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by Richard Cooke
Moodscapes
Amriques ( Bitter Americas)
Indras Net
Hell-
or
Halcyon Days
A la recherche d'un grand peut-tre
Big Skies, Open Roads
Thirty-Five Bells
The Far Side of Yonder
Vehicles & Replicators
Tales from a Time of Disturbance
Phantoms & Reflections
A Land of Great Thirst
Walking with Zimbabwe
A Land Made in Anger
Nd that Dwells in the Night
Music to Resonate
The Kingdom of Gaps
Dome of the Temple of Happiness
Forking Paths & Earthly Delights
Abstracts & Chronicles
Cities of the Here-Below
Streets & Broad Spaces
A House of Many Mansions
The Cauldron of Plenty
Looking after Country
Elektroika ( East of Moscow)
Music for a Road Movie
The Ghazaliyat of Hafez of Shiraz
Augur of Autumn
Riddles and Kennings
Days of the Appointed Time
Incroyables Saharas
A Forest of Spontaneities
Hieroglyphs & Spells
The Island of Apples Called Fortunate
A Sea of Uncertainties
Bastilles & Engines
Caravan & Robber Stories
Transports & Ecstasies
The Book of Encounters
or
An Infinity of White
Lulled by Zephyrs
Death-Snares & Sorrows
2013
2010
2009
2006
2003
2002
2001
2000
1999
1989
2012
2011
2008
2007
2005
2004
1998
1997
1996
A
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Moodscapes is a work of flexible
d u r a t i o n , f o r 4 - 8 mi x e d
instruments. It is built up of
const ant l y-var i ed r epeat ed
material which is shared by all
players and is performed in
without rest. Each of the
twelve movements contains a stave
of three bars which, under inversion
and/or retrograde, generate up to
six distinct sections, which players
repeat in a pre-agreed order.
Empty note-heads are played 0-3
times, filled ones perhaps 3-6
times; in all cases, notes are read
as quavers, where = approx 180.
moto
perpetuo
G
Sunset over a Forest Lake 8-01=
a
d
d
d
f
6z11i
a
d
f
f
f
6 z 1 1 o
Spring Flood 9-09=
a
d
d
f
6-18o
a
d
d
g
6 - 1 8 i
Burlaki 8-01=
a
f
h
6-09i
a
g
f
d
6 - 0 9 o
The Vladimirka 8-06=
a
g
d
d
d
d
d
6z25o
a
f
f
6 z 2 5 i
Footpath in a Forest, Ferns 8-10=
a
d
6-33i
a
f
6 - 3 3 o
Evening Bells 8-17=
a
d
f
6z24o
a
f
6 z 2 4 i
Bird-Cherry Tree 8-07=
a
d
f
6-14o
a
d
f
f
6 - 1 4 i
Remains of the Past. Twilight. Finland 7-33=
a
d
d
6-21o
a
d
d
d
6 - 2 1 i
Nenuphars 7-34=
a
d
d
d
6-34o
a
d
d
6 - 3 4 i
Zvenigorod 8-17=
a
d
d
6z44o
a
f
f
f
6 z 4 4 i
Landscape with Izba 8-24=
a
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d
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6-15i
a
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d
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6 - 1 5 oHouse with Broom-Trees 8-07=
a
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6 z 1 9 i
Richard Cooke - Cardiff - 2013
Moodscapes
Each
of the twenty
m o v e m e n t s
contains a stave of
three bars which, under
retrograde, inversion and
transposition (where +1
or -1 mean up/down a
semitone) generates
up to 8 distinct
s e c t i ons .
Halcyon Days
is a work of flexible
duration, for 4 - 6 mixed
instruments. It is built
up of constantly-varied
r epeat ed mat er i al
which is shared by all
p l a y e r s a n d i s
perf ormed wi thout
rests in moto perpetuo.
Pl ay
-ers repeat
sections in a pre-
agreed order. They
may vary material by
omitting white (empty-
headed) notes and
alternating notes
linked by forked
s t e m s .
G
Boxes wi th sharp
corners indicate local
repeats whilst rounded
boxes and crossed
stems allow notes to
be reordered. All notes
should be read as
quavers, where =
approximately 170.
Richard Cooke 2012
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Birds of Passage 8-23=
a
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: :
The Calmness of Martyrs 8-23=
a
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+5
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: :
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Sleep and Restoring Darkness 8-23=
a
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d
d
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Room-Shadows and Half-Lights 9-06=
d
d
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: :
Peaceful and Languishing Rhymes 8-11i
a
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G
i s a
wo r k o f f l e x i b l e
be read as quavers, where
durat i on, f or 5- 8 mi xed
may be reordered. All notes should
instruments. It is built up of constantly-
repeats whilst crossed stems show notes
varied repeated material which is shared by
linked by forked stems. Boxes indicate local
stave of 3 bars which, under retrograde and/or
sections. Players repeat sections in a pre-agreed
all players and is performed in moto perpetuo
(empty-headed) notes and alternating notes
without rest. Each of the 20 movements contains a
order; they can vary material by omitting white
inversion plus transposition (where +/-1 mean
up/down a semitone) generate up to eight distinct
= ca 176.
Cave of Water Curtains 8-24=
a
5 - 2 6 i
-4 5-26o
+ 4
a
d
f
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: :
Heavenly Peach Garden 9-09=
a
5 - 2 4 i
-2 5-24o
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a
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d
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: :
Palace of the Lustre of Jade 9-09=
a
5 - 2 5 i
-2 5-25o
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a
d
d
d
d
: :
Five Elements Mountain 8-24=
a
5 - 3 0 i
-4 5-30o
- 4
a
d
f
d
d
d
d
: :
Flowing Sands River 8-26=
a
5 z 1 8 i
+3 5z18o
- 3
a
d
d
f
g
d
: :
City of the Unjustly Slain 8-26=
a
5 - 2 9 i
+3 5-29o
- 3
a
d
d
d
: :
Double-Forked Peak 8-24=
a
5 - 2 8 i
+4 5-28o
- 4
a
d
d
d
d
d
: :
Hell of the Mountain of Knives 8-26=
a
5 - 3 1 i
+3 5-31o
- 3
a
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d
: :
Hall of the Master of Miracles 8-10=
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+ 2
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: :
Ten Thousand Flowers Inn 8-10=
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Eagle's Sorrow Gorge 8-03=
a
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Gate of Rebirth on the Path of Honour 8-03=
a
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Purple Bamboo Grove 8-08=
a
5 - 1 4 i
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Pure Land of the Jetavana Park 8-21=
a
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: :
Tower of Five Phoenixes 8-08=
a
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Tree with a Spring of Sweet Water 8-23=
a
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+ 5
a
d
d
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: :
Seeking the Great Perhaps
Richard Cooke - Cardiff - 2012
Bridge of Punishment 8-28=
a
5 - 1 0 i
36 5-10o
3 6
a
d
d
d
d
f
: :
Eight Trigrams Furnace 8-28=
a
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36 5-16o
3 6
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: :
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Terrace of the Star of Longevity 8-28=
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d
d
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: :
Monastery of Great Maternal Grace 8-28=
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G
Players repeat sections in a
pre-agreed order. They may
vary material by omitting
white (empty-headed) notes
and alternating notes linked
by forked stems; pointed
boxes indicate local repeats
whilst rounded boxes and
crossed stems allow notes to
be reordered. All notes
should be read as quavers,
where = circa 170-180.
Richard Cooke, Cardiff 2011
B
i
g
S
k
i
e
s
O
p
e
n
R
o
a
d
s
Big Skies Open Roads
is a work of flexible duration,
for 5 - 8 mixed instruments.
It is built up of constantly-
varied repeated material
which is shared by all players
and is performed without
rests in moto perpetuo. Each
of the twelve movements
contains a stave of 3 bars
which, under retrograde,
inversion and transposition
(where +/-1 mean up/down
a semitone) generates up to
eight distinct sections.
is a work of flexible
duration, for 4 - 6 mixed
instruments. It is built up of
constantl y-vari ed repeated
material which is shared by all
players and is performed without
rests in . Each of
the six movements contains a
stave of 3 bars which, under
retrograde, inversion and
transposition (where +/-
1 mean up/down a
semi tone),
moto perpetuo
Thirty-Five Bells
M
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s
t
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d
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d

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a
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4
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M a n s o u l e d F i e r y I s l a n d s
a
4 - 1 8 o
-4 4-18i
+ 4
a
d
d
d
: :
a
4 - 2 7 o
-2 4-27i
+ 2
a
d
d
R a g e - S h a t t e r e d W a t e r s
d
: :
generates up to
four distinct sections.
Players repeat sections in a
pre-agreed order. They may
vary material by omitting white
(empty-headed) notes and
alternating notes linked by forked
stems; boxes indicate local
repeats whilst crossed stems
show notes may be reordered.
All notes are read as
quavers, where =160.
Ri chard Cooke
-2011-
G
a
4-11o
- 1 4 - 1 1 i
+1
a
d
d
d
: :
Switchback Sea
a
4-12o
+ 2 4 - 1 2 i
-2
a
d
d
d
: :
Steeple-Stemmed Herons
is a work of flexible duration, for 6 - 9 mixed
instruments. It is built up of constantly-varied
repeated material which is shared by all players
and is performed without rests in .
Each of the 8 movements contains 3 staves
which, under retrograde, inversion and/or
transposition (where +/-1 mean up/down a
semitone), generate up to 8 distinct sections.
Players repeat these staves in a pre-agreed order.
They may vary them by omitting white (empty-
headed) notes and alternating notes linked by
forked stems; boxes indicate local repeats whilst
crossed stems showthat notes may be reordered.
All notes are read as quavers, where = 180.
moto perpetuo
The Far Side of Yonder
Richard Cooke - Cardiff - 2011
G
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-2 6 +5 +0+3 +2+3 +2-3 +1-5
-2 6 +0 +3 6 +2+3 +4-3 +4-2
+0 6 +5 +0-3 -4 +4-2 3+4-2
6 +5-1 +0+3 +2-4 -2 3+1-5
-2-1 -1 +0+3 +3-4 2 +1-5
+0-1 +0 +0-3 +3-4 2 +4-2
-5 6 5 +0-3 +0 +4-1 +4-2
-5 6 -3-5 +3 6 +2 +4-1 +4-2
+0-5 -3-1 +3 6 +4 -2-1 +4-2

2-01 2-02 2-03 2-04 2-05 2-06

The Katydid's Warning
The Rattlesnake's Revenge
Hunter and Buzzard
The Mounds & the Constant Fire
Pemmican Man and Spider
Artichoke and Muskrat
Raccoon and Crawfish
The Mysterious Butte
Coyote and Porcupine
PC set
5z18i
5z18o
5-19i
5-28o
5z38i
5z38o
5z36i
5z36o
5z12=
G
Am
(or ) is a
nine-movement work of
flexible duration, built up of
constantly-varied repeated
material shared by all
players and performed in
moto perpetuo without
rests. It is scored for three
autonomous groups (each
pl ayi ng at di f f er ent
octaves) of 2-3 percussion
or string instruments.
Bitter Americas
riques A movement is created by
linking all six staves in
specific transpositions.
It is possible to create
new staves by swapping
note patterns (but not
'key' signatures) within
each pair (2-01 and 02, 2-
03 and 04, 2-05 and 06);
a further option might be
to substitute or add the
matching (dyad) material
in Music for a Road Movie.
Each stave generates 4-
16 distinct sections, using
transposition, inversion
and/ or r et r ogr ade.
Transpositions are shown
b y t h e s e m i t o n e
indicators in the table
below, where -4 means
down a Major 3 and +0 is
as written. The sections
are performed by the
three groups in their own
independent order.
Players may elect to omit
whi te (empty-headed)
notes, to alternate notes
tied by forked stems and
to reverse those linked by
crossed stems; boxes
indicate local repeats.
In every case, the notes
chosen are played as
quavers, where = 180.
Performers should beware
of unusual accidentals, aid-
ing inversion, such as E#.

