Simon Steen-Andersen In Her Frown (2007, rev. 10) for 2 amplified sopranos Dur. c. 11’
Written for Royaumont 2007 Dedicated to Dr. Klemann
SCORE
T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk
Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg
Simon Steen-Andersen In Her Frown (2007, rev. 10) for 2 amplified sopranos Dur. c. 11’
PROGRAM NOTES
In Her Frown 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: Each singer has 2 systems: - 1) Actions: (see below). - 2) Volume pedal: The upper line means pedal down forward (max volume), the lower line means pedal down backwards (no volume). When a sound is performed the pedal should already be in the indicated position. A glissando line means gradually changing the degree of amplification. This should be done in accordance with the sounding result so that the crescendo/diminuendo or spatial movement is equally distributed (the sensitivity of the volume pedal is in this sense not linear). Amplification: The singer should wear a very sensitive headset microphone. A separate microphone for the table actions is preferred, and if played without it, the singer has to move her head close to the table actions in order to amplify them through the headset microphone. The amplification should be rather extreme turning a ppp into a forte, when the volume pedal is set to max. For avoiding “accidents” (making a forte sound when the amplification is on max) a limiter could be used in the setup. Dynamics: The basic idea is, that the soft sounds are amplified and the loud sound are unamplified. Often the soft sounds will result louder than the unamplified sounds performed with maximum energy. At places, where the volume pedal changes quickly, it may be an advantage to just read the dynamics, where fx ppp actions always mean amplified and mf actions always mean unamplified. 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”), and soprano 1 should also have a normal piece of A4 paper (for rattling extremely soft close to the microphone). The writing block should be positioned horizontally and it is used for scribbling with the pen and for ripping off slices of paper. Soprano 1 should prepare 28 slices and soprano 2 should prepare 31 slices for ripping off the first and second sheet of the block, by ripping a couple of cm. and bending the paper upwards. “Air-guiro”: A piece of A4 paper is folded 4 times (on the long length), and a triangle with sides of 1-1,5 cm. is cut into the folded side, approx. 5 cm. from one of the ends. When folded out the paper has 8 holes. The air-guiro is played by blowing on a the holes while moving the paper sideward. When blowing, the distance between the mouth and the paper decides the colour of the sound. The distance will be indicated as either approx. 3 cm. or 0 cm. or there will be indicated a gradual transition between the two. In fff (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. The 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: 1) Speaking with completely closed mouth (mainly soprano 1). 2) Speaking without air, doing an exaggerated mime, where only the consonant-clicks and other attacks are left (mainly soprano 2). 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 being able to read – the text can also be read before or after).
Notation continued: Action areas: Air-guiro paper actions Nose actions
The tone B (as if in treble clef)
“Inside/outside scale” Mouth actions Table actions
“Inside/outside scale”: “fingers”: “lungs” “glottal click” “palate click” “vacuum T” “teeth”
“vacuum B”
“nails” / “finger tips”
- “Lungs”: Breathing sound coming from the lungs or deep from the throat. - “Glottal click”: Single glottal click without any air, with the mouth/throat pos. like saying “ha”. - “Palate click”: The very first part of a “g” sound without any air. A normal “g” sound is written with a capital G to avoid confusioin. - “Vacuum T”: Same tongue pos. as when say T, but simply performed by moving the tongue away from the palate. A normal “t” sound is written with a capital T to avoid confusion. - “Teeth”: The sound of the teeth coming together – only used in very soft dynamics. - “Vacuum B”: Moving the lips slightly apart with the position of a B and with a slight sub pressure. The normal “b” sound is written with capital B to avoid confusioin. - Nails: The clicking sound of one nail sliding over another nail (performed with one hand). The sound should be performed close to the microphone. The nail sign is also used in combination with the teeth meaning to slide the thumbnail over an upper front tooth also producing a click sound. - “Finger tips”: Let the thumb tip and middle finger tip hit eachother rather hard just outside the mouth (being open) producing a soft resonance in the mouth. Signs: Pitch
Spoken with closed mouth
Percussive sound
Spoken normally
Noise sound
Spoken without air (exaggerated)
Whistle / whistle-tone
Move air-guiro in the direction of the arrow
Highest possible tone
Gradual transition
Lowest possible tone
Breath in / out
Used for whistle-tones
Hyperventilation / rapid panting
produced inside the mouth
Tenuto pos. – quasi legato to the next sound Staccato always as short as possible
Staging:
Audience
Loudspeaker 1
er s
er s
m et
m et
~3
~3
Loudspeaker 2
~3 meters Headset microphone (+ table microphone) through volume pedal
Table 1
Table 2
Headset microphone (+ table microphone) through volume pedal
Each singer sits at a table with a headset microphone (plus a microphone on the table if possible) and a volume pedal to control the signal. There should preferably be 3 metres or more between the 4 positions.
In Her Frown for two amplified sopranos q =~60
Simon Steen-Andersen 2007
PAPER WITH HOLES blow while passing all 8 holes with in a sideward movement blow 2-3 cm. away from paper, breath in in every pause
m–-
snd. S.1 vol. ped.
–
x20 1 .. 38 J ‰ ã4 Ï (poss.!)
1
÷ ˜
(= unamplified)
–J
‰
41 ..
–-
‰
.. 42
x5
–-
movement ritardando
n
..
PAPER WITH HOLES blow 2-3 cm. away from paper, breath in in every pause
snd. S.2 vol. ped.
q =~60
m–-
.. 38 ‰ ã 41 ‰ Ï (poss.!) ÷ ˜
(= unamplified)
41
Œ
x20
–-
J
‰
–-
41 .. ‰
–-
–
..x542 Œ
41
n
..
‰
Ï
slow movement, accelerando
˘–
Ï
-–
≈
‰
-–
3
–-
‰
-– 3
‰
–-
‰
–-
‰
(blow while passing all 8 holes with in a sidewards movement)
ã‰
8
S.1
42 Œ
÷˜ 8
S.2
–-
ã
–-
÷˜
‰
–
˘–
n
Ï
slow movement, accelerando
42
–-
movement ritardando
–
˘–
mov. acc.
≈ ‰
‰
n
–.
41 ≈ Ï
mov. rit.
