Ejnar Kanding: Viste sueños (2003)

Ejnar Kanding Viste sueños (2003) for recorder (alto, voice & bass) & live-electronics Dur. 11′03″

Commisioned by and dedicated to Bolette Roed

SCORE

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

Composed with support from the Danish Arts Foundation With support from Koda’s Cultural Funds Projektet er støttet af Kodas kulturelle midler

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Ejnar Kanding Viste sueños (2003) for recorder (alto, voice & bass) & live-electronics Dur. 11′03″

PREFACE The work was commissioned by and dedicated to Bolette Roed for her debut concert March 26th, 2004. It is written for alto, voice & bass recorder & live electronics (MaxMSP).

Both the tightly proportioned large scale form and the musical detail is built up by the ever-shortened, extended or constant. All audio in the live electronics is derived from recorder samples (played by Bolette Roed) or real-time processing.

The title translates as “Did you see dreams” and is taken from a sonnet by Federico García Lorca, El poeta pregunta a su amor por la «Ciudad Encantada» de Cuenca (Sonetos del amor oscuro).

LIVE ELECTRONICS The live electronics are indicated in the score as a number of cues to be triggered by using the spacebar on a computer or a MIDI pedal. If a sound director is available to control the balance between instruments and live electronics the “spacebar” model can be used. The piece can be run from the stage if a MIDI pedal is used. It is recommended, however, that a person located roughly in the middle of the hall controls the overall sound balance.

The appendices provide descriptions of the cues and give an indication of what is happening in the live electronics.

SETUP The piece is developed for a quadrophonic loudspeaker setup (L=1 R=2 Lr=3 Rr=4), but it can also be performed in stereo. Front of house must have subwoofers, rear speakers should be of the same kind as the front speakers.

Make sure the volume is balanced between the four speakers.

Two microphones are recommended, eg. a DPA 4066 headset microphone (a microphone fixed on a stand can also be used) and an extra microphone for the bass recorder.

MIXING The piece can be performed either using a mixing console that is connected to an audio interface or just using an audio interface. If a mixing console is used, connect both microphones and the four outputs from the audio interface (output 1-4) to the mixer inputs. The mixer outputs are again connected to the loudspeakers. The AUX send 1 and 2 from the mixer are connected to the audio interface (input 1-2). All AUX sends must be in PRE mode.

• • • • • •

AUX1 for the headset microphone – continued to audio interface input 1 AUX2 for the extra microphone – continued to audio interface input 2 audio interface output 1 – through the mixer continued to L speaker audio interface output 2 – through the mixer continued to R speaker audio interface output 3 – through the mixer continued to Lr speaker audio interface output 4 – through the mixer continued to Rr speaker

If only an audio interface is used, connect the headset microphone to input 1 of the audio interface and the extra microphone to input 2. Connect audio interface output 1–4 directly to the loudspeakers.

In both cases if you plan to perform in stereo, just two outputs are connected to the speakers.

The instruments must be amplified so that they appear with a clear, present sound. Use some EQ to compensate for the close-miking, and add reverb and compressor if necessary to create a natural sound.

REHEARSING INDIVIDUALLY To become familiar with the sound of the live electronics, it is recommended to rehearse individually as follows (after downloading the Max software, see the next page): Let the internal microphone of the computer pick up the sound of the instrument, and use the spacebar to trigger cues in the score. Make sure that the input is not distorted. Go to System preferences → Sound → adjust the input level. Connect headphones to the audio output of the computer. Set a suitable volume. Headphones are necessary to avoid feedback.

TECHNICAL REQUIREMENTS SUGGESTED HARDWARE: Computer: MacBook Pro, OS 10.10 or later, 8 GB RAM Audio interface: e.g. MOTU 8M or RME Fireface UFX+ MIDI pedal: (optional) connected to the computer via a MIDI-keyboard or MIDI interface that connects to a (sustain) pedal – e.g. Audiofront MIDI Expression or Yamaha FC5 Quadrophonic loudspeaker setup: PA system, 4 identical loudspeakers (L-RLr-Rr) & 2 subwoofers (L-ACOUSTICS or d&b audiotechnik recommended) Digital mixing console (if used): At least 2 mic inputs, 4 line inputs, 2 aux sends (PRE), 4 outputs for loudspeakers (YAMAHA 01v96 recommended) Microphones (suggestions): DPA 4066 headset Extra mic for bass recorder, eg. DPA 4011 SOFTWARE: The patch used for performances has been developed in Max 7. A download of Max (which is required to run the supplied patch) is available from Cycling '74. The trial version of Max is fully functional for 30 days. After 30 days, it is still possible to run and edit Max patches, but changes cannot save without a purchased authorization. Not being able to save changes will however not affect running the supplied patch(es) in any way.

