this will become Pages 1A, 1B, 1C etc… when they are from the same written material.

- Zoned out a tiny bit while writing. Must write smaller to save space. Quiet now, meditative, high and low pitched bowed tones muted with a peaceful pizz every half note.

- Turns dense, bass line from earlier now dense counter line, becoming more at ease, but eerie.

52-54

- Two groups playing, bowed against each other.

- (SIX QUARTER NOTES, ALTERNATING BETWEEN LOW AND HIGH IN PITCH, REPEATED). The higher notes, on beat 2, 4, and 6, are played by two of the string players, and play four notes, as well as the lower notes, beat 1, 3, and 5 are played by the other two string players, and play four notes.

- This is slow, repeats a chord set two to five times, most two plus two notes.

- Violin playing a melody in same quarter note style against three notes. Solo violin using harmonics, staying on notes one to three times then back to the sign.

- Sometimes a group will be in unison, but usually in half steps/whole steps.

- (FOUR QUARTER NOTES FOLLOWED BY A WHOLE NOTE WITH A FERMATA OVER IT) Different instrument for each note, then quicker

- Violin pitch set, serial sounding, with slight ponticello

- Two against three (Two eighth notes against three triplet eighth notes) with a note added to turn the rhythm around occasionally

- Whole steps between the two against three

- (FOUR ACCENTED QUARTER NOTES, LABELED ONE, TWO, ONE, TWO) quick two chords add clockish pizz on beats two and four. Add a lower cello note on beats one and three.

55-58

- Two hours and thirty three minutes

- Listening and pausing for more food and coffee. Back in a few minutes, it’s one am on May 6th.

- (C, Bb, A, B, C) from earlier!!!!!

- Theme hocket from twice earlier (FOUR BOWED EIGHTH NOTES, ONE EIGHTH NOTE PIZZ, FOUR BOWED EIGHTH NOTES, ONE EIGHTH NOTE PIZZ REPEATED) with other three/two combinations

- Relax, patience, breathe.

- Recurring theme is reccuring themes shortened and played hours away from each other.

59-63

- Half step bow relation I know I’ve heard before with angular (TWO EIGHTH NOTES, EIGHTH REST, EIGHTH NOTE, EIGHTH REST, DOTTED QUARTER NOTE, REPEATED) three to five times

- Half steps up and down over (FOUR QUARTER NOTES REPEATED, ALTERNATING TWO CHORDS BACK AND FORTH)

- (EIGHTH REST, EIGHTH NOTE, REPEATED FOUR TIMES) Sparse and repeat

- (SIX EIGTH NOTES OVER 6 QUARTER NOTE TRIPLETS, EACH PHRASE ALTERNATING BETWEEN TWO CHORDS) quick, and overtop of (TWO QUARTER NOTES, AND TWO EIGHTH NOTES, WITH A PARENTHESIS AROUND THE LAST ONE, REPEATED)

- Half step

- (FOUR EIGHTH NOTES OVER TOP OF EIGHT SIXTEENTH NOTES, WITH ACCENTS ON THE SECOND, FIFTH AND EIGHTH BEAT, OVER TOP OF THREE QUARTER NOTES) Space after each phrase, and this idea is from earlier!

- Descends deeper into the low pitch chromatic deaths/depths (FOUR STAGGERED WHOLE NOTES WITH FERMATAS OVER THEM)

- Pitches A and B repeated then G# repeated, dissonant.

- (TWO QUARTER NOTES, A CHORD AND THEN A SINGLE PITCH, REPEATED)

- (Bb, A, G, A, Ab, A) Play each note one to three times before moving on the next

- Bowed, hushed notes, two notes, a third, extremely high but quiet, and a high pizz, either a D or a Db

- (TWO QUARTER NOTES, A BOWED AND THEN A PIZZ, REPEATED)

- Slow, sometimes quick pizz upbeat

- Chords sound like a train whistle, very breathy

- Whooshy bows with a bees nest dissonant hum

- (C#, D#, E) pizz pitch set, then bowed

- Steady pulse

- Glass sounding devices now but shifting fast, quotes from earlier like one finger slides, and hemiolas that keep arising and Coyle enters

- Two hours and fifty-five minutes.

- Used the music for the Buster Keaton Silent Film

- Three hours and twenty-two minutes. Break for the night.

