Simon Steen-Andersen: Difficulties Putting It into Practice by Edition·S

Simon Steen-Andersen Difficulties Putting It into Practice (2007, rev. 2014)

for four amplified musicians Dur. c. 11â&#x20AC;˛

Written for Royaumont 2007 Dedicated to Dr. Klemann

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

With support from the Danish Composers’ Society and Koda’s fund for Social and Cultural Purposes Støttet af Dansk Komponist Forening og Koda’s nationale midler

Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg

Simon Steen-Andersen Difficulties Putting It into Practice (2007, rev. 2014)

for four amplified musicians Dur. c. 11â&#x20AC;˛

PROGRAM NOTE To convey information about; make known; impart: communicated her views to the office. To reveal clearly; manifest: her disapproval communicated itself in her frown. To become aware of, know, or identify by the means of the senses: I perceived an object looming through the mist. To recognize, discern, envision, or understand: I perceive a note of sarcasm in your voice. This is a very nice idea but I perceive difficulties putting it into practice. www.dictionary.com, communicate/perceive

NOTATION Amplification: The performers voice actions must be amplified using a dynamic microphone (eg. SURE SM 58). The table actions are amplified by means of a contact microphone. The amplification should be rather extreme, turning a into a , when the performer is close to the mic. The performer must use the distance from the microphone as means of controlling dynamics and as a way to “zoom in” on more subtle sounds. An extra dynamic microphone should be used to amplify the rattled piece of paper. This microphone should be as close as possible and an equalization that brings out the low deep sound is desirable.

ppp

Dynamics: The basic idea is that the soft sounds are very amplified and the loud sounds are much less amplified. Often the soft sounds will result louder than the sounds performed with maximum energy. Once again, the performer must control the distance from the microphone to bring out this aspects. Indications are often given in the score regarding distance from microphone, specially when singing. Objects: On the table there should be a pen, a writing block, a piece of A4 paper with 8 holes in it (an “air-guiro”), There should also be a normal piece of A3 paper, for the “rattle paper” actions, hanging from a stand. Two very small holes should be made in this piece of paper and a soft sewing string should be used to hang it. The writing block should be positioned horizontally and it is used for scribbling with the pen. Performer 1 should prepare a paper with 28 slices and performer 2 should prepare 31 for ripping by cutting a couple of cms and bending the paper upwards. Text: The text is never performed in a way where it is completely understandable, but nevertheless there should be put a big effort into trying to make it understandable (although it won’t be no matter the effort). There are two basic ways of performing text: Speaking with completely closed mouth. 2) Speaking without air, doing an exaggerated mime, where only the consonant-clicks and other attacks are left. There will also once be normal speaking, but covered by a loud tone (the tone of censorship in the american talk shows). Also isolated phonemes are used. The text will be printed in the program and when knowing or reading the text, one should be more or less able to follow (this doesn’t mean though, that there should be a special lightning for the audience to be able to read – the text can also be read before or after). “Air-guiro”: The air-guiro is played by blowing on the holes while moving the paper sidewards. When blowing, the distance between the mouth and the paper decides the colour of the sound. The distance will be indicated as either approx. 5 cm, 3 cm, 0 cm or there will be indications of a gradual transition between two distances. In (as loud as possible) the focus of the air stream should be adjusted to give the loudest possible sound. When breathing in through the air-guiro is indicated, the mouth position should be found where the sound of the holes is heard the most. The air-guiro paper is also used for other sounds, such as a whistle tone produced by blowing a very soft and focused air stream on the paper edge or simply a noise sound by blowing less focused and a bit harder.

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Notation continued: Action areas: CONTINUED NOTATION Air-guiro Action Action areas:areas:

Notation continued:

paper actions

Nose actions Air-guiro paper actions

The tone B (as if in treble clef) Notation continued: The tone if in clef) treble clef) Nose actions“Inside/outside Action areas: scale” Nose actions The tone B (asBif (as in treble Notation continued: Air-guiro paper actions

Action areas: “Inside/outside scale” “Inside/outside scale” Mouth actions Air-guiro paper actions Mouth actions Mouth actions Table actions actions paper actions actions Air-guiro Table actions Table Nose

“Inside/outside “Inside/outside scale”: “Inside/outside scale”: “Inside/outside scale”:

Nose actions scale” “Inside/outside scale”

The tone B (as if in treble clef) The tone B (as if in treble clef) “fingers”:

“lungs” “glottal click” “palate click” actions “vacuum T” “teeth” Mouth

“vacuum B” “nails” / “finger tips” “lungs” “glottal “lungs” “glottal click” click” “palate “palate click” click” “vacuum “vacuum T” T” “teeth” “teeth” “vacuum “vacuumB” B”

