Widerhall 2
The Finger of God for 8 performers
Performance notes
Inside performers location scheme:
2 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.
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
4
mp
05:02
III q=66
1 4
o
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
24
05:29 B 5
1 4 ‰
o
¿ >.
smf
Œ
Move the friction ball on the wood surface (cut sound short in the end).
B 5
o
¿. ≈ >
ësf
4
5:40 05:48
I q=72
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.
2 ≈ ™ ¿ ‰ 4 > o smp
5
6:20 06:27
V q=60
G.C.
n
* ¡±¯¯
III q=66
The slow movement on a cymbal by friction ball with a high pressure.
Y
Œ
2B
f
*
1 4
Quickly and with pressure play by the bow on the edge of cymbal (clean sound).
06:41 ‰™
44
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
3 4
& ?
o
06:53 +
Arco
1
2.
Mute an echo very smoothly.
o ësf
r < ™> Ó 9
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
Timp.
06:42
Arco
IV q=60
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
A o
‰
°Y
07:11
If you listen the next sound — exhale with noise.
II q=80
f
1
o
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
sfff
B 9
Y™
mf
°o¿
o r < ‰> 2
‰™
j ¿. ≈
j
¿.
pp
mf
Be.
‰
j
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
+ r
j
07:28
Timp.
A
o
n e.
‰
3
A °¿ o f
07:27 1
Arco
±
r
3≈ ‰ Œ 4 ¿ .
Œ
Œ
Ó
1 4 ‰
j
Be.
mp
ne nœ
07:27
mf
µ e.
f
Aj ‰ °¿ o mp
07:38 E
n eÆ ≈ ‰ I R
07:38
Timp.
r 1 ™ 4 ‰ ¿.
2. ≈ >
07:33
o L
j ≈ 4 < ‰>
4 ? ‰™ be. Œ 4 R
ÆJ
j
4 4 & ne ‰ n e Œ . I.
Withstrong pressure (try get a chord).
ó ê sff
p
E r ≈ ‰ ¿. Œ
Press and immediately release the the button of electric call.
07:28
A m ¿ ‰ >' ó ësff
j
ësff 3
ne#e µe ne
ff
f sempre
7:20
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
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
sp
1 4 ? ‰™
n eÆ IR
mf
‰
7
7:40 07:47
II q=80
3 4
V q=60 VI q=60
With a maximum possible pressure (try get a highest tone).
2™
êsff
c o L
j
‰
soft hit j The (in passing).
1 4 ‰ 4'c >
III q=66 IV q=60
o
"sf "
07:46
Æ 1 4 ? Œ nI eJ 3
mf
07:53
2 ? ‰ ≈ n e. ≈ ‰ 4 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
08:17
08:13
I
q=72 08:12±
II
2 Π4
q=80
III
3 4
q=66
4 4
IV
q=60 q=60
1 4
smp
('Chord').
¿. ≈ >
Mute an echo very smoothly.
o ësff
A mj ‰ ¿
Voice j 4 >Æ ? ‰ b¿ ¿ ≈ 6 < ‰ > > mf > > sff & ‰ ? Œ
08:02
V
L Ej j 24 Œ ¿ 4 ‰ . . 3
A Timp. j 1 ‰ 4 ¿ °o mp
≈
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
j 6 >
mp
(A little more for the hall).
VI
1 4
q=60 08:01
VII
q=60
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
(More for yourself than 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
08:37
III q=66 IV q=60
: r ≈ ‰ S One 'click'.
1 4 nœ
r ‰
[
J
o
3
A j m ¿ >
smf
The soft joggle.
≈ ‰ Œ
1 4 ‰ [\ smp
smp
8:40 08:44
I q=72
r ¿ '
L
Timp.
2 ≈ 4
sp
08:42 A
III q=66
43
¿ > sfff
08:41
IV q=60
08:48
43
?
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
2 ≈ ‰ \ ‰ 4 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 >
≈ Œ
Ó
sf
sp
II q=80
1 V ±
44
‰™
sf
smf p
III q=66
43 ‰™
09:03 j 1 4
2 ‰ ¿ >. sf
A soft hit on the
cymbal edge (mute in immediately).
o
A mr ¿.
mp
‰™
09:08 44
o
2
r ¿.
mp
Œ
?
>
sf
Œ
j
‰ Y ‰ sff > 3
3 Π4
° .
V ‰
Œ
mp
Voice pizz. n¿Æ R
Œ
Arco
± j
± ('Chord'). ¿. ‰ >
4
≈
Ó
3 o ësff
‰™ ‰
smf
j
‰ ¿.
09:19 Timp.
smp
09:10 + r
V> V
41
09:07
IV q=60
r
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).