END OF THE FIRST NIGHT’S WORTH OF NOTES AND LISTENING

BEGINNING OF THE SECOND NIGHT’S WORTH OF NOTES AND LISTENING

74-78

- Starting fresh at the beginning of this

- New day, 9:18pm

- (G, F#, C, C#, not in that order) a nod to an earlier part

- (Eb, F, Ab, Bb) from much earlier

- (D, E, A, B) in order set, then to bowed dissonance

- (FOUR EIGHTH NOTES, FIRST AND THIRD LOW IN PITCH, SECOND AND FOURTH NOTE HIGH IN PITCH, FOLLOWED BY AN EIGHTH REST, AND THEN FOUR MORE EIGHTH NOTES, REPEATED)

- (C to A, then D, G) Also from earlier

- Very Penderecki, suddenly pitches sliding in and out of each other into a Beriloz esque pizz and very loud angry chords, to woody/buzzed medium chords.

- Lots of dynamic contrast with a small idea

- (D to C) back and forth

- (FOUR EIGHTH NOTES, ONE EIGHTH REST, FOUR EIGHTH NOTES, REPEATED)

- More variation this time, overlap, tempo speeds up subito

- Intruding Eb

- Db pizz over dissonant bowed chords, insistent pulse

- (THREE QUARTER NOTES, THE FIRST TWO BOWED PLAYING THE SAME CHORD, THE THIRD NOTE PIZZ AND A DIFFERENT CHORD) Very loose, put pizz almost anywhere on the beat, but loosely this rhythm. Two pulse space for bow.

79-80

- Heard an older romantic theme for a few seconds, signaled section 79

- Meditative slow hushed chords with light pizz. “D”

- Back to romantic sound with pizzs

- Three hours and thirty three seconds

- (Eighth note followed by two sixteenth notes) morphs into (eighth note followed by three sixteenth note triplets followed by a quarter note)

- Ascending melody

- (EIGHT EIGHTH NOTES, WITH THE NUMBER SEQUENCE 4, 3, 2, 1, 5, 4, 3, 2, REPEATED) faster

- Overlapping phrases/chanting fragment and repeat

- (EIGHTH NOTE, TWO SIXTEENTH NOTES, ONE QUARTER NOTE, REPEATED)

- Every note displaced on different instruments, pizz, bow, and high harmonic

80-83

- (FOUR QUARTER NOTES REPEATING, ALTERNATING NUMBERS ONE AND TWO)

- One equals one chord, two equals solo voice or duo

- Slow, no exact rhythms, occasionally flip the beat around

- Sometimes (TWO EIGHTH NOTES, ONE QUARTER NOTE REST, REPEATED)

- Pitches change every one to three times, stays on this for awhile

- Goes between open to tightly dense chords but still is (FOUR QUARTER NOTES REPEATING, ALTERNATING NUMBERS ONE AND TWO)

- One equals a chord, and two equals a melody, solo single line

- This is followed by (WHOLE NOTE THEN WHOLE REST, REPEATED)

84-88

- All four voices, open but Ligeti atmospheres esque

- Three hours and fifty two minutes

- (G to A)

- In Hollenbeck fashion from earlier, All instruments displaces, same range different timbre.

- Add low Ab and very high Bb

- (ONE QUARTER NOTE FOLLOWED BY ONE QUARTER NOTE REST, REPEATED 6-8 TIMES)

- To pizz, you can hear a violinist cueing with his breath to anticipate the beat

- Pseudo mbira ish denser

- Back to bow, slight Penderecki, slow

- Gliss up

- (C down to A, D up to G) from earlier

- Three hours and fifty six minutes.

- Break, Rebecca, Bizet, and back

- (High Ab to low Bb) minor seventh apart

- Paul Piece two rhythm earlier?

- Back to romantic melody at four hours in. This is from earlier with the pizz

- (FOUR EIGHTH NOTES AND A QUARTER NOTE REST WITH A FERMATA ON TOP OF IT, REPEATED, THE SEQUENCE IS UP, UP, DOWN, UP)

- Melody all on separate instruments

- High F# at the end of the phrase

89-93

- How these performers are able to keep playing, four hours in, no seeming breaks is beyond me. See how long I can play upright without hitting a barrier, stand and sit.

- (A, Ab, A, Bb, eventually G)

- Three or four note chromatic bunch that keeps happening.

- Bowed long solemn chords, then high harmonics and grittier, on fingerboard sounding tones, Beautiful between a few chords

- Four hours and nine minutes

- (Three quarter notes with glisses at the end of all of them)

- High bowed violin “Ds” between lusher chords and starker chords. One to six different chords.

