‘TWENTY FIVE YEARSFROMSCRATCH Scratch Orchestra scores and other material: The Great Learning, paragraph 7 — sings IF singS — THEROOT ‘sing 13(f3) BE IN CONFUSION ‘sing 6” NOTHING sing 5 (4) WILL singS BE sing8 = WELL, sing 7 GOVERNED hum, — > sing 8 THE SOLID sing? CANNOT BE sing 9(f2) SWEPT AWAY sing 8 sing 17(F1) TRIVIAL. ing 6 AND sing8 NOR. sing8_ CAN sing 17(f1) TRASH. BE ESTABLISHED AS ! nq 9 (2) SOL si ang 5 (Ft) IT JUST sing4, DOES NOT ging (£1) HAPPEN mate —> spe ki MISTAKE NOT CLIFF FOR MORASS AND TREACHEROUS BRAMBLE ATION TAT Nader gies 4 signal aad all enter concertadly at the anne martin Wd Slog af ae sgn aphly ens PRUNE Vai and eae wl nate and? ete ee tede mired een Rare eg oe series; me peo SEE ESE peat ay tr eet CGSOEIOG Dacre rit ae yeu tg ear beng Sango 2 Sage FSS vache, chs ion nl sent) forthe Fk ine Sul) ea sk ASS EER pe ne aS See ‘ee 2 eye a ea eek tan seg eT Pirates Payer we Fahey your net Bathae et ine Peely, ah BR RS en RECS Ge a, cor sed. Simei Kea edn actA Ea A a ar jac ARCs an BT to ay We ee Copyright of all scores remains the property ofthe individual composer! author. Mast Seraich Orchestra material may be reproduced without permission: please credit the composer & source. Permission to reproduce the works of Comedies Cardew should be sought from The Cardew Foundation, to wham thanks for he use of the extract from The Great Leaming. 9‘TWENTY FIVEYEARSFROMSCRATCH “NSS s 8 g &. ia iia p a a aW.e.1991 SAS37 LING. ia | | The essential Fl ‘ (cal ~ winates hone / as ith a ppens ht = hegming — t F € ndeling = —_— : eI Its all over Ns empty a SPACE ie ayaa : elders © ey L79L a0 Lay ny 5h EL 10‘TWENTY FIVE YEARS FROMSCRATCH HOWARD SKEMPTON br Shiga Sane Ganes Setofcomic sy s mi - {vane group ote cd with will weateond form revevsible the Shri ny cll be thin rope Fhe principle wil be fo’ poo Tes alk hand fo hand vi * pesoges merernént , fo a) Shapes — ou prow eran aa Tre — WALK - HANDOVER STRING — WALI —HANDOUER STRING-lWALIC — Nike ov RELAY RACE terms ane A @ SC x ME «| | Theideo is minimum telleckon onthe pov (he MILES S$ oar operators fo gf rot structural © ne ve paid 3 pater ond all eyo ate Catherine Williams‘TWENTY FIVE YEARSFROMSCRATCH ERPRIS9 the of ae petal (chase, your fiveuitt ofa ase (fl a thou Sand Vong nk of «ee RS nee i ane bein ‘Gtr thin Pa seen 425 con atta ; [BR I40° Have bale GiB se ft), meses it is all keep Silence, ,but ent Hens a ac Bie of ie ome ne eee MeyR iss efor plagng gunp) YP ta tines, Cae ee thet jumps, bis! Tei et hg ve Pet ni tien (coe sonia ae . cs te hat cnnaghe Frat ie Clear “tek 4 ie sa: doing This rie Méepaise Geet 2 2 eggs and 1 whistle] Choose @ lene “the rest, ‘tne tea ta tas teams, YRe person neath Teotn is nag, Ong erase, rom ova end of te fermi ict 16 the othe. "The nose ofthe ple era Gass a eg mest woe cont Pant the og, f the eb ces that oer of he ems GME cn et sath eye fe payers ace, 35 5 his Bi in watt Fre goes % ari ‘reveled weed The “boo lows his ae oS Stat the Pal oe Hace bunds nth oe Se te rtauh the ‘each pla m tock ceanpeaee bak eo reat Imus’ or Yeadk in any hey. Take Picea ft ater giving Sowie of your Na mice pe The pecs Fehasn Bs oe Ps, OF Yc ng tat eriieriee Page| one, ot the the Even Stovdar) current Ea, or has 2 copy tll be vt ie a hs stove.” ufocmors = cae dually hg ms gih ine i, Sore eee baker dgecras fie layer all around. ote “ inshusment fad oe one during te 6 loyer shuld oehonge bis est insbra went eee oS Ca rast bis me elle When 4 oe By dang ‘the asking, eel A fayed “hes Daye inshaments ata azeept his aun instrament if itl we get ‘Sherer has i me ange” Ge ploupe’ he fas ik may refuse if he wants) nuinber of exchanges maybe made before 0 Pager aes hes own mstrumen(, The nly bag ta Farce must get be used in try Td 0 dae shunt farm pager hen ne sling ne EE Sachomge Once every ove hag bus wow So, 14 no-one lf oe le ieee han non keg oad “if toald gp om lhe 20 individ wos t, stopp Pa ee "é hip use instrament bacle before foppin CrENAPI RIGS Groups of 4 pb phyers Each group 15 5 cnn mbividual 2s ordinamy'S! tee ndes for rules) bec Le ES aoe cs must pier ot Verbal. At least Sams are desirable . All groups it play simultane’ AE te ood shane one) bs ov (ne ck game wld be very Shr taba ke enger— Tas she 13 be decided om ne es Be: ns). 