d
d
d
d
a
a
d
d
a
a
a
a
d
d
d
d
a
a
a
aa
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A
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R
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a
r
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C
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C
a
r
d
i
f
f
-
2
0
1
0
-
Ric
h
a
r
d
C
o
o
k
e
- C
a
r
d
i
f
f
-
2
0
1
0
-
Looking after Country (Richard Cooke, Cardiff, 2009) is a multi-movement work
of flexible duration, built up of constantly-varied repeated material performed
without rests in moto perpetuo. It is scored for 2 autonomous groups (one playing
an octave below the other) of 2-3 pitched percussion and other instruments.
.
A movement is created by linking staves, appropriately transposed, fromdifferent
parts of the score. Newmovements are feasible, and these take
their titles fromAustralian dreamsymbols. 4z15i acts to bridge movements.
, like existing ones,
Stave
A movement thus consists of 2 or more staves which each generate 4 distinct
sections, using transposition (following the
semitone indicators in the table above, where -5 means down a Perfect 4, and +0 as
written). These sections are performed by each group in its own pre-agreed order.
Players may elect to omit white (empty-headed) notes and to alternate notes linked
by forked stems; boxes indicate local repeats. The notes sounded (always
quavers, where = 192) are randomly chosen but played in the order notated.
inversion and/or retrograde, as well as

G
d
d
d
a
a
4-13o
4 - 1 3 i
d
d
d
a
a
4-12o
4 - 1 2 i
d
d
d
a
a
4-11o
4 - 1 1 i
d
d
d
a
a
4-05o
4 - 0 5 i
d
d
d
a
a
4-04o
4 - 0 4 i
d
d
d
a
a
4-02o
4 - 0 2 i
d
d
d
a
a
4-14o
4 - 1 4 i
d
d
d
a
a
4z29o
4 z 2 9 i
a
d
d
d
a
4-27o
4 - 2 7 i
d
d
a
4 - 2 2 i
d
a
4-22o
d
d
d
a
a
4-19o
4 - 1 9 i
d
d
d
a
a
4-18o
4 - 1 8 i
d
d
d
a
a
4-16o
4 - 1 6 i
f
f
a
a
4z15i
- 2 + 4 + 6
-2+4+6
4 z 1 5 i
PC Set
8z15i
6z26=
6z28=
6z29=
6z37=
6z38=
6z42=
6z45=
+0+6 -1-5 -1-5 +2+4 +2+4
+0+4 +4+0 +0+4 +4+0 +0+4 +0+4
-5+0 +0-5 +0-5 -5+0 -5+0 +0-5
+5-5 -5+5 +0+0 +0+0 -4+4
+6+5 -1+0 -1+0 -5+4
-5+6 +6-5 -5+6 +6-5 -5+6 +6-5
+5+5 +4+6 +6+4 +4+6 +6+4 +6+4
Wallaby and Jabiru Dreaming
Gecko and Bandicoot Dreaming
Wombat and Cockatoo Dreaming
Sun-Woman and Frog Dreaming
Honey Ant and Emu Dreaming
Kangaroo and Rain Dreaming
Waratah and Goanna Dreaming
4-02 4-04 4-05 4-11 4-12 4-13 4-14 4-16 4-18 4-19 4-22 4-27 4z29
o i o i o i o i o i o i o i o i o i o i o i o i o i
4
-
0
1 d
f
a
d
f
a
4
-
0
6
d
a
d
d
a
4
-
0
7
d
f
a
d
f
a
4
-
0
9
d
f
a
d
f
a
4
-
0
3
d
d
a d
d
a
4
-
1
0 d
f
a
d
f
a
4
-
1
7
d
f
a
d
f
a
4
-
2
1
d
d
a
d
d
a
4
-
2
3
a
a
4
-
2
4
f
a
d
f
a
d
4
-
2
5
d
d
a
d
d
a
PC Set
9-11o
6z04=
6z06=
6-08=
6z23=
6-32=
6z48=
6z50=
+6 +0+1 +0 +0
+2-3 +0 +0-1 +0+6 +0
+4 +3+5 +4 -2
+1 +0+3 +1-5 -5
+0 -3 +0+5-5 +2-3
+2 +0+5 -5 +2
+0+6 +3 -3 -5-2
Kupavna-Elektrougli
Usad-Km 105
Chukhlinka-Reutovo
Friazevo-Vokhna
Khrapunovo-Yesino
Drezna-Kabanovo
Pokrov-Petushki
4-01 4-03 4-06 4-07 4-08 4-09 4-10 4-17 4-20 4-21 4-23 4-24 4-25 4-26
4
-
0
8
d
d
a
d
d
a
4
-
2
6 d
d
a
d
d
a
4
-
2
0 d
f
a
d
f
a
4
-
2
8
d
g
d
a
a
+0+3-3
d
g
d
G
A movement is created by linking staves,
appropriately transposed, from different parts of
the score. Additional movements may be created
and these take their titles from
sections of the Moscow-Petushki electric railroad.
Stave
, like existing ones,
4-28 serves solely to link movements.
Players may elect to omit white (empty-headed)
notes and to alternate notes linked by forked
stems; pointed boxes indicate local repeats whilst
rounded boxes and crossed stems show that notes
may be reordered. All notes should be read as
quavers, where = approximately 188.
Elektroika East of Moscow or
(Richard Cooke, Cardiff, 2009) is a multi-
movement work of flexible duration, built up of
constantly-varied repeated material played
without rests in moto perpetuo. It is scored for two
autonomous groups (one playing an octave below
the other) of 2-3 percussion or other instruments.
A movement thus consists of 2 or more staves
which each generate 4 distinct sections, using
inversion and retrograde, as well as transposition
(following the semitone indicators in the table
below, where +0 means as written and -5 down a
Perfect 4). The sections are played by the two
groups in their own pre-agreed order.
G
d
d
d
d
a
a
2-01
2 - 0 1
a
a
2 - 0 2
2-02
d
d
d
a
a
3-02o
3 - 0 2 i
d
d
f
f
a
a
3-03o
3 - 0 3 i
d
d
d
a
a
3-10
3 - 1 0
d
d
d
a
a
3-11o
3 - 1 1 i
d
d
d
a
a
3 - 1 2
3-12
d
d
a
a
2 - 0 6
2-06
d
a
a
3-01
3 - 0 1
d
d
d
a
a
2 - 0 4
2-04
d
d
d
a
a
3-04o
3 - 0 4 i
d
d
d
a
a
3 - 0 5 i
3-05o
d
d
d
a
a
3-06
3 - 0 6
h h
a
a
3-09
3 - 0 9
a
a
3-07o
3 - 0 7 i
d
d
d
a
a
3-08o
3 - 0 8 i
a
a
2-05
2 - 0 5
3-01 3-02o 3-02i 3-03o 3-03i 3-04o 3-04i 3-05o 3-05i 3-06 3-07o 3-07i 3-08o 3-08i 3-09 3-10 3-11o 3-11i 3-12 2-01 2-02 2-03 2-04 2-05 2-06
-2+5 +0-5 +0+5 +0 4 -4-5 +0+5 -1+5
+2+5 -1+2 -1+4 -4+5 -2-5 +0+3
-1+2 -1+2 +0 6 +0 6
-3-5 +1+2 +3+4 +0 4 -3-4 -1 6
+0-3 +0+3 -1+5 +0 6
-3-4 -1 6 +0 6
-1-5 +0+5 +0-5 +3-4
+0-1 -4-5 +2-3 +1+4 +2-3 -3+4 +1 6 +1+4+5 +3-4

Mustang Corral
Hooker Cut
Gasoline Alley
Hydro
Cadillac Ranch
Dead Mans Curve
Peach Springs
Arroyo Parkway
PC set
6z48
6z50
6z23
6z37
6z13
6z41i
6z26
7z37
G
Music for a Road Movie
A movement thus consists of 2-6 staves which each generate 8 or more distinct
sections, using transposition (following the semitone indicators in the table above,
where -4 means down a Major 3, and +0 as written), inversion and/or retrograde.
These sections are performed by the two groups in their own pre-agreed order.
Players may elect to omit white (empty-headed) notes and to alternate notes linked by
forked stems; boxes indicate local repeats. In every case, the notes sounded (always
quavers, where = 192) are randomly chosen but played in the order notated.
Performers should take note of unusual accidentals, aiding inversion, such as E#.

Richard Cooke, Cardiff, 2009

is a multi-movement work of flexible duration, built up of constantly-varied repeated
material performed without rests in moto perpetuo. It is scored for two autonomous,
groups (one playing an octave belowthe other) of 2-3 pitched percussion instruments.
A movement is created by linking staves, appropriately transposed, from different
parts of the score. It is also possible to construct new movements, and these
might take their titles from locations along the historic Route 66.
, like
existing ones,
2 - 0 3
2-03
a
a
d
d
a
a
3-06=
3 - 0 6 =
d
d
a
a
3 - 0 7 o
3-07i
d
d
a
a
3
-
0
5
o
3
-
0
5
i
d
d
a
a
3-01=
3 - 0 1 =
d
d
a
a
3-04o
3 - 0 4 i
d
d
a
a
3
-
1
1
o
3
-
1
1
i
d
d a
a
3-09=
3 - 0 9 =
d
d
a
a
3-03o
3 - 0 3 i
d
d
a
a
3-10=
3 - 1 0 =
d
d
a
a
3-12=
3 - 1 2 =
d
d
a
a
3
-
0
2
o
3
-
0
2
i
G
Richard Cooke, Cardiff, 2009
is a six-movement work of flexible duration. It is scored for
two autonomous groups (one playing an octave below the
other but
) of 2-3 pitched percussion and other instruments.
A movement is created by linking staves from different
parts of the score and transposing them according to the
semitone indicators in the table below (where -3 means
down a Minor 3 and +0 as written). These staves, which can
also be read in retrograde, generate distinct sections, built
up by patterning pitch data in any of the following ways:
1 : gradually extend the line [1, 1..2, 1..3 etc]
2 : gradually shorten the line [1..9, 1..8, 1..7]
3 : random frames of 4-6 notes each [r..r+n]
4 : sequential frames of 4-6 [1234..6789, etc]
5
7 /extraction: omit notes at will
The two ensembles play sections in their own pre-agreed
order. Note-heads represent quavers, where = 192.
accretion
atrophy
framing
shifting
culling
sharing the same constantly-varied repeated
material
random : play notes r..9
6 random : play notes 1..r
start-points
end-points

PC Set
5-11i
5-13i
5z18o
5-30i
5z38i
7-26o
5-26i
5-26i
Amethysts & Rubies
Garnets & Tourmalines
Jacinths & Adamants
Jaspers & Chalcedonies
Micas & Peridots
Sapphires & Dolomites
or
3-01 3-02 3-03 3-04 3-05 3-06 3-07 3-08 3-09 3-10 3-11 3-12
o i o i o i o i o i o i o i
+1 +2 +1+0 +1 +2 +0 -3 +0+1
+1 +0 +1 +2 +1 +0 +2-2 -2
+2 -2+1 -2+1 -3 +2 -3 +1 +1
-3 -2 -3 +4 +6 +6+2 -3 +6
+1 +0 +2+1 +1 +0 +2 -3 -3+6




2 6
2 6
-2 -3 -2 +0 +0 +2-2 -3 +6 2 6
+2 +1 +2 +4 +4 +6+2 +1 -2 2 6
d
d
a
a
3
-
0
8
o
3
-
0
8
i
Indras Net
!
X

a
d
a
a a
a
a
d
d
f
f f
f f
6
z
3
7
=
/
4
-
1
4
o

1
9
i
5
o
;
1
4
i
1
9
o

2
9
i
d
d
d
d
d
f
f
f
f
a
a a
a
a
a
d
f
d
f
f
d
6 - 2 9 = / 4 - 0 7 2 3 1 8 o1 6 o 1 8 i 2 7 o ;
d
d
d
d
f
f
f
d
d
d
Ungkue
E a c h
of the seven pieces
consists of a single stave
prefaced by six possible 'key'
signatures which, when combined
with inversion and/or retrograde,
generate 12 distinct paragraphs or
sections. These sections, which are played
in a pre-agreed order, are built up from
repeated 'culls' of the available pitches;
the lead instrument exploits all 12 notes
whilst accompanists focus on an inner
subset, such as the 5-7 black notes.
In every case, the notes sounded
(always quavers, where =
192) are randomly chosen
but played in the order
notated.
G
is a work of flexible duration for
three or more pitched percussion
instruments,
i n moto perpetuo
Six of the seven pieces use enharmonic
derivatives of the same notes (gacd), which
means that new sections can be created by
applying the current 'key' signature to
staves of other pieces. Beware of
unusual accidentals such as b#.
Richard Cooke, Cardiff
2008
built up of constantly-
varied repeated material performed
wi thout rests .
Phantoms
and Reflections
a
a a
a
a
a
d
d
d
g
g
h
h f
f
f
f
6 z 2 8 = / 4 - 1 3 o 1 1 o 1 2 i ; 1 9 o i 2 7 o
d
d
g
h
d
d
!O!ung
a
d
d
d
d
d
d
a a
a
a
a
d
d
d
d
d
f
6 z 4 9 = / 4 - 2 6 1 5 o 2 9 i ; 2 7 i 2 5 2 7 o
d
d
d
f
g
h
Aakhoe |Xam
a
d
a a
a
a
a
d
h
h
h
h
h
6 - 0 8 = / 4 - 1 4 i 2 2 i 1 4 o ; 1 1 o 1 0 1 0
g
h
a
d
d
d
d
a
a a
a
a
d
d
d
6
z
2
6
=
/
4
-
2
2
o

