BEN JOHNSTON KNOCKING PIECE NOTES OF GENERAL INTEREST “The ehythmle structure of KNOCKING PIECE 1s derived trom the haerionic intor~ valle stautare of Johnston's composition ASEADIRGE (written n just intonation) Johaston "wansposes" the ratios of tho harmonic intorvals of A SEA DIRGE Into the elm of rhythm. In other words, tho harmonic intervals afo "slowed down’ fo that they aro perceived ne chythen. Az on illustration, the fiest harmonic {ncerval in A SEA DIRGE ts a partect fifth, which is "venapoued" tothe rhythm of 4:2 in KNOCKING PIECE. In this way, Jolnston demonstrates a wholiste ‘lew in which melody, harmony, and thythn ate based on the same proportions. oth A'SEA DIRGE and KNOCKING PIECE wero originally intondod to accompany fe theatsical perlonance which, for various reasons, never ame to fulton. In the theatrical work, KNOCKING PIECE was to accompany a flim of @ soldier ‘ecuming trom war to his Bombed-out home town. Whon he orves, the only house left standing ie his. He Sronticelly lees to gat into hs house, climbing {allover it, knocking fo get dn, but to-no avail, It's boarded up. In tie content ff the film, KNOCKING PIECE is the demonic transformation of A SEA DIRGE — the othor sido of the coin; a ell image, KNOCKING PIECE can alto be viewed 9s an attack on tho symbol of Western musical culture — the plano. In Johnston's ow words: You sxe these two perforners approach the plano and take the top off i and {90 t0 work, They look like surgeons becouse they have to concentrate soars ‘You have the feeling that some nor of black operation 1s taking place, that tho plano will nover bo the tame agein, People do indeed get very upset. Tels a ‘work that implies violence, even vandelism. AS such, itis @aisturag wark Heit ts playod properly it will d0 no harm (to the plano). tt won't even seer the Instruments you're not supposed to hit st in places thet would. Thove is no feason, if the strings are in good condition, why any damage should be done whatsoever."‘The tustaining pedal can and should be used, ad lib. Pitch should be used only (Sr coler, at all. Typical plano sounds should be avoided. The same sound Should be used for suovessive notes which have the same specd, but contrasting founds (to varying degrese) should enter with each change of note speed. The ‘equal marie across ber lines moan that the same note speed should be maintained In spite of a change in notation. In general, speciilc kinds of sounds should brodominate within a given phrase. All sounds should relate to knocking. A ‘Feneral dynamic level is elven for Sach phvese (within boxes, at phase besin~ fhingal, Changes of dynamic leval ace also indicated, The tempo of the opening Tarat the portormare' discretion? It is stict thereafter. Not all the notes must be played. Rests ace permitted if rhythmic pattems aro clear 1 the unity and simplicity of the knocking sounds aro ovecomphasized, tho eali~ ation will be monotonous. Ifthe rationally controlled shifting of tempt are not [mostered, the realization willdeteriorateintofetoned vandalism. If the marathon (Gnasable cooperation and concentration required fail, the performance will be Imposeibe to exacute, A splat of competitiveness between the perormers wil Gestroy the plece, ‘The playere must be irlnde; in quick alteration each must bupport the ether. Cosrieh © 1978 ‘By SMITH PUBLICATIONS “A Rights Rese88 / Music of Ben Johnston A SEA DIRGE ramp 2. Denning mennuon of A So Digs, CopyHght S914 by Sith Pubiicalions. Used with permissionKNOCKING PIECE two percussionists on piano interior and exterior BEN JOHNSTON ias/mclsumpeted Mural tere} a hen + eT ye PIT = Cooyrht © 1978 By SMITH PUBLICATIONS All Right Reseed