6 gp fies, Fy nil pty ce owe enh ub grep hove compl mea At some powd: ina tinprrnation lel te Friag ae etiam len én et 2 aes , sence aud exposing it (Jrausing it owt COWRISO Ward insteamats may be Sinded wis 2 of gyros; 9) trea» 3) Soke. Tee uses of each of thee of indruimeat Con Fuciusle belween a) extreme Braf= le D) edieme censibivity, Representahives of the toe extremes In cach category are choten some tine in ad- Vance of the performance by the grup asa whole (on arbitring eam: (3 Sebeeoemor 1b) cridet bot, 22 Saw, 26) bow). For the improtindtion ean privides honself vith a sprcimen of one of these Feplesehtahvas and either stars Wt {Pad mos oni IE, ov stars With amythmg and meves towards: at (and ‘veadhes 't) HSDNTIS2. “The drum is without form A simple exfension of the soulCHTHORAS 1, Eads member oF the. grap finds an oby- fil fam ote te perGoning rea (petra rom the stref , feds elt.) Anj member of te graup whe in rehetant te work alane wag feam ups amsther or Obes he ae Silly nd (Coe ser gro of move Ban 3 se one object bohacen Grom betas has the Kal enter ofecuses be), A time-linit (24. 45 resintes) may be set, at the ond of sch te all te wees of #8 grec must ive te the performing arca. with their objects 2. kfter finding his object ends tron ole grup covers tt with d hovdkerclvef, ctf, rewspopersch, in Sich ann tak th ently of the be na nm rately 3 he enering the performing area, cack member af Re gam poceshisdged infeprd of hin ond bei + play “Hf he moves he should take his object with Fin 04, this & improctical, wri nis Name cna cave aud plice it beside his object 4. At any time dering the rté «member of the group may gp ont to anche ated toma 1 ges e entity oF rig ken bir nub gus orca ceacerain munber of guestes for each otgest (se. FEL ymchigitese Sqcher Sy See our Wie aC ob sng mate Fred amber of wesses, he may make vd more vagarding that ope, ony move. te Baste ele Each Renee shoul have by his object a oheet of faper, on akich her manbers, hing te try © guess the olfect, trie Their ame ond the, number of quesces they make Upon hiring tie ll Beebe & see wheter av not they are ontiled © make any more gueses, and, iftrey ave, hens mony 5 te aystom regarding The munber of guesses cadh vember & te giosp may make Pr each cet is1 here Ws thon 8 people are Porhcipaling cu hey + Guescs fo each oe Wk Re! ve, B16 bene» cals hae 3 gues por pee, Where there ove 16-24, each her 2 guesses per object | and Where there ove move Than 24, eadn has f gues per object i Then'a player’ object has been guested, he must wt cot al Sn Aa ei nt 4 guess other people's objech, as before, until he all Gites Mumber oF guesses hea been made 7. Members of the group shoul) net reveal to aliers or donand of others, Hat guesses tase. members have ade Concerning amy of the abjeds . However, ‘if fadards “the ond of the Fe there ore ond or mare ods which hove fie” deification, “he members oF the group Who ore ied to make gisses régartng The iets) concenned may Club together Te discuss the “objeaks), or the is tieedy made, and nay book The vowairing presale tay hee mob a a el ning wom re lngor Quiero gues Be copes wokcerned) about Tar geese * €. The rile ends a) hen all the ve have been ictal, or 5) thon one ornare objects, all the available quesies hing been made, remain unidenfified. ~The awner(s) of he "Obgecl{s) should then reveal their idetily , with all ue coves EHsTBORISA Hoving cnpletes te above ni, the member of the grasp pa, wing tic oped, al the diets are, brekin or tn ome iecognizable wiay diferent: frow how they were before. The he ends shen all the oped ave broken or dhomged. Be corefid not % break ‘TWENTY FIVE YEARSFROMSCRATCH ‘anyting Tier than the object (this vit, i beer performed out of “doors , in a large open space) . BeSRIE Sh cecbs Bist et pet on actin Over ard over again. “The electorsfe accompanies it. A drongenver at slot ay or mart be cena ing a ee CHSBRID “The players ae paind of. Each player must