2
1

2
6
;
2
2
i
2
1

2
0
g
d
d
d
d
d
|
X
e
g
w
i
|
a
a
a a
a
a
d
d
g h
h
6
=
/
4
-
1
1
o

1
4
o

2
2
o
;

2
2
i
2
3

2
6
-
3
2
d h
|
X
a
i
s
e
G
5
- 1
6
o
i
a
a
f
g
d
d
f
g
d
d
5
-
2
4
o
i
a
a
f
g
d
d
f
g
d
d
5
-
2
2
=
a
a
f
g
d
d
f
g
d
d
d
d
d
d
d
d
5
-
2
4
i
o
a
a
d
d
d
d
d
d
5
-
1
5
=
a
a
5
- 2
6
o
i
a
a
d
d
d
d
d
d
5
- 3
4
=
a
a
d
d
d
d
d
d 5
-
2
9
o
i
a
a
d
d
d
d
d
d
a
a
d
d
d
d
d
d
5
-
2
3
i
o
5
-1
1
o
i
a
a
d
d
f
g
d
d
f
g5
-
3
5
=
a
a
d
d
f
g
d
d
f
g
d
d
f
g
a
a
d
d
f
g
5
z
3
6
o
i
d
d
f
g
d
d
f
g
5
-0
6
o
i
a
a
d
d
f
g
d
d
f
g
5
-
3
2
i
o
a
a
d d
f
g
dd
f
g
a
a
5
z
3
8
i
o
a
a
d
d d
d
d d
5
z
1
8
o
i
d
d
d
a
a
d
d
d
5
-2
8
io
a
a
d
d
d
d
d
d
5
-
0
6
o
i
Skying the Horizon
7z37=
Colour of Strength
7-35=
Mulberry-Fresh
Morning
7-33=
Cobwebs of Sleep
7-17=
Blue-Town Blues
7z12=
The Hesitant Breeze
7-22=
is
a
w
o
r
k
o
f
fle
x
ib
le
d
u
ra
tio
n
fo
r
th
r
e
e
o
r
m
o
r
e
p
i
t
c
h
e
d
p
e
r
c
u
s
s
i
o
n
in
s
tr
u
m
e
n
ts
.
I
t
is
b
u
ilt
u
p
o
f
c
o
n
s
t
a
n
t
l y
-
v
a
r
i e
d
r
e
p
e
a
t
e
d
m
a
te
r
ia
l
p
e
r
fo
r
m
e
d
w
ith
o
u
t
r
e
s
ts
.
E
a
c
h
o
f
th
e
s
ix
p
ie
c
e
s
c
o
n
ta
in
s
th
r
e
e
s
ta
v
e
s
w
h
ic
h
,
u
n
d
e
r
r
e
tr
o
g
ra
d
e
a
n
d
/
o
r
in
v
e
r
s
io
n
,
g
e
n
e
ra
te
1
2
d
is
tin
c
t
s
e
c
tio
n
s
.
T
h
e
s
e
s
e
c
tio
n
s
,
w
h
ic
h
a
r
e
p
la
y
e
d
in
a
p
r
e
-
a
g
r
e
e
d
o
r
d
e
r,
a
r
e
b
u
ilt
u
p
fr
o
m
r
e
p
e
a
te
d
'c
u
lls
'
o
f
th
e
a
v
a
ila
b
le
p
itc
h
e
s
;
th
e
le
a
d
in
s
tr
u
m
e
n
t
is
fr
e
e
to
e
x
p
lo
it
a
ll
1
2
n
o
te
s
w
h
ils
t
...
a
c
c
o
m
- p
a
n
i
s
t
s
fo
c
u
s
o
n
a
n
i n
n
e
r
s
u
b
s
e
t
,
s
u
c
h
a
s
th
e
5
-
7
fille
d
(
b
la
c
k
)
n
o
te
s
.
I
n
e
v
e
r
y
c
a
s
e
,
th
e
n
o
te
s
s
o
u
n
d
e
d
(
a
lw
a
y
s
q
u
a
v
e
r
s
,
w
h
e
r
e
=

1
9
2
)
a
r
e
ra
n
d
o
m
ly
c
h
o
s
e
n
a
n
d
p
la
y
e
d
in
m
o
to
p
e
r
p
e
tu
o
in
th
e
o
r
d
e
r
n
o
ta
te
d
.
A
ll
s
ix
p
ie
c
e
s
u
s
e
e
n
h
a
r
m
o
n
ic
d
e
r
iv
a
tiv
e
s
o
f
th
e
s
a
m
e
n
o
te
s
(
fg
a
b
c
d
e
)
,
w
h
ic
h
m
e
a
n
s
th
a
t
n
e
w
s
e
c
tio
n
s
c
a
n
b
e
c
r
e
a
te
d
b
y
a
p
p
ly
in
g
th
e
c
u
r
r
e
n
t
'k
e
y
'
s
ig
n
a
tu
r
e
to
s
ta
v
e
s
o
f
o
th
e
r
p
ie
c
e
s
.
B
e
w
a
r
e
o
f
u
n
u
s
u
a
l
c
o
m
b
in
a
tio
n
s
o
f
a
c
c
i
d
e
n
t
a
l
s
. R
ic
h
a
r
d
C
o
o
k
e
C
a
r
d
i
f
f
2
0
0
8
A
L
a
n
d
o
f
G r e
a
t
T
h
i
r
s
t
o
f
G
r
e
a
t
T
h
ir
s
t
L
a
n
d
A
W
a
lk
in
g
w
it
h
Z
im
b
a
b
w
e
is
a
w
o
rk
o
f
fle
x
ib
le
d
u
ra
tio
n
fo
r
th
r
e
e
o
r
m
o
r
e
p
itc
h
e
d
p
e
rc
u
s
s
io
n
in
s
tru
m
e
n
ts
.
I
t
i s
b
u
i l t
u
p
o
f
c
o
n
s
t
a
n
t
ly
-
v
a
r
ie
d
r
e
p
e
a
t
e
d
m
a
t
e
r
i
a
l
p
e
r
fo
r
m
e
d
w
i t
h
o
u
t
re
s
ts
.
E
a
ch
g
ro
u
p
o
f
4
p
ie
ce
s
e
m
p
lo
y
s
e
n
h
a
rm
o
n
ic
d
e
riv
a
tiv
e
s
o
f
th
e
sa
m
e
5
n
o
te
s
(d
e
fg
b
,
e
fa
b
c
O
R
g
a
b
cd
),
w
h
ich
m
e
a
n
s
th
a
t
n
e
w
p
a
ra
g
ra
p
h
s
ca
n
b
e
cre
a
te
d
b
y
a
p
p
ly
in
g
th
e
cu
rre
n
t
'k
e
y
'
sig
n
-
a
tu
re
to
th
e
p
a
tte
rn
o
r
'se
rie
s'
o
f
a
b
o
rd
e
rin
g
s
ta
v
e
.
B
e
w
a
re
o
f
u
n
u
su
a
l a
ccid
-
e
n
ta
ls
su
ch
a
s
B
#
.
R
i
c
h
a
r
d
C
o
o
k
e
C
a
rd
i f f
2
0
0
8
G
Each
of the
1
2
pieces
contains
3
staves
w
hich, under
inversion
and/or
retrograde,
generate
1
2
distinct
sections.
These
sections, w
hich
are
played
in
a
pre-agreed
order, are
built
up
from
repeated
'culls'
of
the
available
pitches;
the
lead
instrum
ent
exploits
all 1
2
notes
w
hilst
accom
panists
focus
on
inner
sub-
sets, such
as
the
5
-7
black
notes.
In
every
case,
the
notes
sounded
(alw
ays
quavers,
w
here
=

1
9
2
)
are
random
ly
chosen
and
p
layed
in
m
o
to
p
e
r p
e
t u
o
i n
t h
e
o
r d
e
r
n
o
ta
te
d
.
a
a
d
d
d
d
a
a
d
d
d
d
a
a
d
d
d
d
Kanganya
Kanganya
5z17=
d
a
a
d
a
a
d
d
a
a
d
d
Mhasha
Mhasha
5-27i
d
a
a
d
a
a
d
d
a
a
d
d
Kobvo
Kobvo
5-30o
d
d
a
d
d
a
d
d
a
d
d
a
d
d
a
d
d
a
Kwaba
Kwaba
5-35=
a
a
d
f
d
f
a
a
d
f
d
f
d
f
a
a
d
f
Chokoto
Chokoto
5-14i
a
a
a
a
a
a
Nguma
Nguma
5-23i
d
d
a
d
d
a
d
d
a
d
d
a
d
da
d
d a
Kwenja
Kwenja
5z37=
d
d
d
d
a
d
d
d
d
a
d
d
d
d
a
d
d
d
d
a
d
d
d
d
a
d
d
d
d
a
Gwedzve
Gwedzve
5-25i
f
fa
a
f
f
a
a
f
f
f
f
a
a
f
f
f
f
Fekeshe
Fekeshe
5z18i
f
a
a
f
a
a
f
f
a
a
f
f
Kekeya
Kekeya
5-26i
Dzogo
Dzogo
5-21i
d
f
a
a d
f
a
a
d
f
d
f
a
a
d
f
d
f
a
a
d
d
d
d
d
d
a
a
d
d
d
d
d
d
d
d d
a
d
d d
a
Dzetu
Dzetu
5z36i
is
a
w
o
rk
o
f
fle
x
ib
le
d
u
ra
tio
n
fo
r
th
re
e
o
r
m
o
re
p
itc
h
e
d
p
e
rc
u
s
s
io
n
in
s
tru
m
e
n
ts
.
It
is
in
m
o
to
p
e
rp
e
tu
o
,
w
ith
re
s
ts
in
tro
d
u
c
e
d
fo
r
d
ra
m
a
tic
e
ffe
c
t
o
r
in
o
rd
e
r
to
e
n
d
a
p
ie
c
e
.
b
u
ilt
u
p
o
f
c
o
n
s
ta
n
tly
-
v
a
rie
d
re
p
e
a
te
d
m
a
te
ria
l
w
h
ic
h
is
p
e
rfo
rm
e
d
A
L
a
n
d
M
a
d
e
i
n
A
n
g
e
r
A
ll
s
i
x
p
i
e
c
e
s
e
m
p
l
o
y
e
n
h
a
r
m
o
n
i c
d
e
riv
a
tiv
e
s
o
f th
e
s
a
m
e
s
i x
n
o
t
e
s
(fg
a
c
d
e
),
w
h
ic
h
m
e
a
n
s
th
a
t
n
e
w
s
e
c
tio
n
s
c
a
n
b
e
c
r
e
a
te
d
b
y
a
p
p
ly
in
g
th
e
c
u
rre
n
t
'k
e
y
'
s
ig
n
a
tu
re
to
s
ta
v
e
s
t
a
k
e
n
f
r
o
m
o
t
h
e
r
p
i e
c
e
s
.
P
la
y
e
rs
s
h
o
u
ld
b
e
w
a
re
o
f
u
n
u
s
u
a
l
c
o
m
b
in
a
tio
n
s
o
f
a
c
c
id
e
n
ta
ls
,
w
h
ic
h
a
re
d
e
s
i
g
n
e
d
t
o
a
s
s
i
s
t
i
n
v
e
r
s
i
o
n
.
R
i
c
h
a
r
d
C
o
o
k
e
-
C
a
r
d
i
f
f
-
2
0
0
7
E
a
c
h
o
f
th
e
s
ix
p
ie
c
e
s
c
o
n
ta
in
s
th
re
e
s
ta
v
e
s
w
h
ic
h
,
u
n
d
e
r
re
tro
g
ra
d
e
a
n
d
/
o
r
in
v
e
rs
io
n
,
g
e
n
e
ra
te
1
2
d
is
tin
c
t
s
e
c
tio
n
s
.
T
h
e
s
e
s
e
c
tio
n
s
,
w
h
ic
h
a
re
p
la
y
e
d
in
a
p
re
-a
g
re
e
d
o
rd
e
r,
a
re
b
u
ilt
u
p
fro
m
re
p
e
a
te
d
'c
u
lls
'
o
f
th
e
a
v
a
ila
b
le
p
itc
h
e
s
;
th
e
le
a
d
in
s
tru
m
e
n
t
e
x
p
lo
its
a
ll
1
2
n
o
te
s
w
h
ils
t
a
c
c
o
m
p
a
n
is
ts
fo
c
u
s
o
n
in
n
e
r
s
u
b
-
s
e
ts
,
e
.g
.
th
e
5
-7
b
la
c
k
n
o
te
s
.
In
e
v
e
ry
c
a
s
e
,
th
e
n
o
te
s
s
o
u
n
d
e
d
(
a
l w
a
y
s
q
u
a
v
e
r
s
,
w
h
e
re
=

