In spite of, and maybe even therefore - Simon Steen-Andersen

In spite of, and maybe even thereforefor flute, clarinet, bassoon, horn, percussion, piano and double bassby Simon Steen-Andersen 2007

Instrumentation:Amplified group:Flute (sitting at a low table)Horn in F + practice mute (sitting at a low table, must be a double horn and have a detachable bell)Clarinet in Bb (sitting at a low table)Unamplified group:Piano (slightly prepared, closed and dampened underneath with pillows or blankets)Double bassoonDouble bass (4 strings, 4th string detuned 1 octave)Percussion (1 vacuum cleaner tube with guiro-like surface, 1 plastic card and 1 hot-rod)SCORE IN TRANSPOSITION

Staging:(conductor)3 tables with micspercussionclarinethornflutepianodouble bassdouble bassoonAmplification:the normal playing and the actions on the tablesshould be amplified a lot (as much as possible)with one or more microphones (for example acombination of overheads and contact-mics).

Flute:The flute is slowly taken apart: The flute is only played normally in thevery beginning. Mostly the flute part consists of taking the instrumentapart, playing on the bits and sliding them around on the table.Dynamics: The flute only has one dynamic in the piece; ppppp – as softas possible, but always sounding, and always trying to match thedifferent sounds dynamically. All actions are amplified.Resulting system: Above the main system is a small system with areduced and quantized result of the actions to show the wanted soundor pitch. A normal note head means pitch, a squared note head meansnoise, a cross means percussive sound.Tuning: The pitches in the resulting system are quantized pitches.Many of the alternative playing techniques produce tones, that are moreor less out of tune or very noisy. The harmonies (Bethoven Bagatellenop. 126) are not intended to be in perfect tune, but nevertheless, aneffort should be made to get as close to the written pitches as possible.Quasi legato / tenuto possible: All actions marked with a tenuto sign(-) are to be held evenly during their whole value, actively trying to makea quasi legato to the next action of the other instruments.Score: the part should be placed on the table, avoiding a stand to makethe actions as visible for the audience as possible.M*21: repeat measure 21 times.Detach / pick up – put on table.Noise sound – for example from sliding off a part of the instrument.Blow into the instrument (as indicated) 1 cm. away from the hole.Slide object on table.Tap opening of the instrument with 1 finger / tap with the palm.Close tube – open tube.Blow into the key holes as close as possible – as if playing pan flute.Tremolo: Always as fast / dense as possible.Horn:Mute: The beginning of the piece is played with a yahama silents brasspractice mute.The horn is slowly taken apart: The horn is only played normally inthe very beginning. Mostly the horn part consists of taking theinstrument apart, playing on the bits and sliding them around.Dynamics: The horn only has one dynamic in the piece; ppppp –assoft as possible, but always sounding, and always trying to match thedifferent sounds dynamically. All actions are amplified.Resulting system: Above the main system is a small system with areduced and quantized result of the actions to show the wanted soundor pitch. A normal note head means pitch, a squared note head meansnoise, a cross means percussive sound.Tuning: The pitches in the resulting system are quantized pitches.Many of the alternative playing techniques produce tones, that are moreor less out of tune or very noisy. The harmonies (Bethoven Bagatellenop. 126) are not intended to be in perfect tune, but nevertheless, aneffort should be made to get as close to the written pitches as possible.Quasi legato / tenuto possible: All actions marked with a tenuto sign(-) are to be held evenly during their whole value, actively trying to makea quasi legato to the next action of the other instruments.Score: the part should be placed on the table, avoiding a stand to makethe actions as visible for the audience as possible.Tubes: The tubes (and the corresponding keys) are numbered by sizeand horn (1 being the smallest); F-1, F-2, F-3 (middle pos., upper,lower), Bb-1, Bb-2, Bb-3. F-0 and Bb-0 are the tubes, leading the air tothe vaults.M*21: repeat measure 21 times.Detach / pick up – put on table.Noise sound – for example from sliding off a part of the instrument.Blow into the instrument (as indicated) 1 cm. away from the hole.Slide object on table.Close tube – open tube.“Air guiro”: During the piece tubes are sled to the “front position”, justin front of the player. Blow on the setup of pipes one after the other,from one side to the other, very close to the pipes.