The patch can be downloaded from the Edition·S website: http://edition-s.dk/assets/viste-suenos All files must remain in the same folder on your computer. Below is a description of the basic features for running the software: • Open the application with the title of the piece.

• In the left corner is the “start Max” – to start press the gray button that says “dsp start”.

• Below is “IO mapping” where the correct inputs and outputs can be selected by pressing the “dsp status”.

• Channel (group) 1 set to Input 1, channel 2 set to Input 2.

• Output 1=L speaker, output 2=R speaker, output 3=L rear speaker, output 4=R rear speaker.

(For stereo set channel 3 and 4 to Output 1 and 2.)

• Below is the “stop Max” – press “dsp stop”. It stops all audio.

• Below is the “INIT Max” – press the circle inside the square. INIT is used before the start of a concert to restart from cue 0. Then press forward to cue 1 and cue 2 to start the piece.

• Below is the “CUE” – it shows the cue that is active.

• Below is the “go to CUE”. Press the small triangle on the left side of the square. Enter a number to obtain the desired cue number. Press enter. The next press of the spacebar/MIDI pedal activates the cue.

Since the real-time processing that is going on in the patch is rather complicated, it is recommended to close the patch both before a concert performance and sometimes while rehearsing.

CONTACT Ejnar Kanding · Anker Heegaardsgade 17 · DK-3300 Frederiksværk · Denmark ejnar@kanding.com · t: +45 20761179 · skype: ejnarkanding · http://kanding.com

APPENDIX 1 – GENERAL NOTES When it comes to interacting musically with the live electronics, it is important to consider several elements in what is actually happening. The live electronics basically have three layers: • audio files that you have to synchronize with (the bass cues) • audio files that you are not supposed to be in sync with (visu1-11) • real-time processing (the effects) It means you are supposed to perform the piece without a click track.

All the bass cues are written in the score, and you have to follow the pulsation. It also helps you to know exactly when to finish the free improvised parts (see fx. bar 7-8).

The non-sync audio files are named visu1, visu2 etc. The first audio file appears in bar 1 at cue 2 and is named visu1. It belongs to the bars 1-8 but it has a buffer zone or overlap of 5 seconds. It means you have freedom in your timing of the music, you just have to continue in bar 9 before visu1 ends.

Cue 6 starts visu2. It has also 5 secs extra in relation to cue 7 in bar 15 that starts visu3.

In bar 23 there is a built-in cue in the audio file visu3, that gives you the exact tempo for bar 24. Listen to that by pressing the grey square called “cue in bar 23”.

Cue 15 starts visu4 – visu3 has also 5 secs extra before visu4. It should be safe because you know you are in sync in bar 24 and you have the fixed time in the bass cue from bar 29, cue 10. visu4 has only 800 msecs overlap. It has a lot of energy until the end of bar 62.

It is important to wait for this point of less activity before you continue in bar 63.

It means that even though visu4 ends completely giving a short caesura with no sound, it is still fine.

Cue 15 starts visu5. It ends in bar 61,1 (first beat), while visu4 is continuing.

Cue 19 starts visu6. It has a 2 sec 400 msecs buffer zone, but it is fine in bar 94 to let it end completely with a short caesura before continuing.

Cue 27 starts visu7. It ends in bar 94,2, while visu6 is continuing.

Cue 29 starts visu8. It plays until the end of the piece.

Cue 37 starts visu9, ends bar 125,2; visu8 continues.

Bar 125 ends with a built-in cue. Listen to it by pressing the grey square called “cue in bar 125”. It keeps you in sync at bar 126.

Cue 43 starts visu10, ends bar 152,2; visu8 continues.

Cue 45 starts visu11, ends bar 155,2; visu8 continues.

While rehearsing you sometimes have a situation where some long audio files continue to sound. The easy way to restart from another cue is to close the patch, press start and select the relevant cue in the “go to cue” square. If you want to hear everything that is going on in the live electronics you have to start at cue 2, 6, 7, 15, 19 or 29, since these cues contain the longer audio files. On the other hand it is good for rehearsing also to start other places so it is easier to listen to what each cue is actually doing.

