In the process of creating my graphic score I drew the shapes, forms and scribbles first and later thought of the sounds that would signify each individual part of the score.

The first shape line leads into a growth of many that overlap each other into a halting stop with a after trail of reverb. The lines to me would be random melodies from oscillators without a key, overdubbing and crashing into one another until they fill the available recording space of the medium.

The second, a quick but loud resonant filter sweep into an open sawtooth wave note at maximum volume. A pause, then a sudden blip into a sine wave note.

The second line shows many blips increase in frequency until a sudden loud crash of noise, followed by light tape hiss before a sampled AOW! time stretched much further than it’s original length of recording.

A clap sample plays before samples of verbal noises unconstructed. Vvvvv being a sample of “the” or similar pronunciation looped, same with uhhhh however the overlapping above and below representing different pitches.

I found this exercise to be a quite interesting method of sound preparation or scripting that could easily form a music concrète piece. The use of shapes and words make it easier to suggest sound objects that imply a more noisier characteristic whilst the score also leaves so much ambiguity that the reader/performer can apply individual meaning and their own interpretation, which could completely shatter the original intention of the piece during it’s composition.

I am not sure if Luigi Russolo would approve… Hopefully he would scratch his chin whilst observing the sketch!