Comp. 76 http://www.restructures.net/CompNotes/076.

htm

Composition No. 76 was composed in the fall of 1977 for this particular recording. The
realization of this project would have a dynamic impact on the projectional thrust of my activity
in this period (i.e. how I perceive my activity in both its spiritual-vibrational and scientific sense,
and what this means when applied to methodology (regardless of thrustpertaining to what we
call music, art, dance or sculpture for the composite realness of world creativity). For creativity,
as understood through the progressional thrust of world culture, can be viewed as activity
(doing) that aligns us (on either an individual or cultural level) to the greater cosmic realness of
being on this planethaving to do with helping us experience this sector in space (the
universe)in spiritual and vibrational terms, while also serving as a cosmic connector to those
forces which reveal what this experience (living) could mean in its most positive state (if
'positive' is the desired zone).

The actualness of Composition No. 76 would move to clarify the direction my work has taken
in the last ten years, and also give insight as to what this work will mean when translatedand
integratedto the composite meta-reality of world culture (after the transformation of this
period). vFor this composition was not designed to adhere to either the current misconceptions
surrounding the word "jazz" (with respect to how the science of that thrust is viewed, or
so-called viewedin this time zone) nor can this work be defined in "western art music" terms.
Rather the meta and empirical foundation of this work was conceived with respect to the
spiritual and composite vibrationatory affinity-arena of world culture.

Because of the dynamic implications of Composition No. 76 as a vehicle documentary and

important projectional route of my activityI have included two versions of the work (each with
different musicians) on this recording. There will also be extra liner notes inside the record, and
hopefully this information will provide an expanded framework for experiencing the music. I
would like to thank the musicians who participated on this recording for the positive
encouragement and hard work given to this project. As is always the case with creative music,
the actual creativity is an affirmation and testament to all the people participating in the music.

Composition No. 76 was constructed through a system I developed in September 1977 that I
now call "Modular Notation." This process establishes an expanded functional and
meta-functional arena for the creative musician while also signalling what route my own
"re-solidification" into the composite arena of world culture would take. (I do not mean
"re-solidification" in the sense that my activity before was separate from world culture, but rather
as a concept to comment on how my own affinity alignment has expanded [changed] in the last
three or four yearsand in what direction.) The use of "Modular Notation" would provide
another area of investigation for the multi-instrumentalistfor this process provides an
expanded utilization of creative options within notated structure as well as expanded demands
on multi-instrumental techniquesand while doing so moves to establish new compositional
(and conceptual) areas for the creative restructuralist.

The actual execution of Composition No. 76 would open up several new functional areas.
One of the most basic features of this work would involve the concept of "routing" (having to do
with the sequencing of material) to dictate the actual shape of the formprogressional
sequenceof the composition, and also "routing" in regards to how each module (dimensional
multi-structures) is to be executed. To better experience what this compositional technique
means in real terms, I have included two version of Composition No. 76 herein (each version

1 of 9 11/03/17 13:06
Comp. 76 http://www.restructures.net/CompNotes/076.htm

has been designed with different co-ordinatesthat is, different sequences and possibilities).
Thus, the organization of this work can be viewed with respect to the idea of controlled
co-ordinates (the use of prepared sequencing before performing the piece) and spontaneous
co-ordinates (how each individual musician treats a module) (dimensional multi-structure).

This composition has been designed as a result of the multi-instrumental breakthroughs that
have occurred in the last time cycle (I am speaking of the AACM activity in particular) and the
actual execution of the material on this record is directly dependent on the particular
instruments in each musician's arsenal. The dimensional structures (modules) have also been
designed with respect to the significances of coloras a vehicle related to both vibrationatory
zones (mystical or functional)\as well as "musical language."

