Widerhall 2
The Finger of God for 8 performers
Inside performers location scheme:
Performance notes
This piece is a kind of spatial composition. All the performers are located behind of scene and audience hall. Performers 1-4 (inside) are located in utility rooms nearest to hall, dressing room, etc. Performers 5-8 (outside) are located in one block distance from concert hall. The composition is performed with open windows or any similar way allowed the sound to penetrate from outside. Performers are completely isolated from each other without direct contact. The synchronization is exercised by assistens of 8 stopwatches.
2 7
Scene
0 oor
3
Outside performers possible trajectory for Vredenburg Leeuwenbergh, Utrecht.
5
Auditory
5
6
7
1
6
4
'The finger of God' is the philosophical concept, which operates by regularity and randomness categories. The same eternal question: everything is predetermined or we ourself can create our own destiny? Composition uses indirectly this dilemma: what is created by the author and what has been introduced by environment itself and condition which the music appears in.
8
Providence is blind. Predestination is absent. All is randomness, Or?..
Used devices
Outside performers possible trajectory for Nicolaïkerk, Utrecht.
6
7
5
8
Perf. 1
Perf. 2
Perf. 3
• Stopwatch • Low timpano • China cymbal (14”-16”) • Splash cymbal • Bucket • Wind siren • Scotch tape • Friction ball • Wooden piece with nails • Hammer for a steak • Electronic ring
• Stopwatch • Foot cymbal 12” and 14” • Plastic music-rack • Friction ball • Hose • Scotch tape • Violoncello bow
• Stopwatch • Gran cassa • Snare drum • Pair cymbal • Sheet of the metal • Sling • Scotch tape • Friction ball • Hose • Wooden piece with nails • Hammer for a steak • Megaphone
Perf. 4
Perf. 5
Perf. 6
• Stopwatch • Musical Saw • Small iron sheet • Cymbal (18”) • Violoncello on the table • Quica • Scotch tape • Friction ball • Sub-kazoo • Pedal for the kick drum • Violoncello bow
• Stopwatch • Kick drm • Frusta • Zigger zagger • Air frash • Large and small metal object • Large and small wood object • Plastic pipe • A bag of bricks • Scotch tape
• Stopwatch • Cymbal (20”) • Frusta • Zigger zagger • Air frash • Large and small metal object • Large and small wood object • Plastic pipe • Violoncello Bow
Perf. 7
Perf. 8
• Stopwatch • Frusta • Zigger zagger • Air Frash • Large and small metal object • Large and small wood object • Car
• Stopwatch • Car
Performer two also needs the amplification system.
A I q=72 II q=80
Widerhall 2
All performers come together before 5 minutes to first sound beginning. The stopwatches must be activated at a signal from one of musicians and all go to their positions.
01:00
The Finger of God
02:00
2
03:00
04:00
Go to your position...
TURN OFF THE LIGHT IN HALL.
The feedback. From the 4:30 to 4:55 to make a little feedback by the amplification system for the "Attention" event for listners.
III q=66 IV q=60 V q=60
Go outside...
VI q=60 VII q=60 VIII q=60
Go to the car...
3
5:00 I 41 q=72
A 0
¿. ‰ o sf>
Put the cymbal on the timpano's membrane. Play fast circular motion by friction ball on the plate's edge (the end of sound should be with high pressure).
05:14
II q=80
1 4 >6
05:02
III q=66
1 4
o
mp
A m
¿ >.
smp
Move a goffered hose on the edge of plastic surface.
Play fast circular motion by friction ball on the snare drum’s membrane (the end of sound should be with high pressure).
5:20
05:36
II q=80 IV q=60
4
24
05:29 B 5
1 4 ‰
o
¿ >.
smf
Œ
B 5
Move the friction ball on the wood surface (cut sound short in the end).
o
¿. ≈ >
ësf
4
5:40 I q=72
05:48 2 ‰™ 4
III q=66
W
r
o
8
r 94í. ‰™
A
sf
Rotate the sling at 5 turns / sec. It would be better to get closer to the hall's door.
p sempre
6:00
06:12
I q=72
1 4
06:10
II q=80 III q=66
06:01
4
3 4
&
nœ
‰
A 0
o3
¿ >.
smp
Quickly and with accent move a goffered hose on the edge of plastic surface (it should be strike sound).
r≈ ¿. ‰ Ó > sf
ÍÍÍÍÍ
Keep an echo (with a small vibration on the cymbal's center).
µœ
#œ
r≈ ¿. ‰ Ó >
06:14
A m
≈ ¿r ‰ Ó >. The ending of the sound is more soft.
24 ≈ ™ ¿ ‰ > o smp
5
6:20
06:27
V q=60
G.C.
n
* ¡±¯¯
III q=66 IV q=60
The slow movement on a cymbal by friction ball with a high pressure.
Y
Œ
2B
f
06:42
*
1 4
Quickly and with pressure play by the bow on the edge of cymbal (clean sound).
06:41 ‰™
44 3 4
?
B On timpano membrane (slow). )™ o mp
∑
∑
4Π4
B 9
Incline the cymbal that its edge touches the rim of timpani, Move the friction ball with high pressure.
Y
j ¿. ‰ ë>
ff
06:53
1
+
2.
Mute an echo very smoothly.
o ësf
Loud and long breath with wide mouth open ... (slightly hoarse).
catch one's breath
Take the paired cymbals and keep it close. Make clangorous and continious sound.
f >
j œ œ f sempre
V q=60
o
Timp.
Arco
r < ™> Ó 9
Arco
&
p sempre
(More for yourself than for the hall).
— A completely open hi-hat — Half-open — Almost closed (clangorous sound) — Totally enclosed
p
II q=80
+
06:35
™6 6 6™ ™ > > > ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 3
6:40 I 3 q=72 4
This is important to keep an extreme attention concentration on this sound material. It's need to continue the pulse of the triplets in the pause.
j
1 4 ‰ >6 p
n œ #e
e #e e
#œ
œe e be ÆJ
e
nœ e
#E ™
#œ œ™
e
bœ e
e
≈
06:59
3
1 4 >6 >6 >6 p sempre
7:00
Touch the edge of the cymbal with a metal hammer (it should be the clangorous sound).
07:03 2 B
I q=72
B 9 Œ
j <Π3 ‰ 4
f
ff
Œ
Timp.
‰
∑
Ã>
2 ‰ 4
Catch normal breath.
A
°Y
07:11
If you listen the next sound — exhale with noise.
II q=80
f
2. ≈ >
o ë sff
24 ‰
‰
±
2. Π>
2. ≈ >
ó ê sff
ó ê sff
Voice r
41 ? ≈ µ¿ ‰ Do... mp
07:03
> bœ
4 & Π4
be . ™
bœ
bœ
bœ
œ
ne
bœ
3
7:20 Y™
mf
A
°o¿
o r < ‰> 2
‰™
¿.
pp
+ r
Be.
‰
b e.
‰
r
b e.
3
‰™
Œ
o j < ‰> j 2 ‰ Œ
j 2 ‰
ësff
3
p
24 j
o1
° . o
07:22
III q=66
4 4
mp
j ¿. ≈
j
mf
j
07:28
Timp.
B 9
o
A m ¿ ‰ >' ó ësff
j
n e.
‰
ësff 3
07:27 1 r
‰
Be.
mp
±
3≈ ‰ Œ 4 ¿ .
07:28
Œ
Ó
ne ne nœ ÆJ
j
4 4 & ne ‰ n e Œ . I.
µ e.
f
Aj ‰ °¿ o mp
Timp.
07:38 E r 1 ™ 4 ‰ ¿.
Withstrong pressure (try get a chord).
2. ≈ >
07:33
o L
j ≈ 4 < ‰>
4 ? ‰™ be. Œ 4 R mf
Œ
E r ≈ ‰ ¿. Œ
Press and immediately release the the button of electric call.
ó ê sff
p
07:27
j
3
A °¿ o f
Arco
1 4 j
ne#e µe
ff
f sempre
sfff
IV q=60
1Arco
±
o
Say as usual.
IV q=60
II q=80
pp
jL B On membrane. 4 ‰ 4 )™ 4 > o pp sff
Arco
1
o
A o
‰
III q=66
I q=72
07:17
Perform fast movement on the edge of the timpano's membrane with pedal glissando. After that mute the sound immediately.
>j ¿. ‰ Œ ë>
6
1 4
3
mf
Very short sound.
‰ ‰ n eÆ ≈ be IR 3
o
≈ Ó™
o L
j ≈ 4 < ‰> 3
sff
n eÆ ≈ ‰ I R sp
07:38 1 4 ? ‰™
n eÆ IR
mf
‰
7
7:40 II q=80
07:47 3 4
V q=60 VI q=60
With a maximum possible pressure (try get a highest tone).
2™
êsff
c o L
III q=66 IV q=60
o
j
‰
soft hit j The (in passing).
1 4 ‰ 4'c >
"sf "
07:46
Æ 1 4 ? Œ nI eJ 3
mf
07:53
24 ? ‰ ≈ n e. ≈ ‰ J mp
07:54 1 4
07:59
™6 6 6 ™ ™ > > > ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 3
p sempre
07:56
j 1 ¿ ‰ 4 > mp
(More for yourself than for the hall).
Hit by small metal stick on a hollow metal or wood obects. It's possible to find a five-six type of sound and to alternate it free.
8:00
8
I
08:12±
II
2 Π4
q=80
III
3 4
q=66
4 4
IV
q=60 08:02
q=60
1 4
VI
1 4
q=60
VII
q=60
08:01
smp
('Chord').
¿. ≈ >
Mute an echo very smoothly.
o ësff
A mj ‰ ¿
Voice j 4 >Æ ? ‰ b¿ ¿ ≈ 6 < ‰ > > mf > > sff & ‰ ? Œ
≈
sf
o
p
3
YZ ‰
fij
fij
#e #e #e
Arco
mp
3
#œ
n e n e µe e 7 7
J
(A little more for the hall).