- Sequence (1212123434565656, and varies)

- Two bars of a four note pizz pitch set before new chords bowed

- Sequence (121212343456566, etc…)

- Slow (FOUR QUARTER NOTES REPEATED)

- Steady, not loose

- Then two bars of four note pizz again

- And back to the same chord scheme

- Pizz cello three notes two times

- Smaller chords

- (TWO QUARTER NOTES FOLLOWED BY A HALF NOTE REST. REPEATED)

- Very slow and drawn out, sequence (11,22,33)

- (FOUR QUARTER NOTES REPEATED, ALTERNATING ONE AND TWO)

- (THREE QUARTER NOTES, ONE QUARTER REST, THREE QUARTER NOTES, ONE QUARTER REST, TWO QUARTER NOTES, ONE QUARTER REST, ONE QUARTER NOTE, ONE QUARTER REST, ONE QUARTER NOTE, ONE QUARTER REST, TWO QUARTER NOTES, REPEATED, ALTERNATING ONE, TWO, AND THREE) bowed

- One/Two/Three equals three note pitch set between three instruments, rhythmically in unison, slight variation

- One chord bowed eighth times, quarter notes then one two one two theme of chords.

- Add pizz cello for the one two one two solo, repeated two times

- Four to five of them

- Solo violin, high Db, pizz before more bowed chords

- The pitch C and chords same fashion as earlier

94-98

- Chords, but pitch settled

- Sequence (123, 124, 123, 123, repeated)

- One/Two/Three not actual pitches

- Four hours and twenty six minutes

- More listening

- Frailty but force in some of the approach to bowing a held out texture is admirable

- Chords still contrasting with bowed unison quarters occasionally

- Sequence (1212, repeated)

- Long bowed chord three times, and two pizz unisons on the same note

- Chords get harrier but open

- Evil long tone chord with a competing high “D”

- (FOUR QUARTER NOTES ALTERNATING BETWEEN BOW THEN PIZZ, REPEATING)

- Lots of space between notes, sometimes (TWO BOWED QUARTER NOTES, ONE PIZZ QUARTER NOTE) or (ONE BOWED QUARTER NOTE AND TWO PIZZ QUARTER NOTES)

- Whole step movement then half step movement in chords

- (1W2H1W2H1W2H3H1W2H1W2H)

- Same chord bowed (TWO QUARTER NOTES, THEN QUARTER NOTE REST, REPEATED TWICE)

- Back to chords

- Seems like performers are getting tired, notes become more desperate and longer, breath is harder

- Cluster of four notes, (A, G# and high notes) bowed

- Eighth notes, small groupings repeated two to four times overlapping other hockets. Notes go in between only twelve pitches, Paul Piece and any other hocket. Very cool!

- Four hours and forty two minutes

- African pizz sounding dance with occasional tremolo wiolin, short

- Same chord repeated slow ( HALF NOTE REST, ONE QUARTER NOTE, HALF NOTE REST, REPEATED)

99-100

- (TWO QUARTER RESTS, TWO QUARTER NOTES, TWO QUARTER RESTS, REPEATED)

- (TWO QUARTER RESTS, TWO QUARTER NOTES, ONE QUARTER REST, ONE QUARTER NOTE, REPEATED)

- Variations and so forth

- Repeat this process from the beginning

- Slow bowed chords getting slower with more space, low register and rising

- Four note pitch set pizz in between (1212, repeated) (3434, repeated) etc..

101-104

- Slow bow arco, earlier theme reharmonized

- (G to Ab over C to D, glisses)

- Other chords variation and back to (G to Ab over C to D glisses)

- Some very sparse pizz with it

- New theme of bow and pizz, sounds new!

- Bow slowly , then speed up, loose

- (TWO QUARTER NOTES BOWED FOLLOWED BY ONE QUARTER NOTE PIZZ, REPEATED)

105-109

- Five hours and ten minutes, took a food break.

- Very stark and quiet, lots of sustain and space, beautiful chords at five hours and twelve minutes

- Some half step but tonal sound relations

- (Ab, D, and Db) chord

- Db pizz cello, over bowed high C to D

- (ONE QUARTER NOTE PIZZ, TWO QUARTER NOTES BOWED, Repeated) The pizz coming in earlier sometimes

- Five hours and seventeen minutes, I am looking at liner notes

- Find myself hearing G to Ab over C to D again.

- “The longer the piece, the fewer the materials” – Morton Feldman

- “124 pages, 3 systems, bars each, 27 bars a page, Grid, Quarter note equals 63-68, Eighth note is the shortest beat, 1 and ¼ the longest beat, two quarter notes long.”