The creative musician in this context utilizes an increased operating arena as both interpreter
and improviser. For Composition No. 76 does not function as a "head" or generating factor (in
which one would play a theme and then commence to improvise) but instead was conceived
with regards to the total infra-structure of the music. What this means is that the performer's
responsibility takes on a different role from that of the classical or improvising tradition (as it is
viewed in this cycle). The interpretation of this composition would thus involve executing the
fixed elements of the piece in both a traditional and extended sense; that being: reading and
interpreting both conventional notation (in five clefs) to alternative fixed elements (i.e. modules)
wherein the performer has the option of reading a figure forward or backward in the sequence of
her/his choice.

The use of improvisation in Composition No. 76 is regulated by color and shape. Which is to
say that Composition No. 76 was not designed as a vehicle for open-ended improvisation, but
instead utilizes improvisation as a "creative-sound-burst" consideration. Just as in Japanese
painting where the essence of a given image is reduced to its most "real" manifestationand in
so doing, utilizes only what is most relevant to its "isness," so does the concept of
"improvisational bursts" move to eliminate extra sound for the "vibrational canvase" of the
music. This then is a music designed with respect to multi-dimensional extensionthat is: a
structure designed with respect to both astrological (spiritual) and scientific information. This is
a composition designed as well as choreographed with regard to alternative viewpoints
concerning theater and movementdance(the actual notated music as well as how the
performance is presented in concert [spectacle]). At the heart of this work is my desire to create
a composition that in "transformation" can function as a "ritual" activity (when the composite
astral and vibrational precepts are established for rebuilding culture for the next cycle). In
actual terms Composition No. 76 was created from the composite information I have been able
to obtain about life on this planethow it is perceived, and what this experience on earth really
means (or could mean) as viewed through the collected information handed down to us through
world culture (or at least what I have learned, or what I am trying to learn, in and for my life).
Yet I have not meant to give the impression in these notes that I have "arrived" (or that I
understand something about this planet in the sense of "spirituality"as utilized in the sixties
and seventies) because that is not the case. Rather Composition No. 76 was conceived with
respect to what I would like for my work to bein its most positive stateas well as what I
perceive to be an attractive and meaningful route to take for my life (and activity).

[NOTE: all of the above text appears in both the For Trio liner notes and Composition

2 of 9 11/03/17 13:06
Comp. 76 http://www.restructures.net/CompNotes/076.htm

Notes D; the following two paragraphs which conclude the For Trio liner notes do not
appear in Composition Notes, which continues after these two paragraphs]

MATERIAL

Composition No. 76 is designed for the total dynamic operating arena of the new multi-
instrumentalist. Every moment is organized and preparedfrom the use of notation,
improvisation, on down to the use of percussion (or what the AACM calls "little instruments").
This work also utilizes "fixed" material in several contexts. Each musician has been given one
electric airhorn, three soprano airhorns, and two normal airhorns. To this are added a various
assortment of home-made instruments (i.e. tubular horns in both soprano and tenor range) and
extra percussive instruments. The combination of both fixed and open material gives this work
a very special hue (color).

CONCEPTUAL FORMATION (INTENT)

Composition No. 76 was created as a vehicle for both multi-instrumental and vocal music.
The vocal sounds used in this piece were chosen because of their "extra" vibrational
implications as well as musical implications. The use of vocal techniques in this composition
advances the work I have been doing in this area since 1967 (i.e. {Comp. 6E}) which utilized
vocal sounds for the "open-end" improvisational arena or {Comp. 6P} which was conceived to
function as a three part system work (involving the use of collective improvisation-song
formand solo situation with accompaniment).

Anthony Braxton, liner notes to For Trio (Arista AB 4181)