Œ
n
‰
Ï
n
1
41
–-
Ï
–-
‰
‰
-–
-– 3
‰
3
‰
-–
–-
‰
‰
–-
38
38
S.1
–14 ã 38 J
‰
–J
ã 38 ‰
15 ã4
ã 15 4
-–
41 .. ≈
≈
-–
.. 42 .. x5
–-
(only 4 holes when playing 16th notes)
≈
41 ‰
-–
38 ≈
-–
≈
-–
41 ..
‰
-–
-–
≈
≈ .. 42 .. x5
–
–
(use up all air!)
–
–
(use up all air!)
ã
1 4
∑
catch breath... (audible because of amplification)
x3 .. 15 4
x3 .. 15 4
-–
-–
41 ‰
∑
‰
‰
-–
2-3 cm.
‰
Ï
-–
ã‰
‰
‰
-–
˜
-–
0 cm.
‰
‰
-–
-–
2-3 cm.
‰
‰
-–
‰
-–
-–
‰
‰
(breath in naturally as before)
-–
‰
-– ( –≤ )
˜
‰
‰
(ampl. off)
÷˜ -–
-–
0 cm.
˜
catch breath... (audible because of amplification)
-–
Ï
‰
-–
(ampl. off)
˜
÷
-–
2-3 cm.
(amplification on)
24
S.2
≈
-– ≈ J
˜
÷
24
S.1
38
-–
(amplification on)
19
S.2
‰
-–
÷ ˜.
19
S.1
≈ 41
-–
÷ ˜. 14
S.2
–-
(only 4 holes when playing 16th notes)
-–
‰
-–
-–
2-3 cm.
‰
‰
-–
÷˜
‰
-– 3
‰
≈
-–
≈ ≈
3
-–
˜
-– ( –≤ )
(breath in naturally as before)
‰
˜ 2
(∏)
( ∏ ) ˜
33
S.1
ã
ã
( –≤ )
-–
3 ã 8 ≈
-–
≈
ã 38
-–
≈
ã
-–≤
≈
-–
≈
-–
㉠÷˜
-–
-–
‰
(Ï)
-–
0 cm.
≈
-–
≈
-–≤
‰
≥-–
≈
-–
≈
-–
1 4‰
-–
≈
-–
-–
~3 cm.
-–
3 cm.
~3 cm.
≈ 41
‰ ˜
‰
‰
-–
-–
‰
-–
‰
-–
Ï
‰
Ï
38
38
‰
‰
æ pppppp
‰
∑ ˜ 3
‰
≤-–
(breath out) 3 cm.
‰
˜
˜
˜
-–
3 cm.
-–
-–
0 cm.
("rattle" a (new when possible later on) piece of paper very close to the microphone so soft that only a deep rumbling effect is sounding)
–
-–
(breath in) 0 cm.
3 cm.
˜
(breath out) 3 cm.
˜
‰
3
-–
0 cm.
˜
˜
˜
≥-–
-–
≈ ‰
-–
‰
˜
(breath out) 0 cm.
‰
≈
-–
.. ˜
0 cm.
≈
‰
3
˜.
÷˜ 47
≈
-–
˜.
(breath in) 0 cm.
S.2
-–
÷ ˜.
47
..
˜
÷ ˜.
(breath in) 0 cm.
S.1
-–
‰
(Ï)
x5
( ∏ )
.. ˜
˜
÷˜
40
S.2
( –≤ )
.. ‰
-–
.. ˜
˜
(sim.)
Ï ( ∏ )
..
x5
( ∏ )
.. ˜
˜
40
S.1
( –≤ )
.. ‰
Ï ( ∏ )
÷˜ 33
S.2
( –≤ )
-–
(sim.)
˜
‰
˜
‰
˜
≥-–
‰
-–
3 cm.
ã‰
50
S.1
Ï
÷˜ -–
S.2
ã
÷˜
3 ã 8 ≈
-–
≈
≥-–
≈
-–
ã
÷˜
-–≤
-–≤
≥-–
0 cm. 3 cm. 65
S.2
ã
÷˜
-–
≈
-–
≈ 41
≈
-–
-–
3 cm.
≈
≈
-–
-–
≈
-–
-–
0 cm.
≈
≈
-–
≈
-–
-–≤
0 cm.
-–
-–
3 cm.
‰
˜
˜
-–
Ï ˜
≈
-–
-–
≈
˜
mov. rit.
‰
-–
≈
–
38 ∏
˜
J
–
–
fl
-–≤
1 4
Ï
¿.
't
˜
‰
˜
˜
≥-–
-–≤
Ï
˜.
1 4
‰
‰
-–
Ï ˜
˜
-–
0 cm.
3 cm.
≥-–
0 cm.
˜
˜
≈ 85 ≈ ≈ ≈ ≈ ≈ ≈ ¿. ¿. ¿. ¿. ¿. ¿. T to T 't 't ∏'t ˜ ˜. 4
≥-– -–≤
-–≤
‰
1 4‰
3
˜
0 cm. 3 cm.
41 ‰
38
0 cm. 3 cm.0 cm.
˜
O.
3
‰
Ï
whistle tone by blowing a soft focused airstream on the edge of the paper (rit.)
-–≤
0 cm.
3 cm.
≈ J ¿. 't ∏ mov. acc.
≥-–
38
‰
˜
˜
≥–-
˜.
˜
Ï
41 ‰
J ∏
j ˜
1,5 cm.
0 cm.
3‰ 8
‰
0 cm.
0 cm.
˜
˜
˜
¿.
–-
j
-–≤
41
't
˜
‰ ˜
fl
0 cm.
28 ‰
‰
≤-–
0 cm.
˜
0 cm.
˜
–
28 J ∏
≤-–
0 cm.
˜
-–
‰
0 cm. -– 3 cm. -– -– 0 –-cm. ( ≥) -– 5 ≈ ≈ ≈ ≈ 8 ∏ Ï
3 cm.
‰
0 cm.
1 4‰
≈ 41
–
˜
0 cm.
≈
-–
˜
3 cm.
˜.
3 cm. 0 cm.
S.1
-–
-–
0 cm.
3 cm.
˜
÷ ˜. ≥-– 65
41 ‰
˜.
3 cm.
S.2
-–
≈
÷ ˜. ã 38
≈
˜.
57
57
-–
0 cm.
˜
-–
38
‰
0 cm.
S.1
≈
0 cm.
Ï
-–
0 cm.
˜.
0 cm. 50
38 ≈
-–
3 cm.
Ï
-–
3 cm.3 cm.
