The Enigmatic Symphonies of Instrumentism #2 by Lewis Gesner

Symphony of Instrumentism Two               

    Using my three note system of hest, midst and lest, this movement explores one means
    of generating the wide note, midst, pitches, as well as a visual equivalent that functions
as a spontaneous score and an illumination.  I use seven mouth part positions (m.p.p.)
here to form the phonetic sounds I will make.  These mouth part positions are
ah,   ooo,   eee,,, rrr   lll,   mmm,   and   zzzzzzzzzzz.

and they correspond roughly to the sounds you would make vocalizing with your mouth
apparatus positioned in this way.  Firstly, I have a piece of paper that completely covers
a wall.  This paper can be from a roll or may be made of separate pieces of paper that have
been attached to each other.  The important thing is that the papered wall surface will be
used like it is a single continuous piece of paper.  When the paper is in place (this prep.
Is not part of the live performance) I divide the paper in various rectangles, squares, and
even triangles using a highly visible marker.  In the upper corner of each of these shapes,
I draw an m.p.p. symbol.  That is the prep for this movement.  When the piece begins,
I enter the space and approach the papered wall.  I hold a colored marker in my hand.  I
take my time, then, choosing a place to start, I begin making a line.  The height at which I
start will correspond to the pitch I emit; above will be higher, below, lower.  I will make a
closed shape, not raising the marker from the paper.  The shape will take full advantage
of the size of the paper and wall.  The contours of the lines I will draw will influence pitch,
effects such as trill or tremolo, and anything else I can see to interpret in a direct responsive
way.  The phonetic envelop of the sound I make at any time will be determined by the
particular section I am drawing in,  with its m.p.p. symbol in the corner, making that
determination for me.  I can and will of course, make decisions concerning my path based
partially on what phonetic territory I will be forced to pass through.  Again, the marker will
not be raised. This will be a closed shape, begun with the first mark, and ended when the
            line I make circles around to the point where the line began.  I will vocalize simultaneous
to my drawing throughout in a point by point correspondence.  While I may dynamically
change in volume, especially if I have discovered a means of notating this parameter
with my line contour, the simultaneous vocalizing will always be implied, even if for
dynamic’s sake it is not heard.  This section may vary widely in the time it takes to
complete.  It should largely be a matter of inspiration, and if the drawing space allows,
not crossing lines and retaining the single closed shape theme as the larger parameter,
this movement may last as long as the sense of invention lasts.     
Weight Pitch Generator

    A square measuring two feet by two feet is marked off on the floor to the
    left or right side of the performance space, approximately six feet in front of
    the wall where “Evolution” movement has been posted.  The tape should be
    of sufficiently bright color to clearly demarcate the square from surroundings.
    A collection of small to medium sized objects (all of a size that may be held
    in hand(s)) are taken from a box and dumped into the square.  The edges of
the square are tidied up so the objects don’t spill over the tape borders.  The
performer then steps into the center of the square amid the objects and stands
facing forward. One at a time, the performer picks up objects and assesses
the weight, bouncing it in the hand, tossing it in the air and catching it and so
forth.  He makes an evaluation based on a mental scale of from light weight
to heavy.  This scale may be adjusted in relation to other objects he picks up
later.  He now thinks about his vocal range in terms of pitch, and makes a
pitch equivalence judgment in relation to the weight of the object; a heavy
object will have a related lower pitch in his vocal range, a medium weight object
will be in middle range, and a light object (again, this will become relative to
other objects)  will receive a pitch at the higher end of his range.  He then emits
this pitch, sustained for the length of a breath with no vibrato.  This done,
the object is returned to the pile he stands in, and another object is plucked
from inside the square.  The same process is performed again, this time also
measuring the objects weight and related vocal pitch in memory to the last
object.  The pitch chosen will then be in relation to the weight and related
pitch of the last object.  This is repeated many times, the relationships of
object weight to vocal pitch become more precise, repeatable and accurate.

Weighted Roller Roll Emphasis

A square measuring five feet by five feet is marked off on the floor to the left
    or right side of the performance space, on the side where the other square
isn’t, approximately six feet in front of the wall where “Evolution” movement has
been posted.  This tape should also be of sufficiently bright color to clearly
demarcate the square from surroundings, but of a different color from the other
square of tape.  Cardboard rolls of different sizes will be placed now in this
square.  Some will be the size of empty toilet rolls, while others may be lengths
cut from poster tubes, and much larger diameter pieces, cut from cardboard
cement column forms.  Several bags of stones will then be placed in the square,
a roll of duct tape and a razor.  The performer enters the square himself.  He
sits or squats facing forward.  A cardboard roll is picked up, rolled along the floor
 in front of the performer, another is picked up, and so on until one is selected.
A stone is now taken from one of the bags.  A piece of duct tape is cut, and the
stone is taped to the inside of the chosen cardboard tube.  The tube is then
rolled outward from the square, forward into the audience area.  The rolling
pattern is observed.  A second choice of tube is made, and another stone is
selected.  It is also taped to the inside of the roller, which is also sent rolling
out of the square and observed for special rolling emphasis and characteristics.
Others will be done, now in obvious variations.  Multiple weights may be placed
inside the rollers to observed possible complexified rolling patterns.  These
are also acts that may be specifically scored.  Here are some scored “rolls”
that may be interpreted, and further specified for more exacting weight and roll