Y >
sf
± r
Œ V ‰
mp
j 6 >
sfff
09:14 ‰
A j ¿ o
®\
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
M + j Π2 >
Ó
09:29 1 4 Œ
3
smp
‰
smf
09:22 _ j 5 4
‰ V ‰ > 3
Œ
‰
IV q=60 V q=60
‰ [ \ ' smp
09:22 r
2 4 ≈ ¿ ‰ Œ 4 >. sf
±_ ¯ +
V >
‰
smf
sf
09:24
3
V > >
Œ
3
sf
III q=66
±_ ¯
3
° .
41
VoiceL
p
sf
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". ¿ '
2 >'
Mute it immidiately.
ó êsmp
A mr ¿. o mp
sf
smf
09:27
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
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
NL
‰ ¿ ¿ ' ' 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 ‰
o
3
mp
09:59 j
09:46
IV q=60
1 4
1 4
Arco
? ≈ nœ ≈ mf
09:47
V q=60
1 Π4
09:43 r 1 4 ‰ ™ >¿
VI q=60 VII q=60
‰
A mr ¿.
f
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 ‰ >¿
09:51
j ¿
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 "
IV q=60 V q=60 VI q=60 VII q=60
r O j Quica
10:09 24 ‰™
10:03 44
j
‰ ¿ >
j ≈ ¿ ‰ >
Œ
10:04 r 4 4
≈ ¿ ‰ >
3 4
j j ≈¿ ¿ Œ > >
Œ
f sempre
o
smf
j
10:18 3 4
¿ ¿ ¿ ≈ ¿ ¿ ¿ Œ > > > > > >
Œ
≈ ¿ ‰ >
Œ
3
ff
‰™
Ó
f sempre
3
¿ ‰ >'
3
3
f sempre
Sound is not long
j Œ ¿ Ó > 3
"sff "
r j 4 ≈ ¿ ¿ Œ ¿ ‰ ‰ ¿ Œ 4 > > > > 3
10:13
r ¿ >
More confident, "solo".
f sempre
j Œ ¿ > 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
3 ‰ 4 [\ Œ 3
p
j
≈ ¿ ‰ > 3
¿ >
≈ ¿ Ó > ë
"sfff "
j ‰ ¿ >
≈ ¿ ¿ ‰ ¿ Ó™ >> > 6
"sfff "
j ¿ ≈ ¿ ‰™ ¿ ¿ ‰ ¿ Ó > > >> > mp
" " sfff
10:33r 24
Y ‰ > 3
‰ ¿ ‰ ¿ ‰™ ¿ > >3 >
≈ ¿ ‰ >
mp
f
r j
¿ ¿ ‰™ ¿ ¿ Œ ™ > > > >
"ff "
r ≈ ¿ ‰ Œ > mf
≈
Y ‰ >
‰
≈
smp
smp
j
r
f sempre
"Solo"
VII q=60
≈
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
10:40 10:41
10:52 L
Ej 1 4 ‰ ¿3. ‰
I q=72
‰
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
1 4
c j o L ‰ 4c '>
"sf "
o
A rm ¿. ‰™
1 4
IV q=60
1 4
1 4 ‰
‰ [ \ 3
p
10:45
V q=60
43 "Solo"
VI q=60
j ≈ ¿ ¿ ≈ ¿ > > >
VII q=60
r ‰™ ¿ >
3
3
"sfff "
Œ
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
Π3
j
‰ ¿ ‰ Œ >3 f
j
‰ ¿ ‰ >3 f
G.C.
3
10:57
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.
f
B
8
sffff
G.C.
r ≈ ¿ ‰ >
o
3
‰
smf
j
mp
10:47
‰
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
Ej ¿
‰
sf
r
≈ ‰
Π9B
11:08
II q=80
o
j
11:06
III q=66
4 4
‰
4 >í
Œ
VI q=60
Œ
Ó
sffff
mf
2 4
Œ
Er ≈ ¿ ≈ ‰ . 3
sf
11:14 Œ
3
j
3øøøøø >.
Move a wooden stick on the ribbed surface.
sf
A mj ‰ ¿. ‰ Œ
24
11:03
Hit by small metal stick on ...
24
3
≈
o
3
mp
j ¿ >
43
Y
smf
sp
p
11:10
11:05 41 Œ
‰ [ \ ?
‰™
r ¿ Ó >
f sempre
mp
r
r ‰ ¿ > 3
+
‰™ ¿ ¿ ¿ ‰ > > > "sfff "
j ‰ ¿ ‰ Œ ‰ >3
11:16 f
+
Direct the air freshness stream to the windows.
11:19
11:08
VII q=60
11:17 On membrane with heavy pressure.
11:09
IV q=60 V q=60
L j ‰ 4
Put the hammer to sheet of metal (the clangorous sound).
B j 6 >'
‰
1 4
o
mp
Lr ¿ o ™ ™ f ¿' Œ
Direct the air freshness stream to the windows.
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
3
j
>
‰
Œ
sf
r 4c í >
3 ‰™ 4
III q=66
V q=60 VI q=60
11:37
E ¿
.
sf
Hit on the hi-hat rack by the metal stick.
