ce\VID BLHRMAN

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f _1 Three parts provide material for performance by two, three,

~·J.~"t) ' four or five players.
e
~ Part I and Part II may each be performed by pne player or
by two. Part Ill is for one player.
In a two-performer version, both play Part /.
In a three-performer version, one plays Part I, another
plays Part II, a third plays Part Ill.
In a four-performer version, two play Part I, a third . '
~

plays Part II, a fourth plays Part Ill.

In a five-performer version, two play Part I, a third and
fourth play Part II, a fifth plays Part Ill.
All versions require at least one large loudspeaker with
power amplification. Two or more large loudspeakers are
preferable .

•
 guJrd against a sudden "howling" of uncon- the loudspeakers sets the strings und er the pickup into
5
d! ac k. If the sound suddenly jumps to a very vibration. Since pickup 2's output pass es throu gh the ring
d· ·tc careful handling of the volume control, modulator controll ed by the pl ayer of Part Ill, its sounds
=- to zero immediately and pause before will always be altered and som etim es reduced in volume
0 ,
h,lt co ntrol again. or turned off alto gether. If modul ated or feedb ack sound
fails to occur during any parti cul ar positioning of the pickup,
slowly reduce the volume co ntrol to zero, at the same tim e
raising the volume of the other p i ckup's preamplifier.
r 1, ~ r iorms this part in the thre~-p~rformer ~nd
n er \ ers ions. Two perform 1t 1n the five- Procedure (either of the following):
\ er:, io n (see general instructions). 1. Make a form of slow, interlocking undulation, silently
t i ~ . rin ged instrument, placed in a position so as moving each pickup to a new position on the strings
v b O \\ cd, as well as other abrasive sounds such during the interval when its volume control is at zero .
L' sc t\vo or more guitar pickups if possible, each A pickup may be kept from time to time in the same
n p rea mplifier and, if available, tone control (see place for several successive waves (see Figure 4) .
•r.1ms for pickup output connections).
~max.
!t'"'"''
I ~ ~ ~
• equip ment according to preceding circuit dia-
~ mor·Pickup 2 L-. ----.,.---~
tim e -
. ...._-·....._ · ·....
. .:.....
Figure 4
·
•.._'·""' - . _.,.,.
· <1.·(·~-·.oi' .~--~~
-~ ·;~;:,a·~~·~.o-~;:";-•1"."=-!i!l! !-D. .~t!EW
, J...u p - ·1 preamplifier goes directly to the power
r. Pic kup ~ 2 preamplifier goes to the signal input 2. Allow the volume control for pickup 2 to remain open
,ng m odulator controlled by the player of Part Ill. for longer periods (one minute or more), its sounds being
left to the control of the player of Part Ill. When this
p lJ ce pickup 1, sensitive side down, anywhere is done, proceed as above (number 1) in making feedback
trings of the instrument. Avoid setting the strings "waves" with pickup 1 alone, spacing them in semi-
rJtto n when initially placing the pickup. independent interlocking fashion among the sounds
rJ i e volume control at output of pickup 1. made by the other players.
Duration: Fit the undulatory pattern into one of two orders
Ml 1plifier gains so that a very powerful (loud)
of duration, one twice as large as the other. For the shorter
k ."lops when volume control is raised to near
duration, each wave should be from eighteen to twenty-four
m. .1e strings' pitches under the pickup should
eifcct on the feedback pitches. The loudspeaker
seconds; for the longer duration, each should be roughly
k should make the strings resonate, and this thirty-six to forty-eight seconds.
c " should, in turn, be fed back into the speakers The shorter order of feedback wave-s should have a simple
the pickups. If the tone control (equalizer) is in up-down or up-steady-do'v:Vn dynamic form. All downward-
kup preamplifier, it also should have an effect coming slopes should be very gradual. Upgoing slopes may
.c pitch of feedback resonance. vary in sharpness (see Figure 5) .
e ring modulator circuit in operation (o;cillator
co ntrol input and the modulator's output pre-
r bo th open), repeat steps two through four with
1. \ Vith the oscillator in sub-audio range, a feed-
The longer order of sounds may be more complex in dy-
c l similar to that of pickup 1 should appear,
namic form, with several crests (see Figure 6).
ted with an alternating or "vibrato" effect.
~ fa ils to develop under these conditions, see
ro r setting up Part I.
, make use of the six following sound types:
@- sounds made with a single, slow, one-way stroke of
t., .. of fe edback sound (same as in Part I): Begin the arm: Bow, brush, and drag the arm across the full width
o!u me controls of both pickup preamplifiers at of the instrument, engaging several or many strings at once,
ho ut causing any string noise, place the guitar each stroke followed by a pause in which strings may con-
· ->t de down, sensitive face down, anywhere on the tinue to resonate. Strokes may be steady, or gradually
ry S! O\vly raise the volume control of one of the changing in respect to speed and / or pressure. Use these
(' t\ ~ntil a sound begins to come from the sounds separately, spaced between groups of feedback
Co ntt nue to raise the volume control slowly and sounds, or in slow periodic or semi-periodic groups . Per-
·.v the sound grows and whether feedback from form with one hand, the other being free to adjust tone

