~earle brown | FOLIO (1952/53) and 4 SYSTE associated music publishers, new yorkPrefatory Note Time i the eco dimension it whch misc exit when performed end ls by note on infiely alle continwym, Nov mec systam or nolan ‘osed on mets rable fo indcte el of he pone pints In he continu, ‘lr el fhe cher carols of ound — frequency, Intnay, Yimbre, made of eiakcaneuatin-decoy — ore nf sive continue fond unmeosiable, The Inposiion of pprosinetetalerastems i obviouly powible and ecaiouy, bu fo del deciy wih the expaianceo ona ‘nit own unknown lems eens to iply tol the anmgonng eye nd eat te ther own tron ond enperentl atfestion and compile wih on Ineorted expen. An ambiguus bu lpi inne opie “Woe nd ole, sympsteticperarmers, conceivable etal for ecveting thi proce within comin, to predacegrophic uation, he impicoions of which would involve ‘he performer resance ot far leasing e mage “characterise rea Zshion ofthe piece ot on avila even to exland ond ina the ‘mbit inkerent in ony grophie ebrerentatin ond ponble camper pr former and sudarcavexpons ti; © war, and ony one peormonce O ‘ore subject fo phyeal menpuation of ts component fesiting it an uckomem munbar of Giferert, integral, ond "vad conipvly “mobile” approceh fo bosialy fued grephie element {abject fe of infinite number of perfomance reoltions through the fimbguows grape sim relative tothe condions of perfomance crouse 1952 ‘lef ore Inthe evel eble-bes relationship ih ner, and dre oroion of the piece and the implied meticline reltlonsipe between “vons ore 19 be dterined by th performer The absence f es producer {n inenonel enbiguty ond i nferded fo eliminate he pouty of @ ‘icliy rational pevfrmence, The performer may move YWough the spoce (ha conta arvaible roe of pea lative 0 "rea ine to nutans Novenes 1952 ‘yrs? for panels} end/or oer nsunents 0 sound-praducing mela (Seen foc ropedtn of relia sicher) “he feauencyrnge wl be rlave 1 ha of each isromen partorm= ing the work. Tobe performed in any Srcion rom any pole inthe dened space for an lengh of tne. Tempe fot or pone toe slow posse Tecan: facts may by Inerpeled os compel separated by infie Ihorsontally of aiferes and warble speech) and cel signs mey be con sr Foating [vericely ver the defoed spac} hr inal the Theoretical pomity of ell the eheks occuring ol the ome isan! (ond on the some fequency, for ony emoun! of fie} or any other expresion of Finutanety The desined space may be thought of or teal of Hsery, 8 ‘hate acin pars. Ether space veal or horzental] ay exberd, caret, orremain ti eens tv baw, Vera! space wl vary eecrdng tthe erfomers view of The tng cet” (Now 952 ecenscr 1952 or one ot moe introments and/or soundgreduing mela Nov. 52, but hey ore the bss ofthe com ‘Sena poral vlevont to "our Sytem space oon nid of eecon from oh (conpostonsy and in performance) to Hah, lth, Bock, forwerUpy down, om ‘ll point between ss the sore Touing] ‘which must olways be considered ot unreal nar tranny.» = 9 pafomer mest Sethi all in motion ime, which to soy, relze thet ia maton end eg into eters ond lett move or move tvogh fetal sped fated Oa & ian "December 1982" wel ot LL eacicaaerar nes Teoeficent of] intensity ond durtion Ui space forward and Beck” ‘ee composition may be performed in ony action frm any eit fe ‘he defined space for ony Wer of ine end may be perlomed fa ony of ‘he four rotehonelpelion in ony sequence: In performance iiog alt three dimensions or one (verte, Moron ond ine), he cna othe ‘ren ineates the vloiventenay and/or where appcbleinsrvmanali] ster Where el fot dimensions are ave, he relate tina an lenght ‘of evecare fonctions of thelr conceptual potion on @ plane perpendelar ‘fo the vere! end hortonal plone ofthe sare. n The ee eae al fe ‘horaceiies of sour ond thet felons woch her ere shld ontinucl Nonsematan ond medication. I primarily intended that et fomonces be mode ditcly om thie graphic “implication” [one fet each paforer) and thet no further preliminary defining ofthe even, her fon fr egrament otf atl performance in, joke place. Fosher defi fe ‘rene nt probed however, provide tht the npored deerinate seem ‘mote nthe core ain these noes Ok N2S Merch 1953 {or piane rte be performed tinutonsuly By to planet ‘Ste note to "Ocober 1952" "Ocober 1952" vied 9 dicontinvouy,spata-oorinateconposionl techrigue ond in tho! sence isa stctre, "MM 87" ond "M195" were composed very ropidy nd spontaneously ond ae Ia the snse performances tether then compositions ‘MUSIC FOR “TRIO FOR FIVE DANCERS” June 1959 Tor piano and/or ais inaramente ‘A wanton af grephic which relat 9 physics paiion anf move met in spoce into “ero” ond iaigenot soundsvent i composite Tine. (See comments onthe ore) 1959 for plone ‘Ths 9068 rectally a sudy for 25 Pages” (1989) an ie be end bythe parfoionce rote hat werk ‘The 25 Pages’ maybe played in ony sequence; ech pane formed either side vt event whim each two-line sit maybe 08 8 ther rble of bos le the loa ine crtion of the pice ete tor his oto’ page: 20 sacons ond 2 mints, bored on 5 conde and 1 seconds per fwatine stom ok probable bu! ! compuliory line een ‘tine-sactare in ee of seconds per fwolne ystam may be pra bythe ‘evfomer ableined fom the compose, or be eived a spontenecaly ding ‘he performance. The inented mole durations are pace relive 10 40ch ‘other ena tothe avesua Hie-volve ousted ech neyo will be seat thot the base ‘mobile’ laments ofthe work —poge sequence ond inveron le upoiion, and tine od of @ connirele Dumber of fern resentation of ths mote Al of hee pao re ald within the Yolo eoncep of Yhe werk provide thot once eldion fom the range of ponies hor beer mae tbe exerted wih devotion nd 1 be pe berormer. The piece may be ployed any ruber of panot vp 10 25." (The lon sentence i not eppcabie fa Fla page "1959", {Dom V3) FOUR SYSTEMS Jonsory 1954 for piano(s) n/a other instrument or sound: oradcing medio See comments on the sore ise?) and the comments end nol to December 1952"Dodoo ale -f & 4 = 4 = B= = Inne Tee = Voy hen flor nt io cc = ‘ Al Bere ea Simmere 4 SYSTEMS forDond der one itor Jan. 20, 1954 fil Berry, 2 — - _ ——= - = = e = — — - - . - 7 - — er - 7 —= s - 2 - - —— _ — - . _- =— . - — = - = May be played ia eny sequence, ether side up, ot ony tempol. The continuous lines from for left to for right define the ovter liits of the keyboard. Thickness may indicate dynamics or clstersLid. Gomer (Dd'rd) nyeInit as | =HLAB cr ravis2)a . Lal Boom 50