Composition No. 62 is a dynamic structure for one multi-instrumentalist and piano that was composed in 1976.  This is an extended forum that fluctuates from a notated (controlled) to improvisational (open) sound environment—as a means to provide unique options for post-AACM exploration dynamics.  In this sound state will be found many fresh and exciting perspctives that extend the material and focus dictates of creative music.  Composition No. 62 is a chain structure that contains seventeen different shifts of state in its conceptual and material design.  This is a music that proceeds into the 'space' of the music from its own terms and presence.  The work was deliberately designed as a non-personal structure that seeks to 'forward' the affinity dictates of creative music in its most basic sense.  There are no ruffles and flourescences in Composition No. 62 nor is this a state for extended improvisation (as an exclusive state of mind).  Emphasis in this work is centered on the moment to moment nature of sound invention—as this phenomenon interrelates with material and vibrational needs (and decisions).  The reality of this work unfolds into the greater space of the music from its own terms.  Composition No. 62 is an expanded environment of material and 'focused' components that was conceived as a 'state of being' for creative participation.  There are no thematic or even primary material factors in this work—that can be used as a 'cause' for creative involvement (or 'centering'), nor does the work contain secondary sound references (or motifs) that provide an expanded sense of linear or vertical sound references.  Composition No. 62 is instead a reality continuum of phrase and sound point multi-groupings that establishes a 'presence' in the space of the sound.  This is a music type that emphasizes the weight of notated and open sound presences as a factor that contains relevant 'things' for us to learn about.  A given performance of this work can be viewed as a journey into a prism of sound that carries its own rewards.  Composition No. 62 is conceived as a unified statement (forum) that seeks to establish a relationship with creative postulation (invention).  The reality of this work seeks to penetrate into the heart of vibrational and material involvement—and become part of something positive.  Composition No. 62 is dedicated to [blank]

Composition No. 62 is an extended continuum of sound and focus regions that solidifies into a reality context (for the creative instrumentalist).  The work is constructed in nine material components that intersect (as a sequential operative) with eight blocks of improvisation (directives).  This is a complex string of non-personal material and affinity objectives that gives fresh challenges for participation.  The reality of this work can be viewed as a cross-section of interlocking structural and material sound spaces that establishes terms for creative involvement.  There are three basic focus divisions in Composition No. 62 that can be commented on—in terms of the general nature and tendencies of its material(1) the first region of the work was approached with respect to the concept of sound attacks (points) and unison phrase grouping statements—as a basis to generate static momentum and continuance, (2) the second region can be viewed as an extension of the first criterion with the added feature of isolated single phrase material (both synthesized and 'positioned') (3) and the final region of the work combines criteria one and two with the added use of repeated phrase (and/or sound) component structures (that acts as a shadow to a given phrase grouping statement) and an expanded sound space context (that includes multiple moment events).  Composition No. 62 is a dynamic forum for creative exploration that establishes its own relationship with the space of the music.  I have constructed this effort to relate to the needs of the creative instrumentalist—in this time cycle and the future.

The composite form of Composition No. 62 consists of seventeen different components and the breakdown of each component in that context can be viewed as follows:  Section A1 opens the focus of the music by immediately establishing the use of isolated unison sound attacks (points) as a working language factor for the music.  The use of this device is quickly extended into phrase grouping unison statements.  All of these matters are quickly stated and 'framed.'  This is a cold universe of sound that doesn't take one's feelings into account (that really doesn't care about your feelings!).  In this context are fitted sharp phrase (sound) statements that cut into the edge of the sound space (music) to create abruptions in the general vibrational tone of the work.  Section A1 consists of eighteen phrase grouping components that create a 'staggered-like' music state that sets the focus (and force) of the work into action.  The reality of this material was conceived as a unified continuum that actualized 'as I heard it in the act of creation.'  Emphasis in this (sound) context had more to do with the placement of a given event rather than its vibrational makeup (or extended logic implications).  Once stated Section A1 forces the state of the sound space and prepares the thrust of the music.  The preceding improvisation that takes place as a response to this phenomenon is a short collective interlude that gives balance to the perceived focus of the music.

Section A2 continues the basic material focus of Composition No. 62 with the added use of isolated (and single) phrase grouping statements.  The reality of this section consists of seventeen phrase constructions (points), nine of which are unison (rhythmic) statements that are etched into the sound space of the music.  The wind instrumentalist material in Section A2 is given the use of stretched phrase constructions (in comparison to Section A1) that extends the point (line) of a sound (element) into its next factor (note)—(in contrast to the piano, which executes only primary state material—that being the kernel of the idea point [or center] of the music).  Section A2 continues in the same basic vibrational and conceptual (and structural) nature as Section A1.  This is a material forum that involves moment sound constructions (focus and material) that establishes its own logic and reason to be.  This material establishes a 'purpose' rather than a single image.  Once completed (executed) Section B is followed by another short improvisation—that serves the same general (vibrational and structural) purpose as the space after Section A1.  In Section A3 this same phenomenon is repeated as a final means to establish the reality of the sound space of the music.  This is a single unified material platform that contains fourteen phrase components (seven of which are unison statements).  When this material is executed the first primary section of Composition No. 62 is completed.