• 31
 The following instruments are required for the different
versions: two-p erform er version

two-performer version

for each player: two or more magnetic guitar pickups, each

with a separate volume control; a grand piano, one for
J each performer or one shared by both; one monophonic
tape deck and optional tape (supplied with score), started Part I, player 1
and stopped by either player or by another person; optional:
a tone control (equalizer) with each pickup or each pair
J of pickups.

I
I
three-performer version three-perform er version

r
Dr-----
For the player of Part 1: a mm1mum of two guitar pickups, Part I (one pla yer)

each with a separate volume control; a grand piano or a

zither; optional: tone controls as described under two-
performer version.

For the player of Part II: two or more guitar pickups, each
with a separate volume control and, if available, · tone con-
trol (equalizer); zither or other small multiple-stringed in-
strument whose strings are easily accessible for bowing, etc.
(grand piano may be used if no such instrument is available);
objects for exciting strings (see Part II instructions).
For the player of Part Ill: a sine-square wave audio oscillator Part ll
with sub-audio range extension of 2 to 20 Hz; a ring modu-
lator; a monophonic tape deck; a preamplifier with separate
treble and bass tone controls; mixers as necessary for re-
ducing the number of preamplifier outputs to the number'
of power amplifier inputs (see circuit diagram).

four-performer version
Part I, player 2

1
four-performer version

For each of the two players of Part 1: one or more guitar

pickups, each with separate volume controls, and each with
separate tone controls, if available; a grand piano or a zither. Part I, player 1

For the one player of Part II and the one player of Part Ill :
same requirements as for three-performer version.

t
l'
• P-u t II ·"

1
• two-performer version

Pari I, player 2

Pari /, player 1

To power
amplifier
'--------------·------~ inputs (via
I
Tape deck 1~---------------------il>-~· mixer if
necessary)

i
three-performer version

• Part II (one player)

'-------~ amplifier
To power

inputs
.-------....-(mixers as
necessary)

four-performer version
Part /, player 2

Part I, player 1

To power
1------- amplifier
L--------:1.,. inputs

•
. - - - - - - - - - (mixers as
Part II (one player)
..-------necessary)

29

Optional
.
t

five -performer version (shown w ith two p•ano<, hf-,"lf:

five-performer version:

Same as four-performer version, except that the require-

ments for Part II must be duplicated for its second per-
former; each performer of Part II should have his own in-
strument, unless a grand piano is being used, in which case
one will do for both.

Part I

One or two players may perform this part, depending on

speakers through the pickups. If the tone cont·r
the version (see general instructions). For the two-performer
izer) is in the pickup preamplifier, it also sho
and three-performer versions, a Part I player should have a
an effect upon the pitch of feedback reson an
minimum of two guitar pickups, each with its own volume
control and, if available, its own tone control (equalizer). If feedback fails to develop with the volume cont ra
In the four-performer and five-performer versions a Part I to near maximum, try any or all of the followin g:
player may perform with one, two or more pickups. the size and number of loudspeakers, the watta ge>
fication supplied them, the gain of pickup prcam
The strings of the instrument upon which the pickups are
move some or all the speakers closer to the ~trin
used should be free to vibrate. If a piano is used, it should ment.
have its damper pedal depressed.
Directions for setting t,Jp: Don't attempt to perform . unless the feedback c
described above are fulfilled.
1. Arrange equipment according to preceding circuit dia-
gram. It is not necessary that every pickup produce fecd h
most should. The feedback frequency range shoul
2. Silently place pickups, sensitive side down, anywhere on through several octaves, bass to treble, corrcspor
the strings of the instrument. Avoid setting the strings proximately to the fundamentals and .l ow harm c
into vibration when initially placing the pickup. strings under the pickups.

