De la incomprensión de un silencio General: -Score and parts are written transposed. The transposition is the usual with exception of some extended techniques. These are explained below for each particular case. -Dynamics represent the desired balance (they must be adjusted based, in each case, on the instrument with less flexibility). -Dynamics with quotes represent the level of execution (the resulting dynamics are in general softer than the indicated ones). -All attacks of “non legato” notes should be soft throughout the piece. -Arrows indicate in general a smooth transition between different modes of execution (sometimes arrows a an additional meaning, explained on each case below). Rubbing of hands: -The basic position of the hands is with the palms touching. The relative position is indicated with L/R (left hand over right hand) or R/L (right over left). -Two rubbing modes are used, circular and straight. Arrows indicate the direction of the movement of the hand in the upper position. -Three areas of rubbing are used, palms only, fingers only, palms plus fingers (the widest surface). These areas determine the position and/or the magnitude of the movement. -In general, dynamics are not notated, as they are a regulated by the speed of the indicated movement and the surface area in which the rubbing occurs. Text: -Each musician should choose a text describing current or recent events of special personal significance. The chosen text could be written on the instrumental part on the bars were it is required. The notation indicates the basic “speed of reading” in relation with the tempo given by the conductor. The enunciation of the text should never be mechanical nor should it make apparent the rhythmical groupings by beats or bars. Periods, comas, other textual punctuations, and an expressive reading should take priority in the delivery of the text. Nevertheless the texts should always be whispered and no attempt should be made at its intelligibility. Flute: play separating the embouchure from the lips from a distance of two to three centimeters. The result is a narrow noise band with a clear sense of pitch. This playing mode produces a transposition of about a half step up from the usual (soprano flute transposes then in Dd and Alto flute in Ab approximately). Clarinet: -
Air should be produced on the fingered note (barely a sense of pitch).
- Only air should be produced. The fingered note should be chosen according to the signs and written above the notes in order to produce a darker of a brighter color respectively. - Small arrows pointing right or left below notes indicate that air should be blown respectively in or out through the instrument.
Trumpet: -“Embouchure unsealed” and the notation indicate that only air should be produced through the instrument, without the usual buzzing of the lips. The best results are usually obtained by keeping only one side of the mouth in contact with the embouchure, or by blowing from a small distance. The result is a narrow band of noise with a clear sense of pitch sounding at about a major seventh below the fingered tone. -Harmon mute, stem off. -Wow-Wow mute, stem all the way in. The passage between closed and open positions ( +, o ) should be done very slowly and carefully (even one finger at a time) in order to obtain an “enhancement” of the notated harmonics. These resulting harmonics are also notated with a diamond note-head. Percussion: -B.d. = Bass Drum -L.d. = Large Drum with a low frame. A very low instrument is required, but slightly higher than the B.d. -Cymbal (crash medium or low) -All instruments are played by means of rubbing with two brushes of different materials (straw, plastic, et cetera). = low brush, = high brush. - “Pan Bottles”. Normal wine bottles, they must be tuned adding water to A2 -50¢, B2 -50¢, C3 -50¢, and C#3 -50¢. They are played like a pan flute. Strings: -s.p. = sul ponticello. -s.t. = sul tasto. -l.t. = legno tratto. -1/2l.t. = crini e legno -Natural harmonics indicated by III/7 (third string seventh harmonic).