For Trio liner notes also available as

Composition No. 76 is an extended structure for three multi-instrumentalists that was

composed in 1977. This is a sound forum structural environment that defines a fresh basis for
creative interaction and focus. Composition No. 76 is a network of expanded material options
that can be put into any order. The actual notated music (that forms the material of the work) is
written as an independent page component that can be intermixed into any desired sequence.
The use of this option gives the work an extended personality that can be reshaped on many
different levels. This is a unison and multiple phrase grouping based sound continuum that is
intermixed with controlled improvisation devices. Composition No. 76 is a dynamic structure
that contains many different levels of conceptual and material operatives throughout the whole
of its composite form. The thrust of this effort attempts to integrate color and shape variables
into the operational scheme of the musicas a basis to generate fresh creative responses from
its instrumentalists. This is an expansive sound environment that attempts to extract more than
one responsibility in the music. What this means is that a given interpretation of Composition
No. 76 involves more than executing one instrumentin the traditional sense of how that
function is perceived. Participation in this work involves functioning as an instrumentalist,
vocalist, actor and 'presence.' Composition No. 76 is an extended structural platform that was
conceived in conjunction with the breakthrough that developed in the post-AACM continuance
of the music. The work makes use of the new multi-instrumentalism that has solidified from this

3 of 9 11/03/17 13:06
Comp. 76 http://www.restructures.net/CompNotes/076.htm

movement. A given performance of Composition No. 76 is conceived to provide a context for

each musician's own collected instrument arsenalas well as specified materials (and
devices)that must be purchased before any performance is possible. The work was initially
conceived as a theatre piece that incorporates the dramatic dynamics of presentation (and as
such the reality of its presentation extends into many areasand factorsnot normally
associated with traditional music interpretation). A given performance of Composition No. 76 is
a ritual presentation that calls for the use of specially designed robes and stage ornaments.
This is a solemn presentation that unfolds slowly in the 'drift' of the moment ('as if in another
world'). Composition No. 76 was conceived as an offering that involves its instrumentalists and
listeners in a unified state. This is a spiritual work that is concerned about spiritual matters.
Moments in this sound state are like brief occurrences that float in and out of the time/space. In
this fantasy events are moving so fast that it 'appears to be slow' ('and we are caught off
guard'). Moments in Composition No. 76 form and dissipate in brief light flashes that give no
sense of linear continuity ('and expectations'). To experience Composition No. 76 is to enter a
'temple of sound' that calls out for our sense of well-being. There is no happiness or sadness in
this spaceonly 'the experience.' Composition No. 76 is dedicated to my friend Nantambu
Mwanga.

Composition No. 76 was conceived as an expanded context for three instrumentalists that
attempts to provide terms for creative exploration. The reality of this forum was conceived as a
dynamic sound continuum that emphasizes the collective interchanges of its composite
ensemblerather than the 'wonderful' soloist. All events in the structure were established to
provide terms for this interactionso that we can better understand the wonder of vibrational
dynamics and 'sound focus.' There are no extended solos in this work, nor does Composition
No. 76 attempt to impress us with 'momentum' (so that 'one might pay attention'). This is a slow
unfolding procession of events that affirms one central attitude and presence. Within this reality
there are given definitive sections that emphasize particular register and/or focus objectives, but
even this information doesn't change the essential nature of the music. Events in Composition
No. 76 are regulated by a system of structural point cues that constantly shifts in and out of the
music. Moments in this sound world come together from nowhere and dispersefrom its own
logic. There is no development at all in Composition No. 76 and the work also extends from an
impersonal material basis. As such to view the realness of Composition No. 76 it is important to
understand its relationship to the composite developments that have influenced the nature of
present-day expansion dynamics. This is so because the challenge of the post-AACM cycle of
the music calls for a new kind of instrumentalist and structural context that extends the
responsibility and dynamic implications of the music. The thrust of this phenomenon has the
need for extended structures that utilizes many different instruments and perceived separate
disciplines. Composition No. 76 is a reality context that provides a unique response to this
phenomenon. Improvisation in this work was perceived in the same sense as in Japanese
brush paintingeverything is used very sparely. The solidification of this work would solidify
the concept of what I call 'improvisation burst'which is the phenomenon of short
improvisational statements intermixed with an open structural context. A given interpretation of
Composition No. 76 involves a procession of light sound events that emphasizes given 'moment
crystals' or 'sound exercises' (in small 'pockets' in the sound space). This is a delicate music
type that moves forward in small 'sound spots' (from the 'shadows' of the space 'into the light').
Composition No. 76 is constructed as a platform that includes the use of 'little instruments' (for
extraneous individual soundsfrom whatever sound source). The use of this variable is

