“In C” is a work of Western contemporary music, but it shares key qualities with Buddhist chanting and shōmyō:
“In C” is a work of Western contemporary music, but it shares key qualities with Buddhist chanting and shōmyō: a layered overtone resonance and a ritual sense of time. The continuous high C pulse and sustained tones create a drone, similar to how steady pitch in sutra chanting turns the entire room into a resonating chamber. Multiple players repeat the same patterns with slight timing differences, producing interference “beating” — a thick, swelling vibration you feel in the body, much like group chanting. The piece is designed not to tell a dramatic story or drive toward a destination, but to sink the listener into the present moment. Its rhythm is collectively breathed rather than mechanically enforced. As a result, “In C” can feel less like a concert and more like shared invocation.
Terry Riley's In C: Performance Guidelines Summary. All performers play 53 patterns from the same score in sequence; ensemble size and instrumentation are flexible (ideally around 35 players). Vocal parts may use any vowels or consonants. Each performer may repeat each pattern any number of times before proceeding to the next. Performances typically last 45 to 90 minutes, with each pattern lasting roughly 45 to 90 seconds or longer. Listen attentively to one another, pausing to listen at times. Employ a wide dynamic range, synchronising crescendos and diminuendos during ensemble passages. Unison or canon-like overlaps may be freely employed to enjoy polyrhythmic interactions, but always maintain synchronisation within 2–3 patterns, avoiding rushing ahead or lagging behind. An eighth-note pulse on high C (piano, mallets, or carefully chosen percussion) may serve as a cue. All players must execute with precise, strict rhythm. Tempo is flexible but should remain manageable. Maintain awareness of periodic accents during rests, considering their effect upon re-entry. Transpose by one octave (especially upwards) as needed; downward transposition is also effective for sustained notes. Rhythmic expansion is permissible. Omit unplayable patterns. Amplification or electronic keyboards may be used. Conclusion: Once all reach No. 53, execute several large crescendos and diminuendos, then exit sequentially at individual discretion.
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