11:23
IV q=60
M + j Π>2
j
‰
Arco
2 o
sffff
mp G.C.
n Œ
4 2 4 >
Ó
o
+ oL
c
3 ‰ 4 ‰™
E r ¿. Œ
‰™
sff
4
11:28
1 ±
M o
& sf
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
j
‰
Y
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
11:22 1 4
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 1 4
I q=72
1 4
‰
11:52
+¯ j ° .
o
sff
nY
C
C
mp
11:47
Voice 11:42
III q=66
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 12:27 :
12:21 M 1 4 ‰ >2 sf
1 4 ‰ sf
+
j
24 Œ
3
12:34 :
One 'click'.
3 4
‰
>S
mp
1 V
42
° .
Œ
‰ S >
: 41 S ‰ >
mf
12:26 : 24
j The one "Click". Œ ‰ S >
‰ ‰
mp
mp
12:31 j
p
: 1 4 S‰ >
+ r
j ≈ Ã. ‰ >9
Π3
2 4
r
‰™ +
< Œ>
12:22 4 ‰™ 4
12:27
r ¿ Œ >
3 4
"Solo"
"sff " sempre
‰
"Solo" r
® ¿™ >
r
‰
3
¿ ‰ >
r
¿ ‰ >
5
>¿
>¿
ë
42
1 4
3
3
"sfff "
2 4
3
¿ > "sfff "
‰
"Solo"
¿ >
j r ≈ ¿ ≈ ¿ > > 3 ë
ë
:
≈ T V S > o smf
41 ‰
12:35
≈ ¿ ¿ ¿ ¿ ¿ ¿ ≈ ‰ > > > >>>
smf
One "Click".
‰
12:28
r r ‰ ¿ ≈ ¿ ‰ > >
3
off the by the cymbal. + Slip j j ‰ Ã> c
12:36
3
"sfff "
Œ
p
f
mp
12:21
‰ Œ >S 3
12:35 44
12:27
VII q=60
>S
Ej ‰ ¿ Œ .
j
mf
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
j ¿ >'
‰
smf
VI 41 ≈ ¿ ‰ q=60 > "sff "
3 4
V. ‰ >
sf
+¯ j
Π3
.
° > sf
j >2
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
+¯ j
1 4 ‰
° >
sf
42
sf
3 4
+ j
≈ 3
Ã> ‰
sf
‰
2
j ¿ >'
sf
Œ
r ≈ 2 >
Œ
8 3
A
j 94í Ó >.
Ó™
Π3
sff
‰ ™™
2
Kr ¿ ' >
sf
‰™
+ r
Ã>
sf
M + j 2 >
sf
12:57
12:51+ ¯
12:49
12:47
3
r
≈
±r
sf
j j j j ≈ ≈ ≈ ‰ 2™ 2™ 2 ‰ >2 > > 3>
p
I q=72
+ j j j r ≈ ‰ 2 ‰ 2 ‰ 2 ‰ 2 ‰ > > >3 >
r+ ¯
j
1 ™ 4 ‰ ° sf >
° >
W
¿
12:58
Rotate the sling at 5 turns / sec. (on every fourth round say short "A").
pizz.
p sempre
¿
¿
¿
¿
‰
o j L ‰ Œ 4 >3
sf
21
13:00 13:13 1 4 + oL
G.C.
III q=66
n
sf
G.C.
‰ í4 >
1 4
3
sffff
j
3
V 41 í n‰ > q=60 sffff
‰
13:19
L +o
44
4 í >
3
sffff
Π3
13:16
+
G.C.
n
Direct the air freshness stream to the windows.
13:20 13:21
I q=72
24 Œ
2 4
II q=80 III q=66
Œ
13:30 M
M +
2 >
j + r j Kr r r j j 4 ≈ 2 ‰ ® 2 ™ ‰ 2 ‰ ‰ ™™ 2 ‰ ‰ 2 ‰ ™ 2 Œ 2 ‰ 2 4 > > > > > > 3> > 3
sf
Œ
‰™
3
+¯ j ° > sf +c r
à >
sff
sf sempre
+¯ j
2 Π4
‰
sf Slip off the by the cymbal.
Œ
13:24 +(The hit). 42 Œ
j
à ‰ >
sff
° >
Very equal..
9 >
‰
sff
ΠTake 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
I q=72
M + r ‰ ‰ 2 >
smf
13:40
22
On membrane with heavy pressure.
> j B +> ÃÆ 2 6 > >' sf 5
j ≈ 2 ‰ > 3
I q=72
sf
IV q=60
o3
Ó
smp
Move a wooden stick on the ribbed surface.
II q=80 III q=66
L j Short sound. ¿ Œ ' Œ ‰ Be 3
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
3
S‰ >
mf
14:08 :r
III q=66
41
‰™
14:13 3 4
>S
mf
o
jA m ¿. ‰
Œ
j: 1 ≈ 4 S‰ >
1 4 Y\ >
‰
mp
14:09
14:03
14:08 j
VI q=60
41 ‰ >¿ mf
14:07 1 4
‰
r ¿ ‰ > 5
mf
mp
j
1 4 ‰[ p
14:12 r 4 ‰™ 4
V q=60
o
j ¿.