Table actions Mouth actions Table actions

“fingers”: “fingers”: “nails” “nails”// “finger “finger tips” tips”

- “Lungs”: Breathing scale”: sound coming from the lungs or deep from the throat. “Inside/outside - “Glottal click”: Single glottal click without any air, with the mouth/throat pos. like saying “ha”. “Inside/outside scale”: - “Palate click”: The very first part of a “g” sound without any air. A normal “g” sound is written with

“fingers”:

“Lungs”: Breathing sound coming from the lungs or deep from the throat. a-capital G to avoid confusioin. “fingers”: “Lungs”: Breathing sound coming the or“teeth” deep fromthe the throat. “Glottal click”: Single glottal click without anylungs air,T” with themoving mouth/throat pos. saying /“ha”. - -“Vacuum T”: Same tongue pos. as when say T,from but simply performed by tongue away “lungs” “glottal click” “palate click” “vacuum “vacuum B” like“nails” “finger tips” from the palate. A normal “t” sound is written with a capital T to avoid confusion. - “Palate click”: The very first part of a “g”“palate sound without any air. AT”normal “g” sound is written with “lungs” “glottal click” click” “vacuum “teeth” “vacuum - “Glottal click”: Single click without anyinair, with the mouth/throat pos. like saying B” “ha”. “nails” / “finger - “Teeth”: The sound of the teeth glottal coming together – only used very soft dynamics. a capital G to avoid confusioin. - “Vacuum B”: Moving the lips slightly apart with the position of a B and with a slight sub pressure. - “Vacuum Same tongue pos. say T, but simply by moving theis tongue The “b” T”: sound isThe written withfirst capital Bas toofwhen avoid -normal “Palate click”: very part a “g”confusioin. sound without anyperformed air. A normal “g” sound written away - from Nails: The clicking sound of one nail sliding over another nail (performed with one hand). confusion. The the palate. A normal “t” sound is written with a capital T to avoid with a capital G to avoidtoconfusioin. sound should The be performed the microphone. nail sign–isonly also used used inin combination - “Teeth”: sound close of the teeth coming The together very softwith dynamics. the teeth meaning to slide the thumbnail over an upper front tooth also producing a click sound. “Vacuum T”: Same tongue pos. as when say T, but simply performed bywith moving thesub tongue “Vacuum B”: Moving the lips slightly apart with the position of a B andthe a slight pressure. - “Finger tips”: Let the thumb tip and middle finger tip hit eachother rather hard just outside The normal “b” sound is written with capital B to avoid confusioin. mouth (being open) producing resonance in the mouth. away from the palate.aAsoft normal “t” sound is written with a capital T to avoid confusion.

tips”

- “Lungs”: Breathing from the over lungsanother or deep the throat. - Nails: The clickingsound sound coming of one nail sliding nailfrom (performed with one hand). The Signs: “Lungs”: Breathing sound coming from the lungs orsoft deep fromlike the saying throat. “ha”. - “Glottal click”: Single glottal click without any air, with the mouth/throat pos. - “Teeth”: The sound of theclose teeth to coming together – only used in very dynamics. sound should be performed the microphone. The nail sign is also used in combination with Pitch - “Glottal click”: Single glottal Spoken withwithout closed mouth click any air, with the mouth/throat like with saying “ha”. - “Palate click”: The very first part of a “g”over sound without any air.also A normal “g” asound ispos. written the- “Vacuum teeth meaning to slide the thumbnail an upper front tooth producing click sound. B”: Moving the lipsThe slightly apart with the position of a Bwithout and with a slight sub pres- “g” sound is written with “Palate very first part of a “g” sound any air. A normal Percussive soundclick”: Spoken normally a capital G to avoid confusioin. - “Finger tips”: Let the thumb tip and middle finger tip hit eachother rather hard just outside the sure. The normal “b” sound is written with capital B toair avoid confusioin. a capital G topos. avoid Noise sound Spoken without (exaggerated) mouth (being open) producing a soft resonance in the - “Vacuum T”: Same tongue asconfusioin. when say T, butmouth. simply performed by moving the tongue away “Vacuum T”: Same tongue pos. as when say T,ofavoid but simply performed by moving the tongue away Whistle / normal whistle-tone Moveover air-guiro in the direction the arrow from the palate. A “t” sound is written with a capital T to confusion. Nails: The clicking sound of one nail sliding another nail (performed with one hand). The Signs: from the palate. A normal “t” sound is written with a capital T to avoid confusion. Highest possible tone teeth Gradual transition - “Teeth”: sound of the coming together – only used inisvery soundThe should be performed close to the microphone. The nail sign also soft useddynamics. in combination “Teeth”: The sound of the teeth coming together – only used in very soft dynamics. Pitch Spoken with closed moutha Lowest possible toneto Breath in / the outanposition - “Vacuum B”: Moving the lips slightly apart with of a B and slight sub pressure. with the teeth meaning slide the thumbnail over upper front tooth alsowith producing a click - “Vacuum B”: Moving the lips slightly apart with the position of a B and with a slight sub pressure. Usedsound for whistle-tones Hyperventilation / rapid panting The normal is written B to avoid confusioin. Percussive sound with capital Spoken normally sound. “b” The normal “b” sound is written with capital B to avoid confusioin. - Nails: The produced clicking sound of one nail sliding nail (performed inside the mouth Tenutoover pos. –another quasi legato to the next sound with one hand). The Noise without air (exaggerated) - Nails: The clicking sound of finger one nail sliding over another nailjust (performed Let sound the thumb tip and middle tip Spoken hit eachother rather hard outside thewith one hand). The sound- “Finger shouldtips”: be performed close to the microphone. The nail sign Staccato always as short as possibleis also used in combination with sound should be performed close to the microphone. The nail sign is the also used in combination with mouth (being open) producing a soft resonance in the mouth. Whistle / whistle-tone Move air-guiro in theproducing direction of arrow the teeth meaning slide the thumbnail an upper front tooth also a click sound.a click sound. theto teeth meaning to slideover the thumbnail over an upper front tooth also producing - “Finger tips”: Let the thumb and hit eachother hard just outside Highest possible tone Gradual transition - “Finger tips”:tip Let themiddle thumb finger tip andtip middle finger tip rather hit eachother rather hardthe just outside the mouth (being open) producing a soft resonance in the mouth. mouth (being open) producing a soft resonance in the mouth. Signs:

