As was mentioned in this post the form for “Repetition repeats all other repetitions” is open in the sense that a the piece can be played in a number of different ways. The inspiration for this form is a dialog between two people involved in a creative work. Although certain passages are linked together and despite the fact that there is a certain sense of continuity in the material of which the piece is built there is no right way to play the piece.
One of the great difficulties with a piece like this concerns the notation. How can I give the performer a sense of freedom of choice in the way the material is laid out on paper? As can be seen in this excerpt of the score the notation is fairly detailed and by its very nature fills up lots of space on the paper. One way to resolve this would be to have multiple levels of notation:
- first section of choices
- entire score
- The beginning of the piece is set. It starts with a presentation of the first motive.
- After about 45'' the first motive enters a state of transition (the box enclosing the 'motive 1' line)
- This transition is ended by a cue that can be taken by either the guitarrist or the computer part.
- Following the cue is a state of ambiguity. Either the guitarrist or the computer part may take the initiative to enter the next stage. Whoever takes the initative, the other part will make a decision on whether to go along or against the path chosen.
- This schemde is repeated until all the material in the score has been presented.