14:15
sf
3
mp
VII q=60
Œ ≈
>S
mp
14:17 : j
II q=80
IV q=60
j
One 'click'.
‰ ™™
¿ 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
E r ≈ ¿ ‰ .
spp
p
II q=80
1 4
j
‰ S >
mf
14:24 41
≈
r
Ã' ‰ >
p
III q=66
smf
14:21
j: 1 ‰ ‰ 4 S >3
IV q=60
mp
V q=60 VI q=60 VII q=60
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
j ‰ ¿ >
‰ ¿™ ¿ Œ > > 3
14:36
j
Œ
f sempre
3
j
j
j
¿ ‰ ¿ ‰ ¿ ‰ > > >
j
j j ≈ ¿ ‰ ¿ > >
‰
3
r
j j 4 ‰ ¿ ‰ ¿ ‰ ≈ ¿ ≈ ¿ ‰ ¿ ‰ 4 > > > > >
sff sempre
j "Solo" r Œ ‰™ ¿ ‰ ¿ ≈ ¿ ≈ ¿ ‰ > > > > "sff "
Œ
3
mf
ff
"sff "
j
j ≈ ¿ ‰ >
3
14:35 Œ
3
j r j 3 ¿ ‰ ® ¿™ ‰ ¿ ‰ 4 > > > f sempre
3
3
r j ® ¿™ ‰ ‰ ¿ ‰ > >3
25
14:40 14:59 : 1 4
I q=72 14:55
14:43 j
II q=80 III q=66 V q=60
42
1 4 S‰ >
VII q=60
‰
>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 ‰ ¿ ‰ ‰ ¿ ‰™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ > > > >>> >>> 3
3
j
Œ
‰ ¿ ‰ >3
"fff "
"Solo"
VI q=60
Œ
j
‰ ¿ ≈ ¿ Œ > > 3
j
¿ >
r
‰ ¿ Œ >
Œ
3
14:55
j
3
4 4
¿ >
f sempre
r
3 4
j ¿ >
‰
j
¿ ‰ >
f sempre
j ¿ ‰
>
j ¿ ‰
>
‰
j ¿
>
Œ
‰
Œ
j
‰
¿ >
3
3
f sempre
"sff "
"Solo" 3 5:3 r j j r ≈ ¿ ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™™ ¿ Ó > > > > > > > > >¿ > > > > 3 "sfff " ë smp
‰
‰
j ¿ Œ
>
Œ
‰
44
j ¿ Œ
3
>
‰
Ó
j ¿ ‰
>
r
‰ 3
‰™
Ó™
Œ
Œ
f sempre
14:51
Kr ≈ ¿ ‰ ≈ ¿ ≈™ ¿ > > > r
j ¿ >
‰
r ¿ >
r ‰ ¿ Œ 3
>
Œ
¿ >
15:00
26
15:13 :
I q=72
43
II q=80
3 4
III q=66
3 4
‰
Do accent on each sound! Scotch tape tension is always very strong!
Continuous sound.
‰
sf sempre
j
:
3
r
T >
Œ
One 'click'.
Œ
3
j
>S
Accent continuous.
‰
Ó
Do accent on each sound! Scotch tape tension is always very strong!
Continuous sound.
j
sf sempre
‰™
r
>S
sf sempre
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
‰
: Scotch j tape tension is always very strong! j j Œ ‰ ‰ ‰ ≈ ‰ ‰ ‰ T S T R S S S T > > > > > > >
SS ‰ > > r >S 3
≈
r >S
Do accent on each sound!
3 4
IV q=60 j
V q=60 VI q=60 VII q=60
4 4
Œ
‰
¿ >
j ≈ ¿ >
‰
j
Ó
¿ >
3
j ‰ ¿ ‰ Œ > 3
f sempre
¿ ¿ ‰ ‰™ > > 3
r ¿ >
j ¿ ‰ Œ >
j ‰ ¿ ‰ Œ > 3
3
3
sf
sfff
"Solo"
The high sound
‰
Œ
Œ
‰
≈ ¿ ¿ ‰™ > > 3
sff
j r ¿ ‰ ‰™ ¿ Œ > >
15:07 4 4
‰™
r ¿ Œ >
f sempre
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
SS > >
≈
≈
S >
r
‰™
sf sempre
sff
Œ
r
>R >S
sff
‰
sf sempre
j
j
‰
S >
S >3
‰ ‰ >S >R >S >S 3
15:39 j 3 4
‰ Ó
j
15:38
>R
24 Œ
≈
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>S
4 ‰ 4
≈ ‰
‰
j
‰
sff
r
‰ 3
>S
Œ
j
‰
>X
sf
15:38
3
‰
R >
sfff
Œ
T >
sff
>R
sff
15:37
continuous.