1
9
2
)
a
r
e
r
a
n
d
o
m
l y
c
h
o
s
e
n
b
u
t
p
l a
y
e
d
i n
th
e
o
rd
e
r
n
o
ta
t-
e
d
.
G
a
a
f
f
f
f
f
f
a
a
f
f
f
f
f
f
a
a
f
f f
f
f f
a
a
d
d
d
d
d
d
a
a
d
d
d
d
d
d
a
a
dd
d
d d
d
a
a
f
d
f
d
f
d
a
a
f
d
f
d
f
d
a
a
f
d
f
d
f
d
a
a
f d
d
f
f
f
f
f
a
a
f
f
f
f
f
f
d
d
a
a
f
f f
f
f f
d
d
a
a
d
d
a
a
d
d
a
a
d
d
a
a
d
d
a
a
d
d
a
a
d
d
Four Finger Rock
6-18i
Fish River Canyon
6z45=
Stormbird Bay
6-33i
The Great White
Place of Dry Water
6z26=
Dragon's
Breath Cave
6z24o
The Skeleton Coast
6z50=
A
L
a
n
d
M
a
de
i
n
A
n
g
e
r
f
d
d
h
a
f
d
d
h
a
f
d d
h a
f
d d
ha
f
d
d
h
a
f
d
d
h
a
f
d d
ha
f
d d
h a
A
n
A
r
m
y
o
f
S
o
r
r
o
w
s
7
z
3
6
i
d
d
a
d
d
a
d
d
a
d
d
a
d
d
a
d
d
a
d
d
a
d
d
a
A
T
r
ib
u
t
e
o
f
S
ig
h
s
7
-
3
2
o
d
d
f
a
d
d
f
a
d
d f
a
d
df
a
d
d
f
a
d
d
f
a
d
df
a
d
d f
a
T
h
e
G
iv
e
r
o
f
M
ir
t
h
7
-
2
5
o
f
f
h
a
f
f
h
a
f
f
h
a
f
f
h
a
f
f
h
a
f
f
h
a
f
f
h
a
f
f
h
a
T
h
e
P
o
is
o
n
o
f
A
b
s
e
n
c
e
7
-
1
9
i
d
d
f
f
f
a
a
d
d
f
f
f
a
d
d
f
f
f
a
d
d
f
f
f
a
d
d
f
f
f
a
d
d
f
f
f
a
d
d
f
f
f
a
d
d
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is a work of flexible duration for 3 or more
mixed or heterophonous instruments sharing
the same l oosel y-repeated mat
Each of the 5 pieces consists of a single stave
prefaced by 6 possible 'key' signatures which, com-
bined with inversion and retrograde, generate up to 12
distinct sections. These sections, which are played in a
pre-agreed order, are built from 'time' canons, with
two of the performers playing at half- and quarter-
tempo. Note-heads are usually read as quavers but,
within each 'bar', an agreed quota of randomly-
chosen notes are lengthened to a crotchet, and
the middle 2-4 notes may be shuffled.
Beware of some unusual accidentals.
Richard Cooke - Cardiff
2006
eri al .
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An Infinity of White
6z42=
Lantern
Marshes
6z45=
Two Pond
Wood
6z50=
Tinker's
Walk
6z28=
Great Dingle
Hill
6z26=
Sallow Walk
Covert
6z29=
6-33i
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Creek
6z37=
Blackstakes
Reach
6-33o
6-35=
Cob
Island
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Green
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is a work of flexible durat i on
f or 3+
mi xed
instruments sharing
the same
l o o s e l y - r e p e a t e d
ma t e r i
Each of the 12 pieces consists of 4 staves which,
combined with inversion and retrograde,
generate 16 distinct sections. These
sections, which are played in a pre-agreed order, are built
from
'time' canons
with two of the
performers
playing
a t
a l .
Hell-Sorrows
Snares &
Death
Angststurm
6-05o
Feuertaufe
6z10o
Kampfflur
6-09o
6z40i
Weltwehe
Zagen
6z25i
Werttod
6-18o
Triebkrieg
6-27i
6-34i
Patrouille
6-30i
Granaten
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h a l f ,
one-t hi rd
or one-si xt h
s p e e d ,
w h e r e
Note-heads are usually read as
quavers but, within each 'bar', an agreed
quota
of randomly-chosen
notes are
lengthened to a crotchet. In addition, notes
fromthe middle section of each bar may be
reordered. Players need to be aware
of some unusual accidentals, aiding inversion, such as c .
Ri chard
Cooke
C a r d i f f
2 0 0 6
x
=144=72/ 48=48/ 24.
Urwanderung
6z12i
6-22i
Zwist
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6-11i
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7-09i
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7-04o
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7-04i
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a
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o
a
f
f
d
a
f
d
is a
work of
f l e x i b l e
duration for
2 - 4 p i t c h e d
p e r c u s s i o n
i nst rument s whi ch
share the same constantly-
varied repeated materi
Each of the three movements
consists of three staves which, when
combined with inversion and/or retrograde,
generate 12 distinct paragraphs or sections.
These sections are constructed by patterning pitch
data, not too rigorously, in the 7 ways listed above.
Notes are played as quavers, where
=circa 192, in moto perpetuo
and without rests.
al.
G
V
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&
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0
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5
Note Patterns
La llorona
6z10i
El templo de paja
6z40o
Los hombres de
dos cabezas
6z36o
Una espiga de fuego
6-31o
La casa de mando
6z25i
La laguna que hirvi
6-15o
a
f
f
d
a
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d
a
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d
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d
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d
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a
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d
d
a
f
d
d
La lluvia de chispas
6-22o
a
f
d
a
f
d
a
f
d
a
f
d
a
f
d
a
f
d
a
f
d
a
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d
a
f
f
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a
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a
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d
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d
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a
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a
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d
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a
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d
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d
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a
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a
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a
f
f
f
d
a
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f
f
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f
f
f
d
a
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f
f
d
a
f
f
f
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a
f
f
f
d
El pjaro ceniciento
6z17o
a
f
d
d
a
f
d
d
a
f
d
d
a
f
d
d
a
f
d
d
a
f
d
d
a
f
d
d
a
f
d
d
is an 8-movement work of flexible
duration for 2-4 string and percussion
instruments which share the same
constantly-varied repeated materi
Each movement consists of 4 staves
which, combined with inversion and
retrograde, generate 16 distinct
sections. Played in a pre-agreed order,
these sections are built up by patterning
pitch data in a variety of ways:
al.
G
1 : gradually extend the line,
playing notes 1, 1..2, 1..3 etc
2 : gradually shorten the line,
playing notes 1..9, 1..8, 1..7 etc
3 random play notes n..9
4 random [1..n]
5 : random frames of 4-6
notes each [r..r+n]
6 : sequential frames of 4-6
[1..4>6..9 or 1..6>4..9 or 1..5>5..9]
7 : omitting notes at will
Notes are played as quavers, where =
192, in moto perpetuo without rests.
Richard Cooke - Cardiff - 2005
accretion
atrophy
start-point:
end-points
framing
shifting
culling
is
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N

t
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D
w
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l
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N
i
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G
d
d
a
d
d
d
d
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d
d
a
d
d
d
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d
d
a
d
d
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d
a
d
d
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d
d
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T
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f
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a
a
4-11i
4 - 1 0 =
f
f
a
a
4-14o
4 z 2 9 i
f
f
f
a
a
4-13o
4 - 2 2 i
f
a
a
4-27o
4 - 2 0 =
f
f
f
a
a
4-16o
4 - 1 6 o
f
f
a
a
4-22i
4 - 1 3 o
f
f
f
a
a
4-08=
4 - 2 3 =
f
f
4-11o
a
a
4 - 1 1 o
f
f
a
a
4-14o
4 - 1 3 i
f
f
a
4 - 1 4 o
a
4-13i
f
f
a
a
4-10=
4 - 1 1 i
f
f
f
a
a
4-29i
4 - 1 4 o
f
f
f
f
f
f
f
a
a
4-26=
4 - 2 6 =
a
a
4-20=
4 - 2 7 o
f
f
f
They may also elect to omit 'white' (empty-headed) notes and to alternate
notes linked by forked stems. Pointed boxes indicate local repeats;
rounded boxes and crossed stems allow notes to be reordered. Within a
movement, a stave may also be played in retrograde (from right to left).
All notes should be read as quavers, where = 180 - 190.
Richard Cooke - Cardiff - 2005
G
a
a
4-23=
4 - 0 8 =
f
f
The Streets of Your Glances
T h e W o o d s o f O u r M e e t i n g
is a two-movement work of flexible duration, for 2-4 mixed instruments.
It is built up of constantly-varied repeated material, shared by all players
and performed without rest in . Movement 2 is the inversion
of 1 (perhaps transposed and read by turning the page upside down).
In each movement, players repeat the 15 staves in a pre-agreed order.
moto perpetuo
M
u
s
i
c
t
o
R
e
s
o
n
a
t
e
M
u
s
i
c
t
o
R
e
s
o
n
a
t
e
a
g
d
d
d
f
a a
a
a
f
g
a
d
d
d
d
d
d
d
Odes de Ricardo Reis
7 - 1 5 =
a
g
g
g
g
d
d
d
d
f
f
a a
a
a
f
f
f
f
f
g
g
a
d
d
d
7 - 3 3 =
Um livro de Bernardo Soares
a
g
g
d
d
d
d
d
d
a a
a
a
d
d
d
f
f
f
f
a
g
d
d
7z37=
O d i r i o d e V i c e n t e G u e d e s
a
g
h
d
f
f
d
d
d
d
d
d
d
a a
a
a
f
f
h
h
f
h
a
d
d
d
7z17=
U m c o n t o d e A l e x a n d e r S e a r c h
a
h
h
f
f
d
d
d
f
d
a
a a
a
f
h
h
h
h
h
a
d
d
d
7
z
1
2
=
U
m

e
n
s
a
i
o

d
e

C
h
a
r
l
e
s

R
o
b
e
r
t

A
n
o
n
a
g
g
g
g
g
h
d
d
d
d
f
d
a
a a
a
f
f
f
h
h
h
h
f
f
h
h
a
d
d
g
g
7
-
2
2
=
T
r
a
d
u

e
s

d
o

H
e
r
r

P
r
o
s
i
t
a
h
hf
f
f
f
f
f
f
g
a
a a
a
g
g
g
g
h
f
f
f
a
d
d
7
-
3
4
=
C
o
n
s
e
l
h
o
s