4 of 9 11/03/17 13:06
Comp. 76 http://www.restructures.net/CompNotes/076.htm

intermixed into the fabric of the musicin the same sense as traditional instrumental sound
input. To experience this work is to enter a dynamic sound state that is constantly changing.
The third structural operative of Composition No. 76 involves the use of extended vocalization
throughout the whole of the work. The instrumentalist in this context is asked to (1) sing in the
open space of the music (inside the invention fabric of the music) and (2) use vocalizations
inside the traditional sound of the instruments (to affect the timbral sound of the instruments
(to affect the timbral nature of the music). What this means is that a given interpretation of
Composition No. 76 calls for the complete talents of its performing instrumentaliston every
level.

Composition No. 76 was constructed to include the use of additional accessory sound
materialsas a sound universe of fixed and open occurrences. A given performance of the
work calls for the use of various types of megaphones that are to be used in the vocal
improvisations whenever possible (or desired). I have also included a general list of small
instruments and sound devices that are to be used inside the music. The combination of fixed
and open sound materials gives the work a special hue and presence. In the future there will be
more structures from this context'project-like' compositions that call for fresh responses and
dedication from their performers. The additinal material in this case consists of small wooden
flutes and specially designed megaphones made from a water hose broken into different
sections. I selected this material based on its ability to provide extended options for vocal
improvisational dynamics. Composition No. 76 is a dynamic forum of slow moving sound
exchanges that appear in 'sound dots' in the space of the music. This is a music space
that contains extreme sound emphasis and focus. To experience this work is not to hear a
continuous succession of eventsin the sense of events that flow from momentum into its next
materialization (or 'act')rather in Composition No. 76 there is a static 'dribble' of isolated
events that come together and apart without any sense of 'applied' momentum (or 'urgency').
This is a 'lifeless' sound space that is somehow happening in spite of itself. Ideas are presented
that are not acted on, material moments form and are left 'hanging.' Even the 'perceived'
changes in the music are not really changesbut are instead illusions. Composition No. 76 is a
continuum of events that reveals itself to us in its moment actualization (as in a series of 'is'
revelations whose inner sound components 'contain all that is needed to win our respect' (and
'attention'). 'Perceived' continuance in this work involves the realness of the moment (and the
resulting decisions ('choices') of a given moment. Here is a theatre piece that is cast in stone
and etched in the course of music history. To experience this effort is to allow it to happen
without one's mind 'getting in the way' of the music. To perform the work (in its intendedor
most desiredsetting), specially designed platforms (in the shape of the No. 76 insignia) must
be built to accomodate the instrumentalists. To see the work being performed is to see the
moments and 'separate concerns' of three instrumentalists ('as they come and go' in the
music). This is an isolated sound space forum for both its instrumentalist as well as the
'experience' of the music. By establishing this feeling Composition No. 76 is in effect realigning
a kind of ancient change context ('as in in a monastery or closed time/space') back into our
consciousness (or 'into our consciousness'). It's time to get ready for 'the past' (and the
'vastness' of existence).

Composition No. 76 is an extended network of forty structural points that extends into
the space of the music. The reality of the work moves to establish both a fixed and open
material state that gives a unique presence to the music. The actual written material is