>S
j
>S
j
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
‰
28
ŠΠSS > > 3
j
≈
Ó >S
3
sf sempre
III q=66
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
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 > >
15:57
p
S S > >
j
‰
X >
≈
‰
>S >S
sf sempre
q
‰™
sffff
r
S >
≈
Œ
Very loud!
j 3
>R
≈ fij
>S
>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
≈
r
>S
sff
‰
‰™
3 4
sf
3
1 4
f sempre
j ¿ ‰ >
by Scotch tape (small tension).
15:52
r ≈ ¿ >
r
Light pizzicato
Start with a small Scotch tape piece again.
j
15:58
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
II q=80
j
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 16:03
16:08
16:11
1 4 S‰ >
1 4 S‰ >
1 4 S‰ >
j
I q=72
sf
16:02
II q=80 IV q=60
j
42
S >
sf
24
Œ
≈
S >
sff
j
≈
16:10
r
2 4
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
5 4 ‰ S‰ Œ >3
>S
4 4
j
>S
‰
sffff sempre
Ó
≈
r
‰ >S
16:17 2 4
‰
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
:
16:30
1 4 TSS‰ >
‰
1 4
II q=80
‰ ≈
SS > >
‰
r
‰ 3
‰ ≈
>SS >
‰ ≈
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 >
≈
Œ
SS
‰™
S
Œ
Œ
Π3
p
16:29 j ‰
3 4
>S
>S >S >S
1 4
>S
ë
>S >S
SS>S
≈ ‰
mf sffff sempre
j
‰ 44 S >3
‰
j
≈
>S >S
sffff sempre
16:27
≈
>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
r
r
3
‰
>S
‰
16:34
sf sempre
r
j
‰
2 4
44
r
>3S
‰
3
IV q=60 j
j
‰
sotto voce
Start with a small Scotch tape piece again.
sf sempre
r
ÆSS
sff
(to block the Scotch tape by the left hand).
45
sf
3 4
‰
ÆSSSSSSSSSSS S >S > p p
:
16:29
3
III q=66
r
‰
Light pizzicato by Scotch tape (small tension).
Start with a small Scotch tape piece again.
16:25
r
sff
mf
16:24
VI q=60
3 4
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
16:51
It's the one continuous movement very strong! of Scotch tape unwinding. The tension should be
V
The arrhythmia.
3 4
Œ
j
16:43
S‰ >
4 Π4
sf
V R T >. f ë sff
j
Œ
S >
16:42 :
Start with a small Scotch tape piece again.
1 4 Œ
j 3
< ‰> 2 ¿V V V 4 R R ë sff
16:43 4 ‰™ 4
>S
r
>S
j
‰ T >
5 R 4Ó >
3
‰
S >
45
¿V
≈ ‰
Œ
≈
Ó
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
SS
Œ
‰
>SS >
16:51
‰™
sf
r < Ó> ≈ ¿V VV
1 4
1 ≈ 4 S T > >
≈
r .S
‰
mp
j
42 Œ
‰
3
p
The arrhythmia.
sff
≈
Œ
‰ T U > sfff ë
>X >X
j
Œ
4 4 T‰ >
r
45
≈
Œ
‰ T >
j
Π3
45
j
>S
It's the one continuous movement of Scotch tape unwinding. The tension should be
j
‰ YV V R > fff sempre r
‰™
Ó X >
sfff
‰™
q
Ó
sffff sempre
j
Œ
:
J
j 3
R >V
< Œ>
V
sff sempre
16:52
>S
mp
sff
sff sempre
‰
S S > Æ .S
sf
4 4
The arrhythmia.
j
‰
3
sf sff
sff
r
3 ‰ ‰ Œ 4 S >
24 Œ
16:50
VII q=60
> >S T
16:54
j
sfff
16:46
sffff sempre
sffff
Ó
3
r
≈
sf
41 ‰ S S > > sff
III q=66 IV q=60
≈
sff sempre
3
VI q=60
T >
sff sempre
II 42 Πq=80
V q=60
‰
r
16:57
‰
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
17:00 I q=72 II q=80 III q=66
j
Œ
‰
.S
32
S
: j
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
V
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
r
‰ ‰ 3
V 41
>S
sf
V
V
17:06 ≈
V
V UV
V
V
V
V
j
T >U
j
With accel.
‰
Œ
V
V
r hard ‰ T >
Œ
‰
T > 3
r
‰ ‰
T >
sffff sempre
43 Œ
j
With a slowdown.
3
T >T
Œ
3 4
j
4 YV 4
‰ 3
r
Ó T >V T
sffff sempre
‰
T > 3
:
Start with a small Scotch tape piece again.
VV
j
Slowly
‰ Œ 3
T
j
j
Fast etc.
≈
Œ
3
42 Œ
‰
T >
sffff sempre
mf
V
3 4
T >
j
44 ‰ Œ T >
j 3
T >
Œ
j "Slowly". Œ ‰ T > f
≈
r
T > ë
‰
3 4
VV
3
mp
‰
45
j
T >
r r
‰
3
>S
Œ
T > 3
‰
sffff sempre
Ó
j
Ó
‰
™ YV V
sfff sempre
j >S 3
j
Short.
