Erratic Matter

for alt saxophone, electric guitar, vibraphone, cimbalon, accordion & prepared piano

A dream

The composition proceeds according to this logic, but in the opposite direction: from rhythmisized cadences with specific harmonic schemes (“high density of the matter”) to less certain audio-coloured space (“immateriality”). As in my dream: Blind street. Suddenly I realized I was capable of walking through any wall. The deeper I dipped into the wall, the more worried I was if I am able to go through the wall and reach its other side. The more worried I was the thicker and heavier the material /matter became. Therefore irregular­/ erratic/ defective material/ matter – Erratic Matter.

Musical complexes

Referring to the form the composition is strictly organized. It consists of several diverse complexes (internally organized musical phrases).

The first type of complex is called “dominant” (in picture 87 it is marked with number 1). I call it “dominant” because the complex returns in a certain frequency and for a set number of repetitions (see e.g. the first line of the same picture, number 1 is the dominant complex, then on the second line there is dominant the complex 2 etc.).

The returns of dominant complexes are interspersed with “anticipatory” complexes which create kind of “musical germs”. These “germs” become gradually dominant complexes again. The resulting scheme is: 1 – 2 – 1 – 3 – 1 – 4 – 1 – 5 etc. (see the first line of the picture 87).

The first dominant complex is repeated six times (shorter version), then it is replaced by pattern 2 (the scheme changes to 2 – 3 – 2 – 4 – 2 – 5 etc.). The pattern 2 doesn´t return six times but only five times (the next one only four times, the following one only three times etc.).

The dominant complex is internally organized „a – b – a“:

„a“  – pause  – „b“  – pause  – „a“


This dominant complex consists of several patterns – musical figures, “formulas”. The length of patterns is precisely determined. The pattern “a” in the complex 1 is as long as 7 quarter notes + one eighth note. The pattern “a” in the complex 2 is as long as 5 quarter notes + one eighth note, the pattern “a” in the complex 3 is as long as 4 quarter notes + one eighth note etc. Every following pattern is reduced according to the logic in that column (see the diagram…).

Patterns in group „b“ function in a similar way – their length is sixteenth note shorter.

I work with the pauses and the musical material equally. They have their exact pre-determined length and contraction scheme as well.


Every pattern („a“ i „b“) has its own instrumental composition which never repeats.