3. Slowly raise volume control at output of either pickup. To · perform, make use of the three following . oun

4. Arrange amplifier gains so that a very powerful (loud) ®- interlocking "waves:' of feedback sound ( ec f~
feedback develops when the volume control is raised
to near maximum. The strings' pitches under the pickups
should have an effect on the feedback pitches. The loud-
speaker feedback should make the strings resonate, and
this resonance should, in turn, be fed back into the

30
 • five-performer version (shown with two pianos being used for Part /)

Part II, player 1 Part II, player 2 t

1

.J
To power
amplifier
inputs
(mixers as
t
~ necessary)

ITape decklt-- - - - - - - - - - - - '

t
Optional

•speakers through the pickups. If the tone control (equal-

izer) is in the pickup preamplifier, it also should have
an effect upon the pitch of feedback resonance.
Begin with the volume controls of both pickup preamplifiers
at zero. Without causing any string noise, place the pickups
upside down, sensitive face down, anywhere on the strings.
Very slowly raise the volume control of one of the pre·
..
t

'H feedback fails to develop with the volume control opened

amplifiers until a sound begins to come from the speakers.
to near maximum, try any or all of the following: increase
Continue to raise the volume control slowly and notice how
he size and nu~ber of loudspeakers, the wattage of ampli-
the sound grows and whether feedback from the loud-
:ica tion supplied them, the gain of pickup preamplifier, or
speakers sets the strings under the pickup into vibration.
move some or all the speakers closer to the string instru-
Guard against sudden "howling" of uncontrolled feedback.
ment.
If the feedback fails to engage the strings in a particular
Don't attempt to perform unless the feedback conditions
positioning of the pickup, slowly reduce the volume control
described above are fulfilled.
to zero, at the same time ·raising the volume of the other
H is not necessary that every pickup produce feedback, but pickup's preamplifier or volume control. In a situation
m ost should. The feedback frequency range should extend where the feedback responds well (if almost any placi n'
·t hrough several octaves, bass to treble, corresponding ap- of the pickups results in a rich sound in which the strin gs
p roximately to the fundamentals and low harmonics of participate), then make a form of slow, interlocking undula·
.·trings under the pickups. tion, silently moving each pickup to a new position on the
strings during the interval when its volume control is at zero.
To· perform, make use of the three following sound types:
A pickup may be kept, from time to time, in the same place
~-interlocking "waves~' of feedback sound (see Figure 1): for several successive waves.
If operating only one pickup (this may be the case in fou_r·
t ... ~ performer or five-performer versions), proceed as above 1n

t.:.:.:::::~
•. ttme Figure 1
making successive sounds, spacing them in semi-independ·
ent interlocking fashion among "wavelike" sounds mad
by the other players.

.
-~~-.-.-...,..---~~~._...--~
.
 ) J[ ,l ti o n : Fit the undulatory pattern into one of two orders At all times guard against a sudden "howling" of un
l ' :, J urati o n, one tw ice as large as the .other. For the shorter trolled feedback. If the sound suddenly jumps to a
L ,rJtion, each wave should be from etghteen to twenty-four loud level, despite careful handling of the volume co n
~ · · l unds; for the longer duration, each should be roughly drop the volume to zero immediately and pau se be
: ·.: rt y- six to forty-eight seconds. touching that control again.
, ,, ·m e: Think of the sounds made by the other player(s)
.::;~~t tape (when tape is used) as forming a rolling surface
Part II
•' level, up to, and above which the feedback sounds are One player performs this part in the three-performer
~'~ ught from zero. Relate the maximum volume of feed- four-performer versions. Two perform it in the
• 1 ck waves to this surface. Maximum volume of most waves performer version (see general instructions).
~):.: n uld be near this surface, slightly above or below or
l cq uJI to it. Occasionally one may rise somewhat higher.
Th e shorter order of feedback waves should have a simple
Use a multi-stringed instrument, placed in a position s
to be easily bowed, as well as other abrasive sound s .
. ~p -down or up-steady-down dynamic form. ~II downward- as a zither. Use two or more guitar pickups if possible,
with its own preamplifier and, if available, tone control
J (u ming slopes should be very gradual. Upgorng slopes may
\M)' in sharpness (see Figure 2).
circuit .d iagrams for pickup output connections).