‰ T >U
‰ T >
Ó
17:15 ‰
q
sffff sempre
j
ë
17:18
(to block the Scotch tape by the left hand).
17:14
>S
17:09
sotto voce
< Ó> ¿V V
V V U
V
sff sempre
r
Short.
T >
≈ Œ
j
V
V
17:16
43 ‰ ‰™
V V
Belt tension is a maximally strong.
17:12
r < ‰> ‰ V T > ë
V
sfff
17:03
VII q=60
V V
sff sempre
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!
3 4
q
‰
j
Ó S >
sffff sempre
Ó
‰
33
I q=72
17:20 < Ó>
V
17:32
Play on the stretched Scotch tape (more 4 m) like on the huge guitar string.
V
V
V
V
V
V
V
V
V
V
< Œ> VV
V
V
3 4
j Ó >}
3
≈
r
‰ >}
Œ
‰
sfff sempre
j
j
Œ
‰ >3}
V V
V
V
V
V
17:21
III q=66 IV q=60
45
YV
V
sff sempre
< Œ>
V
<Œ>
17:31
V
17:23 j < Ó.> 4 ‰ ¿V 4
V
V
V
V q=60
q
4 4 S ‰ >
V
Œ
V
V
V
V 45 S‰ >
Ó
Very short.
4 ‰ 4
VI q=60 VII q=60
T > 3
‰ Œ
sffff sempre
‰™
r
44 Ó S >
Œ
䪪
V
V
j
sffff sempre
j
V V
4 4
V
j
Play on the stretched Scotch tape (more 4 m) like on the huge guitar string. 3
‰ >}
‰
sfff sempre
Π>} >}
j ‰ } ‰ >
43
Kr >S ë
Ó
j
3
Ó
V Œ
V V
4 4
V V
‰™ } >
Œ
sfff
‰
Ó
‰ 3
j
‰ T >
Œ
Ó
‰
sfff sempre
} ‰ >
j
} ‰ >
sfff sempre
j
>}
Œ
‰ Œ } >3
r ≈ ‰ } ‰ } } ‰ } ‰ >3 > > > 3
r
j
‰ ® }™ ‰ } > >
3 sfff sempre
17:37 j 43 ‰
>S
Œ
sffff sempre
‰™
‰ >}
j
}> >} ‰ Œ
>S Œ
j
Play on the stretched Scotch tape (more 4 m) like on the huge guitar string.
>R >R
r
‰ >}
j
17:34
sfff sempre
j
V
‰™
Play on the stretched Scotch tape (more 4 m) like on the huge guitar string.
4 Π4
V V U
V
>}
r
r
sfff
17:35
II q=80
‰™
‰
>}
r
r
T >
17:36
jq
41 ‰ S > sffff
j >S
‰
17:40 I q=72 II q=80
Œ
V q=60 VI q=60 VII q=60
>}
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
X >X sf ë fff
j
41
‰
‰
>X 3
j
r
sfff
sfff
sfff
Œ
‰
sffff sempre
17:45 2 ‰ ‰ 4
r
43
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
sf
V
j
‰
j
U T >
YV
17:53
17:51 ‰
sf
j
j
45
‰
T >3
>S
3
17:54
17:50
j
‰™
‰ ¿ 2 Ó ' >
17:56
j
: r
sf sfff
2 } ‰ ‰ ≈ } 4 > >
3
T >
3
44
Ó
sfff
1 4 ‰ } ‰
‰
sfff
X >'
sf
17:48
r j
‰
1 4 >S ‰
17:44
3 4
‰
j
sfff
j ≈ .™ UT >X
Œ
r
17:57 L M+
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
17:41
IV q=60
j
‰
Ó
III q=66
34
‰
T >
sfff
17:57 Π4 Š4 T S > >
‰
3
sffff sempre
≈
T > >S
17:59j
j
4 4 TU >
T >U
sffff
j
Π3
T > ë
‰
35
18:00
I q=72
r
‰™
Œ
Ó >X
II q=80
VI q=60 VII q=60
42
18:12
j
43
≈
>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
j
18:12 3 4
‰
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
1 4 ‰ R >
III 45 q=66
V q=60
Œ
‰ X X >
3
sff
18:02
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 >
p
4 ≈ ‰ Œ 4 S >
>S
3
®
Œ
SS‰ Ó
p
j
1 ‰ S 4 > sff
Ó
43 Ó
≈
‰™
r
R
smp
j >S
‰
≈ SS
SMOOTH ON THE SOUND AMPLIFICATION!
