EXTREEMIZMS Graphic Scores

wHoly Trinitye, a duality ov duos – first

wHoly Trinitye.   Whole=Holy  ( If-not “whole” impossibl-to-be “holy”)

Charles Ives’ song On the Antipodes which, being writ for piano à 4-hands i had the plejur of playing with Jim Tenney (Folkways Records FM3344) concludes with this grand thought “Is Nature nothing but eternal cosmic cycles around the perenial antipodes?”  !Yes  -  an incontestabl & timeless truth, but note the ironic “nothing-but”. As-if anything couldbe more!  This Heraclitian insight informs my works, even from the beginning  (Flux & Form in the 50s)     ---If hadnot been contradicted by Plato woudv spared us 26 cnturies of regresiv philosofy---    (and most-recent  Dua=Uni - in the repertory of the Hodos Ensemble, which also playes the explicit gamelan ANTIPODE of 1984  on volume 3 of  their soon-to-be-compleated 5 CD survey on Umlaut Records).  There, only extremes are permitted: of register; of duration; of intensity.  Can aswell be aplied to the dimension of Form, as in my recent 2 Extreemizms.

And yet the dialectique --thesis/antithesis--»synthesis  makes a 1, which composed always&essencialy ov3,  that-too, has always had a presens in my music.   A ∆ incarnates  as a sign  the solution uv the “mystery of the Trinity“ where the “middl way” is forever present.   As in the soundfield uf musical substance it-is inherent the mean, mezzo, m---. In evry parameter. As in the possibles of harmony, as Perfect and Imperfect intervals and the Dissonances.                        Thus the piece containz only 3 notes---or atleast 3 sound-elements:                                        Such a cosmic simplicity will be abl-to manifest itself in multiform-ways.                                  And it hardly needs more than a minute.

2 Extreemizms