Improvisation Rites 1969

No rights are reserved in this book of rites. The may be reproduced and performed freely. Anyone wishing to send contributions for a second set should address them to the editor: C. Cardew, 112 Elm Grove Road, London SW13.
For reasons of economy, the pages of this book are reproduced from handwritten originals. The editor wishes to apologise for any inconvenience in reading caused by this method of production.
Nature Studeny Notes is refered to in the 'Draft Constitution of A Scratch Orchestra' (Musical Times, June 1969) and is currently in use by the Scratch Orchestra. Anyone wishing to take part in these rites or any other activities in the context of the Scratch Orchestra should write to the editor.
Nature Study Notes is published by the Scratch Orchestra and distributed by Experimental Music Catalogue, 26 Avondale Park Gardens, London W11.
Rites are printed in the approximate order of collection. Notes on the rites are in alphabetical order of code names, Many rites are accompanied by a pedigree naming one or more of the following: the Mother (her initials are at the head of the code name), who wrote it down as a rite; the Father (F:), who provided the idea; any other relatives the Mother sees fit to recall; and an Ancestor (A:) or Archetype, identifying the basic human or non-human state, activity or event that the rite bears on. In the notes there is no differentiations between the Mother's remarks and those of the editor and others.

HSDNO1

Any number of drums. Introduction of the pulse. Continuation of the pulse. Deviation through emphasis, decoration, contractions.

Notes

Drum No 1

CCIR2

Initiate and improvisation in the following way: All seated loosely in a circle, each player shall write or draw on each of the ten fingernails of the player on his left. No action or sound is to be made by a player after his fingernails have received this writing or drawing other than music.
Closing rite: each player shall erase the marks from the fingernails of another player. Your participation in the music ceases when the marks have been erased from your fingernails.

Notes

Improvisation Rite. F: 'Games for Musicians' by Richard Reason. Groups of two or more late-comers may use the same rite to join an improvisation that is already in progress.

PDIR3

Form a standing circle. Nominate a leader, who stands in the centre with eyes blindfolded. The remainder of group rotate slowly around him/her. At random the leader indicates a quarter of the group number by touching each individual. Indicated ones leave the group and become 'others'.
The leader removes his blindfold, and establishes a rhythm and a note of his choice. The group together sing the note, which once established may be enlarged upon freely; but with voice only.
At any time during above proceeding an 'outer' may touch one of the 'inner' group, who must immediately cease part in the performance and assume role of non-participating 'outer'. 'Outer' automatically becomes and 'inner' and must begin to perform a new sound or activity. One not produced by the voice.
Thus an outer may terminate any one person's participation at any time.
When the leader is touched, he forfeits his role and so doing shouts 'Porridge.' All activities and sounds much cease immediately, whereupon the new leaser must decide on a new group activity once 'outers' have been re-indicated. No verbal instruction must be given. He must begin the performance; the group imitate and enlarge upon it. Each successive rite must follow the same ritualistic pattern.

Notes

Improvisation Rite. Note: the fraction in line 4 may be adjusted. Variant for last paragraph: When the leader is touched he forfeits his role, and so doing shouts "Porridge". All participation is interrupted for a fraction at "Porridge" and then resumed. Each person's first participation (coming 'in' from 'out') and "Porridge" should be the same as new leader's activity. Suggested closing rite: When a leader considers the performance has gone on long enough, he screams a different word (not "Porridge") when touched. Whereupon all cease finally.

FRMEVR4

Each person entering performance space receives a number in order. anyone can give an order (imperatively obeyable) to a higher number, and must obey orders given him by a lower number. No 1 receives his orders from the current highest number (the most recently entered player); the highest number can give orders only to No 1.

Notes

Musica Elletlronica Viva Rite: If conflicts arise, a jury decides the issue. The jury is made up of those who do not wish to play the game.

HMSIR5

For any number of people, preferably unknown to each other, making any kind of vocal or physical sound; no instruments to be used.
Performance to take place in any large area, inside or outside, with everyone scattered throughout whole areas, widely separated from each other as possible. A person stays in the same place throughout the performance; physical motion of all kind to be kept to a minimum.
Sounds can be of any kind produced from the person, i.e. vocal sounds (singing, speaking whispering, shouting, crying, laughing, hissing, etc) or from the body (hissing, slapping, clapping, etc).
Sounds are made mainly in response to other sounds, therefore a sound made should have some meaning to the person making it. This meaning can be verbal (conversational) or aural (musical), or a combination of both. A response can be immediate (spontaneous reaction to some kind of sound, probably verbal) or reflective (probably musical). He can also arouse the responce of other people by some sound; or he can just listen. In geneeral the nature of the improvisation should be still and reflective.
The performance ends for each person individually when he has nothing more he wants to do. He may then get up and leave, this being the only physical movement he makes.

