Program Notes Steinway Hall [NYC] April 25 and 26, 1967.

The music heard on these two evenings will consist of sections from the following two compositions. SOLO TIME LAG MUSIC FOR SOPRANO SAXOPHONE (1963-present) This composition utilizes the time lag accumulation technique I first explored in the music for "The Gift" in 1963. All the material that I am playing subsequently recycles and combines in an accumulative manner. In this way many generations of the material can be quickly built up without having to add each track one at a time, therefore adapting itself naturally to use in live performance. This is the freest of all my recent work as the automatic ordering of the material in the timelag accumulation process allows me to play quite complicated material which then is arranged into loops and recycled. I have found this such an effective way of producing music that it has occupied the larger part of my time since 1963. I have written no scores for this music as so far it has all been governed by an intuitive relationship developed between me and the machines. I do have a catalog of material which I use as a basis for these improvisations and am constantly adding new patterns. However, I want to keep the music in the tradition of unwritten improvised music. -- T.R.

KEYBOARD STUDIES (1965-present) The keyboard studies are a part of a work begun in 1964 and are also improvisatory in nature. The two hands combine repeated patterns of varying lengths. Cycles that combine 2-9 beats and any combinations thereof are matched in spontaneous selection, either hand capable of shifting independently to another cycle. The product is polymetric cycling and combined patterns can range to any length -- a result of being the common denominator of the 2 component patterns. All patterns are built on a preselected mode or scale. Occasionally melodic passages may be introduced which are composed of a number of patterns linked together. -- T.R.