There’s another approach to realizing Two: completely determining everything using chance operations. I tried this out and describe the results.

The notation makes it clear that Cage leaves various specific aspects of the continuity of Two up to the performer. What isn’t clear is how, as a performer, one is supposed to make those decisions.

I’m starting to work on learning John Cage’s Two for piano and flute (Frances is playing the flute part on shakuhachi). I thought I’d take a few posts to describe the process of learning the piano part.