clinamen

clinamen for four to eight players Designate a pitch—in a particular octave location—playable by all players. All begin playing this pitch, entering in a staggered fashion during the piece’s first 30 seconds, with irregular time intervals between entrances. Players sustain this pitch until 60 seconds into the piece, after which any player may change pitch in the following way: 1) If a player is playing the same pitch (microtonally) as another player, they may move (up or down) to the nearest different pitch.

Once three or more distinct pitches are sounding, a second pitch change becomes possible: 2) If a player is playing the highest or lowest pitch sounding at any moment, they may move to a middle pitch.

Some time later, players may change pitch in a third way: 3) Once during the piece (more for particularly long realizations) each player may move (up or down) by a larger interval, of between a half- and whole-step.

Only one player may change pitch at once; after any change of pitch, the next change should be 1560 seconds later. Utilize this full range of durations. Pitch changes should neither be emphasized nor concealed, and should not be realized as glissandi.

A realization of this piece lasts 30 minutes or (possibly much) longer. The duration of a particular realization should be established before the performance. The piece ends as follows: 60 seconds from the end, all players remain on their current pitch, and then exit in a staggered fashion within the last 30 seconds, with irregular time intervals between exits.

Players may freely pause and re-enter, provided that • three or more players are playing at any given time (excepting the first and final 60 seconds of the piece), • players avoid obvious durational patterning of entrances and pauses, • upon (re-)entering, players play continuously for a considerable duration (at least a few pitch changes), • no players exit during the piece’s first 90 seconds, and • no players enter during the piece’s final 60 seconds.

Enter and exit gently and unobtrusively; when re-entering, chose any pitch between the highest and lowest pitches sounding at that moment. Entrances and exits operate according to the same durational constraints as pitch changes—they “count” as pitch changes. That is, an entrance or exit may take place only 15-60 seconds after a pitch change (or another entrance/exit); if a pitch change is followed by an entrance or exit, the next pitch change (or entrance/exit) may only take place 1560 seconds after that entrance or exit.

Instruments must be capable of extremely smooth attacks and sustains. The ensemble sound should fill the performance space but should not be deafening. Amplification (no contact mics) may be used but should not distort timbre; miking should be moderately close, with 1 microphone per instrument.

Colin Tucker April 2010 This piece is part of the work-series maps of disintegration and forgetfulness