Clarinet:The clarinet is slowly taken apart: The clarinet is only played normallyin the very beginning. Mostly the clarinet part consists of taking theinstrument apart, playing on the bits and sliding them around.Dynamics: The flute only has one dynamic in the piece; ppppp – as softas possible, but always sounding, and always trying to match thedifferent sounds dynamically. All actions are amplified.Resulting system: Above the main system is a small system with areduced and quantized result of the actions to show the wanted soundor pitch. A normal note head means pitch, a squared note head meansnoise, a cross means percussive sound.Tuning: The pitches in the resulting system are quantized pitches.Many of the alternative playing techniques produce tones, that are moreor less out of tune or very noisy. The harmonies (Bethoven Bagatellenop. 126) are not intended to be in perfect tune, but nevertheless, aneffort should be made to get as close to the written pitches as possible.Quasi legato / tenuto possible: All actions marked with a tenuto sign(-) are to be held evenly during their whole value, actively trying to makea quasi legato to the next action of the other instruments.Score: the part should be placed on the table, avoiding a stand to makethe actions as visible for the audience as possible.M*21: repeat measure 21 times.Detach / pick up – put on table.Noise sound – for example from sliding off a part of the instrument.Blow into the instrument (as indicated) 1 cm. away from the hole.Slide object on table.Tap opening of the instrument with 1 finger / tap with the palm.Close tube – open tube.Blow into the key holes as close as possible – as if playing pan flute.Tremolo: Always as fast / dense as possible.Piano:Preparation: The 2 very highest and the 2 very lowest notes should bedampened completely for example with “sticky tag”. The piano shouldbe closed and covered with its “coat”. The una corda pedal should befixed down. The piano should be dampened with thoroughly underneathwith foam, pillows or blankets, so that it matches/blends dynamicallywith the other instruments in the unamplified group.Dynamics: The general dynamic of the piano is fffff – as loud aspossible, even though the result is not very loud because of thepreparation.Glissandi: The piece could be performed with finger gloves (the oneswith holes for the fingers) to avoid burns when doing the glissandi.Glissandi should start right away and be performed with an even speed.“Guiro-gliss.”: Toneless glissando without pressing down the keys butwith enough pressure to make an audible guiro effect.M*21: repeat measure 21 times.n: niente / quasi nienteDouble bassoon:Dynamics: The general dynamic of the bassoon is fffff – as loud aspossible, even though the result is not very loud. Crescendi anddiminuendi should be performed very exponential: Very late andexploding crescendo, very fast (reverb-like) diminuendo.M*21: repeat measure 21 times.n: niente / quasi nienteBreath in – audible but not too exaggerated.Multiphonic – as dense as possible. 4 different quick respondingmultiphonics should be found for the piece, ordered relatively byregister: Low, mid, high, highest.Transformation pitch trill to percussive key sound trill by fading outthe tone while making the key sounds louder.Blow on the point of the reed 1 cm. away.

Double bass:Scordatura: The 4th string should detuned about one octave.Dynamics: The general dynamic of the bass is fffff – as loud aspossible, even though the result is not necessarily very loud.Glissandi: Glissandi should start right away.M*21: repeat measure 21 times.n: niente / quasi nientepz: pizzicato.+ : Left hand pizzicato.[ ] : Actual pitch on the 4th string. (Transposing up one octaveand correcting the intonation of the loose string.)Percussive sound by hitting the strings with left hand.Gradual transition between pure pitch and pure noise.Noise sound by sliding bow along the indicated strings.Highest possible note.Col legno battuto.Gradual transition between normal tone and harmonic.The D# harmonic is meant to be more or less “dead”making a percussive sound when pizzed.Gradually bend string outside fingerboard to makepercussive, rattling sound.Percussion:Instrumentation:- Vacuum cleaner tube (with a guiro-like surface).- Plastic card. (For playing the tube like a guiro.)-Hot-rod. (Or a rod of tree.)The main instrument is the vacuum cleaner tube. The tube could eitherbe attached to a stand or be worn around the body – in both cases, oneend should point in the direction of the audience. The tube is played likea digiridoo / a brass instrument, blown on, whistled into, tapped with thepalm of the hand, hit with the rod and scratched with the plastic card.Dynamics: The general dynamic of the bassoon is fffff – as loud aspossible, even though the result is not very loud. Crescendi anddiminuendi should be performed very exponential: Very late andexploding crescendo, very fast (reverb-like) diminuendo.M*21: repeat measure 21 times.n: niente / quasi nienteLowest possible tone with very loose lips – as if playing a digiridoo.Glissando by increasing lip tension – like on a brass instrument.Normal note head: Approximate pitch (brass technique).Air noise by blowing (F-sound) on the edge of the tube 1 cm. away.Transformation from pitch to noise by gradually changing from“brass” tone to F-sound while moving a bit to the side until blowingon the edge 1 cm. away.Sharp S-sound with the mouth alone.Guiro with the plastic card; either staccato or with a glissando linemeaning moving along the tube with the card.Whistle into the tube (relative pitch).Hit the tube with the rod.Transition from F-sound on the edge to whistling into the tube.Tap the opening of the tube with the palm.