Signs:

Lowest possible tone

Breath in / out

Signs: Used for whistle-tones

Hyperventilation / rapid panting

Pitch Pitch produced inside the mouth Pitch

Spoken closed mouth Spoken with closed mouth Tenuto pos.with – quasi legato to the next sound Spoken with closed mouth

Percussive sound Percussive sound Percussive sound

Spokenalways normally Spoken normally as short as possible Staccato Spoken normally

Noise Noise sound sound

Noise sound

Spoken without air (exaggerated) Spoken without air air (exaggerated) (exaggerated) Spoken without

Whistle // whistle-tone whistle-tone Whistle Whistle / whistle-tone

Move air-guiro inof thethe direction Move air-guiroMove in theair-guiro directionin arrow ofofthe direction thearrow arrow

Highest possible possibleHighest tone Highest tone possible tone

Gradualtransition transition Gradual transition Gradual

Lowest possible possible Lowest tone Lowest tone possible tone

Breathinin//out out Breath in / outBreath

Used for whistle-tones Used for whistle-tones Used whistle-tones

Hyperventilation rapid panting Hyperventilation panting Hyperventilation / rapid panting//rapid

produced inside the Tenuto pos. –to quasi totothe next sound inside the mouthTenuto pos. – Tenuto pos. quasi legato the next sound produced insideproduced themouth mouth quasi legato the legato next sound Staccato always as short Staccato always as shortas aspossible possible as short as possible Staccato always

Instructions on how to build the “Air-guiro’’: Take a thick A4 piece of paper. Experiment with different thickness of paper to check the best possible result. Draw 8 parallel rectangles around the middle of the paper. Each rectangle should be approximately 1 cm wide and 4 cms high. The rectangles should be separated by approximately 2 cm. Leave around 3.5 cms to each margin in order to be able to hold the paper with easiness. Cut the upper excess of the paper in order to keep it away from the nose and eyes while blowing. Leave approximately 2 cm between the edge of the cut paper and the drawn rectangles. Make the holes by cutting the drawn rectangles with a paper cutter.

Simon Steen-Andersen Difficulties Putting It into Practice “Air-guiro’’

Cut This Part

A video demonstrating the air-guiro and a PDF of the air-guiro template can be found on the Edition·S website: http://www.edition-s.dk/assets/difficulties-putting-it-into-practice-air-guiro

Cut This Part

“Air-guiro’’

Simon Steen-Andersen Difficulties Putting It into Practice

Difficulties Putting It into Practice for four amplified musicians

q =~60

PAPER WITH HOLES blow while passing all 8 holes with a sidewards movement blow 2-3 cm. away from paper, breath in in every pause

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Simon Steen-Andersen 2007 (rev. 2014)

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Simon Steen-Andersen: Difficulties Putting It into Practice - 9

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Simon Steen-Andersen: Difficulties Putting It into Practice - 10

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Simon Steen-Andersen: Difficulties Putting It into Practice - 12

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Simon Steen-Andersen: Difficulties Putting It into Practice - 13

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Simon Steen-Andersen: Difficulties Putting It into Practice - 14

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Simon Steen-Andersen: Difficulties Putting It into Practice - 15

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¿.