d
o

P
r
o
f
e
s
s
o
r

T
r
o
c
h
e
e
G
Each of the seven pieces consists
of a single stave prefaced by six
possible 'key' signatures which, when
combined with inversion and/or
retrograde, generate 12 distinct
paragraphs or sections. These sections,
which are played in a pre-agreed order,
are built up from the varied repetition of
the stave, where white/empty note-
heads allow notes to be omitted, forked
stems indicate a choice of notes and
frames or boxes permit local repeats.
In every case, the notes sounded
(always quavers, where = 192) are
played in the order notated.
The Kingdomof Gaps
is a work of flexible duration for three or
more pitched percussion instruments.
It is
i n m o t o p e r p e t u o
All seven pieces use enharmonic
derivatives of the same 5 notes (gabcd),
which means that new sections can be
created by applying the current 'key'
signature to staves of other pieces.
This feature helps to explain some
h i g h l y u n u s u a l a c c i d e n t a l s .
Richard Cooke - Cardiff - 2005
built up of constantly-varied
repeated material performed without
r e s t s .
d
d d
a
a
+
4
-
4
f
d
a
d
d
+
4
f
d
a
-
4
d
d
a
a
f
d
d
+4
- 4
d
d
a
a
d d
d
-
4
+
4
d
d
d d
a
a
-
4
+
4
d
a
a d
d
d
-4
+ 4
d
a
a
d
d
-
4
+
4
d
d
d
a
a
-
4
+
4
d
d
a
a
d
-4
+ 4
Dome
of the
Temple of
Happiness
is a work of flexible
duration, for 2-4
p i t c he d p e r c us s i o n
instruments. It is built up of
constantly-varied repeated
material which is performed
without rests in 'moto perpetuo'.
Each of the 3 movements contains 3
staves which, under inversion and/or
retrograde plus transposition (+/-4 mean
up/down a Major 3), generate up to 24 distinct
sections. Players repeat these sections in a pre-
agreed order, varying them by omitting white (empty-
headed) notes and alternating notes linked by forked
stems. Pointed boxes indicate local repeats whilst rounded
boxes and crossed stems allow notes to be reordered.
All notes should be read as quavers, where = 192.
Richard Cooke - Cardiff - 2004
G
The Night of
Acacias
7z17= 4-04oi
Windmills and
Blossoming Lilacs
7z37= 4-14oi
A Filigree of
Trees
7-22= 4-19oi
Un ventaglio di collini
Una manciata di rocce
Un fazzoletto di terra
Un ciuffetto di querce
Una cornice di castagni
Un sipario di cipressi
Una fascia di pioppi
Un sfondo d'alberi annosi
Briciole del passato
white
or empty-
headed notes and
to alternate those linked
by forked stems. Pointed boxes
indicate local repeats; rounded boxes
and crossed stems allow note-reordering.
All notes should be read as treble clef quavers,
where = 192, and are performed
without rests in moto perpetuo.
R i c h a r d C o o k e
- C a r d i f f -
2 0 0 4
is a 9-movement work of
flexible duration, for 2-4 pitched
percussion instruments, built up of
const ant l y-var i ed r epeat ed mat er i al .
In each movement the nine staves are
reiterated to generate nine distinct
sections, which are played in a
pr e- agr eed or der.
Performers may
choose to
omit
d
d
d
d
d
d
e
e
d
d
d
d
d
d
e
d
d
e
d
d
d
d
d
d
e
d
d e
d
e
e d
d
e
d
e
d
d
d
d
d
d
d
d
d
d
e
d
d
e
d
e d
d
d
e
d
d e
d
d
d
d
e
d
d
d
d
e
d
e d
d
d
d
d
d
d
d
e d
d
d
d
e
d
d
d
d
d
d
d
d
e
d
d
d
d
e
d
d
e
d
d
e d
d
d
e
d
e d
e
d
e
d
d
e d
d
f
f
d
e
f
d
f
d
e
e
e
d
f
e d
d
d
d
d
d
e d
d
G
e
e
d
d
e
d
d
e d
d
e d
d
e
e
d
d
d
d
e
d
d
e
d
d
e
e d
d
Forking Paths
and Earthly Delights
L
e
b
o
n
h
e
u
r
d
a
n
s
l
e
l
o
i
n
t
a
i
n
6
z
4
3
i
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
d
f
f
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f
is a five-movement
wor k of f l exi bl e
duration, scored for 2-
3 pitched percussion
instruments and built
up of constantly-varied
repeated materi al .
In each movement,
players perform the 9
staves in a pre-agreed
order. They may also
elect to omit 'white'
(empty-headed) notes
and to alternate notes
l i nked by f or ked
stems. Pointed boxes
indicate local repeats;
rounded boxes and
crossed stems allow
notes to be reordered.
All notes should be
read as treble clef
quavers, where =
192, and performed
without rests in 'moto
perpetuo'. Staves may
be transposed up or
down a tritone without
affecting the global
harmony, pc set 8-09.
Richard Cooke 2004
Abstracts &
Chronicles
G
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is a piano work of flexible duration,
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which, under inversion and retrograde, generate
12 distinct paragraphs or sections. These
sections, which can be played in any order, are
built up from repeated 'culls' of the 12
available pitches; in every case, the notes
sounded (always quavers, where =
192) are randomly chosen and
performed in 'moto perpetuo' in the
order notated. Rests may be
inserted for effect or to end a piece.
Al l 15 s t a v e s e mp l o y
enharmonic derivatives of the
notes c, d, e, f, g and a,
wh i c h me a n s t h a t
additional movements
and extensions can be
c r e a t e d b y
exchanging note-
patterns and 'key'
s i g n a t u r e s .
R i c h a r d
C o o k e
C a r d i f f
2 0 0 3
built up of constantly
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i
A
Forest of
Spontaneities
is a 4-movement
keyboard work of flexible
duration,
Within a piece, staves may be played in any order. Each
'bar' or stave forms a section or paragraph based on repeated
'culls' of the available notes. In every case, the notes sounded
(always quavers, where = 192) are randomly chosen,
different each time and performed in 'moto perpetuo' in the
order notated; rests may be introduced to end a piece.
Whilst written in treble clef, staves may move up or
down one or more octaves; in addition, two
entire pieces (marked -5/+5) may be
transposed down/up a Perfect 4.
Richard Cooke
C a r d i f f
2002
built up of repeated
material played without rests, with the
performer aiming for constant variation.
G
f
*
4
-
1
2
o

1
0
0
f
4
-
1
6
o

1
0
4
f
*
4
-
1
3
i

1
9
0
4
-
0
8
=

2
3
0
f
*
5
-
3
1
i

1
5
6
6
z
4
8
=

8
6
e d
6
z
4
8
=

9
6
d
5
z
3
7
=

1
1
4
e e d
d
d
e
6
z
4
8
=

4
2
d d
*
3
-
0
7
o

6
4
e d
d 5
z
3
7
=

1
7
4
e d
5
z
3
7
=

1
2
8
e d
5
-
3
7
=

1
2
6
4
-
2
2
o

8
6
5
z
3
5
=

7
0
*
4
-
2
6
=

1
5
6
e d 4
-
1
9
i

1
3
0
5
-
3
5
=

9
8
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d
5
z
3
7
=

1
2
6
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d
4
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0
4
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1
1
4
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5
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3
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1
4
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6
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f

t
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H
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C
h
a
m
b
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Book of the Litany of Ra
B
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o
f

t
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C
a
v
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s
Book of the Coming Forth by Day
G
Each bar or stave builds up into a section or
paragraph based on repeated culls of the
available notes. In every case, the notes
sounded (always quavers, where = 192)
are randomly chosen, different each time and
performed in moto perpetuo in the order
notated. Rests may be inserted to end a piece.
' '
' '
' '
Within a piece, staves may be played in any
order, but it is good to juxtapose material at a
different level/register or with contrasting
sweep (the distance in semitones from the
lowest to highest note) and turbulence (the
total in semitones, shown after the pc set-
name, of leaps between consecutive notes).
' '
' '
Whilst written in treble clef, staves may move
up or (especially) down one or more octaves.
Seventeen staves, indicated by an asterisk in
front of the pitch-class set-name, may be
transposed by smaller intervals, provided that
the global harmony remains consistent.
Richard Cooke, Cardiff, 2001
Hieroglyphs & Spells is a four-movement
work of variable duration for solo keyboard.
Each piece or book contains 15-24 staves,
some of which they share, as shown above by
the overlapping frames. Other page divisions
are permissible and might take titles such as
Book of Gates or Book of the Celestial Cow.
' '
f
f
f
f
f
f
f
f
f
f
T
h
e
H
i
l
l
o
f
T
h
r
e
e
S
h
o
u
t
s
6
z
4
6
i
f
f
f
f
f
f
f
f
f
T
h
e
W
a
l
l
o
f
W
h
i
s
p
e
r
s
6
z
4
7
i
f
f
f
f
f
f
f
f
f
T
h
e
P
l
a
i
n
o
f
T
w
o
M
i
s
t
s
6
z
5
0
=
f
f
T
h
e
B
r
a
n
c
h
o
f
W
h
i
t
e
S
i
l
v
e
r
6
-
3
3
o
f
f
f
f
f
f
G
The
I s l a n d
o f A p p l e s
Called Fortunate
is a 4-movement keyboard
work of flexible duration, built up
of constantly-varied repeated material
whi ch i s performed wi thout rests.
Within a piece, staves may be played in any order. Each
'bar' or stave forms a section or paragraph based on
repeated 'culls' of the 12 available notes. In every case, the
notes sounded (always quavers, where = 192) are
randomly chosen, different each time and performed in
' moto perpetuo' i n the order notated;
rests can be introduced to end a piece.
Whilst written in treble clef, any stave
may be transposed up or down
one or even more octaves.
Richard Cooke
C a r d i f f
2001
f
f f
f
f f
f
f
f
f
f f f f
f
f
f
f
f f
f f f f
The outer staves consist of white quavers only; roughly one-third of these should be omitted at each
repetition, the notes played being randomly chosen and different each time. A stave may be read in its
entirety or broken down into 3 to 5 segments as suggested by the beams above or below.
On revisiting a stave, the performer should take care to employ a different type of segmentation.
The 5 staves of each piece comprise 2 types of material. The middle staves contain
black quavers which are always played and white ones which may be omitted; where linked by
forked stems, only one of the notes should sound. Crossed stems permit notes to be reordered whilst
the loop symbol indicates groups of 2 to 5 notes which are susceptible to further repetition.
G
= 192
The music
should be
r e a d i n
treble clef
but whole
s e c t i o n s
m a y b e
transposed
up or down
a t ri t one
or octave.
The tempo
may fluct-
uate freely.
R i c h a r d
C o o k e
C a r d i f f
2 0 0 1
P C S e t s :
8-25=/7-15=
5z36i 4-18i
5-33= 4-25=
5-15= 4-05i
5-30i 4-19i
A
u
p
a
y
s
d
e
s
m
a
n
g
eu
rs
d
e
lotu
s
L
e
s
b

u
fs
d
u
s
o
leil
L
es
fille
s
d
A
c
h

lo
o
s
L
e
s
v
e
n
ts
d
e
lo
u
t
r
e
A Sea of
Uncert -
a i n t i e s
is a solo
keyboar d
w o r k o f
f l e x i b l e
dur at i on.
Each of the
4 mo v e -
ment s i s
built up of
r e p e a t e d
(or para-
p h r a s e d )
ma t e r i a l
performed
w i t h o u t
rests, with
the player
aiming for
c o n s t a n t
vari at i on.
d
d e
d
d
d
d
d
d
d
o
d
o
f
f
f
f
f
f
f
f
f
o
f
o
B a s t i l l e s
& E n g i n e s
is a solo keyboard work of
variable duration which can be
played as one continuous or 3
single movements. Each piece is
built up of repeated material
performed without rests; the player
should aim for constant variation,
reiterating staves whilst omitting
'white' (empty-headed) quavers
at will. The music is usually
read one octave below
trebl e cl ef .
d
+4
T h e
s mal l c e nt r e
stave serves as a bridge
in the 1-movement version
and is played at pitch and/or a
Major 3 above. Elsewhere, stems
pointing upwards indicate 6-note
figures which can be used as focal
points to end a piece. Here, both
black and white notes can be
omitted and rests introduced.
Richard Cooke, Cardiff, 2000
Pitch-Class Sets (9-12=): 7z37= 3-03oi
4-03= 4-07= 4-17=: 7-22= 3-04oi 4-07=
4-08= 4-20=: 7z17= 3-11oi 4-17=
4 - 2 0 = 4 - 2 6 =
d
d
d
e e
d e
d
d
e
d
d
d
d
d
d d e
d
d
d e
o
d
o
G
= 192
Q
u
e
l
l
i
c
h
e
v
a
n
n
o
-
B
a
l
l
e
r
in
a oss
e
s
s
i
v
a
-
C
i