I~
Directions for setting up:
J ~ A1i ~ ii%§t~. , rg;
1. Arrange equipment according to preceding circuit
gram . Pickup-/ preamplifier goes directly to the p
Tone control setting may be changed once during a crest. amplifier. Pickup-2 preamplifier goes to the signal i
Ch ange in one direction only, suddenly or gradually. of the ring modulator controlled by the player of Par
Th e longer order of sounds may be more complex in dy- 2. Silently p!ace pickup 1, sensitive side down, an y\\·
nJ rnic form, having several crests (see Figure 3). on the strings of the instrument. Avoid setting the st r
1 into vibration when initially placing the pickup.
3. Slowly raise volume control at output of pickup 1.

I 4. Arrange amplifier gains so that a very powerful (I

•
feedback develops when volume control is raised to
Tone control setting may be changed several times during
maximum. The strings' pitches under the pickup sh
the se sounds, suddenly or gradually.
have an effect on the feedback pitches. The loudspe
I feedback should make the strings resonate, and
(1j)- prolonged sustained sounds (to be used sparingly): resonance should, in turn, be fed back into the spea
Use one or more pickups at once, allowing a feedback through the pickups. If the tone control (equalizer) 1
1 'O Lmd to sustain for a minute or more. For these, favor:
( 1) low frequency sounds; (2) sounds unusually complex in
the pickup preamplifier, it also should have an e
upon the pitch of feedback resonance.
pitch; (3) sounds susceptible to "toppling" (where a slight
.: dj ustrnent of volume or tone control may be enough to 5. With the ring modulator circuit in operation (oscill
I cha nge the sound in some radical way, as from one set of
pi tches to another, or from one kind of rhythmic oscillation
feeding control input and the modulator's output
amplifier both open ), repeat steps two through four
to another). · pickup 2. With the oscillator in sub-audio range, a f
back level similar to that of pickup 1 should app
Volume and tone controls may be left stationary during modulated with an alternating or ''vibrato" effect.
th ese sounds, or they may be operated so as to produce
one or more very slow changes during the course of the If feedback fail .s to develop under these conditions,
<.o und's extended duration. directions for setting up Part I.

CD- so unds begun b y strumming strings (to be used sparing- To p erform, make use of the six following sound typ es
!··) : (1) lift pickup high enough above strings so that it will ®- " waves " of feedback sound (same as in Part I)_:. B
no t pick up their initial vibration ; (2) set strings in motion with the volume controls of both pickup p re amplt ftcr
b · patting or strumming them softly; (3 ) raise volume con- zero . Without causing any string noise, place th e S'
tro l o f pickup preamplifier; (4) with one hand slowly lower pickups upside down, sensitive face down , anyw here on
pic kup toward strings from above to make a gradual growth strings. Very slowly raise the volume control of on e o f'
1n vo lume, and with the other hand adjust the volume and preamplifiers until a sound begins to come fro m
to ne control so as to make the sound settle into categories speakers. Continue to raise the volume control sl ow ly .
® or @ as described above. notice how the sound grows and whether fee db~ck t

•
l
 and volume controls, or use both hands, both volume con-
In performance, the player of Part Ill operates t
trols remaining open. For example, move a violin or cello controls:
bow all the way across the zither from the far to the near
edge, pressing down upon the wood with one or both The oscillator-amplitude control, tun ing
hands. The bottom surface of the nut scrapes across suc- band selector switch, wave form S\\ 1t
cessive strings as it precedes the horsehair. The modulator-output volume control, if 1
The preamplifier-volume and tone cont rc
©- slow circular motion of surface on strings, minimizing The tape deck-volume control.
brea ks (such as bow changes): Sound should be continuous
The mixers (if used)-volume controls.
with a timbre and microstructure which may be changed
gradually through variation in direction, pressure, string
area covered, or placement of the pickup. This may be A signal should come through the ring modulat o
combined with sounds (Q) and ® (see below). Fit this ~ignals are applied to both the signal and cor
sound into the larger order of duration described above The signal input is dependent upon the actr
(thirty-six to forty-eight seconds). Volume level should re- player(s) of Part II. The control input is dep •r
main close to the prevailing sound surface, sometimes the setting of the amplitude control of the os<
half hidden beneath it. For example, bow on one of the signal should go through the modulator when
at zero.
two outside strings at either edge of the instrument.
@-flicking sounds (causing an object to flick across strings Directions for setting up:
irregularly): This may be simultaneous with sounds @ and
® 1. Arrange equipment according . to the precec
diagram. See, also, the directions to Part II .
®-sharp attacks with various objects (rulers; bows) : Allow
undamped or semi-damped decay on many strings at once. To perform :
Associate this with the ring modulator, leaving the pre- Begin with the oscillator amplitude control at z
amplifier-feeding modulator open at the moment of attack. setting of the band selector switch, tuning the c
The dynamic level of such attacks may be above that of the and the wave form switch.
overall sound surface (use sparingly). In a free performance,
coordinate visually with player of Part Ill . Let him see your Slowly open the amplitude control. If no ~ ou
attacking down-stroke. In a fixed performance, using one either wait for a sound to be produced (so und