110-114

- Liner notes variations

- 1. Broken chords entering different times and sustaining

- 2. Four notes, 1, b2, 2, b3

- 3. Three to one pattern, chords plus cello pizz

- 4. Sections can be fifteen minutes long and repeat up to thirteen times

- 5. Sections note repeating until an hour or more later.

- Solemn chords, two strings in unison with violin playing in middle of chord

- Cello playing first, lower end of the middle range, held out long tones, then violin comes in the lower end of their range, but higher than the cello, holding a long tone.

- Then add very low cello to bottom it out

- Lower Augmented nine, one plus flat nine an octave up

- New chords, then new chords with grainy low cello, grit

- Lots of angry half steps with eighth notes, loose

- (SIX EIGHTH NOTES DESCRESCENDO, THEN TWO EIGHTH NOTES DECSRESECO)

- (G to A) section, slow segue, quick bowed chords

- almost all pizz eighth notes, altered triad with (1, b2, 2, b3) not in that order, but a repetitive order

- Five hours and thirty five minutes, and one am in the morning

- (Eb, E, F, Gb) not in that order but repeating bowed quickly

- Tremolo, shaky, second time hearing it, only briefly

115-119

- Ponticello, going into shaky chords

- (1212, repeated)

- lots of space, beautiful chord

- octaves in the viola/violin part, pitch set, very high violin

- (two bowed quarter notes followed by one pizz quarter note, in this order, Db, Eb, D) low in the cello

- Rhythmic pizz with variation

- Whole steps with weird key relations

- High 8ve violins, not over powering, “12” some

- (GAD, then an octave up E, Repeating) Pitch set from earlier

- (FOUR EIGHTH NOTES, ONE QUARTER REST, REPEATED)

- SEQUENCE (12123434) unisons

- High Ab to Low Bb over High G to Low A

- Four note big clusters (QUARTER REST, WHOLE NOTE, QUARTER REST, REPEATED)

- Sometimes a “hair” broken

- Multi-eighth note ideas from earlier, overlapping!

- Five hours and forty six minutes

- Seems more added to patterns very octave, subtle doubling on some passages

- Slow mid range chord, five

- Three to five pizz notes

- Slow mid range chord, five

- New higher three note chords, last chord (A, G#, octave down A)

- Six hours and seven minutes and seven seconds is how long the performance is. I am fifteen minutes away from the end.

- Whole step (1212, repeated, 3434) slow

- (TWO BOWED QUARTER NOTES, ONE PIZZ QUARTER NOTE, REPEATED 3-5 TIMES)

- (1212) wholesteps

- (REPEATED WHOLE NOTE) dark chromatic chord, two times

- Single note violin (Bb, A, Ab, B, low A, B, A, Bb, repeated, as quarter notes)

- All over the range

- (Bow, pizz, alternating, repeating)

- Quarter note equals chord, three to two notes, three always at the end

120-124

- Two violins plus viola/cello (alternating beats 1 and 3, and 2 and 4)

- Four times

- Then three plus one again (three strings, plus solo violin)

- Quarter note bowed plus quarter note pizz, repeated

- This has been a great musical experience between two nights of study with the music, a notebook, a melodica on picking out fragments of the Morton Feldman’s second string quartet

- Five hours and fifty seven minutes

- Same idea from earlier pitch set

- Very chromatic chord

- Solo violin twice

- Open chord twice

- More open chord twice

- Closed chord three times

- Dissonant chord twice

- Chord solo (Alternating bowed and pizz quarter notes, repeated)

- Repeat from top with starting with “very chromatic chord”

- Each note three to six times

- Solo voice getting more fragile on pitch set, quieter, all, longer, hushed tone, harmonics

- (Low B, low A, high Ab, low Bb, low A, high A, low Bb, high Ab, REPEATED TWICE)

- Starting to slowdown

- Open Eb to Db solo, husky with three note cluster chord

- (Four eighth notes, Eb to Db) over a Held out note

- Then same and reharm of the Eb to Db eighth notes

- Then slower moving whole-ish notes with Eb to Db

- Whole note

- Reharm two eighth note, one quarter rest again

- Last minute of the composition

- Eb to Db with dense chord, long pause

- One time, again different chord with Eb and Db

- End. Six hours seven minutes and seven seconds

- Pages, start writing quarter music based on these notes, tenor/clarinet, trumpet, arco bass, drums/melodica/percussion.

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