APPENDIX 2 – DESCRIPTION & SCHEME Below is a description of some important features in the live electronics with some explanations for the scheme: Cue refers to the cues in the score.

Action tells about what is going on in the live electronics, when the cue is activated.

Name is the short name of the different actions.

Duration is written in seconds: 29,2 means 29 secs 200 msecs.

Ending bar is the point in the score, where the action ends if counting the seconds.

This is of course always different depending on the performers specific timing: 57,6 means: 6th beat of bar 57.

Overlap up to (secs) informs about how much extra time contained in the audio file, if the piece is performed mechanical precisely. See notes about the timing in Appendix 1.

In time means that while these audio files is playing you have to follow exactly the pulse as it is notated in the score.

Real-time processing informs about if the cue will open or close the input to the effect. It means that even the effect input is closed the processing will continue with an organic fadeout.

Audio quadro means the audio files are played in surround (both in front & rear).

Audio front means the audio files are played only in the front speakers.

Audio rear means the audio files are played only in the rear speakers.

Effect 1: complex can be described as: • input signal to 60% feedback delay with two taps 500 ms & 600 ms • into a PVE (pitch variable effect) • into a long reverb Effect 2: PVE2 • PVE with a different feedback in the speakers: L 40% R 50% Lr 55% Rr 60% Effect 3: tap delay • six tap outs (msecs): 3000 3600 5000 6000 8000 9600 • the taps will sound as a cirkle: L – R – between R&Rr – Rr – Lr – between Lr&L Effect 4: tap delay to reverb • same tap delay as in Effect 3, now played through a long reverb Cue 18 is a 7 secs 6 dB fadedown of the “visu4” audio file. visu1-visu11 is the basic audio files. cue1-cue8 is the pulsing low frequency audio files (bass cues) written in the score.

CUE ACTION

NAME

DUR. (SECS.)

ENDING OVERLAP UP TO IN TIME BAR (SECS.)

1

ready to start

2

audio quadro

visu1

41,0

10,2

3

audio front

cue1

29,2

8,2

4

effect 1

complex

5

effect 1

6

audio rear

visu2

6

effect 2

PVE1

7

effect 2

7

audio quadro

visu3

7

effect 3

tap delay

8

effect 3

9

audio front

cue2+3+5

1,2

27,1

X

10

audio front

cue2+3+5

1,2

30,1

X

11

audio front

cue4

44,2

53,2

X

12

effect 1

complex

13

effect 1

14

effect 2

15

effect 2

15

audio rear

visu4

42,8

63,2

0,8*

16

audio front

visu5

14,5

61,1

NO

16

effect 3

tap delay

17

effect 3

18

fadedown -6 dB

visu4

7,0

19

audio quadro

visu6

136,0

96,1

20

audio front

cue2+3+5

1,2

67,1

X

21

audio front

cue6

29,2

80,2

X

22

effect 4

delay to reverb

23

effect 4

23

effect 1

24

effect 1

25

effect 2

26

effect 2

27

audio rear

visu7

27

effect 3

tap delay

28

effect 3

29

audio quadro

visu8

307,6

156,1

30

audio front

cue7

28,2

106,2

31

effect 1

complex

32

effect 1

33

effect 1

34

effect 1

35

effect 2

36

effect 2

REAL-TIME PROCESSING

5 X

8,3

open close

25,5

16,4

5 open close

128,5

57,6

5 open close

53,1

open close

PVE1

open close

open close 2,4

79,3

open close

complex

80,1

open close

PVE1

89,2

open close

17,0

94,2 92,1

open close

104,1

until the end open close

complex

106,1

open close

PVE1

118,1

open close

CUE ACTION

NAME

DUR. (SECS.)

ENDING OVERLAP UP TO IN TIME BAR (SECS.)