•
of the provided notations (see Figures), coodinate with a being dependent on actions of Part II pla ye r).
stopwatch . the amplitude control to zero, or change th e c
the oscillator and open it up again. When ~o u n ''
<D- sustained, scraping, or dragging noises (not as smooth make a series of "waves" (slowly open ing ,1nd c
as © above) : Use one or two of these sounds at a time . amplitude control) in two orders of durat io n, on
Fit this sound, or these sounds, into the shorter order of large as the other. For the shorter durat io n. (
duration described above (eighteen to twenty-four seconds). should be from eighteen to twenty-four se conds:
duration, each should be roughly thirt y-s ix to
seconds.

Part Ill The shorter order of waves should have J ~implr

or up-steady-down dynamic form. All d owm\ J
One player performs this part in the three-performer, four- slopes should be very gradual. Upgoin g ~ l opf''
performer, and five-performer versions. in sharpness (see Figure 7).

'
The following is needed for performance: ring modulator,
sine-square wave audio oscillator with sub-audio range ex-
tension (2-20Hz), preamplifier with volume and tone con-
trols (separate bass and treble controls if po ssible) , and The longer order of sounds may be m o re comp
mixers if needed. The player also operates the tape deck namic form, with several crests (see Fi gure 8) .
volume control, if a tape is used in performance (see circuit
diagrams and general instructions).

32
.
 In performance, the player of Part Ill operates the following While the amplitude control is open, the other controls
controls: may be operated as follows:
The oscillator-amplitude control, tuning dial control, 1. The wave form switch may be operated once or twice
band selector switch, wave form switch. per wave, switched from square to sine or vice-versa.
• Th e modulator-output volume control, if there is one. 2. The tuning dial may be moved slowly, but never making
The preamplifier-volume and tone controls. more than one change in direction per wave.
The tape deck-volume control.
The mixers (if used)-volume controls. 3. The tone controls of the output preamplifier may be
operated slowly, ad libitum, or changed radically once or
twice during a wave. ·
A signal should come through the ring modulator only when
si gnals are applied to both the signal and control inputs. Never operate the band selector switch while the amplitude
The signal input is dependent upon the actions of the control is open, except when the player of Part II initiates
player (s) of Part II . The control input is dependent upon the sound-type ® (sharp attacks with various objects
the setting of the amplitude control of the oscillator. No upon many strings at once). In a free performance, co-
sig nal should go through the modulator when the latter is ordinate this visually with the down-stroke of the player
at zero. of Part II . In a fixed performance, using one of the provided
notations (see Figures), coordinate with a stopwatch.
Directions for setting up:
Volume in general : Think of the sounds made by the other
1. Arrange equjpment according to the preceding circuit
players, and / or the optional tape, as forming a rolling sur-
diagram. See, also, the directions to Part II.
face (or level) up to and above the ring modulator sounds, t
To perform: which are brought from zero. Relate the maximum volume j
of the ring modulator sounds to this surface, which you
Begin vvith the oscillator amplitude control at zero. Select
control wholly, or In part, through adjustments of the mixer
se tting of the band selector switch, tuning the dial control
and the tape deck vol'ume controls . Most modulator sounds
Jnd the wave form switch.
should be near this surface, slightly above, or below, or
Slowly open the amplitude control. If no sound results, equal to it. Occasionally, a sound may rise somewhat higher.
either wait for a sound to be produced (sound production When the player of Part II initiates sound-type ® (see
being dependent on actions of Part II player), or reduce above), the sound processed by the ring modulator may be
the amplitude control to zero, or change the settings on well above the prevailing surface.
oscillator and open it up again. When sounds do occur,
~ e a series of "waves'' (slowly opening and closing the
amplitude control) in two orders of duration, one twice as
large as the other. For the shorter duration, each wave
' sho uld be from eighteen to twenty-four seconds ; for longer
duration, each should be roughly thirty-six to forty-eight
seconds.
The shorter order of waves should have a simple up-down
or up-steady-down dynamic form . All downward-coming
slo pes should be very gradual. Upgoing slopes may vary
in sharpness (see Figure 7).

tTl
Th e longer order of sounds may be more complex in dy-
namic form, with several crests (see Figure 8).

~ fogure~