Composition No. 62 is conceived as a unified sound state that contains collective and solo improvisation.  The work contains six short improvisation sections which are positioned in between the inter-structural components of the music, as well as two major sectional improvisation sections.  A given performance of the work should open up the space of the music as well as the affinity balance and interrelationship of its interpreting instrumentalist.  Solos can be fitted into the open sections of the music—in any part of the sound space.  The challenge of structures of this nature is the excitement of establishing a seamless continuity of sound and material ideas to create a transcended music state (entity).  Short improvisations in this context serve two most basic purposes—as a sound seam factor that connects the forward thrust (perception) of a given musical (material) idea (as a phrase—thought—is carried into its extended effect on the listener) and also as an opposition factor to the time presence nature of the music.  Extended improvisation in the work is carried out in the spirit of AACM collectivism—that being participation without respect to any one role or function (each participant has the flexibility to react to whatever is perceived to be 'the point' of the music).  Composition No. 62 was conceived as an impersonal structure whose material nature suggested a way to 'be' but now 'how.'  What this means is that the challenge of this material involves what it stimulates in the material and vibrational nature of the music.  The instrumentalist in Composition No. 62 is given a state of 'fixed sound beams' that anchor and define the sound space of the music.  This material tells nothing about what its future really is (and 'was')..?

Section B is the second notated material block of Composition No. 62.  The composite section consists of three phrase construction columns (sound areas) positioned from the same intentions as Section A.  From that context Section B1 can be focused on in its own separate sense as a means to observe its own peculiar nature.  This is a nine-phrase grouping sound block that reestablishes the material (sound) and vibrational presence of the music.  As in Section A, Section B makes extensive use of unison and pointed sound statements.  All of the material in Section B—with the exception of the first two phrase groupings—can be viewed as unison (or unison with variation) sound statements.  Section B1 reestablishes the sound contour and 'drag' of the music.  The music in this 'sound column' is a static-like music that takes on no personality of its own.  There is the isolated use of tremolo long sound elements in two grouping statements—but even this factor does not really provide a point from which to view the work.  In its composite sense Section B1 serves as a point to direct the sound space of the music and 'reclaim' the presence of its sound environment—from an improvised space (that could bend and therefore be more open to the 'depth' of musical invention—exploration—by virtue of what improvisation can do) to a material state (where strict decisions can be fitted into the property nature of a given sound state).  Section B1 seeks to reinstate the vibrational and conceptual state of Section A with the additional use of gradual phrase independence and lighter sound tension.  The reality of this section (B) begins to open the space and thrust of the music—as a means to breathe and change.  The reality of a given concept involves what adjustments are understood—when viewed in its fixed and extended sense.  It is for this reason that no one concept can be viewed separately from world culture (and world universality).

Section B2 is an eleven-phrase grouping sound column that establishes its own space in the music.  This music is consistent with the forward motion (reality) of Composition No. 62—and the construction objectives of Section (composite) B.  Unison and unison-extended phrase grouping statements in this context are positioned in the sound space of the music as a means to 'seat' the focus and nature of the music.  All of the material sections of Section B (B1-B2-B3) can be viewed in this same manner—that being 'small islands' of sound columns that form (or realign) through a musical osmosis (from collective improvisation to fixed material structures).  The instrumentalist can view Section B as a dynamic sound construction environment that contains its own challenges and insights.  What this means is that the composite section can (should) be approached from its own context and objectives.  The instrumentalist in this regard should (if possible) play a different instrument from what was played in Section A, and the tempo (pulse) should be different (either faster or slower—or whatever).  Section B3 is an eleven-phrase grouping column that can be viewed from this same context—serving as the last fixed material forum in the composite B structural forum.  As in Section A, Section B3 establishes the widest (most liberal) use of its structural nature.  Here is the first real appearance of isolated phrase grouping elements in Composition No. 62 thus far—and finally the music is pushed out into the second extended ('real') improvisation.

Composite Section C introduces an alternative conceptual (material) objection into Composition No. 62.  This is a sound-beam-like material universe whose component nature establishes reentry-like sound statements (that give a final impression of 'rounds' or 'canons' in the 'perceived' music).  Section C is a fully developed vision of what Composition No. 62 'became'—from the first vision that inspired composing the music to its realization (in and through the moment to moment act of composing).  This is a multiple sound type universe structure that contains interdependent and independent moments (phrase groupings) that make use of expanded creative focus options (in material and construction—positioning—options).

In this context Section C1 can be viewed as a sixteen-phrase grouping column that establishes the opening use of this new attitude.  Repeating long sound groupings are positioned into the infrastructure of the music (material) as a means to open the space of the work (as if in a 'call and response' continuum).  This is a music universe of 'rephrase' connection points (that being the use of a moving 'established' phrase whose inter-parts are selectively taken and repositioned for another instrument to play—in unison—like a fragmentation of a unison phrase).  In Section C1 this phenomenon is allowed to happen and dominate (define) the reality of the music (focus).  Section C2 makes use of this same device while also reinstating the composite focus of the music (with respect to the previously mentioned variables that determined the 'cause'—and/or material state—of the music).  The reality of this section consists of fifteen phrase groupings (statements) that interact with the sound space of the music—and the final column is Section C3 (which contains twelve grouping statements that give the extended applications of this procedure—state).

Composition No. 62 was conceived in nine component material blocks that also contained eight improvisations inter-spaces.  The reality of this work is constructed to further the investigation dynamics of relationship sound columns—as this phenomenon provides terms for 'focus' objections (in the act of creating).  All of the material in Composition No. 62 was conceived as a response to moment decisions (and intentions)—based on my relationship with and perception of music/sound.  There were no harmonic and/or rhythmic overstructure dictates in the planning and 'appearance' of Composition No. 62.  The work was constructed as a medium pulse phrase (and multiple phrase) structure that 'pushed' the music in a 'particular' way (so as to create 'a state of being').  The instrumentalist in this regard is asked (if possible) to play a different instrument in each major section of the music.   

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Anthony Braxton, Composition Notes C (Frog Peak, 1988: 380-391)