c
h
e
m

h
a
d
e
t
t
o
i
l
t r a m
B
a
s
t
i
l
l
e
s &
E
n
g
i
n
e
s
d
d
d
+3
d
d
d
+3
d
+3
d
= 192
( )
o
b
+3/-5
d
d
d
-5
+3
+5
d
+8
d
d
d
The music should be
read in bass clef or one
octave higher. Each
s t a v e f o r m s a
paragraph built up
from repeated 'culls'
or abstracts of the 12-
15 available pitches.
In every case, the
notes played (always
q u a v e r s ) a r e
randoml y chosen,
different each time,
and performed in
' m o t o
per
-petuo' i n
the order notated.
Eight of the bars may
b e t r a n s p o s e d
accordi ng t o t he
semitone indicators
shown above stave,
. Rests
may be inserted for
dramatic effect or in
order to end the piece.
R i c h a r d C o o k e
C a r d i f f 2 0 0 0
where +3 = raise a
Minor 3, etc
Car avan &
Robber Stories
is a keyboard
work of flexible
duration, built up
o f r e p e a t e d
material played
without rests,
w i t h t h e
p e r f o r m e r
a i m i n g f o r
c o n s t a n t
variation. It may
be played as one
conti nuous or
t h r e e s i n g l e
m o v e m e n t s ,
with the isolated
st ave (pi t ch-
cl asses
E
a n d F )
a c t i n g a s a
bridge or coda.
PC Sets: (7-32)
6z29: 5z18 5z18i
5-31 5-31i 4-12i
4-13 4-13i 4-27i
6z19i:5-16i 5z17
5-22 4-03 4-07
4-19 4-20 3-04
6z25i:5-20i 5-23
5-25 5-29i 4-10
4-14 4-16 4-27
Caravan
and Robber
Stories
is a three-
m o v e-
m e n t
work of
f l exi bl e
duration
f or sol o
keyboard,
built up of
r e p e a t e d
ma t e r i a l p e r -
formed without rests in
m o t o p e r p e t u o .
The performer should aim for constant variation, repeating staves in
both part and whole. S/he may further elect to reiterate boxed
material, omit 'white' (empty-headed) notes or note-groups and
to al ternate notes j oi ned by f orked stems.
The music is normally read 1-2 octaves
below treble clef but staves may also
be transposed according to the
semitone indicators shown
b e l o w t h e t e mp o
markings (thus 4
means up or down
a Major 3 etc).
R i c h a r d
C o o k e
Cardiff
1 9 9 9
PC Sets:
6 - 2 0 =
4-20=:
6z49=
4-17=:
5 - 2 7 i
4 - 2 6 =
T
h
e
s
u
n
p
u
t
s
o
n
d
a
n
c
in
g
s
h
oes
H
e
a
t
a
n
d
s
u
m
m
e
r
h
a
z
e
Transports &
Ecstasies
E
a
r
t
h
c
r
a
c
k
s
i
n
p
la
c
e
s
=< 192
3 5
= 192
3 4
d
f
d
f
d
f
d
f
d
f
d
f
d
f
d
f
d
f
>= 192
4 5
d
f
d
f
Cities of the
Here-Below
q = 132 = 66
*other transpositions exist
3-10= 8i 5o 5i 2o 8o 2i 7o 7i
+3 -3 +3 +3 -1* -3 -5* -4* +6* 7-01=
+4 -2* +6 +2 +2 +2* -6 -6 -3 7-33=
-3* +2* +2* -6* +3* +3* -1* -2* -4* 7-31i
+1 +1 -5 -5 -5 -5 +3 +3 -2 7-21o
0 0 0 0 0* 0 0* 0* 0* 7-35=
PCSet
Cities of the Here-Below
is a work of flexible duration
and instrumentation built
up of repeated material
shared by all (4-5) players.
It consists of 2 types of
material which may be
loosely termed 'harmony-
melody' (21 larger staves for
normally 3 performers, of
whom one plays at half
speed) and ' descant '
(9 short staves of open-
ended, ascending and/or
descending arpeggios).
The piece has 5
versions (cities),
formed by trans-
posing various
elements of the
material. These
transposi ti ons,
shown at head
and foot of the
page, are aligned
to the lefthand
e d g e o f t h e
rel evant stave
and are notated
i n semi t ones,
where 0 = as
written and +4 =
raise a Major 3
etc. No more than
3 versions of the
work should be
played in a single
pe r f o r ma n c e .
In the melody
layer, element
codes indicate 3
p e r m i s s i b l e
types of focus:
all players
focus on (repeat)
the same single
e l e m e n t
players
mi x ( s i mul t -
aneously repeat)
2- 3 el ement s
which share the
s a me l e t t e r
play these
elements, along-
side others, only
in passages of
rapid change.
Capital letters
i ndi cate that
there exist 1 (A
C) or 2 (B D)
o t he r t r a ns -
positions of the
e l e m e n t o r
group within the
global harmony
of the version in
q u e s t i o n .
a/A
c/C d/D
b/B
The descant layer consists
of semiquaver arpeggios
ranging over 2-3 octaves.
Patterns of 4 (1232, 1213,
1323 etc) dominate the
arrangement of elements
and notes within them,
though the type of focus
used (convergent/diffuse)
should contrast with that
heard i n the mel ody.
Players assume treble clefs
but are free to shift register.
Richard Cooke Cardiff 1998
The o r de r o f
sections must be
planned before
each per f or m-
ance and should
take into account
voi ce- l eadi ng,
the number of pit-
ches (1-3) shared
by elements and
the similarity or
otherwise of mel-
odic direction.
Melody material
may be varied by
lengthening 1 or
more of the 'white'
notes wi thout
s t e m s t o a
crotchet, creating
distinct rhythmic
pat t er ns wi t h
each repetition.
4-12i 15i 2o 5i 15o 12o 3= 21= 11o 11i 10= 13o 13i 8= 27i 29i 27o 29o 16i 22i 26= PCSet
0 a 0 a 0 B 0 a 0 b 0 a 0 B - 3 a -1 C +3 C +1 C+3 a +3 a +3 b 7-01=
+1 d -1 b +2 b -1 b +3 b +1 d - 5+1 cd +3 b -2 b +4 c +6 a +4 c +2 a +6 a +4 a 7-33=
+5 a +3 A +5 b +6 D +4 b +3 C -4 a +6 D +3 D -4 A -4 a +3 C +5 C 7-31i
-5 b +4 a +4 a -2 a -4 b -2 c - 5 b +1 a -5 a -5 a +5 c -2 c 7-21o
0 a 0 C 0 C 0 D 0 b 0 b 0 b 0 a 0 a 0 a 0 a 0 b 0 D 0 D 7-35=
C ...
dei tragitti diversi
dalla polvere giallina
di milioni docchi
a forma di medusa
dellarmonico disegno
itt
Cities of the
Here-Below
4-12i
4z15i
4-02o
4-05i
4z15o
4-12o
4-03=
4-21=
4-11o
4-11i
4-10=
4-13o
4-13i
4-08=
4-27i
4z29i
4-27o
4z29o
4-16i
4-22i
4-26=
Streets & Broad Spaces
Streets & Broad Spaces
Pitch-Class Sets: (8-21) 7-08 7-33 7-34 5-34 -24oi -26oi -28oi -30oi 4-16oi -19oi -22oi -27oi 3-07oi -11oi
f f f
f
t
+2
3 3 3
3
3
3
3
3
3
f
-2
[ ]
f
+2
<>
5-09oi -13oi -24oi -26oi -28oi -30oi 4-11oi -19oi z15oi z29oi 3-04oi -05oi
-2
d
d
f
f
t
-2
f
-2
[ ]
-2
<>
d
f
d
f
d
f
d
5-08 -09oi -13oi -26oi -28oi 4-02oi -05oi -12oi -19oi 3-02oi -03oi
d
f
e d
d
d
f
e
d
f
f
t
+2
f
-2
f
f
+2
<>
= 132
d
f
is a work of flexible
dur a t i o n a nd
instrumentation, built up of repeated material shared by all
(4-6) players. It is cast in terms of 3 basic movements
('carriages'), each of which is composed of 2 starkly contrasting
types of texture. Lower stave material is percussive; players are
synchronised and continually repeat phrases in part or whole. The 3
longer staves are quasi-improvised, with randomly-placed snatches of
melody embodying pronounced (de)crescendos. The overall sound-world
suggests a train hastening through a landscape of mysterious objects.
Each stave allows (usually) 4 different harmonies since forked-stemmed note-
pairs permit a choice of pitches: players should stay with their selection for
several repetitions. Elsewhere, note-groups with 'empty' note-heads may be
optionally omitted. Harmonically, the work explores pitch-class sets closely
related to, whilst not included in, the whole-tone scale. New movements
may be created by transposing the whole of movement 2 down a Major
2 or upper parts of other movements up or down a tone (+2 or
-2, as shown). Players should assume treble clefs
throughout but they are free to shift octave/register.
d
+4 -4 +4
d
d
-4 -4 +4
d
d
+5 +5 +1
d
d
+4 -4 +4
d
d
+4 -4 +4
d
-1 -1 -5
d
0 -4 +4
d
-4 -4 +4
d
d
+4 -4 +4
d
-4 -4 +4
d
+4 +4 -4
= 144 = 72
d
d
k
k
k
k
k
-4 -4 +4
d
d
k
k
k
k
k
+4 -4 +4
The 11 tetrads of the
melody layer combine to
create a 7-note harmonic
field which, through a
series of transpositions,
transforms into 3 other
fields. Transpositions are
notated above stave in
semitones (+4 = raise a
Major 3 etc) and for each
new section of the piece
players together move on
to the first, second or third
set of transpositions.
A Tower with
Terrass Round
i s a work of
flexible duration
and instrument-
ation built up of
repeated mater-
ial shared by all
( 4-6) pl ayers.
It consists of 2
types of material
which may be
loosely termed
' harmony-mel -
ody' (11 lower
staves for 3-4
performers, of
whom 1 plays at
half speed) and
' d e s c a n t ' ( 2
upper staves of
o p e n - e n d e d ,
a s c e n d i n g
and/or descend-
ing arpeggios).
The or der of
sections for the
entire piece must
be agreed before
each perform-
a n c e . T h e
ori gi nal ( zero)
transposi ti ons
should be seen as
t h e m o s t
important, with
t h i s s e c t i o n
acting as a kind
o f r e f r a i n .
The descant layer should be seen as
essentially decorative. Arpeggios may be
played in either normal or triplet semi-
quavers and range over several octaves.
Harmonically the work explores pc sets
containing large numbers of major/
minor triads. Players should assume
treble clef but are free to shift register.
The 11 mini-melodies are
seldom repeated within a
part: instead, performers
link them into 'super'
melodies, playing them
more or less in the order
shown on the score, read-
ing clockwise but starting
at different points of the
cycle. Empty note-heads
without stems indicate
that these notes should be
sustained for anything
up to 4 quaver beats.
Pitch-Class Sets (9-12): 7-22 7-17 7-26oi: 5-32oi: 4-3 4-7 4-17 4-20 4-2 4-15oi 4-18oi 4-27oi
d
-5 -2 +1 +4
d
-5 -2 +1 +4
-5 -2 +1 +4
d
-5 -2 +1 +4
d
+4
+4
d
+4
+4
d
= 144
Carnival of Poetry and Lies
d
d
k
k
k
d k
k
k
k
k
k
k
j
+3 +4 etc
i s a
work of flexible
duration and instru-
mentation built up of
repeated material shared by all
(3-6) players. It consists of 3 types
of material which may be loosely
termed 'harmony' (8 inner staves
assigned to 2 percussion instruments),
'descant' and 'melody' (top and bottom
s t a v e s ) .
Empty note-heads in the har-
mony show dyad pairs that
can be omitted to cre-
ate a hybrid
The 8 tetrads
of the har-
m o n y
layer com-
bi ne to
create a
7 - n o t e
h a r-
m o n i c
f i e l d
w h i c h ,
t hrough
a series of
transposi-
t i o n s ,
transforms
into 6 other
fields. These
transpositions
ar e no t at e d
above stave in
semitones (+4 =
raise a Major 3 etc)
and where there is a
choice (ie -5 -2 +1 +4), the
2 players make different
selections. The resulting aggre-
gate harmonies underpin the vari-
ous sections of the piece and need to be
agreed before each performance: the original
(zero) transpositions are the most impor-
tant since the section they consti-
tute acts as a kind of refrain.
Ha r
mony players
move through the
material independently but
they should always change
s e c t i o n t o g e t h e r .
Descant and melody layers are essen-
tially decorative. They employ independent
tempi (crotchet = 192 and 108 respectively)
but choice of pitches and transpositions
should reflect the harmony of the
current section. Crossed stems
in the descant indicate that
only 1 of the 3 notes
should be played and,
in the melody, that
the 2 notes may
sound in either
o r d e r .
The harmon-
ic structure
of the piece
m a y b e
likened to
a kaleido-
s c o p e
with new
sections
f or me d
by shift-
ing and
r e c o m-
b i n i n g
e l e -
m e n t s .
T h e 7
h a r m o n i c
areas share only
3 pitch-classes (A C
and E) as if the piece is examining A Minor
tonality from seven different viewpoints.
Players should assume treble clefs but
are free to shift octave/register.
PC Sets (9-10): 7-32oi 7-10i
7-16o 7-19i 7-25i 7-28i:
5 - 3 1 o i : 4 - 1 2 o i
4-13oi 4-18oi
4-
is a work
of flexible duration and
instrumentation built up of repeated
m a t e r i a l w h i c h i s
shared by all (4-6) players.
The 16 st aves correspond to 16
sections, the order of which should be agreed before each
performance: players will tend to juxtapose sections which are well-
separated on the score or which hold only 1 or 2 pitches in common.
Normally 3 players are assigned to a 'melody' layer and the others to a 'descant'.
Melodies are patterns of 6/8 created by sustaining any 2 of the 4 quavers (different