‰
0 cm.
˜
-–
0 cm.0 cm.
3 cm.
‰
‰
˜
-–≤
≥-–
0 cm. 3 cm. 71
S.1
ã
O
O
∏
≥-– 71
-–≤
˜
÷˜
(whistle tone on paper edge left side)
ã 42
S.2
÷
O
∏ ˜
¿.
't ∏
¿.
‰
œ.
(nose)
2 ã4
81
S.2
÷
–≤
∏ ˜
to
˜
J
¿.
to
(whistle tone on paper edge)
O
3
¿.
T
¿.
(gradual transition from air-noise to a whistled pitch) ("normally" patting whistled tone)
≥ ≥ –. –.
˜
≈
¿.
‰
3
O
41
˜
-–≤
–
fl ˜
≈ ≈
to
≥-–
-–≤
0 cm.
Ï ˜
˜
˜
3
≥-–
≈
¿.
–
–
π s
n
f ∏
≤
≤
–
>˘ – ≈ ‰ ∏+
–
't
F
n
˜
42
˜
1 4
˜
NOSE
¿.
F
–
˜
∏
˜
≥-– -–≤
0 cm.
Ï
2 4
˜
≥-– -–≤
0 cm.
41
˜
3 0 cm.
Ï
42
˜
("tounge stop")
> æ
-–≤
42
0 cm.
3 cm.
¿. – .
T
0 cm.
3
([f])
O
¿.
Ï ˜
∏
˜
(sim. pat mouth)
œ
3 4O
–
–
[f]
3 cm. 3
0 cm.
't
˜
æO J
˜
't
˜
œ
information abou
˜
T
˜
1 4 to convey
Ï
to
O-
O – 3
81
S.1
¿.
–
¿.
˜
T
˜
¿.
T
¿.
't
tremolo by mouth with finger(s)
2 ã 4 –æ. [f] ∏ ÷ ˜
9:4
3 cm.
42 ≈
2 ã 4 ≈ ¿ ‰ . T ∏ ÷ ˜
≈
˜
0 cm.
ã
76
fl
˜
76
S.1
–
-–≤ ≥-– -–≤ ≥-–
0 cm.3 cm.0 cm.3
3
T
˜
÷˜ 3
S.2
42
(transform to air sound by focusing less and blowing more)
3 4 –. –. –. –. –. –. –. h h h f f f f
–
[s]
2 æ– – – – ¿ 4 . . . . s s s T 5
(gradual transition from air-noise to a whistled pitch)
0 cm.
–
-œ
("normally" whistled tone)
–
[f]
5
.
O
2 4Œ
3 4
∑
("glotal click")
¿.
h' ppppp
‰
3 4
-
‰ 3 ã 4 ¿ ¿ ¿ ¿3 ¿ ¿ ¿ ¿ ¿ 42 – . . . . . . . to convey T. 't. T 't 't 't 't 't T [f] information ∏ abou ˜ ˜ ˜ ÷ ˜ œ
84
S.1
-œ
ã 43 O ∏ ÷ ˜
84
S.2
‰
5
œ
. . œ. – – –
m ∏
ã 42
88
–.
˜
[f]
O
>
O
3 8
– ˜
¿.
¿.
't
T
¿.
to
÷˜
≈
to
–
-–
5
5
to convey
[s]
˜
˜
˜
42
˜
-–
0 cm.
-–
0 cm.
3 cm.
81 J Ï
information about
˜
0 cm.
81 J Ï j
∏
3
0 cm.
-–
3 cm.
œ
Ï
42
j
˜
˜
>+ 3 3 2 ‰ 8 4 –. ¿. ¿. ¿. ¿. ¿. ¿. h' 't T T d d f ∏ (d)
f f f
3
–
. s.
fs
S
–
–
1 4‰
O
> ≥ æ ≤ –æ
œ ˜
1 4
≥ ≤
42 ¿ ‰ Œ . h' ppppp
œ
O
J
r
˜
2 8 ø ø
(pat mouth)
3 8 –æ –
to con
O
38 J J J ∏
42
O
O
f
("glotal click") 3
œ
2 4 Œ ¿ ¿. . h' ppppp g'
æO J
f
3 4Œ
Œ
(rattle paper->)
3
2 4
jŒ
¿.
h'
(turn page) 6
5
– – ––– – – – – – –
˜
–
(nose)
PEN ON PAPER
Ï ∏
O
("glotal click")
∑
∏
n
(spoken with closed or covered mouth)
(nose)
–.
j ˘
(left side)
÷˜
ãJ
œ.
≥ æ ≤
("glotal click")
(whistle-tone on paper edge)
38 >j
O. –O. – –. .
ã ¿¿–– – . . . . . to to T s f h
94
œ3
˜ (sim. hypervent.)
3
3
œ
[m]
‰ ¿j ‰ 42 Œ ¿. ¿. ¿. . 't 't 't h' ppppp
(very sharp S)
3
œ.
O 3 Oœ
œ
[f]
˜
(whistle-tone
(sing while making a whistle tone on the paper edge, resulting in kind of distortion of the tone)
S.2
–
cm. on paper edge)
œ œ
∏ ˜
÷
94
S.1
˜
42
(never vibrato)
(half whistle, half f-noise)
(blow on paper edge)
S.2
[f]
–
3
˜
÷
≥ æ ≤
æ
æO
2 ã 4 ≈
88
–
(hyperventilation/ rapid panting)
tremolo by patting mouth with finger(s)
(blow on right paper edge) 0
S.1
≥ æ ≤ ≥ æ ≤ ≥ æ ≤
(hyperventilation/rapid panting) (nose)
5
(never vibrato)
2 8
œ
Ï m
˜
3 8
œ.
¿. ¿. –. –. –.
∏ ˜.
to to T s f h
6
(nose) 3
–.
2 4
∑ ˜
("palate click") 3
3 4 ¿. ¿j Œ . g' h' ppppp
Œ
3
j 42
¿.
h'
–
–
(sim. rattle paper)
S.1
÷
> 24 +
–
f
n
O
(left side)
ãŒ
Œ
S.1
÷˜ ã ¿ ¿. ¿. . h' g' 't ppppp ÷˜ 3
Œ
¿.
ppppp 't
104
S.2
¿. ¿ .
g'
¿. ¿. ¿.
h'
Œ
h' g' 't
Œ
¿.