37

audio front

visu9

25

125,2

37

effect 3

tap delay

38

effect 3

39

audio front

cue8

42,0

39

effect 4

delay to reverb

144,3

40

effect 4

41

effect 1

42

effect 1

43

audio front

visu10

43

effect 2

PVE1

44

effect 2

45

audio front

visu11

45

effect 3

tap delay

46

effect 3

47

closing amplification & general reverb

124,1

REAL-TIME PROCESSING open close

X open close

complex

146,1

open close

9,9

152,2 152,1

open close

10,5

155,2 154,2

open close

Viste Sueños dedicated to Bolette Roed

& 44

recorder

1

÷

live el

4

& 54 ÷

5 4

4 4

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ. ^ œ œ œ ˙. bœ b œ^ œ^ n œ^ 2 b œ 4 #œ #œ q=75

f

œ

7

∑

2

÷

15 4

‰ œ J

q=60

œ

Œ

& . ˙

Œ

∑

œ. œ ˙

÷

œ œ

œ œ

∑

œ

œ œ œ

r œ Œ

π

#œ

4 œ 4 bœ

∑

7

œ

3 4

œ

œ

3

3 8

œw

U ‰ #œ. p

œ

œ

œœ

#˙

f

Œ

3 4

#œ

∑

4 4

Œ

4 4

5

œ

#œ

œœ

p

œ œ œ

5 4

œœ

3 8

,

œ. ∑

#œ bœ 8

2 4

2 4

∑

#œ

∑ œ

15 4

∑

3 8

#œ

œ

15 4

, œ œ #œ œ. œ

6

∑ #œ w

œ œ

bœ œ œ œ

œ œ.

3 4

Ó

œ œ

Œ

˙

∑

w

œ

MP

∑

4 4

∑

œ œ œ œ

,b œ ˙ œ. bœ œ.

∑

2 œ 4 bœ œ 2 4

∑

œ. bœ œ

∑

& bœ #œ ÷

œ

3 4

10

19

∑

2 4

figurations of air-sound played as fast as possible mixed with accented tones

&

÷

5 4

3

Œ

4

15 4

&

∑

3 8

> >œ >œ >œ > 5 >œ œ b œ > 5 5 5 œ r > 5 > > r Œ R ‰ R ‰ ‰ . r ≈ ≈ œ ‰ . R ≈ ‰ . ≈ b œR ‰ . œr ≈ ‰ . ‰ R ‰ Œ R ‰ . b œ ≈ R ≈ ‰ . ‰ . r ≈ Œ œ ‰ R ‰ ≈ œ ‰ . bœ R œ > > 5 5R > > 5 > 5 5 5 5 5 5 5

7

15

Ejnar Kanding

alto

∑

∑

∑

14 4

∑

∑

14 4

©Edition·S 1.0:11.7.03 - 1.1 14.11.03 - 1.2 4.8.04 - 2.0: 15.1.14 Kanding: Viste Sueños, version 2.0 - 10

∑

& 14 4 ÷

4 4

∑

14 4

7 > œ b œ b œ b œ b œ bœ > > ^ œ bœ bœ œ ≈ œ bœ ≈ bœ œ ≈ bœ œ bœ œ # œ œ

q=75

cue: q=75 q eeee

23

4 4

f

5

3

5

∑

œ > bœ > b >œ œ b œ b œ œ b œ b œ œ b œ b œ œ b œ b œ ≈ b œ b >œ œ ≈ b œ >œ b œ >œ œ ‰ &

∑

25

7

∑

27

& 44 ÷

b œ^ n œ œ F

4 4

∑ œ

œ

10

4 4 œ

vibrato molto

& 24 ‰ . b œj œ f 33

÷

5

2 4

œ

j & ‰. #œ œ œ

œ J

œ

9

œ

3

4 4

5

œ

œ

∑

œ œ œ b œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~ œ œ bœ #œ #œ œ.bœ ˙ ˙. œ P 3

f

7

∑

∑

. ‰ œJ œ

≈

œ RŒ

˙

œ

œ

∑

œ

4 4

œ

˙

5

œ

7

3

5

Œ

12

39

÷

Œ.

> œ œ bœ œ #œ œ ≈ œ #œ ≈ œ #œ ≈ #œ œ ≈ œ #œ œ #œ œ #œ œ œ #œ œ bœ œ œ #œ >#œ > #œ > # œ > # >œ > # œ # >œ # œ > > 5

∑

& 38 3 8

3 4

4 4

3 8

5

29

÷

3

3

÷

3 4

Œ

œ

œ œ

œ

Œ

œ

œ

Œ

5

œ

. ‰ œJ œ 5

∑

Œ

5

r œŒ

5

œ

Kanding: Viste Sueños, version 2.0 - 11

Œ

3 8

∑

3 8 œ

œ

11

3 8

2 4 œ

≈ #œ

œ

5

Œ

œ

b˙ œ

Œ œ

œ

œ

œ

5

2 4

Œ

r œŒ ∑

œ. œ &‰ J

≈œ

÷

œ

45

5

œ

51

& 38 ÷

55

&

3 8

5

Œ

#œ. œ

‰.