In Spite Of, And Maybe Even Therefore: Description – NO PROGRAM NOTE!The piece mainly consists of two musics that are both being build and destroyed at the same time.The first process is a quasi unison music played fortissimo by the unamplified instruments in the back; closed piano, double bassoon,double bass/cello and percussion. The very beginning of this sequence is repeated over and over in a small loop, slowly getting longer andlonger, revealing more and more of the sequence. At the same time this music is interrupted by breaks or inserts of the other music (playedby the amplified flute, clarinet and horn in front). In the beginning it is only seldom interrupted and only for very short durations. Slowly theinterruptions come more and more often and they get longer and longer. Just before the sequence is finally revealed in its whole, theintervals between the interruptions get shorter than the length of the sequence, and thus we never get to hear the complete sequenceuninterrupted. Soon the interruptions take over and the sequence gets more and more fragmented and ends up being only short echoes ofthe beginning.The second process is one of Beethoven’s Piano Bagatels opus 126 played ultra pianissimo by the amplified flute, clarinet and horn sittingat tables in the front. To begin with they only play one chord at the time every now and then, but slowly the chords come closer. In thebeginning one only realizes, that it is tonal music, and that the chords are getting closer and closer. At one point we realize that the chordswill eventually get so close, that they will form a tonal music or chord progression. But each time a chord is played, a piece of one of theinstruments is being dismantled, eventually making the chords harder and harder to play in tune. Exactly at the point where the chordsfinally come together, the instruments are completely taken apart, leaving only bits and pieces on the tables in front of the musicians. Themusicians try very hard to play the Beethoven on the bits, but the original music almost disappears in the sound of picking up and puttingdown the pieces, and the noisy and out of tune alternative ways of playing the notes. After a while the tones disappear leaving only thesounds of the “choreography” needed to perform these notes. Out of this “musical ruin” the music attempts to build up new relations andnew ways of creating continuity, but this attempted continuity is slowly being destroyed by freezes getting longer and longer.In spite of, and maybe even therefore was commissioned by and written for ATON, Iceland.Duration: Approx. 9 minutes

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28&Œ Œ Œ ‰œŒfl.&∑∑Œ Œ Œ ‰œ-pppppŒ∑∑∑?‰( – .) ¿ . ‰¿ . œŒhn.&∑∑‰[F- 2]– .¿.(prepare to‰¿.[F-3]œ- Œpppppdetach F-2) (detach) (put ontable)(play the indicatedtone through&cl.&∑∑pno.cfg.db.pc.28&?tt?b◊œœ .5∑m œ œ œ œ œ œ œ œ œmœ>≥j¿ œ>m˘¿‡- .œ5mJ œ m œ J œ≈ ‰ ‰œbœbœœ œ5m œ5∑œbœœœœœ∫œœœœ œœœmœœœJœœ‰n˘–3.–– ≈ –(fffff) 3–˘33– .[F] [S]˘ –´–˘4 5 4 5 4 5 4 54 5 4 5 4 5 4 5 4 5 8 4 8 4 8 4 8 48 4 8 4 8 4 8 4 8 4 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 2 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3the tube, wherethe F-3 is missing)∑∑∑Œ Œ Œ ‰ œ ŒŒ Œ Œ ‰œ-pppppŒ∑∑∑∑∑∑∑∑√– – m b œœœœb œ‰‰œ33(fffff)3œ3≈ ‰ ‰ mœ– . m œ–≈3≈–J(fffff)I —3≈ J––.(fffff)m [F]¿˘ –´≈J3(fffff)√mœœ‰m œn(fffff) 3II—˘ ˘ III˘IV˘ III II˘ ˘œ333Ȯ . .3( œ . ) ..n¤ œ œ œ œ≈œ . œ . m œ œ . 55nm œŸ~~~~~~~~~~~~~(gradually fade outthe tone and exageratethe key sound)I√m œ. pzœ5(gradually change fromnormal tone to harmonic)( œ˘) ¿ ¿ ¿ ¿n5œ .(hot-rods on tupe)(fffff)œ œ˘≈ ‰ ‰PED.>¿–´ .∑≈ ‰ ‰–´ – .(blow on reed)nm > OJ‰ ‰>‰¿ ≈ ‰– ‰ –´.J[S](fffff)nn–.( f )(F-sound onthe edge)[F]–.( f )6(S-sound away from the tube)