be CSB Th page pio Ec pee mth is mowing rawr. One Saul rush (29, railvsenish or paint brash) is distributed To cach pair: The first’ player th ads pair begins his activity , while. the second gent atrokes the lips of the fint player billthe bruh. bihen the first player funds the. stroking intolerable The. roles are reversed , he Second player erpging i hia actriilg, the fi per bing Be Ui of he cond’ Whatne 2b ployer finds the stinking rblerable the roles ave reversed, fe ie cs en nee co ete is lips longer. om weet page MPNR21 Pad crate maine about me noo These who fel tired ie down. “The elles poy oF 5 welaring music. A pioger the fra ay ake hie Joon Eins en ony oral of these lying dan ave asleep Folin ome of Pere. infrachins af atime: 4) play or sing wore quietly then semeone Near you. 2) play or sing wore Conbinouily Tam Someone hear You. 3) pyersing of ley pit this Someone ese so) lout ing with piarer tine Tham samcone nedr you. (Move around) Raat fei tc am ares Cres bn the gaps in yrur playing iting: masking Meir ex- ior, allo your ext Te wanlor Smangat your Fellow Players.” On erecting the eyes ofa fellow er play im accovdgmee rath thei~ expression ployer: pI By th their expressi CCAOR2S Fart 1: Consideration of am object absent” rom the perferwing space. (cher maividuolly - a priate affsie — ov communally , in whith case decide on on otyéct wth uhh oll ow acquainted). Make seven ‘Sounds (nomed SOUTH, NoeTH, EdsT WEST, SPACE ,EARTH, SHADOW vespectively) as “lous the Fk ‘sound desobes the otjeet from the rent. The seamd sound describes the objed Gam behind. The tid Scund deserbes The obyjict from the Wight . “The fourth sound describes the ob iget From the lft’. ‘The fifth sound describes the object Shove. The sith sound describes the object fom Belo he Sesh sound series the ec a8 i exists in jour regard foc it , iB shados in you, Bee i el Seer in we pl fiat ne saunds mae nt nig desrbe te object but define tk toe, Pork 2: Deprtuure from he object. COIR 24 Consirck a silver pyramid. Ente wih chigtsdwas Reflect CCSR26 Before playing ail sing a song in union CH27 watch ulut you are doing - De nating. / Occasionally, reise your head dad wistdn someone... if they ‘alte their head ond watel ypu, / play for a short tine, / watching what you ae doing . Hf, hile you are / watching hat yan see ding, doing nating, / you feel fat cmecte o watching ‘pes Boe ‘ahotnte [watching shal you ae ory] a ead ed ath The pe he is/ watching you. Vif someone t Haldaing you, era thet nee 7 if woroee setae yee | PO WSIRNF2E Do cometinng. Unde it. Do't again bat kader, Unie if agoon - Do it thie undoing ib Undo it okie doing it.‘TWENTY FIVE YEARSFROMSCRATCH HSBR34 Sic dep brats BHWSR35S Think of a scove ond py it. If you cant thie of ome A someone the's play BHUSR 36 imdgine 9 sure ord poy © If yon cont ene, romatin silent UNWWR37 Chomse. ove of tre Follaving cdegevies 1) Chvstion names (male), 2.) Chitshin viomes (female), 2 ely ve, 3) a, ‘5 plants, 6) composers, 2) ether. Steud in a wside loose ice a8 or ona fom or arethier 2b yom con get iithont actually homing & ahont Smoke. if heard. Begin a fy pi te arde, pus Nemung wl tations, whatever wre fom the diesen ComesTe wind. Speake loudly and derrly. 1 pm fal ting a pens rd, dose mthe tia portant tn keip pa comming watil the ii sre ming ‘word (2 Spoken : ppc) Monta. 3) Shao, +) Green , Oorrts 5) | 6) Offenbach , 7) diesen Bees cpeaelesioing word (rabually) wins fs oe af ap hr om go tt Ad ben vidowy tas gerne as loudly aye ath Fenn vietovy vis Rae ust quiets throughewte : [eee Se rom thosaes ni goin the oe ins, the game again , aa so it gees until all ave ply- ing bat Oe thas forces. ting TH only nn-ie,i Aha loser. “Tivo Courses of action Bet operit him: a)He may Consider himself & frordulent winner awd play quietly, i fo a predeloveavined length of fie stn steps.) Me ry eran a zo wl evergore be us ing and Be eee ioe i en ee tg masical dkath by foul, When nothing but lasers oe. keft tie, pce ends TMTTRES Mark out a journey (inwardly fovtaardly / spotty). Male it TMCR39 A pack of cards is shuPed and bid face down Each pecker