45 Delusions with the Merce Cunningham Dance Company

45 Delusions was commissioned by the Walker Art Center for an event with the Merce Cunningham Dance Company (MCDC) as part of the Common Time exhibit and performance series. The piece was performed and recorded with the dancers on March 30, 2017 in the Perlman Gallery at the Walker Art Center, Minneapolis. My setup included Rhodes, Moog Sub 37, PreenFM2, Korg KP3+, and a Moog Minifooger Delay. Graham O’Brien performed on percussion and electronics triggered from his drums.

John Keston's Setup for the Common Time Event

My Setup for the Common Time Event

The score is two pages. The first page (pictured at top) is the timeline for both performers. The timeline is vertical and made up of cells that last between one and five minutes each. Frequently the cells correspond with each player, but they are arranged so that at times they overflow. Rests are also included as cells. Each cell includes brief instructions and/or graphics that give suggestions to the musicians. Some of the instructions are expanded on the second page of the score.

Graham O'Brien's Setup for Common Time

Graham O’Brien’s Setup for Common Time

The second page also includes a list of forty five delusions. These include terms such as alternative facts, capitalism, corporate culture, equality, freedom, fossil fuels, greed, justice, and so on. There are also a few technical delusions such as erotomania (belief that a celebrity is in love with you) and lycanthropy (belief that one can turn into an animal). The second page explains the delusions and what to do with them:

DELUSIONS
Anything that might be considered or is delusional. These are not necessarily medical or technical examples of delusions and may involve individuals, societies, or organizations. Prior to performing the piece, each musician chooses one “delusion” applied to each cell within the score.

Take a look at the PDF at the end of this article to see the complete list of delusions as well as expanded instructions for some of the cells. Obviously this is an improvised piece of music, but this approach steers the improvisation in directions that would be unlikely to occur freely. Particularly the timing. As one performs or listens to the piece it is possible to discern distinct variations as the musicians transition from one cell to the next. If you are inclined to listen to the piece in full, try following along with the score and placing a SoundCloud comment where you hear the cells change. The timing on the recording doesn’t exactly match the score, but it’s pretty close.

The reasons I took this approach are multi-faceted: (1) It keeps the piece moving. Often free improv tends to stagnate as ideas are repeated and refined. With this approach the challenge is to express ideas with concision and then move on to the next (this is possible, albeit rare, in free improv – we call it channel surfing). (2) It is possible to strictly define the length. We used a timer that counted up to 30 minutes. One quick glance at the timer illustrates the need to move on to “High Speed Arps” for example. (3) Mood, dynamics, and theatrics can be injected to create a narrative with scope and meaning. It is a way to ask questions, discover sounds, explore, and experiment. (4) It enhances my musical engagement. I am influenced by my collaborators and surroundings, but I’m also interpreting the language of the score, and hopefully to the benefit of the musical output.

45 Delusions by John C.S. Keston (148K PDF)

In Habit: Living Patterns Complete Collection on SoundCloud

I have made the entire collection of pieces that I composed for “In Habit: Living Patterns,” performed at Northern Spark in June, 2012, available as a set of sixteen tracks on SoundCloud. This set will be downloadable for a unspecified time window, so get it while you can.

Duet from In Habit: Living Patterns

This is the fifteenth of sixteen pieces that I composed and performed during each vignette of the dance production “In Habit: Living Patterns,” performed at Northern Spark in June, 2012. This is also the last of two of the pieces in the series that I used a patch that I programmed to simulate a Japanese reed instrument called a shō.

Revision from In Habit: Living Patterns

This is the fourteenth of sixteen pieces that I composed and performed during each vignette of the dance production “In Habit: Living Patterns,” performed at Northern Spark in June, 2012. This one was based on the Eight Minute Drone that I shared last year.

Languages from In Habit: Living Patterns

This is the thirteenth of sixteen pieces that I composed and performed during each vignette of the dance production “In Habit: Living Patterns,” performed at Northern Spark in June, 2012. This one started out with the polyphonic wind I shared last year.