34&Œ Œ Œ wfl.hn.cl.pno.cfg.db.pc.&?&&&34&?(fffff)b◊œœ .5 5tm œ œ œ œ œ œ œ œœmœœbœ>5(fffff)t≥j¿œ>J œ œ J œ m œm˘?¿ ≈ ‰ ‰‡- .(fffff)∑∑∑∑∑∑∑∑∑∑√.– – m b œœœœ–b œ∑‰œbœœœœœ∫œœœœœœ˘33m œœœ3–.‰ ‰ mœ–5m œ3œ(fffff)√‰– ≈ – –mœœ≈ ≈ J‰–m œnn3(fffff) 3Iœ–˘IIII– . ——˘ ˘ III IV–.J˘III˘ ˘ ˘œ3 33œ˘ –´–˘ ¿˘m[F] [S] [F]–´Ȯ . 3.J.( œ . ) .33n¤ œ œ œ œ≈Ÿ~~~~~~~~~~~~mœ√m œ. pzœ∑∑∑œ . œ . m œ 5œ . 5n55œ .( œ˘) ¿ ¿ ¿ ¿n∑∑∑(fffff)œ˘ œ≈∑PED.>¿–´JJ O >>¿–J[S](fffff)7≈≈nnŒ Œ Œw -pppppŒ Œ Œ wŒ Œ Œ( –) ¿ ¿(prepare to detachbell by pulling it [bell]almost off)– ¿ . ¿. Œppppp(detach (put bell on thebell) table, upright withthe small openingpointing upward)[F-1+F-3]pppppw -(play through F-3, also pressing down F-1)Œww -∑∑∑∑∑4 2 4 2 4 2 4 24 2 4 2 4 2 4 2 4 2 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 2 8 1 8 1 8 1 8 18 1 8 1 8 1 8 1 8 1 4 7 4 7 4 7 4 74 7 4 7 4 7 4 7 4 7 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 2

40&fl.hn.cl.pno.cfg.db.pc.2& 8?& 82&2& 84028& 82?82t82 ≈t 28? 28 ‰´–n∑∑∑∑∑– .∑[F]–´ .n– .( f )–.( f )3883383883838338(fffff)b◊œœ .(fffff)m˘¿38‡- .(fffff)∑∑∑∑55bœœœm œ œ œ œ œ œ œ œ œmœœbœ>5(fffff)≥j¿m œ>œ J œ m œ J œ m œ≈ ‰ ‰œ b œœœœœ∑4 2 4 2 4 2 4 24 2 4 2 4 2 4 2 4 2 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 2 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 4 9 4 9 4 9 4 94 9 4 9 4 9 4 9 4 9[F]˘ –´–˘ ¿˘m [F]–´Ȯ . 3.J.( œ . ) .∑∑∑∑∑√.– – m b œœœœ–b œ∑‰œœœ∫ œœœœœm œœ˘3œ 3–3.‰ ‰ mœœ5m œ–3‰(fffff)– ≈ ––mœ√œ≈ ≈J‰–m œnn3(fffff) 3–˘– . ——˘ ˘–.J˘ ˘ ˘ œ˘333383n¤ œ œ œ œ≈5m œ . œ . œ . œ . œ .5nŸ~~~~~~~~~~~~~~~~~~mœ√m œ. pzœ( œ˘)n∑∑∑5¿ ¿ ¿ ¿5∑∑∑(fffff)œ˘ œ≈ ‰ ‰PED.∑>¿–´ .≈ ‰–´ .‰>OJ(fffff)n‰ ‰>¿ ≈ ‰– ‰–´JJ[S][F]n n∑∑∑¤ œ> œ œ œ œn‰5≈.m œ◊ . œ . œ . œ . œ . œ .(fffff)n¿–fl(fffff)m œ[55≈ m œ . œ . œ .n(fffff)œ . œ .+ (c.l.b.) ´ + pz (arco)5œœœactual pitch (+oct.)˘ ¿–(rod)(fffff)5nœ œ . œ . ](hit tube opening with palm)œ¿ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿(fffff)