3
6 6 6 > > >
1 4
Π3
p sempre
r ‰ ‰ ¿ > 3
mp
Hit by small metal stick on a hollow metal or wood obects. jIt's possible to find a five-six type of sound and to alternate it free.
1 4 ‰ >¿ mp
L Ej j 2 Œ ¿ 4 ‰ 4 . . 3
A Timp. j 1 ‰ 4 ¿ °o mp
q=72
V
08:17
08:13
(More for yourself than for the hall).
j 6 >
mp
(A little more for the hall).
1 4
j ≈ ¿ ‰ > 3 mf
08:16 r ≈ 1 4 ‰ >¿
mp
nœ J
9
8:20
08:36
II q=80
3 4
Ó
p
1 4 nœ
r ‰
[
J
The soft joggle.
≈ ‰ Œ
08:44
I q=72
r ¿ '
08:48
L
Timp.
≈ 42
sp
08:42 A 43
¿ > sfff
08:41 43
?
3
smf
smp
smp
III q=66
o
A j m ¿ >
1 4 ‰ [\
8:40
IV q=60
: r ≈ ‰ S
08:37
III q=66 IV q=60
One 'click'.
m
smp
r p
‰ ‰
Start with a hit (f.b.), and make the accent at the end of the sound.
¿ ≈ Ó >' ë ‰ ‰ #œ R 3
Lmj V>
sf
e
. ≈ e ≈ #e. 3
? sf >
‰ 3
oL j 4 >
(On the sheet)
Œ
sff
j Hit the metal sheet by the bow's frog.
‰ Œ
j
‰
j
3
pp
mp
08:48 r
j
24 ≈ ‰ \ ‰ Y >
sff
Aj ¿3
° o mp
On the snare drum "ridge".
Arco
‰ # e e. Œ
Hit on the membrane.
smp
08:51 ‰
Er 1 4 ‰ ‰ ¿. 3
08:58 41
A j m ¿ ‰ p
o
One "Click".
1 4
‰
: j
>S
mp
10
9:00 I q=72
09:03 N
09:08 M o+ o
On the timpano's "ridge".
j ‰ ¿ ‰ Œ ' 3
3 ‰ 2 4 >
II q=80
IV q=60
1 V ±
43 ‰™
1 4
2 ‰ ¿ >. sf
A soft hit on the
44
‰™
sf
smf p
09:07
cymbal edge (mute in immediately).
Ó
o
A mr ¿.
mp
‰™
09:08 44
o
2
r ¿.
mp
Œ
?
‰ ¿.
>
sf
Œ
° .
V ‰
Œ
mp
Voice pizz. n¿Æ R
Œ
Arco
± j
j
‰ Y ‰ sff > 3
¿. ‰ >
Ó
3 o ësff
4
mp
j 6 >
sfff
09:14 ‰
Y >
sf
A j ¿ o
± r ≈ ‰ Œ V
± ('Chord').
‰™ ‰
smf
j
3 Π4
smp
09:10 + r
V> V
41
09:03 j
≈ Œ
sf
sp
III q=66
r
09:19 Timp.
M + On timpano... j ‰ 2 >
Exhale with force into the wind siren. Then put it to the membrane, again take away put it once more etc (do it without taking a new sound).
®\
smp
3 4
r
r
‰
2 ≈ ¿ . > sf
≈
\‰
smp
Œ
Y \Πsf
smp
11
9:20 I q=72
‰ Œ ±_ o j
1 4 V >
II q=80
Ó
‰
smf
3
09:22 _ j 5 4
‰ V ‰ > 3
Œ
‰
09:24
‰ [ \ ' smp
09:22 r
2 4 ≈ ¿ ‰ Œ 4 >. sf
±_ ¯
V > >
Œ
±_ ¯ +
V >
‰
smf
3
sf
3
V q=60
1 4 Œ
smp
III q=66 IV q=60
09:29
M + j Π2 >
sf
3
° .
41
VoiceL
p
sf
, ‰
ó êsmp
A mr ¿. o mp
Hit by small metal stick on a hollow metal or wood obects. It's possible to find a five-six type of sound and to alternate it free.
j 1 4 ‰ >¿3 ‰ mp
2 >'
Mute it immidiately.
sf
smf
09:27
sp
Arco
o L Voice pizz. j pizz. Æ 1 ‰™ 4 ? ‰ n¿ > ‰ 4 ‰ n¿Æ ‰ ‰™ 4 4 V V >3 > smf J sf smf sff r j 2 2 ≈ ≈ ≈ ¿ ‰ Z Y \ ¿. Œ Z ‰ Œ . > > > > > smf
3
the N On timpano's j "ridge". ¿ '
09:35 : 1 4
j The one "Click". ‰ ¿ > mp
09:39 r 1 ≈ 4 ‰ ?> sf
9:40
12
09:46
I q=72
1 4
‰ ¿ ¿ ' ' 3
p smf
09:43
II q=80
1 4
Hit on the hi-hat rack by the metal stick.
j ‰ - ‰ >3
1 4
smf
±_ ¯ j
‰ V >3
09:59 _ r 1 4 ‰™ V >
‰
smf
smf
09:47
III q=66
1 4 ‰
‰
09:46
IV q=60
1 4
1 4 ‰™ >¿
VI q=60
f
09:59 j 1 4
mf
09:51
j ¿
1 4
>
3
1 Π4
1 4 ‰ >¿ f
j 1 4 >¿ ‰
‰ ‰ ¿ > 3
f
f
09:48 j 09:47 j
09:58
r
f
f
j 1 4 ‰ >¿
mp
? ≈ nœ ≈
1 Π4
09:43 r
o
3
A mr ¿.
Arco
09:47
V q=60
VII q=60
NL
3
¿ >
f
44
r ≈ ¿ ‰ Ó > f
09:56
j ‰ >¿
r
4 ‰™ ¿ ≈ ¿ ≈ ™ ¿ Œ 4 > > > f sempre
mp
09:55 4 4
r
≈ ¿ ‰‰ > f sempre
r
‰ 3
r j
r
¿ ≈ ¿ ‰ ¿ ¿ ‰ > > > > 3
j
¿ ‰ >
‰\ p
13
10:00 10:04
II q=80
1 4
III q=66
1 4
r
Move a wooden stick on the ribbed surface.
‰øøøøø øøøøø3 > 3c ë sf
‰
o L ‰
j 4c >'
"sf "
10:09
IV q=60 V q=60 VI q=60 VII q=60
24 ‰™
10:03 44
j
‰ ¿ >
j ≈ ¿ ‰ >
Œ
10:04 r 4 4
≈ ¿ ‰ >
3 4
j j ≈¿ ¿ Œ > >
Œ
f sempre
¿ ‰ >'
o
smf
10:18 3 4
¿ ¿ ¿ ≈ ¿ ¿ ¿ Œ > > > > > >
Œ
j
≈ ¿ ‰ >
Œ
3
ff
‰™
Ó
f sempre
3
Sound is not long
3
3
f sempre
r O j Quica
j Œ ¿ Ó > 3
"sff "
10:13
r j 4 ≈ ¿ ¿ Œ ¿ ‰ ‰ ¿ Œ 4 > > > >
r ¿ >
More confident, "solo".
f sempre
j Œ ¿ > 3
3
3
Œ
j r r 3 ¿ ‰ ¿ ≈ ¿ ¿ ≈¿ > > > > > 3
"ff "
10:19 r 3 ‰™ >¿ ¿ 4 > ÆJ
" " sfff
14
10:20 10:22
I q=72
M +r 3 ≈ 2 ‰ 4 >
10:33 Œ
smp
Ej ‰ ¿.
42
E
‰ ¿
3
10:35
III q=66
1 4
10:25
IV q=60 V q=60 VI q=60 VII q=60
3 ‰ 4 [\ Œ
≈
3
p
j ≈ ¿ ‰ > 3
¿ >
≈ ¿ Ó > ë
"sfff "
j ‰ ¿ >
6
"sfff "
"Solo"
j ¿ ≈ ¿ ‰™ ¿ ¿ ‰ ¿ Ó > > >> > mp
" " sfff
3
mp
f
r j
¿ ¿ ‰™ ¿ ¿ Œ ™ > > > >
"ff "
r ≈ ¿ ‰ Œ > mf
≈
Y ‰ >
‰
≈
smp
‰ ¿ ‰ ¿ ‰™ ¿ > >3 >
≈ ¿ ‰ > f sempre
≈ ¿ ¿ ‰ ¿ Ó™ >> >
24
Y ‰ >
smp
j
r
10:33r
r
A m r ≈ ¿ ‰ . o mp
r
Z >
smp
10:34 "Solo" 4 4
j j
‰ ¿ ¿ ¿ ¿ ¿ Œ Æ>¿ >¿ ¿ ¿ ‰ >> > > > > > 3
3
"sfff "
10:38 4 4
j ¿ >
‰
Ó
mf
j ¿ ‰ >
4 4
j j ‰ ¿ ≈¿ ‰ > > 3
f sempre
15
I q=72
10:40 10:41
10:52 L
Ej 1 4 ‰ ¿3. ‰
‰
4 4
Œ
On timpano's membrane (slowly, with pressure).
J
o
_j
II q=80 III q=66
j ¿ ' B
3 V ‰ 4 >
10:46
1 4
IV q=60
c j o L ‰ 4c '>
1 4
"sf "
o
A rm ¿. ‰™
1 4 ‰
‰ [ \ 3
p
10:45
V q=60
43
VI q=60
j ≈ ¿ ¿ ≈ ¿ > > >
VII q=60
r ‰™ ¿ >
"Solo"
3
Œ
3
Loud.
¿ ¿ ‰ ¿ >¿ >¿ ¿ ¿ ‰ ™ >Æ > > > > 3
3
"sfff "
10:44
f sempre
4 4
[ \ p
r ‰ ‰ ¿ Ó >
r ‰™ ¿ Ó >
3
10:49
r ¿ Œ >
42
f
j 4 ¿ ‰ Œ 4 > f
r ‰™ ¿ Œ >
3
j ≈ ¿ ¿ ¿ ≈¿ ‰ > > > > 3
mp
43
j ¿ ‰ >
≈ 4 n ‰ >í
Œ
j
‰ ¿ ‰ Œ >3 f
j
‰ ¿ ‰ >3 f
G.C.
