The Enigmatic Symphonies of Instrumentism #6 by Lewis Gesner

Symphony of Instrumentism Six                    

Pitching Points and Travel Lines

The performer walks into the space.  At his side is a sack in which are 150-200 black circles
of 4 inch diameter, and 150-200 red circles of 4 inch diameter.  As he reaches the center of
the space, he steps backward toward the wall, then takes the circles out, red in one hand
and black in the other, and throws them up into the air so that they scatter outward in all
directions.  He then walks to the circles to pick them up one at a time, always going to the
nearest to pick up regardless the color.  While walking, he emits a continuously rising and
falling glissando over his midst note, using any one of the M.P.P. (mouth part positions
that, vocalized through generate one of seven different phonetic sounds.)  For the black
circles, the performer sings the Lest, or, his lowest note.  For red circles, he sings his
Hest, or, his highest note.  When he collects the circles, as he arrives at the circles, he
sings their designated note, then puts them in his sack and moves to the next closest,
singing his midst glissando as he walks and travels between circles. He performs in this
way until all the circles are collected.

Sing Stall Phrase Building

The performer puts blue tape down on the floor, laying a long strip along the back wall the
length of the performance space.  He then lays a line from one end at ninety degrees
out toward the audience.  In a few feet he lays down another line of tape at a ninety
degree angle toward the audience, in another few feet, another line, until there are five
lines at ninety degree angles from the long line, beginning at one end and terminating
at the other.  This creates six stall-like slots with open ends to the audience.  He then
brings six cards out of his pocket.  On each is graph paper and on the graph is a big
black dot or a small black dot.  If he turns the card over, you can see that the
opposite side of the card is also graph paper and a dot, but the dot is the oppsosite of
what is on the other side; one side is a small dot, the other, a large dot.  The performer
goes from one end of the long line to the other, throwing a card into each stall along the
way.  He then begins a return from the other side, stepping into each stall and emitting a
sound and nature based on the side of the card which is face up.  If the large dot is face
up, he stretches arms and legs out as far as he can from a standing position and emits a
black noise voice with as much force and intensity and length of breath as he can.  If the
small dot is face up, he appears to crumble, even crouching small in place, and emits a
weak and diminutive black noise voice which quickly fades for loss of breath.  This is
performed in each stall until all six of the cards have been collect and the performer is
at the other end of the space.

Parsing Tape

Three rolls of transparent adhesive tape are produced.  They are each 1200 or 1400
inches long.  The first tape is used to run continuous unbroken tape along the back wall
from far left to right, onto the adjacent wall, and onto another if available; otherwise,
back again, or even down onto the floor until all of the first roll of tape is used.  The
second roll is produced.  This roll is snipped into lengths two or so inches long.  The
lengths are stuck to the floor and then on top of each other in a stack before the
performer until that roll is used up.  The third roll is produced.  A cardboard paper towel
tube is also produced.  The third roll of tape is wrapped around the tube unbroken, around
and around until it is used up.