Œ

œ

œ‰Œ J

œ

œ

œ

12 4

. œ bœ

& ÷

2 4

œ

œ

≈ bœ

œ

œ

Œ

5

∑

œœ

mixed with accented tones

Œ Ó

3 8

∑

2 bœ 4

œ

5

q=60 played as fast as possible

12 4

˙

58

Œ

j œ œ

œŒ R

π

& 17

14 4

∑

14 4

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 ˙ &2 ˙ 64

4

6 4

bœ

4

‰ œj ˙ p

œ

14 4

b˙

œ

œ

˙. f

∑

4 4

3 4

3 4

14 4

∑

œ

MP

15

Ó

bœ

œ

œœ

˙. p

Œ

3 8

∑

∑

2 4

∑

2 4

œœ

bœ w

bœ #œ œ œ

bœ œ œ

∑

q=75

voice

4 4

4 4

œ

p 19

∑

3 8

3 8

bœ

∑

∑

18

∑

14

∑

7

2 4

3 8

5

Œ Œ Ó.

œ

13

œ J

4 4

∑

6 4

∑

œ.

4 œ 4 œ

∑

16

∑

3 8

r bœ Œ

61

÷

œ œ ‰. J

figurations of air-sound

÷

÷

œ

œ

5

œ

20

Kanding: Viste Sueños, version 2.0 - 12

œ

œ

3

#œ œ

Ÿ~~~~~~~~~~~~~~~~~~ ˙. bœ 2 4

∑

2 4

b œ^ . œ^ . ^ ^ œ. œ.

F ∑

4 4

4 4

68

& 44

7 > # œ # >œ # >œ # œ # œ > # œ œ # >œ # œ > # œ # œ # œ # œ # >œ œ # œ >œ > # œ > œ # œ œ œ œ œ œ œ œ œ R ≈≈ ‰ œ ‰ œ œ # œ 5

÷

&

3 4

÷

3 4

74

˙.

÷

7

Œ

r œ Œ F

5

œ

‰

22

F œ J

‰

œ J

&≈ œ

œ

÷

‰

5

œ

F

œ P

œ J

œ J

‰

œ

24

&œ

Œ

Œ

Ó.

œ

3 8

Œ

3 8

Ó.

,œ œ # œ . # œj œ . # œj ˙ ∑

j œ œ F œ J

‰. œ

œ

∑

œ J

œ p P

Œ

9 4

œ

9 4

∑

3 4

14 4

∑

3 4

3 4

3 4

˙

œ ∑

#œ.

2 4

œ

Œ

‰.

œ ˙ R p

‰

F

‰

œ

œ

Œ

23

3 4

p P

œ J

‰

Ó.

p

Œ

p

Œ

figurations of air-sound played as fast as possible mixed with accented tones

Œ

Ó.

4 4

˙

œ bœ. œ ∑

4 4

bœ J ∑

3 4

œ

œ J

∑

œ.

Kanding: Viste Sueños, version 2.0 - 13

œ

œ J

j ‰ œ bœ p P p

2 4

œ

5

q=60

25

≈ #œ

b˙. p F

p P

14 4

,

p

Œ

j œ

œ

21

3 8

œ

‰

j bœ F

5

‰

œ

œ

& ‰ # œj ˙ N ˙ w . ˙ ˙ p

÷

œ J

sing gliss up/down several times, creating effect of inteferens

80

84

5

‰ bœ.

J 5 p F

Œ

pP p

‰.

p

Œ

‰

5

∑

bar 71-83: bend down each pitch approximately a quartertone

77

÷

3

∑

4 4

71

&

3

∑

3 8

3 8

3 8

œ.

14 4 ∑

14 4

89

&

14 4

÷

14 4

œ≈‰ Œ Ó R

& 28

96

& 34 ÷

∑

∑

14 4

∑

5

5

∑

≈œ

÷

œ J

5

œ ≈ R

3

‰

& 64 ≈

108

&

2 4

÷

2 4

œ

33

≈ œ.

J p 35

Œ

œ ∑

∑

5 4

œ.

œ ≈ R

‰

12 4 Œ

5 4

œ J

figurations of air-sound played as fast as possible mixed with accented tones

6 4

#œ œ n˙

4 4

& ‰ . b œJ œJ 5

4 4

Ó.