eachtime) to a crotchet, with1 or more performers playing at half and/or quarter speed as
in a canon by augmentation. Crossed stems show that notes may be reordered but for the
most part smooth outlines are preferred. Descants consist of patterns of 6/8 with notes
played in sequences such as 432123/421321 or semiquaver chromatic glissandi (D-G/G-D).
Harmonically the work explores 'diatonic' tetrads within a chromatic context. Optional trans-
positions (notated above stave in semitones, with +5 meaning raise a Perfect 4) will create a quasi C
Major tonality but appear only rarely. Players should assume treble clefs but are free to shift register.
Pitch-Class Sets 8-01: 4-8 4-29oi 4-13oi 4-21 4-16oi 4-11oi 4-10 4-14oi 4-22oi 4-23
The Bridge of Follies
d
d
+3 (+5)
4 2 1 3 2 1
= 144 = 72 = 36
G
D
4 3 2 1 2 3
G
D
2 + 2 = x x e q
6
8
d
+3
d
-2
d
d
+3
-3
d
-2
d
-2
(-2)
-5
-5
-5
(+5)
-3
f
f
-3 (-5)
f
f
f
f
f
f
Richard Cooke, Parma, 1998 - Musica metafisica - 4 open-form pieces
which permit performers choice in the shaping and ordering of events
[ ]
tr
A House of Many Mansions A House of Many Mansions
Richard Cooke
Cardiff
1997
=112=56=28
f f f
f f
f f
f
=112
7
8
+3 -5 +4
: : :
x
etc
f A c C a F f b
(3) Room for Rhetorical Discourse
=96=48=24
c c
f
f
f f
f
a a
=96=48
d
d
( )d
( )d
=96=48
5
8
+4 +4 +4
+4 +4
: : :
::
EC
af (CF)
ea (Ea)
Cf
(4) Room for Speculation & Doubt =120=60=30
c
c
f
f f
f f
f
a
a
=120
c
c
f
f
= 1 2 0 = 6 0 = 3 0
d
d
dd
d
d
d
d
6
8
4 4 4 4 +5 4
Cf
c f
f
g#f
E f
:
C E
A C b
c e
g#e
4 +1 = x x e q
6
8
(1) Room for Enquiry & Reflection
=120=60=30
f
f
f f
=120=60=30
=120=60
d d
d
d
d d
d
2-5
8
4 4
(2) Room for Justice & Moderation
Melody Layers (1-3 players)
Melodies closely follow the pre-agreed sections of the
harmony layer and should not include pitches foreign to
the current harmony. Each room is characterised by a
distinct melodic shape which undergoes harmonic
transformation, often the result of changes of clef and/or
'key' signature. Note that in Room 1 there are only 8
melodies for 10 harmonic fields (not A E or g#c) and, in
Room4, 6 melodies for 7 triad-pairs (Ef excluded); sections
without melodies are nevertheless important as they may
serve as interludes or introductory/concluding passages.
b
Descant Layers (1-3 players)
The various fragments of descant may be performed in any
order and, unlike melodies, do not need to match the
harmony, especially when played at high registers. They are
the elements most likely to 'migrate' to other rooms.
Descant players should aim to exploit the full range of
optional transpositions, notated below stave in semitones.
Room Pitch-Class Sets
1
2
3
4
7-21o: 5-21oi -17 -22 -27i -32oi: 4-19oi -07 -20
7-21i: 6-19i 6-44o 6-20=: 5-21oi: 4-19oi: 3-11oi
7-17: 5-17 -22 -34 -21oi -27oi -32oi: 4-07 -20 -26
7-37: 5-17 5-22 5-21oi 5-27oi: 4-03 4-14oi
Notation Guide
Multiple Metronome markings
Empty note-heads
Semi-attached ties
Broken ties
Crossed stems
Bracketed repeats
Expanding/contracting boxes
Broken beams
Inversions
Alternative clefs
Alternative 'key' signatures
The scores of all 4 Rooms/movements employ a number of
devices which permit material to be varied or extended:
: performers may play at
half or even 1/4 speed, as in a canon by augmentation
: the note or note-group may be omitted
: the preceding note may be sustained
: the tie may either be observed or ignored
: the notes may be played in either order
: preceding note-groups can be repeated
: (harmony and descant of
Room 2) the line grows progressively longer or shorter
: (melody of Room 2) the line accumulates
notes in the sequence 1, 1-2, 1-3, etc, with repetitions
In the melody layer of Room 1, players are expected to fit 5
notes into a 6/8 pattern by lengthening one note (different
each time) to a crotchet. Double-arrow-headed lines show
that a melody may also be played in retrograde.
Other devices in melody layers force a change of harmony:
(Room 1, revealed by upturning the page)
(found in Rooms 1 and 4)
(viz. Rooms 3 and 4)
The various fragments of descant layers can be transposed:
these optional transpositions are shown below stave in
semitones, thus +4 = raise a Major 3, -5 = lower a Perfect 4.
Harmony Layers (usually 2 players)
Harmony layers are formed by combining a rhythmic
motor with (usually) 2 triads taken from the stave to the
right. In Rooms 1 and 4, players should choose pairs
linked by one of the 4 boxes and in Room 3 any 2 triads
which are not juxtaposed on the stave. In these 3 rooms
respectively, 10, 7 and 9 combinations of chords are
permissible, each producing a distinct 5-note harmonic
field. These harmonic fields define the various sections of a
room or movement and the order of sections within rooms
must be agreed by players before each performance.
An upward movement of
t r i a d s i s g e n e r a l l y
preferable (thus in Room 1,
E-f rather than f-E), but the
most important thing is
consistency. In Rooms 1
and 3, chords are held for
up to 4 quaver beats (as
shown by unattached ties)
in order to create the effect
of 6/8 or 7/8 respectively.
In Room 4, players share
the same basic 5/8-5/4
pattern but they move onto
the second chord at a point
(articulation) in the bar of
t hei r own choosi ng.
Room 2 has onl y 4
harmonic fields (usually
consisting of 6 pitches):
aFfE, Ec#D A plus 2 sets of
any 3 triads which exclude
E Major. The rhythmic
m o t o r b u i l d s u p
cumulatively, with the 3-4
tri ads pl ayed i n the
sequence A, aB, abC,
(abcD); the last chord of
each group (capitalised) is
held for 2 beats (hence the
time signature 2...5/8)
b
The di v e r g e nt ' ke y '
signatures for Room 3 are
summarised in the table
below right. Any of the 9
basic melodies may appear
at any of 5 levels or
transmutations (starting
on different degrees of the
scale) but players should
not mix levels within any
one section and should be
prepared for unusual key
signature combinations
(eg E + F + G#). The table
gives an example of how
sections may be ordered
and suitable levels chosen.
The 4 cumulative melodies
of Room 2 result from
reading either upper or
lower note-stems of the 2
basic shapes. The 2 longer
(right-hand) melodies link
to the 2 boxed groups of 4
triads (hence the long
upper stemmed shape to
the left-hand box) whilst
the shorter (left-hand)
melodies accompany any
set of 3 chords which does
not include E Major.
b b
A House of Many Mansions is a work of flexible duration
and instrumentation for up to 6 players sharing the same repeated material.
The House consists of 4 basic 'rooms' or movements each of which is cast in terms of 3 layers;
these layers occupy 3 lines of staves which may be viewed (frombottomto top) as harmony, melody &descant.
A mansion is defined as the performance of any number of
rooms in any order. New rooms may be created by either moving elements
(especially descants and the rhythmic motors of harmony layers) between rooms, by omitting
whole layers or by transposing an entire roomup or down a Major 3. (This will not affect the global harmony.)
Harmonically the work explores pitch-class sets which include large numbers of major and minor triads; triads
are linked by shared
notes and movement
between them tends to
be by Major 3. Players
should assume treble
clefs unless otherwise indicated but are free to transpose any of the material into other registers. Room numbers follow the text so that the top right-hand window is Room 4; the numbering reflects dates of composition and does not imply an order of performance.
Room 3 cf cF CF A F Cf ca af A a A C
E x x x
F x x x x x x
A x x x x x x
G# x x x x x x
Level?? 1 2 4 4 2 5 2 4 3
b b b
b
b
b
3 3 3 3 3 3
3 3 3
3 3 3
3 3 3
Example: Juxtaposing chords A + a in the harmony
produces a key signature E +F +G# in the melody.
On Level 4, the melody will begin on C and end on G#.
b
b b
(
(
( (
(
(((
(
( ( (
( ( (
(
(
(
(
(
(
[
=112
d
d
de d d d d
e d d d d d d
g d d d d
e e e d d
e e e e d
f
e d d d
:
(
: : : : :
d d
= 125
f
f
f
d
d
o
= 1 2 5
f
f
f
d
o
d
d
d
d
d
c
c
c
f
a
= 120 = 60
t
= 72 = 36 = 9 = 72 = 36 = 18
t
f
d
f
d
t
t
d
f
d
= 112 = 56 = 14/28
f
d
d
d
f
d
d
d
d
f
f
a
c
f
= 120 = 60
= 1 2 0 = 6 0
d
d
f
f
a
c
f
d
f
a
c
f
f
o
b
f
= 60 d
f
d d
f
f
e f
d
= 120 = 60
f
f
d
d
o
EarthOracles
Wheel of Ambition
The Illusionof Flowers
MoonHarvest
Music withLimitations
Calends of Spring
Music witha Story
AnEmbrace of Summer
Fugitive Plains
Music by Mirrors
Feast of Epiphanies
AChorus of Hesitations
(Pitch-Class Sets 6-30o: 4-12i 4-13o 4-27o)
A free rondo, alternating one or both refrains (centre staves) with one or more of
the peripheral 'choruses'. These choruses have long and short versions (black
notes onl y) and take thei r tempi from the second refrai n.
(7-22: 5-15 5z17 5z18i 5-32o 5z37 5z38i)
Canon by augmentation, insertion, retrograde and inversion in 6 sections.
(7-20i: 5-07o 5-20i 5-32o 5-35)
Canon by augmentation, deduction, retrograde & inversion in 4 sections.
(6z25i: 5-20i 4-11o 3-02i 3-04o 3-05i 3-07o)
The 2 players move round the ideogram in large or small clockwise circles,
finishing on the same phrase. They play alternately, normally one (4/4) 'bar'
each without intermittent breaks, changing clefs at will. Ornamental notes
resemble appogiaturas but players interpret them differently.
(7-32i: 5-20o 5-29oi 5-30i)
Canon by deletion, retrograde and inversion in 4 sections. Players should insert
quaver rests at different points in the (8 - 2 =) 6-note phrase.
(7-19o: 5z18i 5-20o 5-29oi)
Ca no n by a ugme nt a t i o n a nd de duc t i o n i n 4 s e c t i o ns .
(7-19o: 5-07o 5-15 5-29i 5-31o 4-14o)
Canon by deduction. A chaconne with 1 player assigned to a ground bass.
(7-29i: 5-29i 5-19o 5-32oi 5-35 5z36i 5z38o)
Canon by augmentation, retrograde and inversion in 8 sections.
(7-32o: 6z19i 6z24o 6z28 6z29)
Canon by augmentation, deduction and inversion in 4 sections.
(7-35: 5-35)
Canon by augmentation, retrograde and inversion in 3-6 sections.
(8z15i: 5z18oi 5-20i 5-29o)
Canon by augmentation. Crossed stems indicate free ordering of notes (black
n o t e - h e a d s ) o r a l t e r n a t i v e p i t c h e s ( e mp t y h e a d s ) .
(7-22: 5-22 5-15 5-20i 5-32o)
Canon by insertion, retrograde and inversion. Each of the 4 sections contains 4
phrases, any of whi ch may be fol l owed by a quaver rest.
Objects may
have historical
or geographical
links but there are also
connections between
and within pieces. Nine of
them resemble canons by
augmentation, with one or
more performers playing at , ,
, speed: these are indicated
by multiple metronome markings.
Seven pieces may be likened to mirror
canons, with imitation by inversion
and/or ret rograde mot i on.
Retrogrades are indicated by
lines with double arrowheads.
Inversi ons (whi ch are
accompanied by changes
of key signature and/or
clef) initiate a change
o f s e c t i o n ;
players thus
turn up the
page to-
get her.
' '
1 3
7 B 2 or
Other pieces may be described as
canons by deduction or deletion,
insertion or substitution as additional parts are produced by
subtracting notes (groups with empty note-heads) or
interpolating rests, by reordering notes (crossed
stems) or changing clefs. Deduction is
optional and deletion ( omission )
mandatory, ie players must
omit one of the white
note-groups.
' '
' '
The
Cauldron of Plenty
c
c
c
c
c
a
a
a
=
7
2
Each piece
may be seen
as a discrete
'object', with the
techniques previously
described serving as
'algorithms' and the pitch-