3
3
V >
j
r 94í. ≈ >
o
sf
Arco
1
± o
+ oL
Hit with full force on the Gran Cassa and at the same time on a metal sheet.
j
j
≈ Y ‰ >
Œ
3
≈
[ \ Y > p
smf
n
f Like an echo.
10:57
±_ ¯ j
Œ
f
B
8
sffff
G.C.
r ≈ ¿ ‰ >
o
3
‰
smf
j
mp
10:47
1 4
"sfff "
1 4
‰
mp
sf
10:41
L 3 r ‰ ¿ B ' Œ
Short sound.
3
6 6 6 > > >
p sempre
sf
<‰> o
10:57 +
Direct the air freshness stream to the windows.
2,5"
mp
o
11:00 I q=72
B On membrane. 6™ o
16
11:06
Œ
3
E
4L¿ ‰ ¿ Œ 4 . '
mp
sf
II q=80
o
4 4
‰
VI q=60 VII q=60
≈ ‰
Π9B
o
mp
j
‰
4 >í
Œ
Put the hammer to sheet of metal (the clangorous sound).
L j ‰ 4
Œ
Ó
sffff
mf
11:03
Hit by small metal stick on ...
24
3
≈
j ¿ >
43
mp
11:14
Move a wooden stick on the ribbed surface.
Œ
3
j
3øøøøø >. sf
o
3
mp
‰™
r ¿ Ó >
f sempre
j ‰ ¿ ‰ Œ ‰ >3
r ‰ ¿ > 3
+
f
+
3
sf
11:16
11:08
Œ
Y
r ‰™ ¿ ¿ ¿ ‰ > > > "sfff "
2 4
Er ≈ ¿ ≈ ‰ .
smf
sp
p
11:10
11:05 41 Œ
‰ [ \ ?
11:17
On membrane with heavy pressure.
A mj ‰ ¿. ‰ Œ
11:09 24
B j 6 >'
‰
1 4
IV q=60 V q=60
r
11:08
11:06
III q=66
Ej ¿
Lr ¿ o ™ ™ f ¿' Œ
Direct the air freshness stream to the windows.
Direct the air freshness stream to the windows.
11:19
17
I q=72 II q=80
11:20 11:21 8 4 4
‰
A j <‰> j 94í. ‰ Œ 3 o sf
11:22 43
V q=60 VI q=60
sf
Hit on the hi-hat rack by the metal stick.
j
>
‰
Œ
sf
11:23
III q=66 IV q=60
3
M + j Π>2
r 4c í >
3 ‰™ 4
1 4
‰
¿
.
j
‰
2 o
mp G.C.
n Œ
o
+ oL
c
E r ¿. Œ
‰™
sff
3 ‰ 4 ‰™
M o
4 2 4 >
Ó
11:28
Arco
1 ±
sffff
11:22
E
11:37
& sf
4
nœ
Quickly and with accent move a goffered hose on the edge of plastic surface . (it should be strike sound).
j ¿. >
Œ
‰
j ¿. >
11:35 o c
Strike on the metal sheet by the hammer. (and at the same time hit on G.C.).
> 4c R
4 ‰ 4
sfff
L 4c> J
sffff
j 4 ≈ ™™ >í
Hit with full force on the Gran Cassa and at the same time on a metal sheet.
Œ
sffff
oL > 4c ‰ J
c
sffff
sf
:
Ó™
It's the one continuous movement of Scotch tape unwinding. very strong The tension should be
4 ¿ 4 V
¿V
sff
11:23 41
(On a different instruments). 3
¿ >
>¿ ÆJ "sfff "
¿ > ¿ >
j ‰ T !
TTX 3 ë sfff
™ ‰ ‰
r
T >
sfff
‰
TT
3
sff
‰
sff
nœ
j
Y
2 >
j >X
sfff
‰
. ™ TV
sfff
11:37 ë
24
G.C.
j n ≈ ™ ‰ >í sfff
Very loud!
j
>í
sfff
?
Ó
M +
11:40
18
11:50
I q=72
1 4
1 4
‰
11:52
+¯ j ° .
o
sff
nY
C
mp
11:47
Voice 11:42
III q=66
C
C
C
The intonation.
mf sempre
11:50
IV q=60
24
≈
j
Y >
sff
V q=60
+
12:00
V q=60
M +
sf
1
II q=80
II q=80
j ‰ 2 >
o
12:07 ê
The dynamics is more free and ragged. [ smf, spp, s... ]
o
o
o
12:09 ∑
\ ‰ [ ‰ 3
mp
Direct the air freshness stream to the windows.
∑
o
I q=72 II q=80
12:20 12:21 M 1 4 ‰ >2 sf
1 4 ‰ sf
12:27 :
+
j
2 Π4
3
12:34 :
One 'click'.
3 4
‰
>S
mp
1 V
42
° .
Œ
‰ S >
: 41 S ‰ >
mf
12:26 : 24
mf
j The one "Click". Œ ‰ S >
VII q=60
>S
12:31 j
: 1 4 S‰ >
+ r
j ≈ Ã. ‰ >9
Π3
24
r
‰™ +
< Œ>
12:22 4 ‰™ 4
12:27 3 4
"Solo"
r ¿ Œ >
"sff " sempre
‰
"Solo" r
® ¿™ >
r
‰
3
"sfff "
¿ ‰ >
r
¿ ‰ >
5
>¿
>¿
ë
42
3
1 4
12:27 24
3
¿ >
"sfff "
‰
"Solo"
¿ >
j r ≈ ¿ ≈ ¿ > > 3 ë
ë
:
≈ T V S > o smf
41 ‰
12:35 3
"sfff "
smf
One "Click".
3
≈ ¿ ¿ ¿ ¿ ¿ ¿ ≈ ‰ > > > >>>
3
off the by the cymbal. + Slip j j ‰ Ã> c
12:36
‰
12:28
r r ‰ ¿ ≈ ¿ ‰ > >
Œ
p
f
mp
12:21
‰ Œ >S 3
p
12:35
mp
Ej ‰ ¿ Œ .
j
‰ ‰
mp
44
IV q=60
VI q=60
Œ
12:28 : j One 'click' 12:31 j
+¯ j
III q=66
V q=60
j
p
19
41
r ‰ ‰ ¿ > 3
mp
B
o
2 >'
sff
Cut sound short.
20
12:40
12:44 M 4 4
II 2 q=80 4 III 41 q=66 IV q=60
1 4
1 ,± j V. ‰ > 3
‰
sff
r
:
‰
‰
3
>S
mp
‰
2
‰
3
smf
r
VI 41 ≈ ¿ ‰ q=60 > "sff "
3 4
V. ‰ >
sf
.
+¯ j
Π3
° > sf
Very equal, like a just in a different tempo.
+¯ j
Π3
° > sf
12:48
+¯ j
Π3
41 ‰
° >
sf
sf
12:46 + 1 4 ‰™ Ã>
r
3 4
+¯ j
1 4 ‰
° >
sf
12:49
+ j
≈ 3
Ã> ‰
sf
‰
2
j ¿ >'
sf
Œ
j >2
r ≈ 2 >
Œ
8 3
12:51+ ¯
42
sf
12:47
j ¿ >'
≈
±r
sf
j j j j ≈ ≈ ≈ ‰ 2™ 2™ 2 ‰ >2 > > 3>
p
I q=72
+ j j j r ≈ ‰ 2 ‰ 2 ‰ 2 ‰ 2 ‰ > > >3 >
‰ ™™
2
Kr ¿ ' >
sf
‰™
+ r
Ã>
sf
A
j 94í Ó >.
Ó™
Π3
sff
12:57
M + j 2 >
sf
r+ ¯
j
1 ™ 4 ‰ ° sf >
° >
W
Rotate the sling at 5 turns / sec. (on every fourth round say short "A").
pizz.
¿
p sempre
¿
¿
12:58
¿
¿
‰
o j L ‰ Œ 4 >3
sf
13:00
13:13
I q=72 III q=66
1 4 + oL
G.C.
n
1 4
3
sffff
V 41 í n‰ > q=60 sffff
G.C.
+
13:21 24 Œ
II q=80 III q=66
2 4
Œ
sf
‰™
‰
3
sffff
j + r j Kr r r j j 4 ≈ 2 ‰ ® 2 ™ ‰ 2 ‰ ‰™™ 2 ‰ ‰ 2 ‰™ 2 Œ 2 ‰ 2 4 > > > > > > 3> > 3 3
+¯ j ° > sf +c r
à >
sff
sf sempre
Œ
+¯ j
24 Œ
‰
Slip off the by the cymbal.
44
4 í >
13:30 M
M +
2 >
13:19
L +o
Direct the air freshness stream to the windows.
sf
Œ
n
13:24 +(The hit). 42 Œ
Π3
13:16
13:20 I q=72
3
G.C.
‰ í4 >
j
M + r ‰ ‰ 2 >
j
à ‰ >
sff
sf
° >
Very equal..
9 >
sff
Œ
‰
Take the paired cymbals and keep it close. Make clangorous and continious sound.
3
13:39 24 ΠIt should be like cough (with a blockage of throat).
3 4
‰ 2 >
j ≈ 2™ >
≈
+ j Voice b¿ ¿ Ã> ?
sff
sf
+ j
à >
(The hit).
p
21
smf
13:40
22
On membrane with heavy pressure.
I q=72
> j B +> ÃÆ 2 6 > >' sf 5
j ≈ 2 ‰ > 3
sf
Move a wooden stick on the ribbed surface.
II q=80 III q=66 IV q=60
L j Short sound. ¿ Œ ' Œ ‰ Be 3
o3
Ó
smp
3ø 3ø ‰ > >
sf sf
p
42 1 4
On the snare drum "ridge".
