David Cunningham – Grey Scale
Label: | Piano – Piano 001 |
---|---|
Format: | |
Country: | UK |
Released: | |
Genre: | Electronic |
Style: | Minimal, Experimental |
Tracklist
A1 | Error System (BAGFGAB) | 2:21 | |
A2 | Error System (C Pulse Solo Recording) | 4:11 | |
A3 | Error System (C Pulse Group Recording) | 3:23 | |
A4 | Error System (E Based Group Recording) | 3:34 | |
A5 | Error System (EFGA) | 4:56 | |
B1 | Ecuador | 2:58 | |
B2 | Water Systemised | 4:05 | |
B3 | Venezuela 1 | 3:00 | |
B4 | Guitar Systemised | 3:11 | |
B5 | Venezuela 2 | 2:45 | |
B6 | Bolivia | 2:53 |
Companies, etc.
- Published By – Copyright Control
- Lacquer Cut At – Master Room
Credits
- Composed By – D. Cunningham*
- Lacquer Cut By – BilBo (3) (tracks: A1 to A5), DB* (tracks: B1 to B6)
- Mixed By, Producer – David Cunningham
- Photography [Cover] – Steve Partridge
Notes
Error System
The players play a repeating phrase. As soon as one player makes a mistake that mistake is made the basis of his repetition unless it is modified by a further mistake. Thus each player proceeds at his own rate to change the sound in an uncontrollable manner. On no account should 'mistakes' be made deliberately to introduce a change into a performance. In short - sustain your errors.
The water piece and the guitar piece are analogous to this process. However the process is automatic here, an inherent quality in the machinery used.
The numerical sequence used in Ecuador and Bolivia is: 11221111223332112222331112332233331122232 repeated three times. The last time an extra 11 is tagged onto the end. Each number refers to a bar, repetitions of a specific number are uniform.
Notated according to the Ecuador system, Venezuela is 11223344556677 etc. for each player except the musician supplying the constant pulse.
all compositions D. Cunningham
copyright control 1977
Copies exist with identical front and rear sleeve designs to the issue pictured, but as printed sheets pasted on to either side of a plain white blank sleeve.
The players play a repeating phrase. As soon as one player makes a mistake that mistake is made the basis of his repetition unless it is modified by a further mistake. Thus each player proceeds at his own rate to change the sound in an uncontrollable manner. On no account should 'mistakes' be made deliberately to introduce a change into a performance. In short - sustain your errors.
The water piece and the guitar piece are analogous to this process. However the process is automatic here, an inherent quality in the machinery used.
The numerical sequence used in Ecuador and Bolivia is: 11221111223332112222331112332233331122232 repeated three times. The last time an extra 11 is tagged onto the end. Each number refers to a bar, repetitions of a specific number are uniform.
Notated according to the Ecuador system, Venezuela is 11223344556677 etc. for each player except the musician supplying the constant pulse.
all compositions D. Cunningham
copyright control 1977
Copies exist with identical front and rear sleeve designs to the issue pictured, but as printed sheets pasted on to either side of a plain white blank sleeve.
Barcode and Other Identifiers
- Matrix / Runout (Label A): PIANO 001A
- Matrix / Runout (Label B): PIANO 001B
- Matrix / Runout (Runout A etched): PIANO 1 A1 BILBO! B
- Matrix / Runout (Runout B etched): PIANO 1 B1 DB-MASTER ROOM. B
Other Versions (3)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
---|---|---|---|---|---|---|---|
Recently Edited | Grey Scale (LP, Album, White Label, Stereo, Red Labels) | Piano | Piano 001 | UK | 1977 | ||
Recently Edited | Grey Scale (LP, Album, Reissue, Stereo) | Superior Viaduct, Piano | SV175, Piano 001 | US | 2023 | ||
New Submission | Grey Scale (CD, Album, Reissue) | Superior Viaduct, Piano | SV175 | US | 2023 |
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