material as 'data': hence it is
always possible to add new
'data' (especially pitch-class sets
atypical of major/minor harmony)
provided that the global harmony of a
p i e c e r e ma i n s u n a l t e r e d .
Individual notes describe pieces
in a clockwise order starting from
the 1 o'clock position. Players
should assume treble clefs
unless otherwise indicated
but are free to introduce
shifts of octave or
r e g i s t e r .
R i c h a r d
C o o k e
Car di f f
1 9 9 6
c
c
f
f c
c
f
f
f
f
= 120 = 80
= 1 2 0 = 8 0c
f
f
a
c
f
f
a
f
f
= 120 = 60 = 30
c
f
c
f
bf a
= 120 = 60 = 40
c
f
f
= 1 2 0 = 6 0 = 4 0
c
f
a
f
b
b
b
c c
c
c
= 152 = 76 = 38
= 1 5 2 = 7 6 = 3 8
consists of 12 pieces (or musical
'objects') for 2-4 players sharing the same
repeated material. Instrumentation and duration
are variable but the beat is synchronised and players
change sections together in a pre-agreed order: they may either
end a piece abruptly or else focus on a
sect i on t o ' repeat and f ade' .
d
d
d
d
d
d
d
d
d
d
d
d
d
d
d
d
d
f
f
f
f
f
e
e
e
e
e
e
e
e
.
.
.
.
b
d
d
f
. .
d
d
d
d
d
d
d
f
f
f
f
f
f
f
f
e
y
+4
+1
+12
+12
+12
+2
+5
+12
+12
+7
+12
+6
+1
+6
+3
s
s
s
s s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
s
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Dawn Antiphon
A Stream of Toccatas
Pool of Hypotheses
Dream Odyssey
A Landscape of Veils
Rain Talisman
The Book of Encounters
Chapter 2
7-28i: 6-21o 6z17i 6-34i
All players start at the bottom of the lowest
ladder and make increasingly higher ascents
of all 3, breaking off suddenly in mid-flight
to return to the beginning. They should play
triads of one white and two black notes,
articulating them with the repeated rhythm
shown in the bottom-left corner. During the
course of the piece, there should be 2
coordinated ('triggered') returns to the
bottom, the first leading into the centre
ladder and the second into the top row of
chords. Players may occasionally vary the
order of rhythmic groups or 'blur' the
rhythmic pattern by tying notes.
8z15i: 3-05oi 3-08oi
This piece is built on a rhythmic ground
(defined by increasingly larger boxes) which
is read first in shifts of 5 (a b c d e, b c d e f
.. l m n o p) and then 7, 8, 11, 13, 15 and
16. There are 7 harmonic fields, linked to
these shift-cycles in a pre-agreed order and
articulated by replacing quaver stems with
semiquaver triplet figures derived from any
3 of the 4 pitches shown. Players may also
interpolate figures from neighbouring cycles
to echo or anticipate past or future events.
8z15o: 5-19i 5-28o: involutions of set size 4
Shape the piece in terms of 2-3 episodes,
each focusing on the softly-repeated melodic
pattern which appears just before the quasi-
unison final flourish. 'White' quavers may be
omitted, whilst bracketed crotchets may be
repeated up to a dozen times. Most staves
may be transposed (+1 = up a semitone,
etc ) and these transpositions feature more
prominently as the piece progresses.
(12): 8z29i: 5-10i
Loud and strongly marcato. Players start at
the left and move through neighbouring
fragments, playing different variations of
each 'call' before proceeding to the next.
There are 3 sections (marked by broken
triangles), each culminating in an 'Ascent'
and finally in an 'Ascent & Departure'. White
quavers and brackets indicate material
which may be omitted, whilst the overturned
'V' permits interpolations (derived from
other calls) and broken staves invite
reordering.
Legend:
a use any pitch from nearby fragments
b hit wood
c mix these 5 pitches, focusing on one
d delicately colour in a second pitch (one
player only)
Richard Cooke, Lisboa, 1989
Dream Odyssey
A Stream of Toccatas
Rain Talisman
A Landscape of Veils
Dawn Antiphon
8z29o : 6z42 z04 z28 z06 z45 z29 z48:
4z15o 4z29i
The main body of the work is built up of fast
but fluctuating trill-tremoli (2 black notes)
decorated by arabesques composed of either
- upper-stem notes only
- lower-stem notes only
- all notes
The slower opening section (left-most stave)
serves as a refrain which may occur at any
point in the piece whilst the first part of the
concluding section (right-most stave) acts
as a final focus. Crossed stems permit a free
ordering of notes.
8z29i: 6z42 6z28
6z29: non-involutions of set size 3
Pool of Hypotheses
All players follow the same route through
the material, repeating part and all of each
fragment. Shape the piece into 3 episodes,
observing transpositions above stave
(mostly down a Minor 3) in part 2 and those
below stave (usually a tritone) in part 3.
In most pieces, the order of events is determined by
the performers, who move (except where there is a
need to create a 'focus') through the material
independently. Rests are important in pieces where
the material is highly differentiated: elsewhere
players should aim for a more continuous texture.
'Wrong' notes are acceptable where they can be
'rehabilitated' through repetition.
Whilst 'open' (tonally ambivalent) endings are
generally to be preferred (thus
should finish on B, never G), some
pieces may lend themselves to more definitive
concl usi ons. and
, for example, might
focus first on a minor triad which can then be
gradually transformed by a tierce de picardie.
Music of the
Languid Hours
Dream Odyssey An
Accompaniment of Wings
Assume treble-clefs unless otherwise indicated.
Octave transpositions are always possible (as
notation here is designed to minimise ledger-lines)
and some pieces include additional transpositions
of sections (+4 = up a Major 3, etc).
has its own 'key' signature, but elsewhere
accidentals apply for the length of a (beamed)
group. Play ornamental notes as fast as possible.
Dream
Odyssey
Duration and instrumentation are flexible (though
homogeneous groupings suggest themselves),
whilst tempo, dynamics, articulation and even
register are governed by the over-riding need to
create stark contrasts of textures between pieces.
Such contrasts allow them to be 'layered' or over-
lapped, with individual players proceeding to a
second piece whilst others remain on the first.
The Book of Encounters is a composite of works
which explore a variety of 'cyclical' or 'non-narrative'
structures, often associated with games and built up
through the repetition of short fragments of material
shared by all (2-4) players. There is little linear
development of idea or argument: instead centres
of attention shift vertically, between areas of
unfocused and focused harmony or metre.
The Book of Encounters
Chapter 1
Music with Shadows
Habitations of Fire
Music of the Languid Hours
An Accompaniment of Wings
Shores of Contention
A Dominion of Light
8-28= 7-31i 6-27i
Both 3 x 3 diamonds map onto 5 by 5
networks by means of the semitonal
transpositions (+/- 2/4) shown below. Cross
each resulting shape diagonally and use the
improvisatory centre box (I) as a pivot or
final focus. White (empty-headed) notes
may be omitted.
A+4
B+2 C+4
D=0 E+2 F+4
B=0 G=0 H+2 C+2
A=0 E=0 I=0 E=0 A=0
C=0 H=0 G-2 B-2
F=0 E-2 D-4
C-2 B-4
A-4
(12): 6-27oi
This piece is concerned with the gradual
unfolding of the centre melody (longest
staves) which appears in its entirety (and
then largely solo) only at the end. The main
body of the work, which fluctuates wildly in
terms of speed and dynamics, is conceived
in terms of a dozen or more time-frames of
roughly equal duration, clearly separated by
pauses. Early time-frames are marked by
short bursts of activity (perhaps 2 staves
only) and long silences whilst later ones are
more frenetic (4 or more fragments).
7-31i: 5-28o 5-10i 5-31i: 3-02oi 3-03o 3-
07i 3-08o
Build up a Necker-type continuum texture
through the repetition of the 6 fragments of
any set of staves (defined by ellipses), freely
intermingled. Shared fragments act as
pivots leading into different sets, whilst the
repeated Major 3 (G-B) figure serves as a
final focus. White quaver pairs may be
omitted or (at the start of a paragraph)
shifted to another part of the phrase.
(12): 4-12i 4-13o 4-27o 8-12i 8-13o 8-27o
"With sad wing the cicadas avidly beat." -
Annensky
Performers begin at different points of the
cycle but finish together on the same (pre-
agreed) fragment, having meanwhile
completed 2-3 uni-directional revolutions.
Each fragment is repeated several times at
wildly fluctuating tempi and for each
revolution there is a distinct 4-note
harmonic field from which any 3 or 2 notes
may be chosen. Players signal the
completion of a cycle with a chromatic
glissando, individually patterned.
7-31i: 4z15oi 4z29oi
Employ a grace-note triplet group (played in
any order) to attack either of the attached
white notes, which then replaces the quaver
stem for the whole of a shift-cycle. The
rhythmic ground should be read first in
shifts of 2 (a b, b c, c d ... k l) then shifts of
3, 4, 6, 7, 8, 10, 11 and 12. Repeat the last
cycle with omissions and/or accumulations
of grace-notes until some kind of rhythmic
unison emerges.
9-10: involutions of set size 5
For two players who share (uniquely in this
collection of works) a synchronised beat,
follow the same route through the piece and
observe the same optional transpositions.
Performers create repeated bars of 5/8 by
independently sustaining dyads for 1, 2 or 3
quaver beats. The 7/8 coda is brief and
played in unison.
Richard Cooke, Lisboa, 1989
In most pieces, the order of events is determined by
the performers, who move (except where there is a
need to create a 'focus') through the material
independently. Rests are important in pieces where
the material is highly differentiated: elsewhere
players should aim for a more continuous texture.
'Wrong' notes are acceptable where they can be
'rehabilitated' through repetition.
Whilst 'open' (tonally ambivalent) endings are
generally to be preferred (thus
should finish on B, never G), some
pieces may lend themselves to more definitive
concl usi ons. and
, for example, might
focus first on a minor triad which can then be
gradually transformed by a tierce de picardie.
Music of the
Languid Hours
Dream Odyssey An
Accompaniment of Wings
Assume treble-clefs unless otherwise indicated.
Octave transpositions are always possible (as
notation here is designed to minimise ledger-lines)
and some pieces include additional transpositions
of sections (+4 = up a Major 3, etc).
has its own 'key' signature, but elsewhere
accidentals apply for the length of a (beamed)
group. Play ornamental notes as fast as possible.
Dream
Odyssey
Duration and instrumentation are flexible (though
homogeneous groupings suggest themselves),
whilst tempo, dynamics, articulation and even
register are governed by the over-riding need to
create stark contrasts of textures between pieces.
Such contrasts allow them to be 'layered' or over-
lapped, with individual players proceeding to a
second piece whilst others remain on the first.
The Book of Encounters is a composite of works
which explore a variety of 'cyclical' or 'non-narrative'
structures, often associated with games and built up
through the repetition of short fragments of material
shared by all (2-4) players. There is little linear
development of idea or argument: instead centres
of attention shift vertically, between areas of
unfocused and focused harmony or metre.
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A Dominion of Light
Music with Shadows
Habitations of Fire
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Music of the Languid Hours
Shores of Contention
An Accompaniment
of Wings