Ã. >
j
Very short sound.
Lm j ‰ ? ‰ . mp
smf
‰ ≈
[\
3
13:50
V q=60
4 ‰ 4
13:41
VI q=60 VII q=60
4 4 j
1 4 >¿ ‰ p
j
¿ >
mf
‰
Ó™
Ó™
j
¿ >
mf
‰
j ¿ >
Ó™
f sempre
j ‰ ¿ ‰ Ó™ >3
j ¿ >
‰
Ó™
23
14:00 14:18 :
I q=72
1 4 ‰
2 4
14:13
14:08 :r 41
‰™
3 4
>S
mf
o
jA m ¿. ‰
Œ
j: 1 ≈ 4 S‰ >
1 4 Y\ >
‰
mp
14:09
14:03
mp
VI q=60
41 ‰ >¿ mf
14:07 1 4
‰
r ¿ ‰ > 5
mf
mp
j
1 4 ‰[ p
14:12 r 4 ‰™ 4
14:08 j
o
j ¿.
14:15
sf
3
VII q=60
3
S‰ >
mf
III q=66
V q=60
Œ ≈
>S
mp
14:17 : j
II q=80
IV q=60
j
One 'click'.
䪪
¿ Ó >
f sempre
14:13 44
‰
r
‰ ¿ Œ > 3
f sempre
j
44 ¿ >
‰
f sempre
Œ
Kr ¿ Ó >
j
≈ ¿ ‰ >
j
‰
¿ >
‰™
r ¿ >
3
j ‰ ¿ ‰ >3
j ≈ ¿ ‰ > 3
Œ
r ® ¿™ ‰ >
‰™
r ¿ Œ >
j ¿ ‰ >
Œ
≈ ¿ >
¿ >
14:20
24
14:29
14:24
I q=72
High overtone
4 4
smf
3
1 4
Nj ‰ ¿ ‰ >3
L on the timpano. o ≈ ¿Æ ‰ Oe Ó
spp
p
II q=80
1 4
14:24 ≈
r
Ã' ‰ >
smf
14:21
j: 1 ‰ ‰ 4 S >3 mp
VII q=60
‰ S >
p
41
IV q=60
VI q=60
j
mf
III q=66
V q=60
E r ≈ ¿ ‰ .
j r ¿ ‰ ¿ ‰ > >
r ® ¿™ ‰ >
r ≈ ¿ ‰ >
j ¿ Œ >
3
r
® ¿™ ‰ >
4 ‰ 4
f
sff
r
14:25
¿ ¿ ‰ ≈ ¿ ‰ > > > 3
"Solo"
‰ ¿ ¿™ ¿ > > > 3
"Solo"
3 j nG.C. ¿ ¿ >¿ ¿ ¿ ¿ ¿ Œ > > ÆJ > > > > >í >í >í
f
j ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ‰ Œ > > > > > > >3 3
Œ
‰
¿ >
Œ
j
¿ ‰ >
Œ
3
f sempre
j
‰
¿ >
‰
j
¿ >
j ¿ ‰ >
‰
r ‰ ¿ Œ > 3
j
¿ >
‰
j ¿ >
Œ
3
3
j
j
j
¿ ‰ ¿ ‰ ¿ ‰ > > >
j ‰ ¿ >
‰ ¿™ ¿ Œ > > 3
14:36
j
j
j j ≈ ¿ ‰ ¿ > >
‰
3
r
j j 4 ‰ ¿ ‰ ¿ ‰ ≈ ¿ ≈ ¿ ‰ ¿ ‰ 4 > > > > >
Œ
f sempre
sff sempre
j "Solo" r Œ ‰™ ¿ ‰ ¿ ≈ ¿ ≈ ¿ ‰ > > > > "sff "
Œ
3
mf
ff
"sff "
j
j ≈ ¿ ‰ >
3
Œ
14:35
3
j r j 3 ¿ ‰ ® ¿™ ‰ ¿ ‰ 4 > > > f sempre
3
3
r j ® ¿™ ‰ ‰ ¿ ‰ > >3
25
14:40 14:59 :
I q=72
1 4
II q=80 III q=66 V q=60 VI q=60 VII q=60
14:55
14:43 j
42
1 4 S‰ >
Œ
‰
>S
mp
j
‰ S >
mp
mf
14:54
j: 1 4 X ‰ >
1 4
smf
‰
j
S
‰
3
p
"Solo" r ≈ ¿ ‰ ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ > > > > > > > > > > > The high sound 3
3
"sff "
j j r ‰ ¿ ‰ ‰ ¿ ‰™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ > > > >>> >>>
"fff "
"sff "
3
j
Œ
‰ ¿ ‰ >3
"Solo"
3
j
‰ ¿ ≈ ¿ Œ > > 3
"Solo" 3 5:3 r j j r ≈ ¿ ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™™ ¿ Ó > > > > > > > > >¿ > > > > 3 "sfff " ë smp
j
¿ >
r
‰ ¿ Œ >
Œ
3
14:55
j
3
4 4
¿ >
f sempre
14:51
Kr ≈ ¿ ‰ ≈ ¿ ≈™ ¿ > > > r
j
¿ ‰ >
f sempre
r
j ¿ ‰
>
3 4
j ¿ ‰
>
‰
j ¿
>
Œ
j ¿ >
‰
‰
Œ
j
‰
¿ >
3
3
f sempre
‰
j ¿ Œ
>
Œ
‰
44
j ¿ >
‰
3
>
‰ 3
‰™
j ¿ Œ
‰
Ó
f sempre
Ó™
Œ
Œ
j ¿ ‰
>
r
‰
r ¿ >
r ‰ ¿ Œ 3
>
Œ
¿ >
15:00
26
15:13 :
I q=72
43
II q=80
3 4
III q=66
3 4
‰
sf sempre
j
:
3
T >
Œ
One 'click'.
Œ
3
>S
Accent continuous.
‰
Ó
Do accent on each sound! Scotch tape tension is always very strong!
Continuous sound.
j
j
sf sempre
‰™
r
>S
j
Π3
T >
Œ
j
>S
r
X >
≈
3
sf sempre
‰
‰
j >S 3
‰
≈
‰
‰ S ≈ TŒ > >
sff
Do accent on each sound! Scotch tape tension is always very strong! One 'click'.
r
™ Œ S‰ ‰ T > >
‰ Œ S‰ ‰ T > > 3
: Continuous sound. r ≈ ‰ T >
j
‰
SS ‰ > > r >S 3
≈
r >S
Do accent on each sound!
3 4
V q=60
VII q=60
Continuous sound.
r
sf sempre
IV q=60
VI q=60
‰
Do accent on each sound! Scotch tape tension is always very strong!
j
4 4
Œ
‰
¿ >
j ≈ ¿ >
‰
j
Ó
¿ >
3
j ‰ ¿ ‰ Œ > 3
f sempre
¿ ¿ ‰ ‰™ > > 3
r ¿ >
j ¿ ‰ Œ >
j ‰ ¿ ‰ Œ > 3
: Scotch j tape tension is always very strong! j j Œ ‰ ‰ ‰ ≈ ‰ ‰ ‰ T S T R S S S T > > > > > > > 3
3
sf
sfff
"Solo"
‰
Œ
Œ
‰
≈ ¿ ¿ ‰™ > > 3
sff
j r ¿ ‰ ‰™ ¿ Œ > >
15:07 4 4
‰™
r ¿ Œ >
f sempre
The high sound
r ¿ ¿ > >
≈ ¿ >
f sempre
r ≈ ¿ ‰ >
j ¿ >
sff
sff
3
j ¿ >
‰
j ¿ > f
j j ‰ ¿ ‰ ¿ ‰ Ó > >
r r ≈ ¿ ‰ ≈ ¿ ‰ ¿ ¿ > > > > r r ≈ ‰ ¿ ¿ Œ > >
≈ ¿ ¿ ≈ ¿ >¿ ¿ >> > ÆJ >
3
r r j ≈ ‰ ¿ ¿ ‰ ¿ ‰ Œ > > >3 3
‰
sff
sff sf sempre
3
3
>S >R sff
27
15:20 I q=72 II q=80 III q=66 IV q=60
r
S >
j
‰
‰™
‰ S >
‰
≈
j
T > 3
r
S >
‰ ≈
j
T >T
sfff
Œ
T >
j
≈ ‰
j ≈ ™ Œ T >
15:28
r
S >
j
TU >
3
r
‰
>S
j
R >
sff
‰
Œ
j >S
≈
≈
r
T >
3
sf
sff
sfff
3 4
j
T ‰ >
Accent continuous.
Œ
3
sf sempre
3 4
Œ
‰
j
Π3
>R
sfff
S >
j
>R
‰
>S
S >
j
‰
sf sempre
‰ ≈ S‰ T R > > > 3
‰
sf sempre
r
T >
≈ ‰
j
Œ 3 ‰ ‰ 4 S S > > sf sempre
‰
j
R >
sff
® ‰™ S S >> >S
≈
®
S >
3
>X >S
sff
j 3
Œ
‰
r
‰™
>S
sf sempre
continuous.