2 4 ‹ ¿. ¿. ¿ ‰ . ∏ 't g' h' (teeth)
4:3
h'
≤
"lungs"
42 Œ
Œ
≥ ≥ 3 ≤ 3 æ– – – . . 43 +. – ≈ ‰ ∏ –h. –.f –s. T¿. ¿'t. T¿. > ∏
≤
–
3
O
(sim. nose trem)
˜
104
43 O
to convey information abou
38 ≈ ≈ –. –. –. ¿. ¿. ∏h f s T d
˜
œ
42 ¿æ
˜
∑
(pat mouth)
9:4
3
ã 42 ÷
j æ¿
38 æ O ∏
˜
100
S.2
œ
(pat mouth)
æ ã 42 æ pppppp
100
(whistle tone on paper edge)
‰
3
–
O
O 0–cm.O –
>+
≤
¿. ¿. ¿. –
't T ∏
>
38 ≤j ‰ ‰ 42 – –. ¿. ¿. -– + d T ppppp ∏
–
d f (d)
3 ‰ ≥ 2 8 – 4 ppppp "lungs"
f
n
"lungs"
(blow on right paper edge)
2 ã4
S.1
÷
3 . 4 ¿
("vacuum b") (teeth) 3
∑
110
'b
˜
˜
˜
2 3 ã 4 ¿. ¿. ¿. ‹ ‹ 4 h'
÷
˜
g'
¿.
't
˜
(teeth) 3
110
S.2
¿
2 ¿. ¿. 4 Œ
g'
˜
g'
g'
˜
2 4
∑
com mu ni ca
˜
˜
˜
't
˜
3
't
˜
‰ ¿ ¿ 38 ¿ ‰ . . . ¿. 3
˜
˜ 7
‰
g'
˜.
h'
–
-–
2 fl J 3 ‰ ‰ j 8 ¿ 8 ¿ ¿ . . . ∏'t Ï ∏'t 't ˜ j ˜. J ˜ –
0 cm.
3 cm. 0 cm.
3 cm..
–
3
– O.
0 cm.
3 ‰ ‰ ≤j 2 J fl 3 J 8 8 – 8 ¿ ∏ Ï 't. ∏ ˜. ˜ ˜ ˜. J ˜ ("lungs")
– (f)
≤3
("lungs")
∑
116
S.1
ã
ppppp
¿.
h'
‰
¿. ¿.
g'
("lungs")
∏ to
≥ ≤
∑
ø
ø
con vey
("quasi exagerated mime") 5:4
Com Mun
Ni
Ca
6
–– ––––– – – – – – – – –
≤ -–
Œ
T
÷ ˜
ppppp
¿
¿.
Œ
'b
Œ
‹
‹ ¿ ¿ ¿ . . . 't
œ . œ.
ng
3 ‰ ‰ ‹‹ 8 ¿. –æ 't f ∏
(fingers+ resonance) 3
'b
Y‹ .
(teeth) (pat mouth) 3
("lungs")
¿.
(thumbnail (teeth) over tooth)
42 Œ
5
∏
÷ ˜.
ã
ø
't
42 ‹ ‹ ‹ Œ ppppp 3
PEN ON PAPER
≤j ≥ ã– – - ppppp
121
S.1
–.
h'
÷ ˜. 116
S.2
¿.
(teeth)
(closed mouth)
O.
(teeth) 3
1 2 Y. 8 ≈ ‹ ‹ 4 Œ ppppp
(nails) 3
g' g'
Œ
(paper edge) 3
S.2
ã
÷ ˜
¿ ¿ ¿ ã ‹ ¿. 'b
÷˜ 127
S.2
¿ ¿ ¿ Œ . . . 't g' h'
(fingers+ (teeth) resonance) 3 127
S.1
ã
38 ¿.
3
∑
121
‡
(deepest tone)
∑
¿
.
‰
'b
¿
. ‹ ¿.
("quasi exagerated mime")
≈
But I Per
Œ
≈
¿. ¿. ¿. ¿.
∏ 't
g'
't
't 't
(thumbnail over tooth)
24 Y‹. Œ3 ppppp
81 ∑
≤
't
3 4 ¿.
‰
g'
3 4‰
3
3
Com Mu
Œ
¿.
g'
Ni
Ca
Œ
Te
Œ
D
g' 't g' h'
÷˜ 8
-– ¿. -– -– h'
¿. ¿. ¿. ¿ .
Y‹.
≤ ≥
(lungs)
(teeth) 3
'b
fl
‰
¿.
h'
–
Œ
Œ
ãŒ
131
S.1
÷˜
5
2 ã4 ‰
ø
∏
˜.
÷
(nail+ tooth) 3
(closed mouth)
to
≥ ≤
ã 42
ø
ø
ø
con vey
in
ø
for
6
¿
¿.
¿
‡
≤
3
O‡
-
¿
140
S.1
ã ¿.
't
÷˜
¿
.
'b
‹
¿.
't
˜
ã
∑
÷˜
˜
140
S.2
‹
¿.
‡
g'
3 4æ pppppp
h'
≤
-– ˜
≤
¿.
-–
h'
˜
9
¿.
h'
'b
5
But
–
∑
¿.
Œ
Œ
(rattle paper) 3
3
¿.
'b
(nails)
(nails)
h'
3
3
. . ‰ Y ‰ Y 42
‰ ¿ .
h'
∑
(fingers+ resonance)
Y.
3
5
‰ Y.‹ ‹ ¿. ¿ ppppp 'b
‰ Œ – – – – – – – – – – – – – – – – – – ppppp ∏ ÷ ˜.
136
43 ¿ .
(very
PEN ON PAPER
S.2
5
(nails) sharp s) . 3 Y. . Y 2 3 Y j ‰ ‰ ‰ ‰ ≈ ã ¿ ¿. ¿. ‹ ‹ ‹ 8 J 8 8J ‰ ‰ ¿ – . . -S 3 ppppp h' g' 't 't ∏ ÷˜
136
S.1
(nail+ tooth)
(teeth) 3
3
131
S.2
ng
(nails) œ . . . > Y 3 Y Y 2 38 ‰ ≈ Y‹ ‹ ¿ 43 ‰ 3 ≈ ‹. ‹. ‹. ‹. ‹. ‹ ‰ 8 ‰ ≈ ¿ ¿ ‹ Y.‹ ‰ ¿ ‰ 42 8 ¿ . ¿ J J .. .. ≈ ¿. ¿. ¿. ≈ . . ppppp 3 't 't 't 't g' h' g' 't h' ∏ (teeth) 5
–
I
æ
∑ ˜
˜
Per Ceiv
–
æ
3 4
˜
D
3
143
S.1
ã ¿.
