text based tuning piece

I rarely write a piece in this form but since i did and i have can't remember seen one like it on any of these list,I. thought i would break the ice.
The piece is named after a composer Adam Overton who uses bodily rhythms as a determining factor in his performances.

I seem to keep tinkering with it bit , but this is so close to its final form it seemed okto post

GENDHING OVERTON-META SLENDRO TUNING)

For as many players in as large of area possible within sounding distance. Players are free to move to explore interaction. Outside somewhat reverberant spaces preferred.

This notes in this tuning* fall into groups of 2 and three note concentration of pitches that cause beating. Pitch is to be as precise as possible. Each of these groups will now be considered a living tone.

When asked to perform a tone, one or all of the elements (notes) can be emphasized or not, simultaneously or in succession, and the player is free to move from one state to another. There are two factors informing that act upon what one plays
1) To hold onto a state until one has absorbed it
2) That nothing, much less the living is still in the universe. The interaction with others will commonly produce movement in ones tone, making individual movement unnecessary

Each player chooses one tone at a time according to what they feel most intuitive drawn, or hear. The latter possibly increasing as the piece progresses. One should not choose tones �randomly� in a mechanical robotic fashion but retain one�s natural imagination.

Duration also is informed by a number of factors that pull in different directions.
1) The duration of a tone is between 3-7 breaths. Resting between 2-5 breaths. Once experienced one should dispel with counting, thinking of the duration and rest of a tone as a single breath which one repeats
2) One should not feel compelled to impose in an ongoing interaction nor feel required to stop one. The ear is to have a priority over these instructions being informed by uniqueness that presents itself.

The duration of the overall piece is likewise informed by a number of factors
1) This can vary from what feels like a few hundred breaths as in 223 or 418, to maybe 1,556.
2) One should not feel compelled to stop or continue beyond what the unique factors of the performance dictate. While often this will be dictated by clock restrictions from the outside, this should be considered unfortunate but sometime inevitable

*The original set of pitches being the 12-tone version of Wilson�s Meta Slendro as generated by Mt Meru. Spanning the harmonics 7-200. (7, 9, 12, 16, 21, 28, 37, 49, 86, 114, 151, 200) One could not only use a different seeding of this recurrent sequence (Subharmonic versions are also an exciting possibility) but one could take it up to other cyclic points, such as 17,22, and 27 pitches. Adding pitches would involve more notes being incorporated into each tone. Other recurrent sequences possible. These alternatives are best only after some experience with the composition. Beyond this point care should be taken not to add so many pitches that the distance between one tone and another becomes ambiguous.
KRAIG GRADY 7/17/006

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Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
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