>S
j
>S
j
SS > >
≈
≈
S >
r
‰™
sf sempre
sff
Œ
r
sf sempre
j
>R >S
sff
‰
≈
sf sempre
S T > > 3
>SS >
‰
j
Π3
3
S S > > sff
j >S
Œ
‰
S >
sf sempre
≈
S S > >
r >S
≈
r >S 3
r
‰ 3
S >3
‰ ‰ >S >R >S >S 3
≈
j
‰
S >
>S>S
15:39 j 3 4
‰ Ó
j
15:38
>R
2 Π4
4 ‰ 4
≈ ‰
‰
j
‰
sff
r
‰ 3
>S
Œ
j
‰
>X
sf
15:38
3
‰
R >
sfff
Œ
T >
sff
>R
sff
15:37
Accent
j
Start with a small Scotch tape piece again.
j
≈
‰
T >
r
Œ
j
r
≈
‰
sff
15:28
sff
S TT > >
Œ
15:27
j
Œ Œ 44 T‰ S > >
Œ
3 4
≈ ‰
j
4 ‰ 4
j
R >
sff
‰™
r .S
mp
15:40 I q=72
Œ
‰
ŠΠSS > > 3
j
3
r
‰
T >
Œ
43 ‰
S >
Œ
‰
‰
‰
Œ
‰
15:44 44
VI q=60 VII q=60
T > 3
‰ Œ
j
‰
TT >
‰™
r
>S 3
SS > >
‰
‰ ™™
Kr
S >
Œ
Light pizzicato
Start with a small Scotch tape piece again.
j
T ‰ >
4 4
‰
j
¿ >
j
Œ
≈ ¿ >
‰
3
f sempre
j
3 ‰ ¿ ‰ Œ 4 > 3
Œ
3
‰
3
≈
sf sempre
r j ≈ ¿ ¿ ‰ > >
45
f sempre
¿ ¿ > >
r r ‰ ¿ ≈ ¿ Œ > > 3
≈
>R R ë sff
3 4
‰
r
‰ 3
sf
‰
S S > >
sf p
sf
15:50
>S
r
≈
sf sempre
j
≈
S SS ÆJ Æ
j
>S >S
S >
S >
‰™
j ≈ ¿ ‰ > 3
r
44 ‰ ™ S >
sf sempre
sf
j ≈ SS S >> >
‰
3
sff
r r ≈ ‰ Œ S S S S S S ÆJ Æ > > p
S S > >
j
‰
X >
≈
‰
>S >S
sf sempre
q
‰™
sffff
r
S >
≈
Œ
Very loud!
j 3
>R
≈ fij
>S
r >S
‰
sf
3 4
Œ
r
>X
sff
j
‰™
r >S
‰
sf
j >S
3
R ‰ >S >S >R >R S > > ë sf sff sf sff
Kr
‰ ™™
S >
sff
sfff
≈
15:57
>S
sff
‰
‰™
3 4
sf
3
1 4
f sempre
j ¿ ‰ >
by Scotch tape (small tension).
15:52
r ≈ ¿ >
15:58
r
sf sempre
sff
3 4
15:42
r
≈ ≈ ≈ 3 ‰ ‰ Ó 4 >S T U S S S S T > > > > > >
‰ Ó
sf
3 4
j
15:51
j
15:48
r
sff
sff
‰
sff
IV q=60 V q=60
j
® ‰ 41 ™ >S
sf
S >
X > 3
15:45
T >
j
j sff
j
sff
j
>S
Œ
‰
3
15:42 ™
j
≈
Ó >S
sf sempre
II q=80 III q=66
28
Start with a small Scotch tape piece again.
j
TTR ‰ ë sff
j
>S
sf
15:57 3 4
‰
fij
3
>S >R
>S
sf
sff
‰
‰ >R T > T >S >S 3 sf sfff ë fff
29
16:00
IV q=60
16:08
16:11
1 4 S‰ >
1 4 S‰ >
1 4 S‰ >
j
I q=72 II q=80
16:03
j
sf
16:02 42
S >
sf
24
Œ
≈
S >
sff
j
≈
16:10
r
24
S‰ >
sf
r
Œ 3 ‰ ≈ 4 S >
fi. . . . .
‰ SSSSS S >p o
sf
‰
j >S 3
‰
sffff sempre
1 4 ‰ S > sffff
≈
Œ
sf
4 4
16:03 j q
S >
≈
sf
16:07
Ó
Cut a wind off Scotch tape.
sf
sf
V q=60 VI q=60
j
S >
sff
r
>S
‰
sf
‰
r
≈
S‰ >
sf
j
fi. . . . .
‰ Œ SSSSS S >p o
sf
16:16 j
r
‰ 3
45 ‰ S ‰ Œ >3
>S
4 4
j
>S
‰
sffff sempre
Ó
≈
r
‰ >S
16:17 24
‰
r
>S
3
‰
>S
sffff sempre
16:11 Very loud!
j
‰
≈
5
sffff sempre
r
‰ >S
>S
‰™
>S
16:20
30
16:27 j
I q=72
3 4
1 4 TSS‰ >
‰
16:24 1 4
‰ ≈
SS > >
16:29
3
sf
III q=66
3 4
r
‰
sff
‰
‰ ≈
r
‰
S
V q=60
≈
44
VII 34 q=60
≈
>S j >S
≈
≈
3
jq
>S
>S
3
r
3
≈
>S ë
‰
j
≈
>S
sffff sempre
Œ
>S >S
r
5
>S >S >S >S >S >S >S
Œ
‰™
f sffff sempre
‰
>S
3
Very loud!
‰
SS >
≈
>SS >
‰ ≈
‰™
Œ
SS
Œ
Œ
Π3
p
16:29 j ‰
3 4
>S >S >S
1 4
ë
>S >S
SS>S
mf sffff sempre
j
‰ 44 S >3
‰
j
≈
>S >S
sffff sempre
>S
≈ ‰
>S
sff
sff
j ÆSS .S mp o
≈
r
‰ ÆSSSSS .S o mp
fij S
j
S
j
Π3
j
41
S
R‰ >
sfff
16:38
‰™
3
r >S
‰
45
S >
sffff
> S ÆJ
j
>S 3
>S
16:30
j
Œ
Start with a small Scotch tape piece again.
j: T ‰
¿V
‰
‰
Œ
‰
j >S ë
‰
j >S
‰ ‰ ≈
3
r >S
j
Œ
‰ Œ
>S
>S
™ >S
sffff sempre
> S ÆJ
>S
>R
‰
3
16:36 j ‰
24
≈ SS > >S 3 f sffff ë
j
‰
sfff
j
®
j
>S 3
‰
sffff
Π3
> S ÆJ
j
S >
Œ
‰
3 4
j
SS >>
≈ ‰
sffff sempre
‰ S >
≈
j >S>S>S 3
‰
j >S
‰
r
Œ
3 4
S ‰ > 3
16:33q
j
16:37
3
j >S
Œ
ë
The arrhythmia.
sff sempre
>S
16:27
≈
‰
24
r
r
3
‰
>S
j
‰
16:34
sf sempre
r
>3S
‰
sotto voce
3
44
r
j
‰
3
IV q=60 j
ÆSS
sff
:
Start with a small Scotch tape piece again.
sf sempre
r
‰
ÆSSSSSSSSSSS S >S > p p
(to block the Scotch tape by the left hand).
45
Start with a small Scotch tape piece again.
16:25
r
Light pizzicato by Scotch tape (small tension).
mf
II q=80
VI q=60
16:30
:
Start with a small Scotch tape piece again.
j
Ó T >
sffff sempre
‰
≈
r >S
31
16:40 16:41 :
I q=72
3 4
YV
V
The arrhythmia.
sff sempre
j
II 42 Πq=80
S‰ >
4 Π4
sf
Start with a small Scotch tape piece again.
1 4 Œ
j 3
< ‰> 24 ¿V V V R R ë sff
16:43 4 ‰™ 4
>S
Œ
S >
Ó
3
r
>S
j
‰ T >
r
5 R 4Ó >
≈
T >
≈
3
> >S T
≈ ‰
Œ
≈
Ó
‰
S >
16:46 45
¿V
j T ‰ ë
j >S
≈
Œ
sff sempre
16:45 3 ‰ 4
Œ
≈
>RR >
Œ
≈
sfff
j
Π3
>S
Œ
16:46 3 ‰™ 4
V >R sfff o
‰ r
Ó T >
>R
fff
j >S
sffff sempre
j
SS
42 Œ
‰
3
p
The arrhythmia.
sff
≈
Œ
Œ
‰
>SS >
16:51
‰™
sf
r < Ó> ≈ ¿V VV
1 4
1 ≈ 4 S T > >
≈
r .S
16:57 ‰
mp
16:54
j
sfff
sf
sffff sempre
sffff
VII q=60
V R T >. f ë sff
j
41 ‰ S S > > sff
16:42 :
‰
r
sff sempre
3
IV q=60
VI q=60
3 4
Œ
16:43
III q=66
V q=60
16:51
It's the one continuous movement very strong! of Scotch tape unwinding. The tension should be
‰ T U > sfff ë
>X >X
>S
16:52 j
Œ
j
Π3
16:50 45
j
>S
Œ
:
J
It's the one continuous movement of Scotch tape unwinding. The tension should be
j
‰ YV V R > fff sempre
45
≈
r
‰™
Ó X >
sfff
j 3
R >V
< Œ>
V
sff sempre
Œ
‰ T >
mp
sf
24 Œ
4 4 T‰ >
r
‰™
q
Ó
sffff sempre
j
S S > Æ .S
sff
sff sempre
‰
‰
3
4 4
The arrhythmia.
j
3 ‰ ‰ Œ 4 S >
sf sff
sff
r
‰
Ó
sffff sempre
r >S
16:58 4 ‰™ 4
j >S
‰
r
≈
r
T > ë
‰
r
T >
Œ
sffff sempre
4 ‰™ 4
>S
r
r r
>S
Œ
sffff sempre
32
17:00 I q=72 II q=80 III q=66
j
Œ
‰
.S
S
S
‰
>SÆ .S .SÆ .S .S
mp
J
J
‰
3
¿V
V
The arrhythmia.
j
Ó
T >
3 4
‰
>S >S
‰™
‰™
¿V
VI q=60 VII q=60
V V
V
sff sempre
V
V
V
V
The arrhythmia.
3 ‰™ ¿V 4 sff sempre
V V
V
r
Step by step make a ritardando of sound with appearing of Scotch tape 'pizzicato' (the basic tempo does not change).
V
V
V
Œ
V
V
V
V
V
3
41
S >
sf
V
V
17:06
r
‰ ‰
V
≈
V
V UV
V
V
V
V
j
T >U
Œ
V
Œ
j
‰
T > 3
r
‰ ‰
T >
sffff sempre
43 Œ
j
With a slowdown.