¿
g'
't
÷˜
38 Y ¿. ¿. ¿. ‹ .‹
Œ
¿.
.
(nail+ tooth)
g'
ãŒ
h'
143
S.2
Com
Mu
Ni
Ca
˜
÷˜
ã 45
146
S.2
÷
ppppp
(whistle tone by blow a very soft and focused air stream on the edge of the nail)
OY
OY
OY
-OY
Œ
(fingers + resonance) (whistle inward)
j 5 ‹ ¿ ¿ ¿ ≤ ã8 . O 'b
÷ ˜
‡
‡
Her
‹
5 ã8
3 8
∑
(deepest tone)
S.2
∑
Y.
j
≥ ≤
(teeth)
(closed mouth)
5 8‰
≥— .
85
ø ø ø
ø
∏
to con vey
ø ø ø
in
for ma tion
3 8 O.
6
45
2 5 4‹ ¿ ‹ ‹ ‹ ‹ ‹ 8 3
ppppp 't
–– ––––– – – – – – – – – – – – –
≤
2 4O ‡
2 4Œ
¿
‡
Œ
–
(fingers + resonance) 3
¿ ¿ ¿
. .
'b
10
≈ ‹ ‹ ‹ ‹ ‹ 85 ppppp
5
But
÷ ˜
(teeth)
42 Œ
3
5
∏
(whistle highest posible tone) 149
Y.
PEN ON PAPER
˜
3
D
Y. Y.
˜
149
S.1
Te
(nail+ (nails) tooth)
5 ã 4 ∑ ÷
(nails) 34 Y.
∑
45
∑
˜
146
S.1
't
38
3
g'
43
'b
I
Per
6
5
Ceive
Dif
Fi
∑
Cul
Tie
S
Pu
1 4
1 4
ã 41
∑
153
S.1
S.2
˜ (fingers) 3
ã 41 ¿. ¿
153
'b
(teeth)
¿.
ppppp 't
˜
÷
2 ã4 ‰
ã 42
ø ø ø
∏
in for
PEN ON PAPER
–æ
∏
(rit.)
˜
÷ -—
(whistle highest posible tone) 162
S.1
ãO
3
Œ
-— O
÷˜ ãŒ
S.2
÷˜
¿.
h'
3
¿.
h'
-—— ‚
Œ
3 4
¿
Œ
ppppp
≤
O‡
¿
‡ ppppp
3
¿
¿
'b
'b
.
¿.
¿.
g'
g'
5
ppppp
Com
Mu
41
(teeth)
Ni
Ca
42
∑
(fingers+ resonance) 3
7:4
'b
(teeth)
5
3
¿ ¿ ¿ ‹ ‹ ‹ ‹ ‹ . . .
ppppp 't
g'
't
42 Œ
But
˜
11
I
Per
Ceive
Dif
Fi
Cul
≤
(fingers+ resonance)
¿
‡
∑
.
Œ
42
≈ ‹ ‹ ‹ ‹ ‹ ‹ 42 ‹ ¿. ¿ Œ
Œ
Te D'her Viev S To
43 Œ
j ! –
41
Œ
Œ
(slow)
˜ (whistle tone produced inside mouth) 3
162
-–
∑
ma tion a bout
38
158 (as fast as possible)
S.2
¿.
h'
3 ‰ 8 ø ø ø ø ø ø
to con vey
˜
÷
h'
≤
˜
158
S.1
g'
-–
42
‹ ¿ ¿ ¿ . . .
'b
≤
42 – ¿ - h'. ppppp
∑
˜
÷
≤
Ties
O
-‡
ã‰
38 ‰ ø ø ø ø ø ø
165
S.1
∏
÷˜ 165
S.2
ø ø ø
to con vey
ã
–æ
∏
÷˜
2 ã4
∑
÷
˜
(whistle tone on nail)
OY
˜
2 ã4 ø ø
2 ã4 ÷
∏
3
‰
3
ø
‰
∑
im part
–æ
OY
ppppp
Put Ting It In To
3 8 ø
ø
for
OY
ppppp
-——
ø
ma
tion
˜.
38
Y.
'b
‰ Œ
42
‰
2 4
Pra
ø
ø
a
42
bout
42
. ˜.
˜
(whistle tone on nail)
˜
ø
in
. ‰ ¿. ‹ Y‹ 3
3
˜
˜
..
–@
(acc.)
˜
–!
–!..
vey
∏
ø
43
(slow)
ø
con
–æ
172
S.2
ø
41
part
PEN ON PAPER
˜
make known
÷
ø
˜
˜
2 Y. Y. ã4 ppppp ÷
‰
43 Œ
im
.
to
172
S.1
38
(rit.)
169
S.2
ma tion a bout
PEN ON PAPER
169
S.1
in for
41 ø ø ‰ 3
(whistle inward)
≤
3 ¿ 4‚ ‰ O Œ -‡ ‡ ppppp
2 4‰
ø ø ø
∏
to con vey
3 ‰ 8 ø ø ø ø ø ø
in for
(rattle paper->)
ma tion a bout
4 4
(turn page)
-—
(whistle highest posible tone)
3 4‰ O Œ
3
¿¿‹ . 'b
12
2 4
PEN ON PAPER
–æ
∏
3 8
.
!
4 4
–
(rattle paper)
S.1
–
–
æ ã 44 æ pppppp
177
÷
æ
˜
42
∑ ˜
3
‰
ø
part
ø
ø
make
28 ‰
‰
known
≥ æ ≤ j -–
(hyperventilate)
˜
ã 44 ÷
42 ø
æ
3
im
177
S.2
–
˜
˜
28 ≥ æj≤ ‰ -–– ≈ ‰ –-æ fl˜ (hyperventilate)
–!
..
˜
˜
41
˜
41
5
1 2 ã 4 ¿. ¿. ¿ ¿. ¿. 4 ‰ . 't g' h' g' 't ppppp ˜ ÷ ˜
180
S.1
ã 41
S.2
÷
˜
(hyperventilate)
÷ ˜
‰ 2≥ æj≤ ã8 – -– ≈ ‰ fl ÷ ˜
in for
–æ
∏
im
˜.