47&Œ Œ Œ Œ ‰ œ Œ Œ Œ Œfl.hn.cl.pno.cfg.db.pc.&?&&&47&?ttŒ Œ Œ Œ ‰( –) ( –) ¿ . ‰(prepare todetach Bb-2)– – ¿.ppppp[Bb-2](detach)‰œ-ppppp¿ . ‰ ‰ œ Œ¿.(put ontable)‰ ‰[F-3]œ-[+F-1?]Œ Œ Œ ŒŒ( –) ¿ . ‰ ‰(prepare todetach mute)[mute]– ¿.(detach)?4 9 4 9 4 9 4 94 9 4 9 4 9 4 9 4 9 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 4 2 4 2 4 2 4 24 2 4 2 4 2 4 2 4 2 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 2‰ ‰Œ Œ Œ Œ ‰ œ Œ Œ Œ ŒŒ Œ Œ Œ ‰œ-ppppp∑∑∑∑∑Œ Œ Œ Œ9¿ .¿.(put ontable)(fffff)b◊œœ .5∑∑∑∑m œ œ œ œ œ œ œ œœmœ>(fffff)≥j¿m œ>œ J œ m œ J œ(fffff)m˘¿ ≈ ‰ ‰‡- .(fffff)5œbœbœœ œ5m œœbœœœœ œ∑– ˘ –´–˘ ¿˘m[F]–´Ȯ . 3.J.( œ . ) .∑∑∑∑∑√.– – m b œœœœ–b œ∑‰œœœœ∫œœœœ œœœ˘33mœœœ3–.‰ ‰ mœ–5m œ3‰(fffff)– ≈ ≈–mœ√œ≈ J‰–m œnn3(fffff) 3–˘– . ——˘ ˘–.J˘ ˘ ˘ ˘œ3 3333

fl.hn.cl.pno.cfg.db.pc.51&2& 8?& 82&2& 85128& 825m œ?82. œ . œ . œ . œ .5n(√)Ÿ~~~~~~~~~~~~~~~~~~~mœt82t 28? 28n¤ œ œ œ œ≈√m œ.œ˘( )npzœ55∑∑∑¿ ¿ ¿ ¿388338388383833838(fffff)œ œ˘PED.∑∑∑≈ ‰ ‰>¿–´ .≈ ‰–´ .‰O>J>¿ ≈ – ‰J[S](fffff)∑n‰ ‰n[F]‰–´Jn˘¿–114∑œ¿ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿5(fffff) n(fffff)œ ‰ Œ Œ Œ Œ Œ Œ Œ Œ Œ ‰ œ∑114 œ- ‰ Œ Œ Œ Œ Œ Œ Œ Œ Œ ‰ œ-ppppppppppœ‰ Œ Œ Œ Œ Œ Œ Œ Œ Œ ‰ œ[F-1+F-3][F-1+F-3]∑114 œ- ‰ Œ Œ Œ Œ Œ Œ Œ Œ Œ ‰pppppœ-pppppœ ‰( –) (–) ( –) ( –) ( –) ( –) ¿ . ‰ ‰∑11 m œ (unscrew reed-attachment)[reed]– – – – – – ¿ . ¿ . (half open key - or(slide out reed)[1/2 key]as much as needed ´to sound the E)4‰‰ ‰Œ ‰pppppppppp- –(detach)(put ontable)114n¤ œ> œ œ œ œ‰114∑55≈.114∑m œ◊ . œ . œ . œ . œ . œ .n(fffff)5¿– ≈114∑fl m œ(fffff) . œ . œ . œ . œ .n(fffff)+ (c.l.b.) ´ + pz (arco)5114[ m œ œ œ œ œ œ . œ . ]∑actual pitch (+oct.)104848¿ . (very noisy/airy tone)Œ ‰ œ48(blow into the mouthpiece~1 cm. away from the hole)484848484848