3
T >T
Œ
j
3
r
Ó T >V T
sffff sempre
‰
T > 3
:
Start with a small Scotch tape piece again.
VV
V
Slowly
j
‰ Œ 3
T
≈
Œ
3
mf
j 3
42 Œ
‰
17:09 3 4
44 ‰ Œ T >
T >
sffff sempre
T >
j
j
T >
Œ
j "Slowly". Œ ‰ T > f
≈
r
T > ë
‰
>S ‰
(to block the Scotch tape by the left hand).
3 4
VV
3
mp
17:14
j
Fast etc.
17:18
sotto voce
< Ó> ¿V V
‰
45
j
T >
r r
‰
3
>S
Œ
q
Ó
sffff sempre
j
T > 3
‰
sffff sempre
Ó
V V U
V
sff sempre
r
‰
T >
17:03 3 4
Short.
≈ Œ
j
V
V
4 YV 4
sfff
With accel.
‰
V
r hard ‰ T >
43 ‰ ‰™
V V
17:16
17:12
r < ‰> ‰ V T > ë
V
Belt tension is a maximally strong.
IV q=60 V q=60
17:19
r < Œ>
sff
sf
sff sempre
sf
17:09
Start with a small Scotch tape piece again.
It's the one continuous movement of Scotch tape unwinding. The tension should be very strong!
: j
‰
™ YV V
sfff sempre
j >S 3
j
Short.
j
‰ T >U
‰ T >
Ó
17:15 3 4
q
‰
j
Ó S >
sffff sempre
ë
Ó
‰
33
I q=72 II q=80
17:20 < Ó>
V
IV q=60
V
V V
V
V
17:21
III q=66
45
YV
V
< Œ>
V
V
V V
sff sempre
V
V V
V
V
<Œ>
V
17:23 j < Ó.>
V
V
V
V
sfff sempre
j
q
4 4 S ‰ >
V
Œ
V
V
V
4 ‰ 4
T > 3
‰™
44 Ó S >
Œ
䪪
3
V
‰ Œ Kr >S ë
Ó
≈
‰ >}
Œ
‰
sfff sempre
j
j
Œ
‰ >3}
sfff
V V V
V
V V
Ó
V Œ
4 4
V V V
j
3
‰ >}
sfff sempre
Π>} >}
43
3
4 4
V V ‰ 3
Œ
>R >R
r
Ó
‰™
j
‰ >}
‰
sfff sempre
} ‰ >
j
} ‰ >
sfff sempre
Œ
j
r ≈ ‰ } ‰ } } ‰ } ‰ >3 > > > 3
‰ ® }™ ‰ } > >
>S
Œ
sffff sempre
T >
17:36
jq
41 ‰ S > sffff
r
j
17:37 j 43 ‰
‰™
‰ >}
j
3 sfff sempre
r
>}
j
‰ Œ } >3
}> >} ‰ Œ
>S Œ
‰™ } >
Play on the stretched Scotch tape (more 4 m) like on the huge guitar string.
j
Œ
>}
r
r
Play on the stretched Scotch tape (more 4 m) like on the huge guitar string.
sfff
‰
‰ T >
‰
j ‰ } ‰ >
17:34
Ó j
Play on the stretched Scotch tape (more 4 m) like on the huge guitar string.
r
‰™
‰
>}
17:35
17:31
45 S‰ >
Ó
sffff sempre
r
3 4
j Ó >}
r
4 Π4
Very short.
VI q=60
V
V
j
sffff sempre
j
V
< Œ> VV
V V U
V
4 ‰ ¿V 4
V q=60
VII q=60
17:32
Play on the stretched Scotch tape (more 4 m) like on the huge guitar string.
j >S
‰
17:40 I q=72 II q=80
Œ
IV q=60 V q=60 VI q=60 VII q=60
j
‰
>}
17:41
T > >X ë sfff
Œ
‰
X X ' '
(to block the Scotch tape by the left hand).
>X T >
smf
‰
r
‰ 3
‰ Œ
X ' X '
17:46 r
>}
Œ
42
p
sf
j
‰
j
41
‰
17:48
sfff
T >
43
‰
j >X 3
j
r
sfff
sfff
Œ
‰
sffff sempre
17:45
24 ‰ ‰
r 3
T >
17:46q 3 4
‰
j >S
Œ
sffff sempre
j >S
‰
V
T>R ‰
ësfff
sfff
17:59 j 4 4
1 4 ‰ >} ‰ 3
‰ } ‰ > 3
sfff
‰
j
T >
Œ
T > >S
sffff sempre
‰
r
44
‰
r j
T >
‰
‰™
T >
‰
3
sffff sempre
Ó
j
(Short)
3
sffff sempre
sffff sempre
V
1 4 X‰ >
3 4 TU ‰ Œ >
3
V
j
‰
j
U T >
j
17:53
17:51 ‰
sf
sf sfff
j
45
‰
T >3
sf
>S
3
17:54
17:50
j
YV
: r
‰™
‰ ¿ 2 Ó ' >
17:56
24 } ‰ ‰ ≈ } > >
3
‰
3
44
Ó
sfff
1 4 ‰ } ‰ r j
sfff
X >'
sf
j
3 4
‰
1 4 >S ‰
X >X sf ë fff
17:44
‰
17:57 L M+
j
sfff
j ≈ .™ UT >X
Œ
r
17:50
1 4 ‰™ R > Ord.
≈ ‰
sff
sf sff
3
sf
‰™
¿ 2 Ó ' >
‰
: r r
sotto voce
4 Π4
Œ
Œ
L M +
Short sound.
Start with a small Scotch tape piece again.
Start with a small j j Scotch tape piece again. < ‰> Œ ‰ Œ TV V R >} > o ësfff
Ó
III q=66
34
‰
T >
sfff
17:57 Π4 Š4 T S > >
‰
3
sffff sempre
j
≈
T > >S
17:59j
4 4 TU >
T >U
sffff
j
Π3
T > ë
‰
35
18:00
I q=72
r
‰™
Œ
Ó >X
VI q=60 VII q=60
42
18:12
j
43
1 4 ‰ R > ≈
>XX >
Ó
≈
Œ
‰
TT>R p ë sfff j
Œ
>S
‰
Œ
43
‰
j
‰ Œ } >
1 4 ‰ T > sffff
TT>R p ësfff
3
j
Π3
3
3
T > >S T > >S T > >S ë
18:04
j
‰
Ó
Œ
Œ
>R >R
sfff
q
≈
j
≈
XX >3 sf ë fff
r >S
ë
r >S
sff
>X
‰
sfff
Œ
3
3
R >R
f
18:12 3 4
‰
j
TU >
ësfff ‰™
Œ
sffff sempre
18:11 j 4 ‰ 4
T >U
Ó
sffff sempre
r
18:12 j
sffff
sffff
1 ≈ 4 T‰ >
j
‰ Œ
3 4
‰ Ó
‰ Œ
‰
p
18:13 j r
Start with a small Scotch tape piece again.
sffff sempre
≈ ‰ ‰ 45 ≈ T U T U Ó T U > > > sffff sempre
j
‰
sfff
j
Ó
‰
sff
sff sfff
Œ
>X
í ‰
‰™ RT >
ΠS >
sf
r
≈
r
3
sfff
>S
r
sf
r
‰ ‰
r
‰ ≈
sfff
18:02
III 45 q=66
V q=60
Œ
‰ X X >
3
sff
II q=80
IV q=60
≈
Ó
18:13
j
1 4 ‰ T >
q
j
≈ ‰ Œ
≈
S
3
sp
r >S
‰ >S
sfff
Œ
j
‰ Œ
36
18:20 18:38 j
I q=72
1 4 ‰
18:26
II q=80 III q=66
44
j
3 ≈ ‰ Ó 4 X >
Ó
‰ R >
>S
q
j
1 ‰ S 4 > sff
4 ≈ ‰ Œ 4 S > 3
18:27 ‰™
sf
r
R
smp
45
S‰
p
j
41
18:24
Œ
smp
sf
sff
j
18:28
IV q=60 VI q=60
Œ
j
‰
3
j
18:31
Ó
®
Œ
SS‰ Ó
p
43 Ó
≈
j >S
‰
≈ SS
SMOOTH ON THE SOUND AMPLIFICATION!
18:37 41
‰
3
18:31 j 44 Œ
3
sf
T Ó
smp
‰™
r
S
sp
≈
r
>S
sf
‰
>S
sf
37
18:40
*
Arco
1 j
r 2 >
=
>d
18:48
I q=72
1 4
II q=80
Grand Solo
III q=66 IV q=60
‰ ≈
sf
18:44 * 1 ± 4
>S.S
18:51 Π43
ff ë sfff
d
< Œ>
± ff
18:48
≈ 1 4 >S>S ‰
1 4
smf
≈
r
T >
18:57
f
34 ¯
ë sfff
ff
ë sfff
‰
smf
18:46
j
1 ™ 4 ≈ SS≈
1 4 S‰ smp
18:55 r
1 ™ 4 ‰ T smp
smf
V q=60
18:52 1 4
j Very loud! ‰ TU
sffff
18:57
VI q=60 VII q=60
Ó e
r
1 4 ‰™ TU > sffff
18:44 24
Π3
j < Œ>
T >V V V
sffff
Go to the car (don't forget your part and the stopwatch)...
ë
r
Œ
19:00
38
I q=72 II q=80
2 Π4
± ff
ë sfff
e
19:04
Œ
±
4 Π4
19:01
ff
1 4 SS‰™
IV q=60 VI q=60
3
œ
c
Ó
f
‰
etc.
j ±Ã. < Œ > 44 ≈ œ ™ sfff
2 > ¯ ë
2 > œ a
< Œ>
3
Œ
3
With a stroke.
sfff
f
ë sffff
5 Œ ¯ œ 4 c
Violoncello sul ponticello
?
· ‚ ™™ 41 Be
ësf
+ >
Run the self-propelled machinery.