't $

Simon Steen-Andersen: Difficulties Putting It into Practice - 16

–

0 cm.

3J 8

– (f)

("lungs") 111

h' h' ppppp

# % ã –j – - ppppp

2 4‹ ‹ ‹ Œ ppppp 3

¿. –. ¿. ¿. ¿.

("lungs")

g' 't

‰

to $

con

vey

Y‹ .

ppppp

¿. ¿ ¿.

‹ ¿ ¿ ¿ . . .

(thumbnail over tooth)(teeth)

42 Œ

" (closed mouth)

(fingers+ resonance) 3

(teeth)

‹

't g' g'

2 4

PEN ON PAPER (always energetic)

–– ––– –– – – – – – – – –

("quasi exagerated mime") 5:4

ã& & & & &

("lungs")

-–

ComMun Ni Ca T

ª 116

¿. ¿ ¿ . .

't g' h'

(teeth) 3

3 ‰ ‰ ‹‹ 8 ¿.

(teeth) 3

1 2 8!‹ ‹ 4Œ ppppp

3 8 ¿ ¿. ‰ . h'

3 8

œ.

(pat mouth)

–æ f $

(nails) 3

(thumbnail over tooth)

2 Y. 3 4‹ Œ ppppp

Y‹.

1 8

2 4

1 8

2 4

(paper edge) 3

3 8

–

¿.

¿. ¿. 't

Simon Steen-Andersen: Difficulties Putting It into Practice - 17

(fingers+ (teeth) resonance) 3 122

¿ ¿ ã ‹ ¿. 'b

‡

¿.

(deepest tone)

‰ ¿. ‹ ¿ 43 ¿ . . 'b

("quasi exagerated mime")

‰

# %

& & & & & &

Com Mu Ni Ca Te D

3 4‰

3 4

& & &

¿.

But I Per

-– ¿. -– -–

(lungs)

(teeth) 3

¿. ¿. ¿. ¿ .

g' 't g' h'

. . ! ‹. ‹. ‹. ‹. ‹. ‹ ‰ 38 Y ‰ Y 28 J J (teeth) 5

ãŒ

126

(teeth) 3

Y. 3 ‰ Y. ‰ ‰ ‰ ‹ ‹ ‹ ã ¿ ¿. ¿. 8 J . 3 h' g' 't

38 ‰ ! Y‹ ‹ ¿ 43 ‰ ! Y ‰ ‰ 42 . . ¿. ¿. ¿. ¿. ‹ .‹ ¿. ppppp 't g' h' g' 't h' 5

(nails)

(nail+ tooth)

3 8

2 8 œ

(nails) . 3Y ‰ ‰ 3 ‰ Y. ‰ Y. 2 ‰ 8J 4¿ 4 ¿. . 3 ppppp h' h'

" ng

(nails)

3 8

3 4

2 4

! j ¿. -– 't $ S

3 8

3 4

2 4

2 8

! ¿. ¿. ¿. ! $'t 't 't 3

(very sharp s)

Simon Steen-Andersen: Difficulties Putting It into Practice - 18

2 ã4

ã 42

131

2 ã4 ‰

(nail+ tooth) 3

‰ Y.‹ ‹ ¿. ¿ ppppp 'b Y.

‰ Œ ppppp (nails)

(closed mouth)

to $

con vey

¿ ¿ ¿ . .

(fingers+ resonance) 3

O‡

‡

'b 5

‡

& & & & &

But I PerCeiv D

for

PEN ON PAPER

2 ã4

135

¿.

-–

(nail+ tooth)

3 Y 3 ã 8 ¿ ¿. ¿. ‹ .‹ 4 .

139

3 ã8

" "

(nails) 3 Y. Y. 4

3 4

¿.

-–

3 4

" –

–

(rattle paper)

3 æ 4æ pppppp 3 " 4

5 4

-O Y

3 8

-– æ

¿. ¿. ¿.

& & & & & &

Com Mu Ni Ca Te

Her

3 8

" Y. Y‹.