Notes

Improvisation Rite. Variant: Replace first 12 lines with: - Any number of people making any sounds. Perform in a large area, as widely separated from eahc other as possible. Performers stay in the same place throughout, keeping physical movement to a minimum.

FRFRR6

Announce a collective improvisation in which anyone can take part. The announcement should be accompanied by the following text:
"Look around and let yourself be drawn to a person whom you like. Study his face, gestures and movements for a while. Then take a sum of money, preferably all you have in your pocket, and give it to him. Then start again."
Musicians attempt to be more likeable than the general public. It is not important whether or no money is actually raised. End is open.

Notes

Frederic Rzewski. Fund-raising Rite.

CCSBR7

Take a stupid book. A reader reads aloud from it while the rest improvise. The role of the reader may wander

through the reader presenting the stupid book to someone else, and

by someone wresting the stupid book from the reader.

A reader may attempt to terminate proceedings by ceasing to read aloud from the stupid book.

Notes

Stupid book rite. To end, stronger measures may be necessary, eg. Destruction of the SB.

HSIR8

The group assembles, one of the members being elected BIG LEADER. When there is silence, The BIG LEADER makes a sound, as short and quiet as possible. He is then challenged. the challenging member attempting to produce a sound even shorter and more quiet than the first. In the midst of great celebration, the challenger becomes the BIG LEADER. The process then continues until all members have had a chance of becoming BIG LEADER. The Challenger who last comes BIG LEADER is named as the SUPER BIG LEADER. There is great celebration; drinking, music, &c.

Notes

Improvisation Rite. Conventions:

Any challenger must fuirst be announced.

It is generally accepted that the challenger always wins.

Nobody is allowed to become BIG Leader more than once.

MC9

17 people play simultaneously at one piano.

Notes

Michael Chant. A: Poverty. I originally meant loudly and continually.

MC10

Wash

Notes

MC11

Measure length, breadth and height of room of performance, taking account of any consistent prominences. Use the figures in any way to arrange sounds.

Notes

A: Measured Up Music

MC12

Two classes of performers: improvisers and stone-throwers, the former class to contain more members than the latter.
The stone throwers throw stones to miss the improvisers and cause no damage, this a vigour proportionate to the intensity of the sound.

Notes

Appendix: There are no penalties for hitting an improviser or damaging an object as it is assumed this will not occur.

HSIRNT13

When you're not playing, look for a girl in red stockings.

Notes

Improvisation Rite No 2

HSIRNT14

Before playing, do something inappropriate. Keep doing it until it feels inappropriate to start playing. Start playing.

Notes

Improvisation Rite No 3

CHTHOR15

Each member of the group finds an object from outside the performing area (preferably from the streets, fields, etc.) Any member of the group who is reluctant to work alone may team up with another or others who are similarly inclined (do not work in groups of more than 3). They choose one object between them, but each has the full number of guesses (see below). A time-limit (eg. 45 minutes) may be set, at the end of which time all the members of the group must have returned to the performing area with their objects.

After finding his object each member of the group covers it with a handkerchief, scarf, newspaper, etc, in such a way that the identity of the object is not immediately apparent.

Upon re-entering the performing area, each member of the group places his object in front of him and begins to play, If he moves he should take his object with him or, if this is impractical, write his name on a card and place it beside his object.

At any time during the rite a member of the group may go over to another and attempt to guess the identity of his object (the objects may not be touched). He may only make a certain number of guesses for each object (see below), making these together or at two, three of four visits to that object. Having made the fixed number of guesses, me may make no more regarding that object, but may move to another, etc. Each member should have by his object a sheet of paper, on which other members coming to try to guess the object, write their name and the number of guesses they make. Upon returning they will be able to see whether or not they are entitled to make and more guesses, and, if they are, how many.

The system regarding the number of guesses each member of the gorup may make for each object is: Where less than 8 people are participating, each has 4 guesses for each object. Where there are 16-24, each has 2 guesses per object, and where there are more than 24, each has 1 guess per object.

When a player's object has been guessed, he must uncover it and stop playing. He can, however, continue to guess other people's objects as before, until his allotted number of guesses has been made.

Members of the group should not reveal to others, or demand of others, what guesses those members have made concerning any of the objects. However, if towards the end of the rite there are one or more objects which have defied identification, the members of the group who are qualified to make guesses regarding the object(s), concerned may club together to discuss the object(s), or the guesses already made, and may pool the remaining number of guesses available to each. These members may not ask the remaining members (those no longer qualified to guess the objects concerned) about their guesses.

The rite ends a) when all the objects have been identified, or b) when one or more objects, all the available guesses having been made, remain unidentified. the owner(s) of the objects should then reveal their identity, with all due ceremony.