3
3
sffff
ë
3
¯Ã œ
Œ
¯¯¯¯¯¯¯¯¯
19:38
j j j j j 2 ‰ 2 ‰ 2 ‰ ≈ 2™ ≈ 2 ‰ Ó > > >3 > > ¯Ã ¯Ã ¯Ã ‰ œ œ œ
< Œ>
œ ≈ ™ ™™ >'
o
Run mad.
3
sff sempre
smp
j j j j ‰ 2 ‰ 2 ‰ ≈ 2™ ≈ 2 ‰ > >3 > >
¯
f ë sfff
Œ
±
> ≈ < ≈ < > > à ¯ ± ™ ™ œ œ d d
M + j r r j 2 ‰ 2 ‰™ 2 Œ 2 > > > >
à ¯ œ
à ± œ
<Œ>
sfff
sfff
mf
< ‰ > j < ≈> ± 3 œ œ 4 c c ë ë fff sfff ±
¯ j œd ë sfff
j 1 4 9 ‰
c
p
III q=66
4 4
‰ SS > .
1 4 T ‰™
smf
< Œ>
sempre
19:05r
19:20 II q=80
®
sf
IV q=60
I q=72
19:17
19:06
sfff
19:30
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Repeat it absolutely likewise.
Cut sound short.
19:36
Hit by small metal stick on a hollow metal or wood obects.
r j 24 ‰ ¿ ‰™ ¿ > > mf
And immediately mute any sound.
39
19:40 19:45
I q=72
1 4
L M +
¿ 2 ‰ ' > 3
sf sfff
j j < ≈> à à à à . . ¯. ±. ± . ¯ ¯ ™ œ ™ œ ™ ‰ ™ ™ 58 ‰ œ ¯œ ¯œ ™ ¯ ™ ™ c aa a a a b b sfff sffff ë fff ë
±¯¡¯ +
Run mad.
II q=80
,
,
+ >
III q=66
f
,
19:45
Go to the upper floor (don't forget to stopwatch and the a score).
ë ° ë sfff
Œ
‰
Run the selfpropelled machinery.
Go to the upper floor (don't forget to stopwatch and the a score).
19:51 Violoncello sul ponticello
IV q=60 V q=60
™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
?
· ‚ ™™ 41 Be o
mp
G.C.
n
19:45
Solo
1 4
j
™ í ‰ ™í > pp
sfffff
3
í
™
The templ of loud bars is always q=60. It's possible to change the speed of pulse (the bars with reprise). In the future the pulsing bars will not be written.
œ ≈ ™ ™™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ë> ff sempre
í ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
40
20:00 20:03
I q=72 II q=80
V
Fix the Scotch tape on any bulge or beam, to unwind the tape slowly going to the different side of floor (the Scotch tape tension is very strong).
:
V
V
sff sempre
™5 ™8 ,
±¯¡¯ + ,
,
f
ë ° ë sfff
Œ
‰ ™ ™
V
V
V
V
V
V
V
V
V q=60
V UV
V
V
V
V
V V
V
V
VV
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
20:14
III q=66 IV q=60
V
V
:
V
sff sempre
20:10
Fix the Scotch tape on any bulge or beam, to unwind the tape slowly going to the different side of floor (the Scotch tape tension is very strong).
V
V
V
V
V
VV
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ BE
20:04 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 41
≈
r
r
The acceleration. ≈ í ‰ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 41 í ‰ > >
sfffff
(q=60)
sfffff
20:17
r
The slowdown. 1 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 4 ≈ >í ‰ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
sfffff
41
Take a wood piece with nails and drive on the glass with a lot of pressure. The movements must have with a different amplitudes and sharpness. Play in antiphon with third performer: do pauses and listen what sounds on the different side of the floor. It's desirable pass the sound of each other for at least 10-12 times. It is also advisable not to stand still, and move from one window to another, moving around all of floor space.
20:20 I q=72 II q=80
VV
V q=60
V
V
V
V UV
20:24
V
V
V
V
V V
V
V
VV
4 4
f
5 4
K
ë
o
sfff
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ STOP
III VV q=66 IV q=60
V
20:32
20:37 V
V
V
V
V
V
20:25
20:24
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 41
V
≈
(q=60)
ë r
í >
sfffff
‰
V
V
V
V UV
V
V
V
V
V V
V
V
VV
42 œ ™
j œ >
ësffff
42
20:40
20:48
I q=72
IV q=60
42
sfff sempre
+ j
< Œ> 4 ±
II q=80 III q=66
20:58
K
4
20:47 24
‰™
r <Œ>
f °
<Œ ‰ ¯
20:48 Violoncello
4 4
20:53
¯ +
4 ¯ 4 œ
œ Ó c c ë ë°
° ë
¡¯ + 1 < Ó™ > Œ œ c ë°
‰
Y
ë
j
í >
·‚ ™™? 24 Be
o ë
‰
sfffff sempre
Œ
‰™
3
20:58 j
sfff sempre
sffff
sfff sempre
V q=60
f
sfff
K
œ >
24
‰™ >
+ r
>
j < Œ>
41 ‰
>
sffff
>
o
sfff
fff
ë
20:59
Œ ™™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
r
í Œ >
Œ
j
í >
‰
Ó
j
í >
‰
Œ
j í >
‰
Œ
43
21:00 21:06
I q=72 II q=80 III q=66
44
sff
21:03 3 Π4
24
j
¯ ‰ ¡¯ œ œ ± œ Ó c c c ë sfff ë sfff
K
Œ
sfff
‰ ± œ c ë sffff
j
j
A little faster. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 24 >í ‰ >í ‰ (q=60)
21:11 ≈
21:08
21:03
o
Quickly return to down floor.
j
sfff sempre
sfffff
VI q=60
o
>
Antiphon.
IV q=60 V q=60
>
Ó
j ™.
j ë sffff
‰
Quickly return to down floor.
21:16 j
Much faster. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 41 >í ‰ (q=60)
sfffff
sArco
21:14
Solo
4 Π4
j
d >
o ë mp
‰
Œ
An echo. Sempre
< ‰> j ‰ œ Ó c jc > > o ë mp ëmf
44
21:20 21:39
II q=80
4 Π4
j ≈ œ™ b > ë mp
VI q=60
j ‰ ™ œ œ c b > >
The pause.
21:38
™ 3< Ó > ™4
Ϫ f >
œ > f o ë mf
™ ™ ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 44 ‰
r
œ c >
Œ
œ d >
o ë mp
21:40 21:44
+ >
I q=72 II q=80
Run the self-propelled machinery.
¯
j
œ
c
ë sf
<Œ
Œ > ¡¯
‰
. ™
f
ë sff
21:45 ±¯¡¯ + ™ ™5
f ™8
ë sfff
21:44
III q=66 VI q=60
¯ Œ ¡œ
Go again to the second floor.
,
,
,
f
°
21:56
Œ
‰
ë ë sfff
j ¯ ¯ ¯ ™ 3 ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 4 ‰ œ c œ c œ c
‰
sffff
sffff
sffff
Run mad.
+ >
Run the self-propelled machinery.
Œ
‰
j
œ d
Œ
œ™ œ Œ d b > > mf
‰™
r
œ Ó b > oë p
j
œ ‰ b >
o ë mp
Make free cymbal impacts with using the bow.
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó
‰
j
œ ‰ b 3
oëp
Œ
‰
j œ ≈ >b
j Ϫ >b
45
22:00 22:10
I q=72 II q=80
1 4 ¡¯ à ¡¯ à ¯ ™ ¯ .™ ¡¯ . œ œ œ œ œ c c c c c ë ë ë ë ë
4 4
> ë
‰
≈
VV
sff sempre
<Œ> ± œ c ë sfff j
+o L j n 3 ≈ 4 ™™ Ó 4 >í
III q=66
V
V Ó
sffff
V +
l
V
Œ œ c j
ëf
G.C.
‰
j 4 >í
sffff
Ó
V UV Œ ±œ c j ë sfff Œ 3
V
V Œ
24 í ‰ > Œ
mf
r œ e >
ë mf
4 >í
Œ
V ¡¯
œ c j
ë sfff
œ c ë sffff Œ
sffff
‰™
sfffff sempre
‰™ < Ó™> ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
V Œ
sffff
j
j œ ‰ d >
V ¯
j 4 Ó >í
22:16
V q=60 VI q=60
Ϫ
:
Unwind the tape slowly going to the different side of floor (the Scotch tape tension is very strong).
r
í > ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ (q=60)
46
22:20 I q=72 II q=80 III q=66 IV q=60 V q=60 VI q=60
22:34 K
VV œ
V
V
V
‰ ¯ j < Œ> œ c j
V UV
V
j à à ¡¯ ¡¯Ã ™‰ ¯ œ .™ œ ‰ œ c
Œ
22:25
Run mad.
4 4
ë sffff ë sffff. ë
ë sffff
í ™™ 41
sff
3
+ etc. j Œ f °
≈
sfff cresc.
V V
V r
c °
‰
‰
j
c °
Œ
‰
V j
c °
VV
V More.
‰
‰
c °
3
sffff
fffff
j
‰
c °
22:35
r r ‰ Œ ‰™ œ a c ° 3
4 4
Œ
‰ 3
Œ c °
V
V UV
V
j
c °
j
Quite less...
<‰>
‰
œ
Œ
e
ë sff
22:37 K
Unwind the tape slowly going to the different side of floor (the Scotch tape tension is very strong).
It's possible to accelerate the tempo of quarter, it's also possible to insert small pieces of the free intonation, for example:
22:23
V
V
V V
V
V
VV
V
≈
r
c °
‰
Œ
< ‰>
j
œ
e
Antiphon.
sffff
r
sfffff sempre
4
sfff sempre
s
j
™ à Œ >
Run mad.
It's possible to paste some fragments of accelerated pulse between the main notes (in this case it's necessary to observe the main stable tempo, don't speed up main notes after pulsations acceleration).
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 44 ‰™ >í Œ 4 4 à à > >
Œ œ a
V
™™î¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
sffff
j
r
¯
V V
22:21 Violoncello
22:21
‰™
:
Go again to the second floor.
