In 1981 I began developing a project I call the Long String Instrument. The sound of the instrument is unique but can be described as a combination of the sounds of bowed strings, a reed organ and tambura. The strings terminate into acoustic wooden box resonators. The installation has a flexible configuration and pitch range is determined by room length. A c-clamp on each wire changes the tuning of the vibrating string length much as a capo on a guitar. The instrument is bowed with rosined fingertips that glide lengthwise on top of strings as the performer walks. When passing over the harmonic nodes, overtones associated with that string length division emerge. The variations in overtone production can seem to transform a single chord position into multiple chords as the performer walks. The cascading overtones glide over the rooted fundamental tone like a river moving past: always changing; yet remaining the same. The measurement of time can be determined, to a certain extent, by distance walked. A graphic notation system references a metric tape measure placed on the floor, “choreographing” repeatable events to occur at specific locations. Spectrum analysis has revealed that every harmonic overtone of the fundamental being played is represented nearly equally all the way through the upper limit of hearing. By accurately tuning the fundamental tones using Just Intonation, combinations of extended overtones can also be distinguished as having pure harmonic relationships.

Event Locations No.1 (excerpt)

My intention in composing Event Locations No.1 is that it works on multiple levels; not only in the fundamental content, but also in the resulting overtone configurations. Working intuitively, variations in overtone colorations were triggered by the addition of new pitches into the mix, at specific locations based on string-length nodal points. These tones can be nearly silent and still evoke a response from the strings being sounded. The overtones of the chord sometimes remain altered into the new direction even after the trigger note is no longer being sounded. Interestingly, it is not necessary for these added pitches to be obvious simple harmonic relationships to the fundamental tones. A visual analogy for me is a candle flame blown by puffs of wind from different directions, responding fluidly to manipulation. The video concept is inspired by a series of pieces by Phill Niblock where he uses miniature cameras to document artists at work. I wanted to show an intimate view of the finger contact with strings in order to convey variations in hand position and the resultant sound. The static quality of the camera position in relationship to the hands ironically cancels out the motion of walking taking place. In a live performance, video signal is sent to two projectors that project large-scale images, side by side.