Notes

The Hidden Object Rite

CCPR16

Within a certain overall playing-time each player determined by random means one or more stretched during which he will play, for the rest remaining silent.
Players with access to mechanical or electrical equipment may make 2 parts, one of which would be performed by the mechanical or electrical equipment, the player simply switching it on and off at the appropriate points.

Notes

Poem Rite, derived from 'Poem' by LaMonte Young.

CCAR17

At a signal all players commence playing a continuous accompaniment. As the spirit moves them, individual players rise and play solos. after soling, rest. After resting, play more accompaniment (the same as before or different). Cease playing at a signal.
Definition: An accompaniment is music that allows a solo - in the event of one being played - to be appreciated as such.

Notes

Accompanying Rite F: Scratch Music

CHSTBOR15A

Having completed the above rite, the members of the group play, using their objects, until the objects are broken or in some recognizable way different from how they were before. The rite ends when all the objects are broken or damaged. Be careful not to break anything other than the objects (this rite is better performed out of doors, in a large open space).

Notes

Supplement: The Broken Object Rite

Typist note

'The above rite' refers to CHTHOR15.

CCCSR18

An elected soloist undertakes to repeat an action over and over again. The electorate accompanies it. A changeover of soloist may or may not be attempted during a performance.

Notes

Soloing Rite

CFIRT146

Page one of the Evening Standard current on the day of performance. Each performer has a copy which he will use as his score. Performers decide individually how they wish to interpret the score and perform accordingly for a given length of time.

Notes

Improvisation Rite 3. Suggestions for playing: Play it straight through as if one was actually reading it. Play the pictures only. Play the headlines only. Play the captions only. Play the punctuation only. Play one news item only. Play the white space around the print only. Etc, etc.

Alternate version: Each player has a previously agreed distinct part to play (eg. one of the above, etc.). Ending can still be at a given time or whenever players feel they have finished.

Notes from 2015

The author of this rite, Carole Finer, has stated that the Evening Standard has changed a lot since 1969. This should be performed with a 'serious' broadsheet newspaper, with several stories on the front page, such as the Sunday Times. It is acceptable for an ensemble to use the business section in addition to the main news section. It must be the front page only of these sections. Not everyone need use the same front page.

CCR76

It's not music. It's my heart beating.

CCTG22

Commence improvising discontinuous music. In the gaps in your playing: without masking their expression, allow your eyes to wander amongst your fellow players. On meeting the eyes of a fellow player: play in accordance with their expression.

Notes

Tender Glaces

F: Janet Robertson

Ode:

On receipt of a tender glance, play melodically, straight from the heart.
Look around. What does your eye light on?
On receipt of a glare, protest dramatically and waste no time.
Look around. What does your eye light on?
On receipt of the straight gaze, gaze back and keep in tune.
Look around. What does your eye light on?
On receipt of an enquiring look, answer as best you can.
Look around. What does your eye light on?
On receipt of a surreptitious glance, look the other way and keep moving.
Look around, etc.
(space for more lines)

CCAOR23

Part 1: Consideration of an object absent from the performance space (either individually - a private affair - or communally, in which case, decide on an object with which all are acquainted). Make seven sounds (named North, South, East West, Space, Earth, Shadow respectively) as follows: The first sound describes the object from the front. The second sound describes the object from behind. The third sound describes the object from the right. The fourth sound describes the object from the left. The fifth sound describes the object from above. The sixth sound describes the object from below. The seventh sound describes the object as it exists in you (your regard for it, its shadow in you, what it means to you). Bear in mind the possibility that the sounds may not only describe the object but define it too. Part 2: Departure from the object.

Notes

Absent Object Rite. Conceived originally as introductory to CCGT22

CH27

. . . watch what you are doing. Do nothing.
Occasionally raise your head and watch someone. If they raise their head and watching you,
play for a short time,
watching what you are doing. If while you are
watching what you are doing, doing nothing,
you feel that someone is watching you,
play for a short time,
watching what you are doing, or
raise your head and watch the person who is
watching you. If someone is watching you,
play for a short time.
If no-one is watching you . . .

Notes

Christopher Hobbs. F: CCTG22. Grandma: 'The Rite' (Igmar Bergman). Grandad: 'Film' (Samuel Becket). This rite is circulat (on reaching the end, return to the beginning. Commentary: An audience often looks, sometimes watches and rarely perceives.

Glossary 1. 1) Always watch what you are doing. 2) There are three kinds of activity, all of fair short duration. a) Play b) Watch someone else c) Do nothing (ie. anything that is not a or b). 3)Begin with periods of c) alternating with periods of b). If, during b), the person you are watching looks back, go to a). If, during c), you get the impression that someone is watching you, either go to a) or look up and check. In your impression was correct, go to a). If incorrect, resume c).

Glossary 2. Do nothing - watch someone - no response from the person you are watching - do nothing.
Do nothing - watch someone - the person you are watching looks back - play - do nothing -. Do nothing - you feel someone is watching you - - do nothing -.