V
V
Antiphon.
à >
j
j í ‰ > Œ
j ‰ í Ó >
Œ
à >
Ϊ
≈
j
‰ >í
≈
Ó
3
à >
j
Œ
à >
Œ
j Š̪ >
r
í‰ Œ >
‰
j
à > ë
Ó™
45 Œ
≈
j
‰ >í
3
Ó
≈
j
‰ >í
3
47
22:40 ææ
I q=72 II q=80
22:53
wood-nails piece.
4 4
> ë sfffff
j à < ә>
More, even more...
Œ
Ó
j
e °
‰
sffff cresc.
Œ
j
e ° ë
‰
Œ
‰
Œ
e
l
j
œ ‰ e °
Hit be the bow's frog.
"ffffff "
‰™
r
Ã
œ Ó™ e °
sfffff
22:54
III q=66 IV q=60 V q=60
22:53
Run mad.
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ë
22:47 r
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 34 Much faster.
j
(q=60)
≈
í ‰ Œ >
sfffff sempre
j
í ‰ >
ë
Faster.
43 Y
ë
sfffff
22:54 r
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 4 4
j
(q=60)
j
‰
≈í ‰ í ‰ Œ > >
sfffff sempre
j
Faster. í ‰ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ >
48
23:00 23:06
I q=72
2 4
VI q=60
.
23:04 1 4
23:02m Violoncello
í ™™24
IV q=60 V q=60
j
sfffff sempre
III q=66 ¿
m
m¿
>¿
>
sffff
3
23:01 ¯¯¯¯¯¯¯¯¯ 34
(q=60)
4 4
≈
í Œ >
í >
sfffff sempre
4
s
j
‰ Ã Ã > > sffff
j
‰ í ‰ > 3
≈
j
Ù >
>
sfffff
j c
j c
_ Í ° >
‰
23:16r
j c 41 ‰ >
‰
1 ≈ 4 c >
sfffff
Œ
j
≈ _ . Œ ™ Í ° >
jEven more. Œ ‰ _ Í ° >
‰™
o r
à >
sff
sfffff
‰™
_ Ó Í ° >
23:11 44
‰
‰™
‰
12 sfffff
r
p
+ ¡¯ etc. j 4 4 ‰ _ Ó 4 Í ° > j
K
3
23:03
II q=80
Œ
23:12
It should be the slide movement.
Ó
r
_ Í ° >
+ j
à ‰ >
sf
Ó™
j
Ó
_>
‰
Œ
_>
ffff s
o j
à ‰ >
sff sempre
Ó
‰
o j
à >
≈
_>
Œ
Ó
™™î¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ There is also possible
include some fragments of the free intonation.
í™ > ‰ Ã > ë
í™ > j
í™ >
í™ >
j ™3 ™ ™ ™16 >í ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ sfffff sempre
49
23:20 23:21
I q=72 II q=80 III q=66 IV q=60 V q=60 VI q=60
2 4
c
>
sfffff
j
sfffff cresc.
o j
à ‰ >
_ Í ° >
ë
2 4
‰
≈
o +
Í ° > _> ë
à à > >
23:23 "Solo" ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
23:22
j
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯41 ‰ í > ë sffffff
41 ‰™
r
œ f >
o ë ffff
2 4
‰
fij
c
j
‰
ë sff
‰™
Go again to the first floor. SMOOTH OFF THE SOUND AMPLIFICATION!
° _> Í >
_>
23:34 44
sfffff sempre
Go behind the doors.
sffff sf
sArco
c
≈
+o
Ó
3
23:21
r
sf
Œ
≈
‰
j
The strongest sound.
j
Œ _ Í ° >
23:28
23:33 o j
smf
smp
24
1 ≈ 4 Ã> ‰ 2
3 Ó 4
j
° Í >
r
34 ≈ í ‰ Œ >
sffffff non dim.
Í ° >
Œ à >
‰
4
í >
‰
Quickly and with accent move a goffered hose on the edge of cymbal. (it should be strike sound).
r
3 ‰™ 4
‰
j
‰
Go slowly to the zero floor.
sfff
sfffff
j
‰ Ó
23:35
¿ >'
+
f
23:27+
r
≈
r The closed hit.
‰™
Œ
_>
r
{>
sf sempre
23:34 j 1 4 ‰ >í
sffffff
23:35 3 4
? >
j
sff
Hit by the hard stick.
‰
≈
r
? ‰ >
≈
4
s
j Ù >
sf
50
23:40 23:47
I q=72 II q=80 III q=66 IV q=60
41
23:43 +j 43
Œ
Í ° >
‰ Œ
Œ
23:44 4 4
VI q=60
Í °
3
f
+ r
≈
à ‰ >
4
j 2 24 ‰ ¿ >
r
1 ≈ 4 >í ‰ sffffff
js 1 4 Ã ‰ > 4
mf
j >_
3
smf
23:59 +
Œ
1 4
‰
Í °
+ r
o j
3
j
p
mp
Œ
Ó
smp
sf
V q=60
‰ ‰
+ r
Œ
L j 4 >
1 ™ 4 ‰ Ã
Ã
sp
sp
‰
23:58
r
1 ≈ 4 >í ‰ sffffff
j
Touch the cymbal edge by the metal stick (it should be strike sound).
3 ≈ ™ < Ó> 4 V mp
51
24:00 I q=72 II q=80 III q=66 VI q=60
24:01 1 4
Nj ‰ ¿ ‰ 3
smp
24:05 oj 44
‰ m
1
Œ
The hi-hat is open: It's light touching of the cymbal. Don't mute an echo.
‰
Ó
p sempre
24:07 4 9 4
spp
oj
m
Œ
Ó
∑
< ‰> j < Ó > 9
43
spp
< Ó™ > 44 ‰™ V
mp sempre
m
Œ
Œ
Ó
24:15 j The one touch.
Take the paired cymbals and keep it close. Make clangorous and continious sound.
r
‰
o j
45 + ™
Ó
≈
9™
spp
44 + ™
< Ó>
o j
m
‰™
‰
Ó
r
< Ó>
9
spp
Œ
24:20
52
24:24 o
II q=80
j
4 4 m
Œ
Ó
mp
24:23
III q=66
4 ‰ 4
j
< Ó>
9
spp
P
24:23 j
VI q=60
3 ‰ V 4
< Ó>
mp sempre
24:40
j 1 4 ‰ } >
m
∑
Œ
24:25
V q=60
II q=80
‰
o j
p
‰
∑
Ó™
r ‰ 9 < Ó> 3
spp
Exit from the building...
Œ
24:35
Reach up a crowbar bag at breast height and to throw it down with great force.
j
1 4 >} ‰
sffffff
sffffff
‰™
V
r
< Ó>
24:47 o ≈ 41
j
m™
pp
24:52 j
V q=60 VI q=60
‰
1 4 ‰ >}
sffffff
24:49 3 +™ 4 p
53
25:00 25:11 j
V q=60
1 4 Œ
3
>}
sffffff
25:20 II q=80
25:22o 1 4 ‰
j
m p
25:36
III q=66 V q=60 VIII q=60
43
25:21 j
25:35 j
sfffff
sfffff
1 4 ‰ >}
1 4 Œ
25:34 The car horn.
3 4
Ϫ
3
Œ
j
3
smf
>}
It's very important to keep the duration of sound to its ending without any interruption.
r
< Ó>
9
Kr ® œ œ ≈ œ ≈ -
j
œ-
These sounds is not very short (although it should sound separately), quazi tenuto.
Kr j œ œ ® œ3
r ≈ œ
25:40
54
25:46 o
II q=80 VI q=60 VIII q=60
45
25:42 j 3 ‰ 4
V
≈
pp
j
m™
o j
m
Œ
Ó
Go away from your position (take the stick and the hammer with you ).
< Ó>
p
Keep this to the ending!
26:00
j
1 ≈ ≈ 4 Ã> sffff
26:04 j
V q=60
26:16 j
1 4 ‰ >}
1 4 ‰ >}
sfffff
26:03 The car horn.
26:20 VI q=60
26:10+
Go further out...
III q=66
VII q=60
‰
4 Ϫ 4
It's very important to keep the duration of sound to its ending without any interruption.
‰
Ó
These sounds is not very short (although it should sound separately), quazi tenuto.
r
≈ œ œ ≈ œ - - 3
Œ
≈ œ
sfffff
j œfi
26:29
œ- œ- Œ
Œ
mf sem pre
Walk along the metal fence, touching of this by the stick.
‰
j < Ó> œ
< Ó>
Ó
26:37
55
26:40
V q=60 VI q=60
26:45 r
1 4 ‰™ >}
sffff
26:44 rL
26:47
41 ‰™ 6 >
mf sempre
...on the fence
go slowly until you will out of sight.
sf
26:53
VII q=60
j
4 w 4
VIII q=60
43 ‰
26:46 45
r < Ó™ > ™‰ œ
‰ œœ ≈
27:00 V q=60 VI q=60
27:14
r
1 ≈ 4 >í ‰ sfff
Ó
27:20
56
27:37 r
V q=60
1 4 ‰™ >}
27:32
VIII q=60
27:40
27:49
I q=72
42 Go further out...
III q=66 VII q=60
A 0 r j ™‰ ¿. ‰ > o sf
27:38
The sound from the beginning.
+ j
1 ≈ ≈ 4 Ã > sffff
27:42
28:00
28:17 j
V q=60 VIII q=60
sfff
1 4 ‰ >}
28:09
sff
28:18
57
28:20
28:32 +r
Go further out...
III q=66
1 4 ‰ ‰ Ã> 3
sffff
V q=60
28:38 j
1 4 ‰ >} sf
28:40 I-VIII
29:00 II q=80
30:00
TURN ON THE LIGHT IN HALL.
j
V 41 >} ‰ q=60 smf
After this and during next five minutes the performer plays another three or five events (one of this can be loud).
31:00
32:00
33:00