5 8

ppppp

2 4 2 4

(closed mouth)

5 8‰

ø ø ø

to convey

38 3 8

(nail+ (nails) tooth)

(whistle tone by blow a very soft and focused air stream on the edge of the nail)

5 OY 4

5 4 "

h'g' 't

3 ã8

–– ––– –– – – – – – – – – – – –

ã ¿. ‹ ¿. ‹ ¿. ¿. ¿ . 't

ø ø ø ø

in for ma tion

2 4

PEN ON PAPER

3 ã8

3 4

5 4

5 8 $

– – –––– – – – – – – – – – – – – – –

Simon Steen-Andersen: Difficulties Putting It into Practice - 19

2 4

143

(fingers + resonance)

inward) j (whistle 2 5 ¿ ¿ # 3 ã 4 ‹ ¿ ‹ ‹ ‹ ‹ ‹ 8 ‹ ¿. 8 O (teeth)

ppppp 't

‡

2 4O ‡

‡

(deepest tone)

‡

(whistle highest posible tone)

(teeth)

2 ã4 Œ

! ‹ ‹ ‹ ‹ ‹ 85 ppppp

ª 147

ã&

1 4

ã 41

& & & &

ComMu Ni Ca

1 ã4

2 4– ¿ - h'. ppppp

ø ø ø

to con vey

PEN ON PAPER

–æ

ø ø

in for

¿ ¿ ¿ . . 'b

-–

¿.

-–

3 8 3 8

¿.

1 4

¿. ¿. ¿. g'

ø ø ø ø

& & & &&

ppppp

‰

3 4

j –!

3 4

ma tion a bout

(slow)

(teeth) 7:4

! ‹ ‹ ‹ ‹ ‹‹ 42

Te D'her View S To

3 4Œ

1 4

3 8

2 4‰

2 4Œ

(teeth)

2 4

1 ¿ ¿ ‹ 2 4 ¿. ¿. ¿ ¿ 4 . . . 'b 'b 't g' h' ppppp

" (fingers) 3

152

(fingers + resonance) 3

& & & & & & & & &

3 8 . O

But I Per Ceive Dif Fi Cul Tie S

%— .

Simon Steen-Andersen: Difficulties Putting It into Practice - 20

(teeth) 3

¿. ¿ ¿. ‹ ‹ ‹ ‹ ‹ .

ppppp

't g' 't

2 4

-—

(fingers+ resonance)

2 ¿ Œ ã 4 ‹ ¿. 3

156

ã 42 Œ

‡

(fingers+ resonance)

-—

(whistle highest posible tone)

(whistle tone produced inside mouth) 3

-——

O‡

‚

2 ã4

O‡

¿ ¿ ¿ . .

ppppp ¿

- ‡ ppppp

But

Per Ceive Dif

ã‰

ø ø ø

to con vey

PEN ON PAPER

–æ

ø ø

in for

3 8 3 8

1 4

3 8

160

Cul Ties

1 4

ø ø ø ø

ma tion a bout

‰

1 4 1 4

3 4

‰

part

–@

‰ Œ

& & && &

ppppp

(slow)

–!..

. . ‰ ¿. ‹ Y‹ Y 42

3 4Œ

PutTingIt In To

Pra

2 4

3 4

2 4

3 4

2 4

Simon Steen-Andersen: Difficulties Putting It into Practice - 21

2 ã4

3 8

2 4

2 Y. Y. OY ã4 ppppp

3 8

2 4

2 ã4

ø ø ø

3 8

ø ø ø ø

2 4

2 ã4

164

(whistle tone on nail)

‰

ø ø

to con vey

in for

3 8

PEN ON PAPER

–æ

‰

ma tion a bout

2 4

make known

–!

‰

part

–æ

& ..

168

-——

ã ã

ppppp

(whistle inward)

3 ¿ Œ 4‚ ‰ O -‡ ‡ ppppp -—

(whistle tone on nail)

‰

2 4

3 8

4 4

2 4

3 8

4 4

ø ø ø

3 8

(whistle highest posible tone)

3 4‰ O Œ 3 4 43

¿ ¿ ‹ . 'b

2 4‰ 42

to con vey

PEN ON PAPER

–æ

ø ø

in for

ø ø ø ø

ma tion a bout

Simon Steen-Andersen: Difficulties Putting It into Practice - 22

‰

4 4 44

4 ã4

172

–

4 ã4 æ æ pppppp

-– æ

–

(rattle paper)

4 ã4

2 8

2 4

2 8

2 4

4 ã4

2 4

2 ã4 ‰

176

2 ã4

to con $

–æ

vey

for

$ "

2 4

2 ã8

2 4

2 ‰ % æj# ã8 -–

(hyperventilate)

2% æj# ‰ ã8 -–– ! ‰ fl (hyperventilate)

2 4

3 8

ma tion

%æ # j -–

‰ 2% æj# 8 æ-– -–– ! ‰ fl

bout

1 2 4‹ ‹ ‹ 4 ppppp 1 2 4 !‹ ‹ ‹ ‹ 4 ppppp 5

! -–

("quasi exagerated mime") 5

& & & & & &

Com Mu Ni CaTed Her

1 4 1 4

" "

2 4 2 4

ø ø

im part

‰

part

‰

2 4

1 4

2 4

1 4

2 4

2 8

‰

known

-–æ

& ..

