morse music

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MorseMusic

ople often speak or write Morse code using words “Dit” (or Di) for a dot and “Dah” for a dash. So, the

ords “MORSE CODE” can be written like this: Dah-Dah, Dah-Dah-Dah, Di-Dah-Dit, DiDiDit, Dit; Dah

ah-Dit, Dah-Dah-Dah, Dah-Di-Dit, Dit.

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MorseMusic

bout 10 of the 66 six-element codes are used to represent punctuation. In addition, some seven- and eigh

ement codes have been defined. For example, to indicate that a mistake has been made and for the receiv

delete the last word, the pattern: ......... (eight dots), is sent.

espite all of these patterns not having clear definitions, it is remarkable that here we have all the

mbinations of these two ‘dot’ and ‘dash’ elements:

2 x one-element codes,

4 x two-element codes,

8 x three-element codes,

16 x four-element codes,

32 x five-element codes,

64 x six-element codes,

128 x seven-element codes, etc.

usic is also a great field for combinatory processes. However, unlike Morse code, rhythm in music oper

a multitudes of the most different durations. But we can see that such multitudinous durations in music cdivided into the “relatively short” and the “relatively long”. By the way; on beginning to compose mus

mposer often thinks in terms of more or less abstract rhythmic patterns consisting of shorter and longer

rations, and only afterwards precisely defines them in the time-and-rhythmic framework.

e can apply Morse code to music in two different ways:

To use as an analytical tool in order to distinguish and classify rhythmic-motives;

To encrypt (encode or encipher) words and meanings within the notated composition.

hythmic-patterns or motives can be defined as follows:

xample 1

om the above definition we can gain a clear picture of how a composer can introduce, combine and deve

ythmic-motives in a composition, visibly demonstrating rhythmic structure within a piece.

xample 2. L. van Beethoven, Piano Sonata Op.2, No.1




MorseMusic

the above example we can easily see the introduction of the four-element “H-motive”, then its diminutio

ifting in the left hand, shortening and transforming it into the three-element “S-motive”; shifting it again

d also a combination of both these motive forms with the two-element “A-motive”:

elodic passages read with Morse code sometimes look like the words of some unknown language, as in t

llowing fragment from Webern’s 6 Stücke, Op.6, No 4:

xample 3. Anton Webern. 6 Stücke für Orchester, Op.6, No 4, piccolo part

a composer uses longer rhythmic-motives or if there is not a clear phrasing or gap between the motives,

sk of decyphering becomes difficult and admits a few different interpretations, as the motive of the

companiment in the following example demonstrates:

xample 4. Pierre Boulez. Douze notations, for piano, No. 4 (1945)




MorseMusic

r centuries composers have been encrypting words and meanings in their music: there are many ways of

ing this and Morse code represents a very effective means of encryption.

umerous examples exist of composers purposely using Morse code in their compositions; the following i

agment from the solo cello part of Messagesquisse by Pierre Boulez, which he dedicated to Paul Sacher:

me “Sacher” is encoded by various means including by way of Morse code:

xample 5. Pierre Boulez. Messagesquisse for 7 celli (1976), b.13

multaneously, the five rests of the celli (2-6) repeat the same rhythmic patterns (with col legni batutti), b

tation mode, spelling “Sacher” in various presentations:

2. ERSACH….

3. HERSAC….

4. CHERSA….

5. ACHERS….

6. SACHER….




MorseMusic

the episode before the cadenza, Boulez returns to the same idea, however, this example suggests a differ

proach:

xample 6. Pierre Boulez. Messagesquisse for 7 celli (1976), bb.117-118

hough the six accompanying celli (playing semitone trills) encrypt the name of the dedicatee in the shuffl

der: “Sreach”, the rhythm of the accents in m. 118 present it in its recognisable form: “Sacher”.

he next few examples are from the vast pop music repertoire. The song “Miss Morse” from the album “O

ation Underground” recorded in 1967 by the band "Pearls Before Swine", has an “adult-rated”-Morse co

essage in it; the Chorus is revealed to contain a vulgar lyric encrypted via Morse code:

Oh Dear, Miss Morse,

I want you,

Oh yes, I do,

I want you…

Chorus:

Dit Dit Dah Dit

Dit Dit Dah




MorseMusic

Dah Dit Dah Dit

Dah Dit Dah

nother song, YYZ, from the 1981 album “Moving Pictures”, is based on the rhythmic code 'y y z' (dash d

sh dash, dash dot dash dash, dash dash dot dot). YYZ was the transmitter code used at Toronto's Lester

arson International Airport. In a 1990 edition of the band's newsletter, drummer Neil Peart said that the

ng is "loosely based on airport-associated images. Exotic destinations, painful partings, happy landings,

rt of thing."he song Watching You Without Me from Kate Bush's album Hounds of Love contains the well-known M

de distress signal: "S.O.S.".

orse code is featured on Ronnie Montrose's album (Elektra 1982 EI-60034) Gamma 3; the song Stranger

ntains Morse code which encrypts the word "STRANGER".

orse code is used in a computer game called "RED STORM RISING", by Microprose. In the opening

edits there is music which contains Morse code that spells out "THE RUSSIANS ARE COMING".

emember an impression from my youth when I was once listening to the piano piece Basso ostinato by

odion Shchedrin (1961): I was stunned to hear in the piano’s upper register something like the tapping oforse code. Later, when I got the score, I was disappointed because I did not find any clear corresponding

essage. The music seemed to insistently tap out three times in the piece: “pjj2” (.- -. .- - -. .- - -. ..- - -

he Morse code configurations in Basso ostinato, as it seems to me, appear in fact to have been faked.

hen I use Morse code in my own music, I try to make my message clear. In my solo cello piece written

emory of my teacher Edison Vasilievich Denisov, his names (the first, second and patronymic) are spelt

ree different codes including that of Morse code. The dots and dashes are played here pizzicato: “dots” -

cco sul ponticello, and “dashes” - tenuto ordinario (see the lower stave):

xample 7. Dmitri Smirnov Elegy, Op.74(A), for cello solo (1997)




MorseMusic

ater in the ensemble version of the same piece, I divided this line between the Bass Drum (Cassa secco) –

aying the “dots”, and Tam-tam – playing the “dashes”:

xample 8. Dmitri Smirnov Elegy, Op.74(b), for 16 players (1997)

he next example is taken from my piano piece dedicated to pianist Sharon Anderson:




MorseMusic

xample 9. Dmitri Smirnov. Metaplasm 1 Op. 135 for piano (2002)




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ecifically for this article and to illustrate the possibilities within this system, I have composed a simple p

niature called “Morse Bach”. All its components: the pitches of the melodic shape, the harmony and the

ythmic patterns, encrypt the name of this great composer:

xample 10

t us now look at a further example of how Morse Code can be used practically in music. If we should li

r example, to encrypt in a piece the word “MUSIC”, Dah-Dah, Di-Di-Dah, Di-Di-Dit, Di-Dit, Dah-Di-D

t.:

..- … .. -.-.)

can be notated by the following series of note durations:




MorseMusic

xample 11

he next step is to work out an exact rhythmic and melodic shape with which we can freely compose. The

e can add the time signiture, dynamics, expressive and technical performing marks:

xample 12

he composition can be completed by choosing the instrumentation and texture for the piece. In this exam

decided to set the melody for solo piano, and have chosen a polyphonic texture of the inverted canon. Th

rmonic cadence was added at the end:

xample 13

he clever invention of 19th Century Morse code has a rather long and rich history. It was heavily utilised

international standard for maritime communication until 1999, when it was replaced by the Global


morse music

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