tales a last ore card. When even Derfomer has oleard, inprovsation Cows canbe en Beet ce Wen all Re os oe re pve) fee ° ov hi coe, soe” Fe40. Take a space. Make a sound n't. Mabe anther ‘sound in it. Male another sound in it. Make another sound ink Get i te space, Take om oc Bit, Do sue sant Do somthing cheb it. DO Some this Ise fh i Lemans The et Take a it fa wale on achin Wak, thas mole om Ser akin, al wake. andtior actin. Watda Mew make auctor akan Cet intone perion. Do srmeting Do sme- ‘hing te." Bo senting ee. Po cowelhing ob.» Get WstP RIT coca plyer divdes Hnslf Thee cpl acs, Retie42 Reem 0 serie Sr an infidel oF the grasp pt Them on Be vend, bes thaw, cota Wa Them, comething On teeagining service perform f "pay Soe at m musics sore iE ime Je teal hand ash), ov by. Py rat ets sin Hse ay vfeest oe ideal neseases in prep= Seton te the longi of he delay. litereat con acerve Ere asic in pny dumension “in, Dropertion as the whew ‘appromeles infty, The Fittatlen approaches, stabi m Hnmsi@43 Wale dro te viveréde pth Fem Greenihy Fer, past the Naval Golege , Hie fe weet, the Rouev Station, fo the Gasworks at Woolusich , pick ing up on rote db dems, such of OAfbaced, soup meld fe. Pale sounds! in any way th the dems reed [MSIR4 De someting imporsble,, Do something pos ‘es Make wee mpl Tha seem file, Make Depot ible Seem iv ibe, HMSBRES Altinge f litin Te «pice by Becthovens exaggerate in some way (pechaps actively) what would be your nemal emctional Mesponse 16 ‘ib. The piae itself inay oe nat form part of the imaprevisation . MAPEAYPR #6 One perm ads ac money collar. To Pog. Pegged met be aie ot flea ne? es = 60! Sms. = Yo. fOmars—2/-. Som ~ 5] Thaw 10/- de. “the mew cele wad, ap om ge om fp wale Sure. they do nd exceed their -hime,, and Cal Ramin how te pA pomat t e wgden 5 gob Re. Seldy Onbte Ne Qline Movey 2 PREMDPAT Ft ony rucbor cf musicovs Playing mela tistraventt pls ony ruanber of nan-musiians 1 fg By see7Te ge uae ee PAG ht OWE, mA im shut union, octave doubling allowed ce saath cst thos iin Cadh Ve left to nght, ing the nok See ae iat le Sachare adied rete 55, ploy The whee melty once agin aind thon begin ing nalts Frew he Bejing: 2-3-4. 65, SE ee A sab boy ee baekgatiats, le, G8-55, GD. Held the bat nate vail everybody has Feached! i, thom buyin ay improusaion iy ary instrament bite lee Sep flr hn theron ong ass Con, ui Ue, See ae ad tats Fe i ali! Continue Fllowhe rae I_ —EEEEIyEHL _ _>>__ EE Serving? im _ 1 swan? a6 tows >°4 @tentue ww 7 suoet™ > oe > Se ————— Te wens > tus ? Eeenineng * THE win Bs0y > SS SS SSS tte? oer» _Bivemene Tue woes eer" > ME TWAS ) TWus) 2°) SwAuL HAEATNE >> TOAMQunLLnAy > THE Grouy Femmanow > S585 = NG TAAMS 2 Ws: ) TF SHAK BREATHE > WW > EXPRRIENCING > THE MEAL FORMATION > SSS SSS SSS = We Teas ) SL swan BEEATHE > wy) Fengnucking > THE NEWAL FomrAnON > SSS USUAL BREATIC) ODT 9 TRAVGULLIEING 7 THE MENTAL FaRsATioN Dives BS ees eng (eta) «fr sage bag et td obi SME Ee > mans bretBe in (ere on) fauh bea c1Sse0-4) (rma sag, 5° fe Be) Sybil = ae fra sed ? St in anid. Sige Lafr ve by on, cs hig of pio ier i le She fa iea, tee Mal fry Bagh Ba fat af Iu oo = ogden ge: 6 feta eat te forte deme) Tot tke far Mivddhinatge by Gallas (tees of ak emmtntris om Ra kg ih Godda, wer Cel he SS AD) OMidat Patton 160 IsTWENTY FIVE YEARS FROMSCRATCH fens pncnses suasey olag Sq prydiwo> t9.0u 2wmesfoug sen Sees omen, weed Hyyaas Se pemsese® ogo Sey apded ays us capers re Cuyjoe ruoesed pet sBrety porary seuenyiy foe swesseg pest — KPOG OM waim pettn229 seeundpurts seeeaboud Tanquen Eaadng Faaaay the Body to the Brain, the Inner (programme for Queen Elizabeth Hall concert, Pilgrimage from Scattered Points on the Surface of Ear, the Heart and the Stomach 23rd November 1970). 