2 8

2 4

2 8

2 4

%æ # j -–

2 4

ø ø

make known

‰ 28 ‰

(hyperventilate)

2% æj# ‰ 8 æ-– -–– ! ‰ fl

(hyperventilate)

–!

2 4

make

–!

PEN ON PAPER (always energetic)

& ..

2 4

‰

2 4 ‰.

known

2 4

–æ

make

2‰ 8

‰

& ..

3 8

2 ã8

PEN ON PAPER

179

part

–!

‰

(hyperventilate)

2 4

1 4 ¿. ¿. ¿ ¿. ¿. . 't g' h' g' 't ppppp 1 4 " 5

& ..

Simon Steen-Andersen: Difficulties Putting It into Practice - 23

2 4

ã 42

184

–æ

2 ã 4 ‰.

& & & & & & & & & & & &

2 4

re veal

ø ø

clear ly

PEN ON PAPER

–æ

–!..

-–æ

1 4

3 8

2 4

1 2 ã4 ‹‹‹‹‹ 4 ppppp

3 8

2 4

3 8

2 4

1 ã4

7:4

1 ã4

2 ã4

192

2 ‰ % æj# 8 -–

ª P1

42 ‰

1 2 ã 4 ‹‹‹‹‹‹‹ 4 ppppp (teeth)

Com Mu Ni CaTed Her View S To The Of

(teeth)

& ..

188

–!

‰ 28% æj# -– -–æ – ! ‰ fl

PEN ON PAPER

2 ã4

2 4‰ 2 4

to $

ø ø

veal

clear ly

PEN ON PAPER

–æ

–!..

3 4

ø ø ø

ma ni fest

%æ#

– –-æ -–

% æ-– # % æ # 3 j J 8 -–

(nose)

‰

! -–æ

æ -–

%æ # j -–

2 4

3 4

2 4

3 4

(rip of a whole slice of paper prepared in advance)

gg -– f

(blow on (finger-snap paper edge) on paper edge)

2 ã4 ! 2 ã4

–æ

ø ø ø ø ø

her dis a pro val

com

3 4 3 4

ø ø ø ø ø ø

mu ni ca ted it self

ø ø ø

in her frown

–!

–

'' f ''

2 4

˘¿ –

2 4Œ

Simon Steen-Andersen: Difficulties Putting It into Practice - 24

! ‰

-– $

% -æ– #

(nose)

3 ã4 !

195

3 ã4

ø ø ø ø ø

to becom' a ware

–æ

‰ ‰

5 ã8

know

–!..

5 ã8

j –!

2 4

5 ã8

‰

& &

means

& & & &

5 ã8

ø ø ø ø ø

loo ming throughthe mist

5 ã8

R fl

–æ.

%æ# -–

gg -– f

‰ #

-– $

‰

gg -– f

‰

(rip paper)

–

‰

gg -–

˘¿ on paper edge)

1 4

5 8

1 4

5 8

1 4

–!..

–æ

1 4

&ob jec & &t –

‰

2 4

R fl "

‰

2 4

gg -–

–!. –æ

–æ

5 8 5 8

(finger-snap

'' f ''

j –!

gg -– f

& & & & & &

5 8

ø ø ø.

–æ

i den ti fy by the

I perceived

‰

–

5 8

2 4 !‰ Œ Ï

(blow on paper edge)

–æ

(rip of a whole slice of paper -prepared in advance) 3

–

of the sen ses

˘¿

'' f ''

5 ã8

–

(nose)

(finger-snap on paper edge)

‰ J

% æ # %æ# -– 2 4 æ– -–– !

2 4

‰ –

202

5 ã8

gg -– f

2 4Œ

(blow on paper edge)

2 4Œ

(rip of a whole slice of paper - prepared in advance) 3

198

! ‰

#j -– $

Œ "

PEN ON PAPER

2 4

‰

æ -–

2 4!

Simon Steen-Andersen: Difficulties Putting It into Practice - 25

æ -–

‰ (blow on paper edge)

& & & & &

$ to

re cog ni

–

'' f ''

(rip halfway through paper)

‰

205

g-– f ãŒ

g -–

ã!

fl Ï

'' f ''

˘¿

(finger-snap on paper edge)

–

‰.

–

ø ø øø

PEN ON PAPER

! ‰.

–æ –æ –æ

–

2 4

-– æ

2 4

7 4

2 4

7 4

2 4 ª

2 ã4

1 4‰

2 ã4

1 4

2 ã4 ! ø

$ sion

> paper edge)

–

ø ø ø ø

'' f ''

or un der stand

2 ã4 ! –æ –æ. $

(rip paper)

gg -– f

˘¿–

gg -– f

‰

–

.. ‰ ..

gg -–

.. 10 4

x15

gg -–

x15 ‰ .. 10 4

(rip very slowly)

~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~ $ –

5 8 5 8

(finger-snap on paper edge)

1 4

!‰

.. 10 4

5 8

.. 10 4

5 8

(point!)

discern en vi

(blow on

‰.