18:37 41
‰
3
sf
sf
41
q
45
S‰
j
18:27
18:24
Œ
smp
sf
sff
j
18:28
IV q=60 VI q=60
Œ
j
‰
3
j
18:31
18:31 j 44 Œ
3
T Ó
smp
‰™
r
S
sp
≈
r
>S
sf
‰
>S
sf
37
18:40
*
1 j
Arco
r 2 >
=
>d
18:48
I q=72
1 4
II q=80
Grand Solo
IV q=60
>S.S
sf
18:51
18:44 * 1 ± 4
Π43
ff ë sfff
d
1 4
smf
≈
r
T >
18:57
< Œ>
± ff
18:48
≈ 1 4 >S>S ‰
III q=66
‰ ≈
f
34 ¯
ë sfff
ff
ë sfff
‰
smf
j
18:55 r
18:46
1 ™ 4 ‰ T
1 ™ 4 ≈ SS≈
1 4 S‰ smp
smp
smf
18:52
V q=60
1 4
j Very loud! ‰ TU
sffff
18:57
r
1 4 ‰™ TU >
VI q=60
sffff
18:44
VII q=60
Ó e
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
24 Œ
± ff
ë sfff
e
Œ
±
4 Π4
19:01
IV q=60
ff
1 4 SS‰™
II q=80
4 4
‰ SS > .
3
œ
c
Ó
f
‰
etc.
With a stroke.
j ±Ã. < Œ > 44 ≈ œ ™ sfff
2 > ¯ ë
2 > œ a
< Œ>
3
sfff
f
ë sffff
Violoncello sul ponticello
?
VI q=60
· ‚ ™™ 41 Be
ësf
+ >
Run the self-propelled machinery.
3
¯Ã ¯Ã ¯Ã ‰ œ œ œ 3
sffff
ë
3
¯Ã œ
Œ
¯¯¯¯¯¯¯¯¯
19:38
j j j j j 2 ‰ 2 ‰ 2 ‰ ≈ 2™ ≈ 2 ‰ Ó > > >3 > > Run mad.
3
< Œ>
œ ≈ ™ ™™ >'
o
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 IV q=60
3
5 Œ ¯ œ 4 c
smp
j j j j ‰ 2 ‰ 2 ‰ ≈ 2™ ≈ 2 ‰ > >3 > >
¯
f ë sfff
Œ
±
> ≈ < ≈ < > > à ¯ ± ™ ™ œ œ d d
Œ
sff sempre
1 4 T ‰™
smf
< Œ>
sempre
19:05r
19:20 I q=72
®
sf
19:04
M + j r r j 2 ‰ 2 ‰™ 2 Œ 2 > > > >
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 2 ‰ ¿ ‰™ ¿ 4 > > 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
,
,
Go to the upper floor (don't forget to stopwatch and the a score).
f
,
ë ° ë sfff
19:45 + >
III q=66
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
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
20:10
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 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
20:20 I q=72 II q=80
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.
20:32 VV
V
V
V
V
V UV
20:24
V
V
V
V V
V
V
VV
4 4
f
ë
o
sfff
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ STOP
III VV q=66
20:37 V
V
V
V
V
V
20:24 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 41
V
20:25
IV q=60 V q=60
V
45
K
≈
(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
III q=66 IV q=60
42
sfff sempre
+ j
< Œ> 4 ±
II q=80
4
20:47 2 4
‰™
r <Œ>
f °
<Œ ‰ ¯
Y
20:48 Violoncello
4 4
4 ¯ 4 œ
œ Ó c c ë ë°
° ë
¡¯ + 1 < Ó™ > Œ œ c ë°
‰
j
í >
·‚ ™™? 24 Be
‰
sfffff sempre
Œ
‰™
3
20:58 j ë
o ë
sfff sempre
V q=60
f
¯ +
20:53
sfff sempre
sffff
2 4
‰™ >
+ r
>
sfff
K
œ >
j < Œ>
20:58
K
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
2 4
j
¯ ‰ ¡¯ œ œ ± œ Ó c c c ë sfff ë sfff
sfff
o
j
‰ ± œ c ë sffff
Antiphon.
Œ
≈
sfff sempre
j ™.
j ë sffff
‰
Quickly return to down floor.
21:08
21:03 j
j
A little faster. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 24 >í ‰ >í ‰ (q=60)
sfffff
VI q=60
o
>
Quickly return to down floor.
21:11
K
IV q=60 V q=60
>
Ó
21:16 j
Much faster. ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 41 >í ‰ (q=60)
sfffff
sArco
21:14
Solo
4 Π4
j
d >
o ë mp
‰
ΠAn echo. Sempre
< ‰> j ‰ œ Ó c jc > > o ë mp ëmf
44
21:20 21:39
II q=80
4 Œ 4 j ≈ œ™ b > ë mp
VI q=60
j ‰ œ œ™ c >b >
The pause.
™ 3< Ó > ™4
Ϫ f >
21:38
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
,
,
,
f
°
21:56
Œ
‰
ë ë sfff
j ¯ ¯ ¯ ™ 3 ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 4 ‰ œ c œ c œ c
‰
sffff
sffff
sffff
Run mad.
