Both the compositional and choreographic processes of Lines for Gage

were dictated by the refusal to reinterpret. Just as Dan never consulted

the Ligeti Solo Cello Sonata to inform the creation of his own piece,

Harriet never revisited the three pages of the graphic score

to realise the structured improvisation. Below are the only three pages of the graphic score that Dan chose to translate to each of the three sections of his composition.

Between graphic and music notation are the phrases that Dan used to describe

what he was writing in response to each watercolour page. More than simply an introduction,

pizzicato defined the trajectory of the piece, and helped Dan to achieve the sense of space

that interests him as a composer. Where pizzicato is the breath that articulates the song

of the first section, it is the persistent syllable in the climax that is the third section (entirely pizzicato).

The middle of the piece is an alternate world -devoid of pizzicato- where buzzing, scratching,

and humming speak the silence that goes unmarked in the music.