38
PEN ON PAPER
2 4 ø
ma tion a bout
˜
˜
(hyperventilate) 184
S.2
∏
3
‰
ø
part
ø
make
˜
42
. ˜.
˜
–!
..
˜
2 4 ‰. ˜
1 2 4‹‹‹ 4 ø ø ‰ ! im part -–
˜
("quasi exagerated mime") 5
Com Mu Ni Ca Ted Her
˜
˜
1 2 4 ≈‹ ‹ ‹ ‹ 4
3
ø
make
˜
13
ø
known
‰
–! ˜
.. ˜
28
2 ‰ ≥ æj≤ 2 8 4 –(hyperventilate)
˜
‰ 2≥ æj≤ 8– -–æ – ≈ ‰ fl˜
(hyperventilate)
5
˜
-–æ
˜
3
˜
known
..
˜
3
ø
2 8
‰
˜
PEN ON PAPER
2 ‰ ≥ æj≤ 2 ã8 4 ––æ
184
S.1
42
∑
180
ø ø ø
to con vey
3 ‰ 8 ø ø ø ø ø ø
3
2 4
S.1
–æ
˜
ã 42 ‰ .
(teeth)
S.1
÷
7:4
Fi
3
ø
ø
∏ to
re
ø
veal
Ce
ø
clear
Œ
ø
5
ma ni fest
≥ æ ≤
–!..
to
ø ø ø
ly
PEN ON PAPER
ã 41 ‹ ‹ ‹ ‹ ‹ 42 –æ ppppp ∏ ÷ ˜
193
View S To The Of
– –-æ -–
fl
‰
≈ -–æ
æ -–
(blow on paper edge)
2 ã 4 ≈ ø ø ø ø ø ≈ ø
197
S.1
her dis
÷ 2 ã4
˜
a
pro val
S.2
÷
˜
5
mu ni ca ted it self
˜
197
–æ
com
3 4 ø ø ø ø ø ø
˜
˜
3 4
ø ø
in
˜
˜
˜ 14
1 4 ø ø
re veal
clear ly
PEN ON PAPER
˜
˜
(teeth)
S.2
Com Mu Ni Ca Ted Her
42 ‰ ø ø ø 3
28 ‰ ≥ æj≤ 42 -– –æ
3
1 2 ã4 ‹ ‹ ‹ ‹ ‹ ‹ ‹ 4 ‰ ppppp
193
..
(acc.)
5
˜
÷
–!
(rit.)
˜
÷
(slow)
(as fast as possible)
189
S.2
28 ≥ æj≤ ‰ -– -–æ – ≈ ‰ fl
PEN ON PAPER
ã 42
189
ø
her frown
˜
–!
Œ ˜
–
n
˜
–!..
3 8
38 ≥ æj≤ -–
-–æ
41
∑
2 4
≥ -æ– ≤ ≥ æ ≤ j J -–
42
(nose)
˘¿
(finger-snap on paper edge)
–
2 4 ≈ ‰ Œ Ï ˜
˜
(rip of a whole slice of paper prepared in advance)
2 4
gg -– f ˜
3 4
≤
-– ∏ ˜
3 4
≥ -æ– ≤ ≥ æ ≤ 42 Œ -– (nose)
ã 43 ≈ ø ø ø ø ø ø ‰ ‰ ø to be com' a ware of know ∏ ÷ ˜ 5
200
S.1
3
85
PEN
–æ
≥ æ≥≤ æ ≤ 24 -– Œ – –æ -– ≈‰ fl
‰ ‰ 42
j ! –
(nose)
ã 43
200
S.2
PEN
–æ ˜
÷
(rip off a whole slice of paper prepared in 204 advance) 3
S.1
2 ã4
(finger-snap on paper edge)
–
S.2
˘¿–
‰
∏
(rip paper)
≤
per ceived
˜
or
-–
–!..
–æ
∏ ˜
˜
–æ
˜
41
(finger-snap on paper edge)
ã ≈ j ‰ j gg -– Ï gg -– f j ÷ ˜. ˜
208
S.1
S.2
(rip paper)
ã j ‰ j ‰ gg -– gg -– f ÷ ˜. ˜
208
(rip paper)
i den ti fy by the
≤ 2 j 4 æ -– -– ∏
(breath in)
˜
J ‰
PEN
˜
ob – jec t
R fl˜
‰
‰
æ -–
g-– f
˜
–
˘¿– – .
˜
˜
15
mean s
ø
ø
–
R fl˜ .
ø
ø
≈
˜
–¿
fl
‰ J 42 n
–
j
ø
n
˜
j –!
–æ.
‰
˜
‰ ‰ ≤
(rip 1 cm.) 3
‰. ˜
≈ ≈ ≈ ‰ . – g –. . Ï ∏ j 3˜ ˜ ˜
–
(blow on paper edge)
PEN
g -–
of the sen ses
through the mist
(rip the rest) 3
(finger-snap on paper edge)
Ïn
n
3
˜.
˜
2 4 ≈ to re cog ni ze ∏ ˜
‰
5
looming
5 8
85
3
(rip halfway through paper)
(blow on paper edge)
˜
–!. –æ
˜
PEN
85
1 4 ø –æ an
ø ø ø.
˜
˜
3
ã 42 ≈‰ Ï gg -–f 3 ÷ ˜ ˜
204
Œ
I
÷ ˜
≈ ≈
PEN
Œ
gg -– f ˘¿
–!..
5
(blow on paper edge)
> paper->) 5 ≈ 4 ø ø ø ø dis cern en vi ∏ >
(rattle
˜
(turn page) PEN
–æ –æ ˜
≈
-–æ
5 4
–
(rattle paper)
S.1
–
–
æ ã 45 æ pppppp
212
÷
˜
æ
˜
ã 45 ÷
˜
ã .. ‰ ÷ .. ˜ ã ..
215
S.2
S.1
5 ã8
˜
˜
˜
gg -–
‰
˜
ø
∏
≈
sion
5
ø
or
ø
ø
un
˜
–æ ∏
≈
˜
–æ.
≈
–
fl ˜
–
≈
gg -– Ï f ˜
(point!)
x15 .. 10 4
..