+ >
III q=66 VI q=60
¯ Œ ¡œ
Go again to the second floor.
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
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Ó Make free cymbal impacts with using the bow.
‰
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
V
V Ó
sffff
V +
l
V
Œ œ c j
ëf
G.C.
III q=66
‰
j 4 >í
sffff
Ó
V UV Œ ±œ c j ë sfff Œ 3
V
V Œ
2 í ‰ 4 > 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 22:34
I q=72 II q=80 III q=66 IV q=60 V q=60
K
VV œ
V
V
V
‰ ¯ j < Œ> œ c j
V UV
V
22:25
Run mad.
j à à ¡¯ ¡¯Ã ™‰ ¯ œ .™ œ ‰ œ c
Œ
4 4
ë sffff ë sffff. ë
ë sffff
22:21 Violoncello
í ™™ 41
r
Œ œ a
sff
¯
3
V
+ 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
It's possible to accelerate the tempo of quarter, it's also possible to insert small pieces of the free intonation, for example:
j
c °
<‰>
j
Quite less...
‰
œ
Œ
e
ë sff
≈
r
c °
‰
Œ
< ‰>
œ
V
V
V V
V
V
VV
V
sffff
™™î¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
sffff
22:23
r
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 j
4 4 Ã Ã > >
e
Antiphon.
Run mad.
22:21
j
22:37 K
Unwind the tape slowly going to the different side of floor (the Scotch tape tension is very strong).
V V
sfffff sempre
VI q=60
‰™
:
Go again to the second floor.
V
V
Antiphon.
4
sfff sempre
s
à >
j
Ϊ
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
22:53
wood-nails piece.
4 4
> ë sfffff
j à < ә>
More, even more...
II q=80
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 °
j
sfffff
22:54
III q=66 IV q=60 V q=60
22:53
Run mad.
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ë
22:47 r
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 34 Much faster.
(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
K
sfffff
j c
j c
+ ¡¯ etc. j 4 4 ‰ _ Ó 4 Í ° >
j
.
sfffff sempre
_ Í ° >
‰
‰
Œ
j
≈ _ . Œ ™ Í ° >
1 4
23:02m Violoncello
í ™™24
VI q=60
¿
sffff
m
m¿
>¿
>
3
23:01 ¯¯¯¯¯¯¯¯¯ 34
(q=60)
4 4
≈
í Œ >
í >
sfffff sempre
4
s
j
‰ Ã Ã > > sffff
j
‰ í ‰ > 3
j ≈ ™ Ã >
‰™
44
‰
‰™
‰™
_ Ó Í ° >
o r
à >
sff
‰
12 sfffff
r
23:11
sfffff
IV q=60 V q=60
>
jEven more. Œ ‰ _ Í ° >
p
III q=66
1 ≈ 4 c >
sfffff
23:04 j
23:16r
j c 41 ‰ >
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
≈
_>
Œ
s
o j
à ‰ >
sff sempre
Ó
‰
o j
à >
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
24
c
>
sfffff
j
j
Œ _ Í ° >
sfffff cresc.
o j
à ‰ >
j ë
2 4
‰
≈
+o
o +
Í ° > _> ë
24
Ó
à à > >
sffff sf
23:22
j
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯41 ‰ í > ë sffffff
41 ‰™
sArco
r
œ f >
o ë ffff
c
j
‰
ë sff
‰™
Go again to the first floor.
SMOOTH OFF THE SOUND AMPLIFICATION!
° _> Í >
_>
23:34 44
23:33 o j
smf
smp
r
2 4
1 ≈ 4 Ã> ‰ 2
3 Ó 4
j
≈
r The closed hit.
° 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+
23:23 "Solo" ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
fij
sfffff sempre
Go behind the doors.
3
23:21
‰
sf
Œ
≈
r c
≈
The strongest sound.
_ Í ° >
‰
23:28
‰™
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
41
23:43 +j 43
Œ
Í ° >
‰ Œ
IV q=60
4 4
VI q=60
Í °
3
+ r
≈
à ‰ >
4
j 2 2 ‰ ¿ 4 >
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
‰ ‰
f
23:44
III q=66
Œ
+ r
Œ
L j 4 >
1 ™ 4 ‰ Ã
Ã
sp
sp
‰
23:58
r
1 ≈ 4 >í ‰ sffffff
j
3 ≈ ™ < Ó> 4 V mp
Touch the cymbal edge by the metal stick (it should be strike sound).
51
24:00 24:01
I q=72 II q=80
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
III q=66 VI q=60
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 j
II q=80
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
1 4 ‰ ™ >}
V q=60
sfff
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
The sound from the beginning.
+ j
1 ≈ ≈ 4 Ã > sffff
27:42
28:00
28:17 j
V q=60 VIII q=60
27:38
1 4 ‰ >} sff
28:09
28:18
57
28:20
28:32 +r
Go further out...
III q=66
1 4 ‰ ‰ Ã> 3
sffff
28:38 j
V q=60
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