C.haos I.nduced M.odel S.ystem


C.haos I.nduced M.odel S.ystem

as a composer and dedicated performer and listener of free jazz and free impro i am searching for ways to bring the flourishing and sparkling freshness of improvisational music into the world of composed scores. as a work in progress this system may inspire good music and give some authenticity and responsibility to the musicians. although cast into a tight coded system i hope it brings freedom and creativity to the music – to be performed in an easy and free manner.


1. models
models are iterated loops being refered to in the score. they present a musical idea  in all its openness and possibilites thus giving the reference for extemporation. every musician play his/her material in his/her own tempo, not being synced to the score’s main timing. in the score models are mixed with fixed notated events.
a model incorporates free elements (so called chaotic modifiers) which are (if not otherwise stated) queried anew every iteration, thus complex soundworlds can be created easily.
a. a model is to be played repeatedly along its reference bar until the bar’s end

b. a model’s tempo is based on the music’s main tempo if not indicated otherwise

c. chaotic modifiers create unregular loop behaviour

d. a model is being played from the beginning of it’s container

e. a model does not have to start with its beginning or end with its end. jump into it freely and break off hard at the end of its reference bar.

f. a model can be modified during its performance (from “outside”) or when being referred to but appears in its original form when triggered again

g. all that is enclosed by the model’s container belongs to its original form; all that is written outside are temporary alterations.

h. a model is being referred to in the score by its name. if a reference bar appears without name, the previous model is being adressed

i. notated material has higher priority than a model – a model’s extemporation can be altered to meet the notated material.

j. several models can stack up and should be played (creatively) together, challenging the musician to the extremes of playability

k. the preceding model’s bar can be interrupted due to readability and crossed after the new model’s container to indicate its continuation.

l. models are rhythmically and absolutely independent from the music’s main time

m. due to notation issues models can contain barlines, wich do not have any musical meaning for the model but indicate the main time frame.

n. breaks or note values being overbared by a model’s reference bar appear smaller and subscripted and serve as rhythmic orientation only, not as regular breaks.


p. stacked up notes in models are no chords for monophonic instruments: choose a different pitch every iteration. q. stacked up parameters (such as dynamics): choose a different param every iteration. r. a model can contain previously defined models

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