41
n
5
˜
˜
–
stand
˘¿
(finger-snap on paper edge)
(blow on paper edge)
ø
der
˜
42
˜
41
≈
¿
fl
(rip paper)
gg -– f
‰
˜
5 8
∑
˜
x15 .. 10 4
(rip very slowly)
..
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∏ –
7:4
–æ
ø
∏
sar
˜.
5 ã 8 j –æ I per ceiv' a note of ∏ ˜ ÷ ˜ 6
85
˜
PEN
÷ ˜ 217
S.2
gg -–
÷ .. ˜
217
42
æ
∑
215
S.1
–
æ
˜
212
S.2
–
>
PEN
ø
kas
ø
m
≈
ø
in
ø
your
j
ø
voice
1 4
(rip paper)
gg -– f
‰
˜
‰
˘¿–
(finger-snap on paper edge)
–
1 4
J
n
j
˜
gg -– Ï f ˜
16
≈
≤
(breath in)
‰ .. 42 ‰ ‰ -– gg -– ∏ gg -– f .. ˜ .. ˜ ˜ ..
.. ‰ .. ˜
x6
gg -–
x6 .. 42 ‰
..
˜
gg -–
‰ ˜
(keep paper strip in hand)
gg -–
≤
ã‰
221
S.1
‰
-– ∏ ˜
÷˜ ã
∑
÷˜
˜
S.1
÷ ˜
S.2
4 4
> > per> cei> ve>
but I
˜
÷ 2 ã4
>ø tice >ø fpossibile∏ prac
˜
S.2
÷
44
>
˜
ti ce
is
˜
5
>
>
a
ve
5
5
>ø >øI per >ø ceive >ø –æ –æ. >
>ø >fiø cul >ø ties >ø –æ. >
dif
but
3
ry
5
>ø >ø >itø >inø >toø –æ putting
3
–æ
>
–æ
> fi> cul> ties> >
dif
(teeth)
> > > > to>
put ting it in
3
2 4
42
–æ
–æ
1 ‹‹‹‹‹ 2 4 4 æ æ – – ppppp this is a ve ry ni ce i dea but I per cei ve > > > > fpossibile ∏ >>>> >>>>> ∏ fpossibile ∏
fpossibile
> > > fpossibile fpossibile∏ prac
>
this
(teeth)
5
1 ‹ ‹ ‹ 2 4 4 ø> >ø >ø >ø ø æ ø> >ø >ø >ø >ø >ø >ø –æ ppppp this is a ve ry – nice i dea but I per ceive ∏ fpossibile ∏ fpossibile ∏
225
–æ
˜
5
5
–æ
–æ
ø
ry
˜
225
S.1
>ø
ve
∏
÷ ˜
>øa
–æ
5
2 ã4
˜
˜
–æ
>isø
PEN
PEN
>øi dea >ø –æ
223
ã
>ø
this
˜
223
ã ø > nice
5
-–
˜
221
S.2
≤
17
5
5
5
5
230
S.1
ã
–æ
f possibile
÷˜
>ø >ø >ø >ø >ø –æ >ø >ø >ø >ø –æ >ø >ø dif fi cul ties put ting it in to prac tice ∏ f possibile∏ fpossibile∏
5
230
S.2
ã
–æ
f possibile
÷˜
˜
S.1
˜
˜
˜
–æ f poss.
235
S.2
–æ
f poss.
÷˜
–
˜
( π )
nice
˜
-œ (ƒ) ee
˜
˜ ˜
i dea
–æ f poss. ˜
–æ
f poss. ˜
(whistle inward)
≤
ãæ pppppp
S.1
( π ) ˜
˜
-œ
("sinus-like" - so loud that the text spoken by S.1 is barely audible and understandable not unlike the beep tone of talk-show cencorship...)
Œ
˜
˜
(ƒ) ˜
˜ –
æ
˜
ã
∑
÷˜
˜ 18
-œ
–æ
f possibile ˜
(ƒ) ee
˜
(rattle paper->)
5
¿.
h'
˜
∑
ee
5
˜ ˜ ˜ ˜ ˜ -O –æ this ppppp f possibile ( πis) a ve ry
‹ ¿ ‹ ¿.
≤3
-– ppppp
but I per ceive
÷˜
239
S.2
O‡
˜ ˜ ˜ ˜
(rattle paper) 239
˜
5
÷˜ ã
(spoken normaly)
‡ ‡
. æ æ – – dif fi cul tie s put>ting prac 't 'b > it> in> to> f possibile∏ > > > > > f possibile∏ > ti> ce> ppppp ∏
235
ã
¿ ¿
(teeth)
3
≤
(fingers+ resonance) 3
Œ
3
(should be spoken just so soft, that it is still not quite understandable because of the loud tone of S.2)
˜
–æ
˜ ˜ ˜ ˜
f possibile ( π ) ˜
–æ
f possibile ˜
dif fi cul ties
˜
-œ (ƒ) ee
˜
(turn page)
3
240
S.1
ã
–æ
f
÷˜
˜
possibile
S.2
–æ
f possibile
÷˜
2 ã4
( π ) ˜
˜
ting
it
˜
˜
in
to
-œ
240
ã
˜
put
S.1
÷
fpossibile ˜
ã 42
242
S.2
÷
–æ
fpossibile ˜
Œ
˜
˜
43 ¿ ¿. . h' g' ppppp
3
(ƒ) ee
5 8‹
ø
ø
( π )
ppppp ˜.
tice
prac
˜
-œ
2 ã4
S.1
.
(ƒ) ee
÷ 2 ã4
244
S.2
÷
∏ ˜
˜
3
¿.
¿.
't
g'
∏ ˜
≤
ø
this
ø
is
ø
a
ø
ve
ø
ry
˜
this
is
a
ve
ry
˜
–
3 4æ pppppp
j
¿.
O‡
–
h'
42
2 4
˜
42
–
–
æ
æ
˜
˜
3 4 ˜
2 4
2 4
∑ ˜
19
‰
˜
˜
5
≤
("lungs")
˜.
5
42
˜
∑
˜
PEN
–æ
Y.
't
85
PEN
–æ
Y‹.
