In her frown

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 ( πis) 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