–

7æ æ 4 pppppp

‰.

‰ ‰

208

!‰

g -– $

–¿

" (rattle paper)

(finger-snap on paper edge)

–.

7 4

rip 1 cm. 3

‰

‰ ‰

! 41

Simon Steen-Andersen: Difficulties Putting It into Practice - 26

ã 85

5 ã8

1 4‰

212

5 ã8 ã 85

7:4

PEN

–æ

kas m

j & & & & & & æ – I per ceiv' a note of $

ã‰

-– $

4 ã4

>ø >ø >ø >ø –æ –æ. but I per ceive>

–

41 ! ‰

'' f ''

& & && &

> > > >>

this is a ve ry

>ø >ø >ø >ø –æ. dif fi culties >

> > > >>

gg -–

(breath in)

2 4

-– $

‰

gg -–

Œ "

–æ

4 4

dea

–æ

‰

ø ø > > –æ

this is a ve ry

–æ

& & & &

gg -– f

> nice

PEN

dif fi cul ties

˘¿–

gg -–

(finger-snap on paper edge)

>ø >ø >ø >ø >ø

puttingit in to

–æ

ø ø ø ø ø > > > > > –æ

-–

gg -– f

2 4‰

‰

PEN

219

in your voice

gg -– f

‰

42 Œ

‰

ø ø

1 4

‰

PEN

216

ø ø

sar

gg -– f

‰

& & && &

> > >> >

putting it in to

2 4 2 4

–æ

& & & & &

> I> per> cei> ve>

but

4 4 ª

–æ

ø >ø > prac tice fpossibile $

–æ

fpossibile

ø ø ø ø ø

>>>>> this is a ve ry $ 5

–æ

& &

–æ

&& && &

> >> f > > > >> fpossibile $ possibile $ prac

ti ce

Simon Steen-Andersen: Difficulties Putting It into Practice - 27

this is a ve ry

(teeth)

222

41 ‹ ‹ ‹ 42 ppppp

1 2 4 ‹‹‹‹‹ 4 ppppp

(teeth)

ã ã ã

–æ

f possibile –æ

f possibile

>ø >øi dea >ø $

nice

& & & &

> > > > $ ni

dea

1 4 1 4

" "

2 4

–æ

f possibile

–æ

>ø >ø >ø >ø $

f possibile

but I perceive

dif fi cul ties

2 4

–æ

& & & & &

–æ

& & & & &

> > > > > f possibile f possibile $ but I per cei ve

>>>>> $

dif fi cul tie s

226

ã ã ã

f possibile

>ø >ø >ø >ø >toø $ putting it in

–æ

fpossibile

>ø $ prac

–æ

f possibile

æ > > > > > f–possibile $ putting it in

> $ prac

‡

ppppp

‹ ¿ ‹ ¿. Œ

. 't 'b ppppp "

>ø

tice

& & & & &

¿ ¿

(teeth)

–æ

(fingers+ resonance) 3

& &

> >

O‡

Œ Œ

-œ

(ƒ) *) œ ee

(ƒ) ee

**)

–æ

˜ ˜ ˜ ˜ ˜

f possibile ( ' )

this is a ve ry

**)

–æ

˜ ˜ ˜ ˜ ˜

( 'is) f possibile this

a ve ry

*) very loud singing or very loud Siren (ex: megaphone siren, football siren, phone app, etc. **) Spoken clearly but away from mic until measure 237

Simon Steen-Andersen: Difficulties Putting It into Practice - 28

ãŒ

230

ãŒ ã ã

–æ

nice

f possibile ( ' )

ãŒ

˜ ˜

i dea

O‡

(ƒ)

–æ

nice

˜ ˜

i dea

-œ

˜ ˜ ˜ ˜

f possibile ( ' )

but I per ceive

(ƒ) -œ

(ƒ) ˜ ˜ ˜ ˜ ˜

putting it in

˜ ˜ ˜ ˜ ˜

f possibile ( ' )

putting it in

. ‰ Y‹ 42 Œ ppppp (nail+ tooth)

Y. Y.

3 4 ¿ ¿. ¿. ‹ ‹ . h' g' 't ppppp

f possibile ( ' ) –æ

f possibile ( ' )

but I per ceive

–æ

˜ ˜ ˜ ˜

43 Œ

¿ -– .

ppppp

(ƒ) -œ ee

(ƒ)

# #3

ãŒ

(ƒ) -œ

-œ

f possibile ( ' )

235

-œ

(whistle inward)

(teeth)

‰ 42 Œ

3 4

2 4

3 4

2 4

–æ

(ƒ) -œ ee

(ƒ)