16‘TWENTY FIVE YEARSFROMSCRATCH‘TWENTY FIVE YEARSFROMSCRATCH pus Pr ea, 18‘TWENTY FIVE YEARS FROMSCRATCH WALK for any number of people walking in a large open space Each person chooses 3, 4 or 5 points, of roughly equal distance from each other, and walks from one to another of these points, using pairs of randomly chosen numbers to determine: i) speed of walking from one point to the next ii) length of time spent standing still at the point reached All begin together. Standing at one of your chosen points, read your first pair of figures. The first figure tells you how fast to move to get to the next point (0 = very fast, 9 = very slowly): the second figure tells you how long to stay at the point reached (0 = no time at all, 9 = a very long time). Then set off, at the determined speeed, for another of your chosen points; having arrived and waited there for the indicated length of time, read your second pair of figures, and set off accordingly for another point (or back to the first point: choice of which of the 3, 4 or 5 points to move to for each journey is free). Always go from one point to the next by the most direct route, Continue until all have completed an agreed number of journeys. Michael Parsons, 2.8.1969 FLOW METHOD method of performing a score suitable for performance by a small number of people with a large number of people eg. 8 123456 esse loge 5 6701 Quiet shortly after new player has arrived and started to play player at farthest end of music line (i.e. 6) goes and joins end of queue. Thus all people play but never more than say 6 people at any one time. The flow method could be employed devoid of the element of numerical order, the flow being governed by other elements. Greg BrightTWENTY FIVE YEARSFROMSCRATCH A Scratch Orchestra: draft constitution Cornelius Cardew Deft: & Scaich Oreste ag umber of cnthusiasts pooling their resourees (no! primarily ‘material resources) and assembling for action (music- ‘making, performance, edification). Note: The word music and its derivatives are here ‘Rot understood to refer exclusively to sound end related phenomena (hearing, ete). What they do refer (o is flexible and depends entirely on’ the members of the Scratch Orcheria, ‘The Seratch Orchestra intends to function in the public sphere, an this function wil be expressed in the form of--for lack of a better word concerts, Inrotation (starting with the youngest) each member ‘will have the option of designing a concer If the ®ption is taken up, all details ofthat concert ae in the hands of that person or his delegates; if the ‘option is waived the detail of the concert vil be ‘determined by random methods, or by voting (a vote ‘determines which of these two). The material of these: concerts may be drawn, in part or wholly, ‘rom the basie repertory categories outlined below. 1 Scratch musie Each member ofthe orchestra provides himself with notebook {or Scraichbook) in whieh he notes a ‘number “of accompaniments, performable. con tinuously for indefinite periods.” The umber of atccompaniments in exch Book should be equ 0 oF ‘tear than the current numberof members othe Srchesira. AR sezompaniment is defined as music {hat allows @ solo (in the event of one occuring) to beapprecated es such. ‘The notation may be accom biisied sing any means-—veral, graph, musica Collage, efe—and should be regarded as 8‘peiod of training: never notate more than one aceompani= ‘ment ita day. If many Ideas arke on one Gay they tmay all be Tncorporated in one. ascompaniment The last accompaniment in the ist has the status of ‘Ltolo and ifused should only be uted as sich. On the addition of forther items, what was previously aol i leatd to the sa of am aovompan iment, so that at any time each player hat only one $210 nd that Heinst cst, These dire: tion between a solo and an accompaniment isn the mode of laying. . “The, performance of this music can be ented Serateh” Overture, Scratch "Inerlude’ or Scratch Finale depending on its postion inthe concert Carole Finer: Magic Carpet 2 Popular Classes Oniy such works as are familia to several members are eligible for this category." Particles of the Sslected works will be gattered in Appendix I. "A, Particle could bo: a page of score a page or more of ‘the part for one instrument or Volce, 2 page of an arrangement, thematic analy, & Bramontone “The technique of performance is as follows: ‘qualified member plays the given particle, while the Temalaing players join in as best they can, paying