12 4

3 4

3 4

‰ œ. p

œ

Œ

34

Œ œ ≈ ‰ R

œ J

as bar 80

w b˙ Ó

˙

w.

6 8

œ. œ ∑

Kanding: Viste Sueños, version 2.0 - 14

4 4

4 4

#œ

‰ 30 œ œ œ J

3 8

14 4

14 4

q=60

‰

3 4

œ.

J P

œ J

vibrato molto

5

œ J

‰

31

œ R

≈

∑

œ Œ ∑ 32

3 4

∑

29

3 8

#˙

#˙

^ ^ ^ ^ ^ œ. œ. œ #œ #œ F q=75

∑

∑

œ œ œ œ. bœ ˙ ∑

6 8

œ ≈ R

œ œ bœ œ

∑

bass

r j œ œ

‰

∑

w

Ó.

5

,

∑

∑

#œ œ

w

27

4 4

14 4

3 4

105

π

œ

∑

5

‰

œ

4 œ bœ 4 #œ

∑

œ^ œ # œ œ œ^ # œ . œ œ^ # œ R

œ J

∑

∑

100

÷

∑

26

92

÷

Ó

6 4

∑

∑

6 4

14 4

∑

2 4

14 4

∑

2 4

, j b œ œ œ . b œ œ œ

˙. ∑

∑

œ,# œ n œJ œ . # œ &J J 113

÷

∑

& ÷

14 4

˙

œ œ

36

∑

4 4

∑

∑

& ÷

14 4

129

&

4 4

÷

4 4

cue: q=75 q Πq q

˙

∑

∑

7 4

∑

7 4

#˙

b˙

œ œ bœ w

q=75

œ bœ œ bœ nœ œ #œ p ∑

∑

œœ

∑

,

,

6 4

3 4

b˙.

b˙.

œ

bœ #œ

œ

∑

14 4

∑

14 4

˙.

∑

4 4 ∑

,

b˙.

∑

˙.

3 4

#œ 38

6 4

,

14 4

∑

∑

#˙

∑

3 8

∑

37

#œ

14 4

w

π

÷

œ.

3 8

œ

4 #œ bœ nœ bw 4 œ

∑

14 4

˙.

3 4

3 4

∑

∑

125

∑

4 4

&

121

j œ

˙ ..

4 4

∑

3 4

118

14 4

3 4

4 4

4 4

,

w ∑

4 4

bar 141-147: as bar 71-83 133

&w π ÷

w ∑

14 4 ∑

q=60

14 4 Kanding: Viste Sueños, version 2.0 - 15

∑

4 4

∑

4 4

q=75

‰. j œ ˙ P 5

œ

39

‰ œ Œ J

œ πp π œ ‰ J

&Π137

÷

5

‰

œ J

r œ ˙ P Œ

& ≈ bœ

˙

÷

‰

140

5

œ

P

& 24 ‰ .

143

÷

2 4

5

‰

146

&

15 4

÷

15 4

œ J

œ J

œ J

œ

‰

Œ

œ πp

Œ

œ J

j œ œ P

Œ

& œ.

Œ

∑

∑

& 44 ÷

4 4

#œ

œ

#œ ˙

∏

45

œ J

œ.

œ

Œ

∑

#œ

Ó

Œ

œ J

∑

40

‰

œ œ. ∑

2 4

Œ

œ

∑

3 4

3 8

∑

œ

œ J

œ

∑

3 4

bœ ≈ R

bœ J

Kanding: Viste Sueños, version 2.0 - 16

œ J

Œ

41

14 4

46

Œ

Œ

‰

2 4

π

2 4

15 4

3 4

Œ

‰

π

≈

∑

∑

œ

œ J

14 4

j œ

œ π p

figurations of air-sound played as fast as possible mixed with accented tones

∑

œ

Œ

‰

3 4

3 8

2 œ 4 œ bœ

œ J

∑

#˙

œ

‰

∑

∑

,

‰

œ #w π p π P

œ J

∑ œ œ πp π

2 4

œ

Œ

q=60

∑

2 4

œ J

b˙ œ w #˙

bw ˙

œ.

153

‰

14 4

˙

‰

5 ‰ œj . ˙ π P

‰

149

÷

œ

14 4

Œ

j ‰ œ wb˙ p

42

#w œ π p π P

5 ‰ œj . ˙ π P

8 4

8 4

Œ

˙ π

15 4

œ #œ. ∑

43

q=40

44

8 4

∑

8 4

∑

∑

4 4

∑

4 4

47