-– æ æ pppppp –

(rattle paper)

–æ

˜ ˜ ˜ ˜

dif fi culties ) f possibile ( ' 5

–æ

˜ ˜ ˜ ˜

dif fi culties ) f possibile ( '

("lungs")

(ƒ) ee

-œ

5 8

2 4

5 8

2 4

5 8

2 4

(ƒ) ee

prac

fpossibile ( ' ) prac

# # j 85 ‹ ¿. ¿. ¿ O 42 . – ‡ 't g' h' ppppp

-œ

fpossibile ( ' ) –æ

tice

Simon Steen-Andersen: Difficulties Putting It into Practice - 29

ã 42

239

– – -– 3 4æ æ æ pppppp

2 4

–

2 ã4 ã 42

PEN

2 ã4

PEN

–æ

ø ø ø ø ø

this is a ve ry

–æ

& & & & &

3 4

this is a ve ry

–

(rattle paper)

2 4

" –

4æ æ æ æ 4 pppppp

2 4

ø ø

& & & &

4 4

2 4

(keep rattle!)

PEN

–æ

nice

i dea

PEN

–æ

ni ce

i dea

*) Next 5 measures: Keep paper rattle until measure 248. Try to whisper the resulting sentece "I perceived an object looming through the mist" as understandable as possible...

2 ã4 Œ

243

‰

(p)e(r)

‰ ‰

¿¿

a(re)

2 ã4 ‰

‰ ‰

$ ee

!‰

–

$ s

!Œ

‰

!‰ ‰ 3

F d

! ‰

o(b)

‰

n $

! Œ

! !

‰

a(n)

‰

2 ã4 Œ 2 ã4

!!‰ 3

e(ct)

‰

T $

! ‰.

i(ng)

‰ ‰

‰

–

‰.

–

$ hr

‰

!‰

$ m

! ‰

Simon Steen-Andersen: Difficulties Putting It into Practice - 30

–

F th

! ‰.

–

$ th

ãŒ

247

! 44

¿ t

-– 4æ æ æ æ 4 pppppp –

–

(rattle paper)

‰.

(th)e

ã ‰.

–

F s

! ! 44

4 4

" –

1 ã4

2 4 2 4

2 4

PEN

-– 4æ æ æ æ 4 pppppp

1 4

4 4

1 4

4 4

1 4

–

–æ

$ PEN

–æ

ø ø ø ø

but I perceive

& & & & &

But I Per Cei Ve

" –

(rattle paper)

ª 251

–

2 4

3 4æ æ pppppp

3 4

2 4

3 4

2 4

1 ã4

-– 2 æ 4æ pppppp

1 ã4

2 4

–

-–#

2 4

" –

–

(rattle paper)

3 4

-– æ

2 4

0 cm.

1 ã4

2 4

Simon Steen-Andersen: Difficulties Putting It into Practice - 31

ã 42

-– 42 æ æ pppppp

3# 8 .

3 4

2 4

257

2 ã4

-– .

3 4

" 3 #j # 8

–æ

ø ø ø ø ø

–

put ting it in to

-–#

0 cm. 3

PEN

–æ

&&&& &

PutTing It In To

-– ãæ æ pppppp –

(F) Ø

–

(rattle paper)

–.

no fingers

1 finger

2 fingers

–

3 8

-–#

0 cm.

PEN

269

uncovered

no fingers 1 finger

263

3 8

–.

(F) Ø

–

-–#

2 ã4 Œ

cover mouth with 1 finger to change the colour of the noise - as if a slow melody

# 2 j 4 –-

–

" -–#

0 cm.

2 4

Œ ª

3 8

5 8

3 8

1 4

3 8

5 8

3 8

1 4

(rattle paper)

no fingers 1 finger 2 fingers

3 #j # 8

– –

-–#

0 cm.

(F) Ø

–.

3 fingers

5# 8 . – 85

–

2 fingers 1 finger no fingers

3# 8 . – 38

Simon Steen-Andersen: Difficulties Putting It into Practice - 32

# 1 j 4 –-

–

1 ã4

276

-– æ

1 ã4 1 ã4

pppppp

-–#

5 8

3 8

5 8

" -–#

5# ã8 . –

5 ã8

281

3 8

(rattle paper)

0 cm.

3 fingers

–

4# 4

–

4 4

–

(F) Ø

5 8

–.

–

3 8

4 fingers

3 #j 8

2 fingers

no fingers 1 finger

5 8

–

increase the force with which the fingers are pressed against the mouth to let less and less air in, and at the same time increase the force of breathing in, until the maximum force is used and practically no air is passing. No theatrical intention!

9# 4

–

9 4

–

Simon Steen-Andersen: Difficulties Putting It into Practice - 33

–