Composition No. 6F was composed in 1967 in Chicao as a vehicle for collective small ensemble participation.  The completion of this work establishes an alternative approach to collective improvisation that allows for different possibilities from the post-Ayler continuum.  The reality of this composition is not separate from the position it has in my total series of Kelvin structural devices.  This is so because Composition No. 6F represents the first completion in a much greater series of alterative procedural compositions for creative improvisation.  The reality of this series of works focuses on the use of repetitive phrase generating structures as a basis for dynamic collective improvisation.  The completion of Composition No. 6F establishes a unique exploration context for creative investigation and emphasizes fresh objectives and focuses.  The realness of this operative in the late sixties would help to clarify my understanding of alternative structuralism from Trans African extended postulation with respect to the central core of all African creative dynamics (as this continuum has been perceived in its source-initiated context since antiquity).  We have since performed the work throughout the whole of both America and Europe and the composite series of Kelvin structures has become established as an accepted structural generating mechanism for creative exploration (in every area of creative music).  Composition No. 6F is dedicated to the composer Karlheinz Stockhausen.

The operating directives of Composition No. 6F emphasize the nature of a given class of repetitive strategies.  This is so because the science underlying my interest in this area had to do with the use of single arhythmic phrase constructions as a basis for improvisation.  Composition No. 6F is constructed from a single phrase consisting of thirty-one rhythm points coupled with three rest points (that divided the contours of the phrase).  The actual construction of this work was approached as a light material forum whose procedure takes precedence over any one resultant.  In other words, the nature of the process establishes a unique reality context that allows for fresh creative solutions.  A given performance of the work involves the repetition of this material over and over by the quartet as a pivot focus for ensemble collective improvisation.  The reality of what results from this operative has moved to expand the option possibilities (dynamics) of creative music.  The particulars of a given performance in this context will allow for many different approaches in the music, having to do with musicians going in and out of the basic phrase pattern—sometimes together and sometimes separately.  In the end Composition No. 6F serves as an anchor for multi-improvisational participation—affecting the reality of both individual and collective decisions.

    The construction reality of Composition No. 6F emphasizes the use of one basic phrase that is built from four distinct phrase fragments.  The composition has no actual fixed pitches—in the sense of traditional written pitches (although many of the performances in its fifteen-year life have seen given parts assume more prominence than other parts—for instance in the beginning of this series of works I did compose actual set pitches to help my musicians adjust to the particulars of the approach—and later some of these parts turned up in various different instrumental parts in the quartet book.  Yet even during that time period it was always understood that the notated fixed pitch was not as important as its rhythm—since after a given part was executed the musicians would then move to create their own shapes and interpretation anyway).  All of the revised parts of Composition No. 6F now utilize a principle rhythmic phrase that approximates the direction or contour of the phrase and even this factor is only to be observed in the opening use of its execution—after which the instrumentalist is free to change the direction at will.

    The phrase generating implications of Composition No. 6F can be understood by examining what the discipline imposes on the operating space of the music—for the individual and complete ensemble.  This is so because the concept of phrase repetition in this context establishes a unique operating sound environment that allows for fresh creative focuses and objectives.  The challenge of this operative is constructed as my first attempt to move into the world of repetition and pattern thinking.  The quartet has utilized this work in every conceivable manner—in canon form, with accelerating and retarding factorings, or in collage form, etc.  This is a phrase-based repetition structure that establishes a fixed rhythmic pattern—with open actual pitch possibilities based on suggested contour (at least in the beginning).  I have constructed this material as an arhythmic phrase construction because I found this feature to be important to my needs in this time cycle (i.e. 1967).  Composition No. 6F is the first of the Kelvin repetition structures that I plan to erect in the next cycle of my work.  I believe that the future will again turn to the weight of phrase and pattern material construction—as a basis to better understand creative evolution and dynamic sprirituality.  It is important to reevaluate everything about music and transformational creativity.  The Kelvin series of repetitive phrase generating structures represents an attempt to gain insight into the nature of alternative functionalism (and shape consciousness).  All of these matters will become increasingly important as we move towards the next century.

Anthony Braxton, Composition Notes A (Frog Peak, 1988: 62-66)