Drift

Having begun in 1967 to work with our second synthesizer, I began to explore the possibilities of working simultaneously with groups of sounds, something like creating and then conducting an electronic orchestra. I had begun to discuss synthesizers with Robert Moog, and those discussions led me to conceive a large-scale analog-controllable system.

I wrote a brief article to describe what I had in mind. In 1968, I received another and larger grant from the SUNY Research Foundation to commission Moog to build a new synthesis system based on my ideas. Designed, built, and named by Moog, the CEMS (Coordinated Electronic Music Studio) System was delivered to the electronic music studio at State University of New York in Albany in December, 1969. It was more complex and interesting than I had imagined, with eight sequencers (the largest array of sequencers in any one synthesizer anywhere), a digital clock, and cables connecting four groups of modules.

My goal, at the time, was to create a sound that had no relationship to the sounds of the natural world or, for that matter, to what was thought of at the time as a normal electronic sound. And in fact, to my surprise, I succeeded. I composed Drift in early 1970.

I had never heard anything like Drift. It introduced me to a new kind of nuance in the long line of a sound with continually changing internal structure. And I didn’t perform the sound. There was no performance element involved. I not-so-simply put the pieces together, pushed a button, and the system automatically produced the composition.

•

For other compositions, click on a title

Blues Mix 1966
Albany Music 3 1966
Jack in January 1967
Street Scene 1967

Drift 1970
Ideas of Movement at Bolton Landing 1971
Echoes 1972

From The 14th On 1973

Flowers 1975
Settings for Spirituals 1977

Solo 1978
Scenes from Stevens 1979
Follow Me Softly 1984

After Some Songs 1995
Spring Drum with Pierre’s Words 1997

Many Times … 2001
One World 1 2006
Micro Fictions 2009
Different Cities 2013