Y‹.
ppppp
˜
‹
¿
(rattle paper) 244
‰
(teeth)
˜
˜
242
–æ
43 Œ
(nail+ tooth)
˜
ã 42
246
S.1
÷ ã 42
246
S.2
÷
–æ
ø
∏
S.1
˜
–æ
∏ ˜
2 ã4
S.1
÷
–
–
ce
–
dea
–
æ
æ
˜
˜
˜
2 4
42
∑ ˜
œ
‰
a(re)
¿
˜
˜
∏
≈
p
˜
˜
œ œ
F
˜
3
≈
‰
ee
3
œ
∏
‰
≈
a(n)
˜
˜ ˜
¿
˜
–
2 ã4 ‰
248
˜
œ
∏ ee
˜
3
≈
3
œ
3
–
F ∏
(p)e(r)
≈
s
˜ ˜
˜
3
¿
v
¿
F
≈ ‰
d
˜
œ
œ
∏ F ˜ J ˜ n
3
≈
20
œ
F ∏ F B
≈
dj e(ct)
˜
˜
3
3
÷
i
æ
˜
*)
S.2
˜
*) Next 5 measures: try to make the resulting sentece "I perceived an object looming through the mist" as understandable as possible... 3 248
ni
ã 44 ÷
44
dea
PEN
247
S.2
i
˜
4 ã4 æ pppppp ÷
ø
nice
(rattle paper) 247
ø
44
PEN
¿
∏ ˜.
‰
k
˜
–
œ
5
‰
F ∏ r ˜5 L oo
˜
5
≈ ‰
‰
o(b)
˜
¿
T ∏
≈ ‰ . ˜
œ œ
∏ F 5 r m
i(ng)
˜
251
S.1
ã
3
œ
F
5
œ
≈ ‰
‰.
‰
∏
ng
œ m
˜
÷ ˜
œ
F
oo
˜
–
–
˜
˜
(rattle paper)
–
∏ F ˜ ˜. i
s
¿
–
æ 43 æ pppppp
≈
t
æ
41
˜ (turn page)
ã‰
251
S.2
–
F ∏ th
÷ ˜.
–
‰.
œ
–
‰.
∏ F
hr
˜
5
th
˜
œ
‰.
∏
(th)e
a(re)
˜
˜
–
1 ã4
∑
S.1
ã 41
∑
254
S.2
÷ ˜
æ
42
∑ ˜
S.1
ã
–æ
∏
÷˜
S.2
ø I
–
–æ
∏
÷˜
ø
per
4æ 4 pppppp
ø
ceive
˜
˜
But
I
Per
Cei
–
Ve
˜
–
æ
æ
˜
˜
˜
˜
˜
2 4
2 4
∑ ˜
21
–
æ
4 4
5
PEN
256
ã
ø
but
˜
˜
5
PEN
˜
˜
(rattle paper) 256
˜
2 4æ pppppp ˜
÷ ˜
41
∑
–
(rattle paper) 254
43
˜
–
–
˜
˜
(rattle paper)
ã 42
S.1
æ æ 43 pppppp
∑
258
÷ ˜
˜
–
–
–
˜
˜
˜
(rattle paper)
∑ ˜
44
∑
˜
˜
Œ
˜
43 æ æ æ pppppp
∑
Œ
˜
-–≤
˜
˜
Œ
Ó
˜
˜
˜
0 cm.
ã 42
∑
258
S.2
÷ ˜
43
∑
˜
˜
∑
˜
˜
44
∑
˜
˜
Œ
˜
Ø ˜
Œ
43 ˜
˜
cover mouth with 1 finger to change the colour of the noise - as if a slow melodi
∑
264
S.1
ã
÷˜
Œ
ãŒ
Œ
÷˜
Œ
264
S.2
2 ã4
270
S.1
÷ 2 ã4 ÷
-–≤ Œ
3 ≤ 8 –. (F) Ø ˜.
≤
–æ
∏ ˜
∏ ˜
–
–
-– .
3 4
˜.
˜
˜
5 8æ æ pppppp
∑ ˜
-–≤
˜
˜
Œ
Œ
˜
˜
˜
-– æJ 42 ˜
J
0 cm.
38
∑
∑
˜.
∑
˜.
˜.
ø
put
ø
ting
ø
it
ø
in
43
Ø ˜
85
ø
∑
1 4
∑
to
˜
3
Put
Ting
It
In
To
˜ 22
42
∑ ˜
1 4
3
PEN
–æ
≤
˜.
˜
(rattle paper)
uncovered
–.
PEN
270
S.2
Œ
cover mouth with 1 finger
∑
˜
j
˜
cover with: 1 finger
38 ≤j ≤ – –
ã ∑
272
S.1
Ø ˜.
÷˜
≤ 2 j 4 –-
–
˜.
˜.
–
–
˜
˜
(rattle paper)
æ æ pppppp
∑ ˜
˜
-–≤
38
ã
∑
∑
˜.
÷˜
˜.
cover with: 1 finger
3 ≤ ≤ ã 8 –j –
˜.
≤
˜
˜
-–≤
Ø ÷ ˜.
≤
3 fingers
˜.
0 cm.
Œ
Ø ˜
5 ≤ 8 –.
2 fingers
–.
(F)
42
∑
˜.
˜
3 ≤ 8 –.
Œ
˜
˜
38
Ø ˜
–
(rattle paper)
≤
≤ 2 1 j 4Œ æ 4 -– pppppp
1 finger
–
˜.
˜
∑ ˜
2 fingers
–
38
∑
0 cm.
279
S.1
≤
1 finger
–.
(F)
-–≤ 272 S.2
≤
2 fingers
˜.
˜
˜
-–≤
0 cm.
ã 38
∑
279
S.2
÷
˜.
˜.
1 3 ≤ ≤ ã 4 ∑ 8 –j – ÷ 1 ã4
285
S.2
Ø ˜. (F)
÷
˜
-–≤ ˜
3 8
≤
–. ˜.
∑ ˜.
3 fingers
5 8
≤
–
˜.
∑ ˜.
5 ≤ 8 –.
4 ≤ ≤ ≤ ≤ 4– – – – 4 fingers
˜
˜
4 4 ˜
˜
˜
˜ 23
42
∑
41
Œ ˜
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
9 ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ ≤ 4– – – – – – – – – ˜
˜
˜
˜
˜
9 4 ˜
Ø ˜
˜.
˜
∑ ˜
∑ ˜.
˜
˜
∑ ˜.
38
∑ ˜.
cover with: 1 finger2 fingers
285
S.1
85
∑
˜
˜
˜
˜ r
˜
˜
˜
˜
˜
∑ ˜
˜
˜
˜
˜
Ø