Along, contributing whatever they can recall of the ‘work in question, filing the gaps of memory with {improvised variational materia "As is appropriate to the classics, touch with the reading player (who the plece at his discretion), and strive to act con- certedly rather than independently. These. works should be programmed under thee original tes. 3 Improvisation Rites ‘Acseleeton of the rites in Nature Study Notes willbe available in’ Appendix 2. , Members, should con- ‘tantly bear in mind the possibilty of contibuting new rites. An improvisation rite f not a musical Composition; it does not attempt to inence the ‘muse that wll be played; at most it may establish a ‘community of feeling, or a communal starting Point, through ritual” Any suggested rite will be Bien a trial run and thereafter eft to look after Fecci. “successful sites may well take on aspects of folklore, acquire nicknames, ef. Es, improvation may aio be indulged in trom time to tne, SoS nia foemable by he orcs. Any composition sabe Hebraic deaeneae Giana try aetiacanmes ine Oe reac ferin 8 composition, Xppendix 3. sch 8 Sele ta al ak ere eet Seer cel flee to te gal em ofthe composition would :wy SS ‘Ssh, EPP RS Bere a Peete 5 Research Project A filth repertory category may be evolved throush the Research Project am act) obligatory forall members of the Seratch Orchootra, 10 ene tS cultural expansion. The Resoch Project, Toe une i rparded Fr the Seapets teat a Minas sree of Search vou ae paced ot ‘Npaey me, aves my fount ‘Rea nanny dimen, tepals, elected mise aoe a ‘ector wil ound fo mpage oa al the dnes- Tote avons poor alee "For isance gear fotach set the eer, you sou nvlecd Tete Gime the ger topes an, cvolng Spec, spect Gripe to te ao0) ile By he fie emotion our sje elation the anima). ‘The abow i an intelectual structure, so for & apt ne be earch veto yr oF ou Sf words rater than an objector hn impression ere ‘record of rsareh i Sept inthe Scatchbook and hig record may be made available to all ‘From time to time a journey wil be proposed (oun to Mar, fourm the Court of WaT, Journey tothe Unconseods,Jourcey to West Ham, tion A dco wl ste to prove ous ‘ncrary (eg embarkation at Cape Rennody, type 0 “hick tbe used, number of hours in space, ck Ufa landing site, Fetura to cath oF not, 0 Members whose vectors are relevant this Journey can pursue the relevance and conser the ‘musts! application of their research; members ‘whose veces ae irflevant (esearch on rocket Tele won't help withs journey tothe Court of Wu ‘Tj cam put themselves atthe disposal of the eters {or the mca realization of ther research, ‘A date can bo fixed for the joutney, which will tae the form of performance. Conduct of research, Research should be through direct experience rather than academic; neglect No channels. The sim is: by direct contac, imagination, Identiieation and study to get as close as possible «9 the object of your research. Avoid the mechanical accumilation of data; bo constantly awake to the Possibility of inventing ‘new research techniques ‘The record in the Seratchbook should be a record of ‘your activity rather than an accumulation of data ‘That means: the results of your research are in You, not in the book. Reprinted from "The Musical Times’, June 1969 al ‘TWENTY FIVE YEARSFROMSCRATCH Example Research | Retpch FeSan | SS Looked wp aevonomiee dat in 2, & SP aS ag seas an ht Halday'i the Babanas to expe SoD SA icin reteen a ee si (Pees Sar ea Sra sonages Tegarded us a dike Moo {Getic pees thou Set Nan oF notes evento! SPR ‘Spare time activity for orchestra members: each ‘member’ should work on the construction. of & Unique mechaniel, ‘musical, electronic or other arrenpices Arwen 1 Ppa Clasies fet doc fm he oe Sy fe Ateretg Eee ar SEES Se in, oman cnn st oy iach prensa Seam ape mate eet anh ae gene Seah Suthers ee Soe SenL aE erate eee (Git pte oa Apnkic3 Lt of comets vee Waal ernie, Seheope Haken, vlpice Gage! Parkins V0 Gian pag fo aon Avpendn 4 Spec Projects and sppamantary mater eta rees‘TWENTY FIVE YEARSFROMSCRATCH PIECE fon srarvas For any nunber of violink, violas, cellos and baa onventionaliy