5 of 9 11/03/17 13:06
Comp. 76 http://www.restructures.net/CompNotes/076.htm

constructed in twenty autonomous material sections that can be put into any order sequence
(for performance). I have also composed two additional structural sequences that can be added
to the principal material ingredients of the music. This additional material provides an extended
notated column of instrumental to vocal material shifts and gives a special 'presence' to the
music. Emphasis in this context centers on the interchanges of a given sound state and the
infra-reality of sound mixtures. Composition No. 76 is a universe of sound constructions and
moment relationships that establishes a forum for creative involvement (and surprise).
Improvisation in this context is fitted into a notation process that makes use of modular material
options and directives. In this process there are always three available material components
integrated into the improvisation affirmation of the music. Modular notation is a system of
organization that integrates fixed notation with color, improvisational fragments, and material
phrase grouping cross-components (or constructions). With this technique the instrumentalist
can enter a 'state of improvisation' that provides open and fixed variables for moment
postulation. The reality of a given modular postulation. The reality of a given modular
improvisation moves to solidify a time/space ritual-like sound state whose given moment
particulars are a 'series of happenings' to experience. This is a multi-dimensional music state
that proceeds into the forward thrust of the music. A given sequence from this continuum is
open to a spectrum of influencesand three improvisation 'influences'each of which is cast in
its own emotional color. By the term 'influences' I am referring to the use of three
improvisational criteria: that being (1) the use of improvisational phrases (as a dominant
factor in the improvisation or (2) as a language music material emphasis (that isolates
one or more factors from a list of language music variables as a basis for invention) and
(3) opposition improvisation tendencies (tnat being 'perceived opposite' to what's
happening at that given moment in the music). The dynamics of modular notation
establishes a multiple context of materials and conceptual objectives.

The actual fixed material spread of Composition No. 76 can be viewed with respect to its
moment to moment decisionsas the music unfolds during the 'perceived' moment of
actualization. This is not a thematic or pre-set material state but rather a continuum of
intentions (that have 'through doing' become 'fixed'). Each section component consists of at
least one fixed material set and one modular material set. As such to view this
phenomenon is to follow two different strains of thought and continuanceone of which is
concerned with the linear nature of material exchanges as this phenomenon relates to the idea
thrust of the music (in its preparedor composedfirst state) and the other is concerned about
the moment significance of a given modular improvisation (as this phenomenon moves to give
us insight into the musician's personality and 'life presence'and the realness of the
'experience'). Composition No. 76 is a platform for many different objectives (and people) that
can be utilized in the search for vibrational disciplines (to focus energyand 'expand'). This is
an involved structure that 'gives nothing in return for one's time and energy' (and this is of
course what is needed). This is a vehicle for 'doing' and 'transforming'for both the
instrumentalist and listener. There is now a need for structures that make us excell at the
wonder of discipline and 'sound thought.' A given version of Composition No. 76 can be for any
durationdepending on the needs of the moment, and the material of the music can be
repeated as many times as needed (in any order). What this means is that the work can be
approached as an elastic sound forum that can be used to meet 'positive' objectives (only
positive objctives, hopefully).

6 of 9 11/03/17 13:06
Comp. 76 http://www.restructures.net/CompNotes/076.htm

Composition No. 76 was composed in conjunction with a recording date project that
materialized for me in the summer of 1977. For that occassion I recorded two different versions
of the work so that the listener might better be able to experience the diversity of the music.
The instrumentalists on the first recorded version were Henry Threadgill and Douglas Ewart,
and on the second version Roscoe Mitchell and Joseph Jarmen. At present (January 1984) the
work has never been publicly performed. The completion of this work would provide an
important breakthrough for my musicand this is especially true for my small ensemble
structures. For the thrust of my small ensemble has seen much emphasis on extended
improvisation (in my coordinate set of extended structural musics) because of the
extracurricular factors that have nothing to do with music per se, but rather the business of
music (and my ability to make a living). This is not to imply any lack of enthusiasm for extended
improvisationbecause I am excited about this aspect of music involvement (and this has been
and is important to the life's blood of my work). Rather Composition No. 76 would provide an
alternative extended structural context that gave balance to my instrumental and compositional
tendencies (and as such new problems and challenges for participation). This has been my
interest ever since first discovering 'sound awareness.'

7 of 9 11/03/17 13:06
Comp. 76 http://www.restructures.net/CompNotes/076.htm

8 of 9 11/03/17 13:06
Comp. 76 http://www.restructures.net/CompNotes/076.htm

Anthony Braxton, Composition Notes D (Frog Peak, 1988: 136-154)

9 of 9 11/03/17 13:06