AN UNTITLED PIECE FOR ORIGINAL1UARTET Janet Sue Norman S C(ii -'PII"" ~''.. ,h" .. ,... <, ,Z4 : 90f· ./'/(£ ~l 1 The six foot by eight foot "Junk Box" began with a trip to the junk yard and with a persuasive argument to co~{ince the proprietor that his dormant pile of metal really had sound vibrations hidden within its body. Although his face showed a slight look of unbelief, he stopped the huge crane-like monster from his random gulping, and I was allOi.red to scamper around, selecting the pieces that I wanted. The c:hoice selections for stardom were carefully laid in their Ill'aiting limousine because of their shape, an unusual tl-rist or bend. or size, that the big bass pieces would be contrasted knowing tiny soprano ones. ~~th the Their real potential for tone could not be tested until they ,-Jere freely suspended, although there were some sneak previews. Even after several munutes c)f wary watchfulness the employees of this thriving metro:?olis began to discover small gems that they had never noticed before. Excited voices could be Wouldn't you like h",,Ve ,his?" 1:.0 heard exclaiming, I1Look! LOOK! I drove away with a pocket- book a little bit lighter and with I1\Y limousine a great deal heavier. The privileged characters took up residence in the most secretive depths of the music building with the gauges and steam pipes for compar~ and patiently waited for their own special home to be constructed. After the blueprint 'was drawn, an unwieldy saH and a hannner that was determined to drive crooked nails laboriously transformed a small pile of lumber into ~u~een multi-sized rooms, consisting of fotx-sided 2 boxes. Another eliminations trial vJaS held to discover who OnlY fitted best in each room and who had the best voice. few tears were heard from the unfortunate ones, but on~!1 a large wail was heard when the whole structure came toppling over. One small detail had been forgotten; to stand on its ovm two feet. the structure did have VJell, the solution to this earth-shattering problem was not two feet but four, consisting of three foot two by fours, and the pile of boxes in their final form became a lanky catepillar. Large nails, wooden beads glued onto dowel rods, metal pipes and a wo(~en pole are employed to strike the various metal surfaces, 1.J"hen the Junk Box is asked to sing. The gorgeous rusty coats that the residents of the Junk Box had acquired over their many years of struggle determined the color scheme, red, orange,. yellow and brown, of their new home and also for their nevlly crea.ted friends. The second member of this quartet, the "Superla.tive 2 Toadstool, " began with the donation of a wooden spoc,l on 1{mch rope comes wound on. 'vhth the aid of a ha.nd drill, eye screws encircled the top disc and eye bolts t the bottom. Ordinary wire was stretched between the two and tightened by turning the eye bolts. With only a few dozen broken wires and small dowel rods, determining the length of wire that loTi11 Vibrate 'by being inserted at different levels between the wires and the central pole of the spool, "Thich acts as a resonating box, a nasal tvlang is emitted when the wires are plucked. Io/ith a little more effort than the wave of a magic "rand an ordinary wooden spool became a misshaped harp. The toadstool became complete \>jhen this pileus Has attached to its stem, consisting of a fence post J nailed to a piece of plywood and surrounded by the negative plywood shapes left from the cutting of the "Organic P'!lper :3 Drum. II The positive forms for this drum, emerging from the sheet of plywood as a three-sided organic form, cormected by hinges, confronted the world with faces of geometric-designed -wrapping paper, shiny tin foil and Haxed paper. They are coaxed into speaking i-Then a pair of drum brushes are lightly dusted across their surfaces. The smallest form, displaying some organic surfaces of 4 wood and metal, became a "Giant Baby Rattle, II wh4:m it was revolved around a central pole. But even a baby lnight be startled when a carefully constructed, enclosed colonade structure became a heap of rubber pipes and escaping marbles, ';'iooden beads, fish bobbers, b-b l s, golf balls and ping pone balls after the first revolution. But with the aid of a little magic, consisting of epoxy glue and masking tape, the balls are now tightly sealed within the rubber tubes and can gently roll bet,·reen the metal and wooden surfaces or land -viith a heavy thud. The Junk Box, the Superlative Toadstool, t.he Organic Paper Drum and the Giant Baby Rattle stood anxiously awaiting the down beat by the conductor's baton, but they soon discovered to their amazement that nothing had been l-TI'itten for an illustrious group like this. So that their hopes might not be shattered, I immediately came to their rescue Hith a slightly unconventional piece to exploit their unique and varied sonorities. The residences of the Junk Box were e2.ch given a letter of the 5 alphabet for identification; the wires of the Superlative Toadstool, numbers one to thirty-one; the faces of the Organic 4 Paper Drum, numbers one to three; and the Giant Eaby Rattle, sLrnply the identification of balls. ~,;ere Music notes deprived of half of their duties by expressi:1.g only rhythmic values without pitch identification. This is determined by each individual item, whose selection is described by the use of a. letter or number under the standard musical notation. Even the notes ~ completely abandoned and substituted for arrmrs i"hen the nail is to be dragged around, dOim or 2cross the piece~ The unpre- dictable nature of my :nusical charc:;cters influenced the writing of an unpredictable composition, iolhich might be descr:i.bed as a - 6 combination of aleatoric and determined elements. The first dO\offi beat of the conductor! s baton begins a section, identified by the rehearsal numbers one to six, in which the sequence of sonorities is metrical unit. determine~ vdthin a free This develo::s into a canon bet'ifeen the four players, structured into a mixed meter section of , and ~. The aleatoric and ostinato patterns, which consist of a given, repe2.ted form "dth the choice of determining the tone elements to be used, begin a fel'i measures after rehearsal letter seven. At section eight players one and four continue these patterns while players two and three begin an alternating imitation which develops into si~1.sle melodic lines and finally into the Similar patterns being played by one and four. T'his section continues to rehearsl number fourteen "dth a com;tant increase in tempo and volume. The final section is structured like the beginninG as a determined sequence of sonorities ,.lithin a free metrical unit. The complete composition suggest a kind of A B A form through structure, texture, "lhich is I~haracterized by a spareness in the beginning and closing sectic)ns, contrasted with the density of the middle section. and tonal element through the developmental use of the same tonal item at the end which began the work. After four skeptical people were recruited, the moment for which the quartet had been waiting for finally arrived; they began to sing. But to their amazement, they were soon to learn that they Here not only fun to listen to but were also fun to look at, and that their performers were not limited to the careful~v selected four but were extended to the whole gamut of ages and occupations, who were simply drawn by a curious and creative urge to make sounds, to make music. Thus it seems that the same feelings that I had experienced as constructor and composer were very actively transferred to those who saw and found the joy in exploring. successful element of my bizarre quartet. For me this is the most FOOTNOTES 1. Junk Box can be seen in the photograph on the following page. 2. Superlative Toadstool 4. 3. Giant Baby Rattle Organic Paper Drum 5. The diagraJ11 of the Junk Box, shO'tnng the method. O'f labeling the various pieces for vn'iting and perfO'rmance purposes, is found on the following page. 6. 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