Linearity / non-linearity
On and off I am listening for linearity, and how to contribute to it. In Dans les arbres it might contribute to a collective Webern-esque pointillism. In Huntsville it could be linearity made up from melodies so slow that I almost forget they are melodies. It is like Earth on half speed. 1
Our (multi-) linear motions may be pointing in several directions, simultaneously. The linear trajectory that I may envision while playing, has to correspond with the linear orientations of the other band members.
(are you sure?)
I treat my own linearity unjustly
I would rather jump the bandwagon
There is also a strong focus on verticality and stasis. A piece of music by Huntsville or Dans les arbres has both vertical sections with a lot of stasis, and linear sections. Or the linearity is so slow that it is almost static.
Our linearity, when it exists, seems to have elements of what Jonathan D. Kramer calls non-directed linear time: “In nondirected linear time there is no clearly implied goal, despite the directed continuity of motion.” 2 In our music there is no acute goal. But, interestingly, when we arrive at the ending of a concert, and are preparing to end, we very often seem to agree to have arrived at an ending. At the ending. As if the goal, when we arrive at it, is acute and precise, even though it is not discernible when we begin.
Usage
1. Dans les arbres’ occasional pointillism (00:52) is one of the motivations on Stop Freeze Wait Sing.
The motives in the electronically altered acoustic guitar is a derivate from Dans les arbres: (00:16)
1 And Earth is already on half speed. Listen to ”Old Black” from Angels of Darkness, Demons of Light 1 (2011) on x2 speed https://www.youtube.com/watch?v=buG8_LOgMOY (go to ”Settings” and choose x2 speed)
2 Jonathan D. Kramer. The Time of Music, New York (1988) by Schirmer Books, p46