Monday, August 21 at 8pm
Lighthouse Music, composed by Joe Kudirka

Players Include:
christine tavolacci - flute
luke taylor - ocarina
christa graf - violin
johnny chang - violin
melinda rice - violin
cat lamb - viola
mark so - glockenspeil
david kendall - harmonium
tashi wada - harmonium
adam overton - guitar
thadeus frazier-reed - shamisen

The Score:
for two or more players

Ideally performed in or around a lighthouse.  If not, either outdoors or in a large space.

Duration, when possible, should be regulated by a natural occurance, such as the tide, night, a period of percipitation, etc.  If not, simply for a long time.

Players should be dispersed in the performance area.  When possible, each player should be within ear-shot of all other players.  If performing in a very large area, or one with high levels of ambient noise, each player should be able to hear at least one other player, in an unbroken chain.

Each player chooses one pitch (if an unpitched instrument, one sound).

This tone is played in a pattern of sounding and silence, each between a few seconds and a few minutes long, but always for the same duration.  The silence should be at least as long as the tone, but generally not much longer (exceptions could be made for instruments which have sounds of very short duration, such as glockenspeil or ukulele).  This is done independantly by each player.

Players may vary this pattern in the following ways:
A player may, while keeping their own pulse, attempt to change their pitch to that of another player (there are no wrong notes, just various gradients of detail).  If matching exact pitch is impossible, a pitch may be copied at the octave.  After changing pitch, a player must stay on this pitch until either this lines up with that of the player whose pitch is being copied, or until that player changes their own pitch.  At this time the player may at any time change to a pitch of a different player, or try to get closer to the original pitch being copied, following the same rules as before.  After changing, a player may not revert to a former pitch.

A player may cut short or extend their own period of silence in an attempt to coordinate their attack with that of another player.  After this is done, the player should continue using their original durations of sounding and silence, now simply displaced in time.

Similarly, a player may cut short or extend their tone to coordinate its termination with the termination of the tone of another player.  After doing so, they should return to their regular period of silence/sound for at least one repetition before varying this again.

Joseph Kudirka
2006