tuned, prenonte the upper thres inches of the fingerboard of the threo lower Lines being "ked on each inetrunent jenta the highest #tring. Erane indicate the nonber of plucked notes and bow stroker that ako wp that event, Bowed noton are played an one note with the masher giving te Puehed nates may bo played ali before or ell after the towed nate, oF sone:bafore and none after. They are to be speced at about the bowing sate, ‘The munbor at the right of osch frame in the approximate. tine (in aeconda) paveed 22‘TWENTY FIVE YEARSFROMSCRATCH PIECE FOR STRINGS — ratty 14Y a oe a 45 “0 = 19 40 re 1? rs ws rs -- LE = [t= 40 [4 30 10 a & 3B Pe rs Ps oP es a 20 wo Tf za ff = 0 tt H re Poe re rs ra = 4 2 © ° 4 4 cy | al eB oes 7P 4a ra e ® | 40 4. o HH 12 7P 0B >a re ra Pa‘TWENTY FIVE YEARS FROMSCRATCH z oeBs #5040100854 ‘Plt wo Platsergay i 3° o 7.30pm tickets21 10. ORCHESTRA sep wy ards Tourney of the Isle of Wight 7 were aM‘TWENTY FIVEYEARS FROMSCRATCH * Brecht & MacDiarmid Research Associates 83 Ladbroke Grove London WIL JAND MASS TRANSIOGATTON! INFORMATION SHEET Ni 1(8 1969) Introduetio ‘of us (G.B-) proposed in 1966 that the Arctic ioe pack be interchanged with’ the Antarctic, and in the winter of 1967-68, in Tondon, the idea of ubving England closer to the equator presented $ about a line ’running from Devon to northern Yorkshire, at & rate’such that areas of London 15 reters above sca level or’ Lot de subsergea in 1500 years tine. Considering that London has inhabited place for at least 2000 years, this is not as renote an event a jeom. In this light, Brecht & MacDiarmid sre under- taking 7 ity of moving land masses over the Surface of the earth, such translocation, they feel, being techno~ logioaliy realizable within ten years, W eculatively, they will ler the translocation of and masses between the earth and other ‘in our solar aysten or beyond. Movenent of the Isle of Wight would be ® pilot project for the larger translocation of Mgland. Some Technical Aspects of Translocation. ‘Sranolocation of @ land mies cin be thought of in three stag Separation (freeing the land mass fron its substrata); franslocation (movenent); securing (aking fest on @ now tase). Separation could be Accomplished either by mechanical nethode (mining Seahniqueny Tenote-controiied *digeere"; high-pressure. waver o:r with abrasive additives; long-term direction of underwater currents) ,or ‘thersally (suggested by W. De Varia) ty use of a inser. Translocation might be accomplished by und cutting the land mass to form a hollow bencath into which air is injected, Alternatively a rigid foan might be injected such as polystyrene (W. de Varia) or an‘inorgante Genent foie. C. Price nae suggeoted Snaulating the sass ith polyurethane ox polyatyrene foun and freering it, for increased Tigialty and: buoyancy: Hest fron n naturel crevice of torehoie could tefartificinily directed Seneath the boty to be transported, fe mae could be sranaported by Maison to or flonting 4¢ upon en iceberg, for exauple anveatazctio iceberg which may be "iene of silen acre ad Sore tian 2000 fe. thick", ith flat top and botvon eurcec and steep sides 250-300 ft. above the water eurface (A.N, Strahler). ‘Sfaikingr-ptere wight be uiilized, or sone land masses eight oimply tbe out free and slid along the sed bottom (for example, the Tale cf Wight cut free at 20 fathous, westward to the Bill of Portland), Securing a translocated land sass could be accomplished by utilizing fas yet unused portion of the earth's crust such ass seanount coming sufficiently clase to the sea's surface, by supporting 1t on © continental shelf, or by placing it on the base left behind by another land mase taking advantage of one of the firet two alternatives (or simply taldng up the position abandoned by the first). Our research on this project covers geological, ooeanographical, sociological, economic, and other aspects found to be relevant, Results will be communicated through a series of publications, exhibite, end lectures, Your ideas, opinions, and inquiries are Parvard Corny le Prncke Confory Hee Thee saad h Mile 25TWENTYFIVE YEARSFROMSCRATCH (a) (3) Three, four or five players to an orchestra; designate three as (1), (2) and (3): they play the above, (2) in the first sequence giving the cue (by playing) for attacks, anyone, by doing so, for release; in the second sequence (3) gives the attack cues. The remaining players, if any, play, as they choose with (1), (2) or (3). Black notes are more or less short, white of free duration. A diagonal line through a note = a sound quality somewhat shifted from the normal one (or what you may choose to designate as normal) of the sound producing means available. 