Aran
‘‘Aran’’ and ‘‘McCrimmon Will Never Return’’ date from the period 1970-72, and were written for the Promenade Theatre Orchestra, a group started by White, consisting of 4 performers; White, Hobbs, Hugh Shrapnel and Alec Hill.
‘‘Aran’’was written at a time when the PTO was beginning to combine the sounds of reed organs and toy pianos, the original instruments of the group, with some newly-acquired percussion instruments. The note-to-note procedure of the piece was determined by random means, in the hope of producing a gentle unpredictability in the final result. It was hoped that the whole would be grittily resonant. This recorded version, for 12 performers, is generally more soft-centred than the original.

American Standard
Although the instrumentation of the piece is not specified, an ideal group would be similar to that which performed this version, recorded at the first performance of the piece in March 1973. It is played by the New Music Ensemble of the San Francisco Conservatory of Music, directed by John Adams, the composer, and the instruments used here are:
Flute, clarinet, clarinet (doubling bass-clarinet), clarinet (doubling bass-drum), tuba, percussion (trap set), violin, 2 violas, cello, double-bass, and harp. A conductor is not necessary for performance, since the arrangement and distribution of parts depends on what instruments are available, and ensemble problems that arise are ‘‘to be worked out in standard American fashion: proposal, debate and vote’’. Extra materials, that anyone making a version considers appropriate, may be used in performance in various forms whether film, tape, video, speech, mime, dance etc. Each section of this performance has at least one example of the use of ‘‘extra materials’’.
The piece is in 3 parts, each separately performable, and separately titled:
1. John Philip Sousa
The use of a steady, insistent pulse makes the title’s derivation quite clear; the pulse is given by a bass drum and other instruments have constant pitches which are departed from and returned to. As with all 3 pieces, the dynamics are restrained and undramatic, with the exception of the ‘‘extra material’’ – a crisp snare-drum roll that both sets the tone and gives a dramatic touch that is not present anywhere else. This is not in the score.
2. Christian Zeal and Activity
The main body of the music consists of a series of long held notes, very consonant, in 4 parts which are occasionally synchronised to give unified chords. The instruments are divided into 4 groups according to their pitch ranges, with at least one sustaining instrument in a group, each group having a leader who cues movement from one note to the next. During this piece, the ‘‘extra material’’ consists of a tape-recording of a radio talk-show.
3. Sentimentals
This is the most melodic piece of the 3 and the one which involves the greatest range of variation, quoting extensively from Duke Ellington’s ‘‘Sophisticated Lady’’.The gentle swing of the trap set, that is added during the piece, is again not included in the score, and its presence gives the sound a distinctively Californian feel, close to that of the Beach Boys, or Hollywood studio bands.The curious ending is an ironic affirmation of the maudlin chromaticism of the Ellington piece which generates the music.

McCrimmon Will Never Return
‘‘McCrimmon Will Never Return’’ stems from a temporary interest in Piobaireachd (Pibroch), the most highly developed form of Scottish bagpipe music. The melody of the title has several variants, which are played simultaneously on 4 reed organs. The tempo is sufficiently slow that the characteristic skirls or flourishes in the music become audible as individual notes.

1, 2, 1-2-3-4
The piece is for instrumentalists/vocalists, each wearing headphones connected to a portable cassette machine. Each performer hears only the music in his headphones, music which contains ‘‘parts’’for his instrument or voice, and he plays, along with the cassette, his own instrumental part. His ability to reproduce this part depends on how familiar he is with what he hears, and this can range from careful practice over a period of weeks with his cassette to an immediate response from a first or second hearing. The present recording, to some extent, contains elements of these two extremes: a few players had played the piece on other occasions (at least one of which used the same material as is used on this recording), while others became acquainted with it for the first time in the recording studio.
Each performer plays the‘‘part’’that corresponds to his instrument.Thus, if the music be jazz, a bassist is likely to play more than, say, a violinist. In the case of a bassist hearing jazz (and, hence, usually a bass) on his headphones, he would attempt to play, as best he can, the bass-line in the headphones such that there is an intended one-to-one relationship between what he plays and what he hears in the headphones. He may try his part several times beforehand, or he may choose to busk ‘‘on the night’’, like the accompanist in cabaret who is told, in the middle of the act on stage, that there are no parts for the next number but that it is ‘‘Happy Streets and Paper Rainbows in D flat, 1, 2, 1-2-3-4’’ (and his entry must be prompt, even to the extent of ‘‘inventing’’ an eight-bar introduction).
In this performance, all the players have identical material on their cassettes, though each was recorded individually and not copied simultaneously, and their performance reflects a number of variables that occur: the starting point of the music on the cassettes is not precise (but the click of the machines switching on, however, is); the cassettes may not be all running at the same speed due to the uneven quality of the different machines, the state of their batteries and so on, and this, in turn, affects both the duration and key of the piece; players vary in their ability to ‘‘shadow’’ material (i.e. to simultaneously hear and reproduce); players, in this recording, vary in their familiarity with the material. The material itself, however, is perfectly homogeneous and the dislocations that occur do not destroy this. The piece was originally written for a series of concerts organised by John White and is, amiably, dedicated to him.