As Busoni said, “Every notation is, in itself, the transcription of an abstract idea” (85). True to this notion, the harmonic outline sketched by Lansky for “Notjustmoreidlechatter” is fairly abstract. It contains no key or time signatures, and while his outline goes to 108 bars, the actual piece itself runs about 120 bars . Complicating matters, the incredibly dense texture of the work makes it quite difficult to comprehend all the specific pitch arrangements. This obscurity was certainly Lansky’s intention, but repeat exposures reveal more to the keen listener.
The A-section of “Notjustmoreidlechatter” starts off with all of the Chatter sounds used in the previous works intact: the foreground layer of babble, the lengthy, higher pitched background singers, and the synthetic tones that highlight part of the babble. All of these sounds continue through the A-section up to bar 35 (2:24 minutes into the recording), when the amplitude diminuendos, and a higher pitched drone can be heard, similar the timbre of the ‘background singers’ but more consistent and synthetic sounding.
Also at bar 35, as well as bars 6 (22 seconds) and 19 (1:18 minutes), a layer of static can be heard, similar to white noise but more percussive, like early synthetic hi-hat sounds. That static sounds as though its envelope is being shaped by side-chain compression, or something similar, to breathe, so the speak, with other sounds, rather than obscure them.
The harmonic progression in the first five bars goes through E-flat major, F major, C major, B-flat Major, and F major, with G minor before each movement. Lansky specifically emphasizes G minor early on, placing the chord as straightforward tertian triads at the beginning of each bar, and letting it take up the entirety of bar five, with the G doubled. Starting on G in C major suggests the use of the myxolydian mode, yet he only visits the IV of the scale once, and never touches the V. However, starting from E-flat, this progression is a perfect pentatonic scale , which is likely a reference point considering the final note presented in the outline is a C in the background, albeit under an A in the babble. This emphasis of a naturally depressing minor chord and reference to the pentatonic scale, often used in blues songs, assists in achieving the oddly serious tone to the piece.
The progression from the first five bars is repeated twice more in the A-section, starting in bars 14 and 30, which emphasizes the importance of the progression and provides unity in the first half of the piece. Also, before both reappearances, the preceding chord is a G-major, further highlighting the modulation between major and minor chords in the opening progression while further obscuring the emotional impact of the piece. Notably, the static at the 22-second mark begins at the exact point the initial progression comes to an end, on the whole-note G minor. This first appearance of the static stops at bar 14, when the initial progression returns. The static coming in at 1:18 minutes also marks the end of that progression, and again terminates that run at bar 30, the final return to the opening melody.
Also important to note, when the static starts at bar 6, Lansky moved from the modulation of major and minor chords to a series of far more complex harmonies. Though the first chord in bar 6 is an F-major, mirroring the last chord before the resolving G-minor in bar 5, Lansky immediately introduces several seventh chords and tertian chords with added notes. Between bars 6 and the return to the returning opening motif in bar 14, there is an add 2, three add 4s, and three add 6s, as well as four seventh chords and a ninth. Where the ‘background singers’ are heard in closed voicing for much of the opening motif, in this development section, they are mostly heard in octaves and open-fifths. Similarly, in the next static section from bar 19 to 29, almost all the chords are sevenths and nineths.
When the static is reintroduced at bar 35, it marks the beginning of the bridge to the B-section. The static stays from this point on to the end of the piece, and there is no return to the first five-bar motif. A decrescendo in amplitude is indicated in the outline at bar 37, foreshadowed by a substantial re-voicing of the G-minor chord in bar 35. There, the B-flat is transposed up two octaves, leaving the chord sounding like an open-fifth. As previously noted, this incredibly high B-flat also stands out from in the texture because it is a more consistent and synthetic sound than usually heard from the ‘background singers’, though its timbre is similar. The only change in bar 36 is that the high B-flat goes to B-natural. Aside from the diminuendo in bar 37, bars 35-36 are repeated exactly in 37-38.
The B-section clearly starts in bar 39, when all harmony is dropped, leaving behind only a middle B which, over the next couple bars, builds into a tertiary B-major chord. However, while there are a large number of B chords in the B-section, the G chord still remains the dominant sonority. This is alluded to in bars 42-43, where the F-sharp of the B-major in 42 simply moves up a half step to G while leaving the bottom two notes the same for 43, resulting in a G-major. G-major is also emphasized at the end of the bridge; bar 60 contains five whole-notes, moving from D to G and back to D with a held G in the bass clef.
In bar 45, while the dynamic level is still at piano, the rhythmic shift hinted at in bar 42 continues as the middle C-sharp is tied over the bar line into bar 46, where a D-sharp and F-sharp are also tied over into the whole-note B-minor chord in bar 47. Up to this point, the piece has a fairly linear feel. Though the pacing is somewhat obscure, one can vaguely feel the strong beat of each bar. As heard in the bridge, the rhythm for the B-section is less predictable. Independent melodic lines are heard in bars 51-53, 56, 57, and from bar 80 to the end of the piece.
Bar 51 is also noteworthy for featuring the first complex harmony of the B-section, an F-minor-seventh. The D from this chord ties into bar 52, which otherwise consists of two open-fifth chords starting on E and F respectively. Bar 52 consists of a secundal harmony, with a quarter-note A-B-C# progression between a held D# in the treble and B in the bass.
Also significant, Bar 80 alludes to the opening motif, through the offset rhythms. A G-minor chord is noticeable to the ear on the strong beat, and visible when one combines the first half-note of the treble clef (D) and the first quarter-note (G) and half-note (B-flat) of the bass clef. Then, with the B-flat carrying over, an E-flat is heard in the treble, and another G tying over the bar line, making an E-flat major (the second chord in the opening motif).
Another G-minor chord can be made, and heard, on the downbeat of bar 81, but from there, the similarities to the opening motif are lost. The ‘backup singers’ and foreground babble appear to run independently after this. When this motif variation returns at bar 88, the G on the downbeat of the bass clef is pushed over by a quarter-note A tied over A from the previous bar, and extended to half-note length, and the B-flat ends the bar without being tied over. Another variation can be seen in bars 96 (except an F gets in the way of the pure G-minor sound, extending it more to a seventh) and 104, which is missing the B. The piece fades out shortly thereafter.
With “Notjustmoreidlechatter”, I believe Lansky succeeded in his goal of making a piece that withstands the monotony of archival recording. I certainly tested this notion, having listened to the piece literally dozens of times in a period of a few days, and I still come away with a new understanding of it every time. All the methods Lansky tried during “Idle Chatter” and “just_more_idle_chatter” came together in this work, pushing the listener from the first sound all the way through the fade-out at the end. Though technology continues to develop amazing, new techniques for digital sound manipulation, “Notjustmoreidlechatter” still stands up over twenty years later as a breathtaking, mindboggling experience.