2t = two timbres, simultaneous, successive or overlapping. Repeat the first sequence as often as (2) cues it, then repeat the second as often as (3) cues it, Christian Wolff: Burdocks (extract)‘TWENTY FIVE YEARS FROMSCRATCH 7‘TWENTY FIVE YEARSFROMSCRATCH‘TWENTY FIVE YEARSFROMSCRATCH Philip Dadson: Play (1970), dedicated to The Scratch Orchestra.‘TWENTY FIVE YEARS FROMSCRATCH 30‘TWENTYFIVE YEARSFROMSCRATCH A Bob Cobbing: Beethoven Today (1970).‘TWENTY FIVE YEARSFROMSCRATCH 8 groups of players. Duration free. Thudding / Clashing / Soughing (as of wind blowing through a forest) / Ringing / Sharp tapping / Moaning (not necessarily vocal) / Bass moaning (not necessarilyEach group takes one of the above categories. David Jackman, December 1969 SLOW PERCUSSION. One dozen hammer blows. Ist version: One every half hour, on carbon paper placed on drawing paper. 2nd version: One a day, on soft wood. 3rd version: One a month, on lead. In all cases the time or date is printed or inscribed under each hammer-blow print. David Jackman, 16 December 1969 WATERMUSIC. Make sounds using water; whether pouring it from one container into another; or dripping it onto the surface (including instruments); or washing with it (either oneself or inanimate surfaces - i.e. the floor); or making sounds with instruments submerged in water. "You can also do without water but play the sounds & feelings you imagine a performance with water would have." Alternatively, you can combine aquatic with non-aquatic sounds. Roger Sutherland, 1969 COMPOSITION II (To Christian Wolff) Any number of players. Any sound source(s). All commence together by throwing dice, first, for each player to determine for how many minutes he will play, and a second time to decide how many sounds he will produce within that time. Dynamics, durations and placing of the sounds are free, although individual players may, if they wish, devise systems whereby additional throws of the dice provide further determinants (i.e. an even number could correspond to a sustained sound, an odd number to a staccato sound, and so on). The exercise can be repeated any number of times. Roger Sutherland, 1969 VOCAL 2 1. MAY/NAY 2. BEE/ME 3. DIE/LIE 4. LOW/MOW 5S. RUE/LIEU Each set of two words is repeated over & over at a moderate speed. Keep to the numerical order given. Move to a new word-set at your own discretion. The whole to be sung through five times. Sing as low.as you comfortably can. David Jackman, 21/1/70‘TWENTY FIVE YEARSFROMSCRATCH 19,000 naite in the coffin of 1: weriwlly large resouant seuce. ‘ Everjone has 6 BLOCK Of woot, sous nails ad e quod Heamer. Sach person @ravo a Line on fiie oheet cf uote, aia plue any dote he reade nile Mis eye is truvesting' they Lb fe hanger strokes. So Milsh, a lester ~ it can be someone uilrerent for each Ghopan = Sulla out the Tiree elogal th uatural rau. Gel aversone repeats it in tne Ptytho Given. Awd se om. Finaahy tho ray tia i ed onoe Lore az Ulises numer atrokey, with one shout at-iadicared. . Dimwcion: fice minutes or 60 before ihe siovine. es} a7 mi cue ehcuennd math tx” tn the eoth, of ots swe thoued nuts An the cotta ot pb mur thousind nelle in she coin of pretty ib Grown milla Le be dortia; of east fw inuseis estds bie bhe in the eorrin ox ln mld Yoh! Cornelius Cardew: 10,000 Nails in the Coffin of Imperialism (1971). 33‘TWENTY FIVE YEARSFROMSCRATCH 2 ome polls percngprs vrepme ph ones tod em a yey orang te one eared sorws Damepaid gover Boy 21 wngrtoon corp Comwn Bop ly meee me med —F Scratch Music (1971)