55&Œ œ ‰ Œ Œfl.4& 8∑38∑∑∑∑Œœ- ‰ Œ Œppppp∑?Œ œ ‰( –) ( –)( –) ( –) ¿ . ‰ ‰¿ .hn.&48∑83∑∑∑∑Œ[F-3]pppppœ-‰(unscrew the bell)– –&cl.pno.cfg.db.pc.4& 85548&48? 48‰ ‰m œ◊ . œ . œ .(fffff) nand exagerate key sounds) - all keys)Ÿ~~~~~~~~~~~~~~~~¿t 4 j j8J jm œ ¿œ(fffff)( p )t 48∑n (fffff)¤Ÿ~~~~~~~~~~~œ œ œ œ≈ J J ‰(gradually fade out tone3jm œ(fffff)3(loudestsoundingkey trill(gradually bendstring outside (hit stringsfingerboard)[ ](actual pitch)? 48 ≈œ ¿(fffff)(fffff)Ÿ~~~~jœwith l.h.)j ¿ ¿¿¿ ¿¿¿ ¿¿¿ ≤ ¿¿ jœ œ¿slow guiro gliss.with plastic card,accelerating...m¿ .(string vibratingagainst thefingerboard)38388383833838b◊œœ .∑∑5 5m œ œ œ œ œ œ œ œ œmœ œbœbœœ œ>5(fffff)≥j¿m œ>œ J œ m œ J œ m œm˘¿ ≈ ‰ ‰‡- .5∑∑œbœœ œœœ∫œœœœ œœœ˘mœœ –œœœ‰n.–3.–(fffff)– ≈ – ≈ ≈––˘33– . –.[F] [S]˘ –´–˘ ¿˘m3∑√– – m b œœ œ œb œ‰œ333œ‰ ‰ mœ–J—J[F]–´Jmœm œ√œ‰m œn3(fffff)—˘ ˘ ˘ ˘ ˘ ˘œ333Ȯ . .3( œ . ) ..n∑¤ œ œ œ≈( f )œœ . œ . m œ œ . 55nŸ~~~~~~~~~~~~~~~œm ¿√m œ. pzœ On5( œ˘) ¿ ¿ ¿5œ .¿( f )4 2 4 2 4 2 4 24 2 4 2 4 2 4 2 4 2 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 2 4 4 4 4 4 4 4 44 4 4 4 4 4 4 4 4 4 4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3(+F-1?)[bell]– – ¿.(detach)‰ ‰¿.(put ontable)Œ œ ‰ Œ ŒŒ[1/2 key]´pppppm - – ‰ Œ Œ∑∑∑∑∑∑∑∑∑∑∑11

62&Œ ‰ œ Œœ ‰( –) ( –) ( –)fl.&Œ ‰œ- Œppppp∑∑∑∑∑unscrew the screw at the end of the mouthpiece– – –œ- ‰ppppp?Œ ‰œŒœ ‰ Œ Óhn.&Œ ‰[Bb-2+1]œ- Œppppp∑∑∑∑∑[F-3+1]‰ Œ Ópppppœ-cl.&&Œ ‰ œŒ ‰[1/2 key]´pppppm - –( –)(slide off thereed attachment)–¿ . ‰ ‰[reed att.]¿ . ‰ ‰(detach)¿ .¿ .(put ontable)∑∑∑∑œ ‰ Œ Ó´ppppp–-‰ Œ Ópno.cfg.db.pc.62&?tt∑∑∑∑(fffff) n¤œ> œ œ œ œ œ œ œ œ≈55≈.m œ◊ . œ . œ . œ .(fffff) œ . œ . œ . œ . œ .nn(fffff)Ÿ~~~~~~~~~~~~œ œJ J ‰5¿Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~¿–jJ jfl m œ(fffff) . œ . œ .(fffff) œ¿œ( p )4 3 4 2 8 3 4 2 8 3 4 8 4 4 3 4 2 8 3 4 2 8 3 4 8 4 4 3 4 2 8 3 4 2 8 3 4 8 4 4 3 4 2 8 3 4 2 8 3 4 8 4 4 3 4 2 8 3 4 2 8 3 4 8 4 4 3 4 2 8 3 4 2 8 3 4 8 4 4 3 4 2 8 3 4 2 8 3 4 8 4 4 3 4 2 8 3 4 2 8 3 4 8 4 ?4 3 4 2 8 3 4 2 58 3 4 8 4 ∑∑∑∑∑∑¤œ˘ œ≈ ‰ ‰(fffff)PED.∑>¿ ≈–´ .‰ ‰–´ .(fffff)n>pz√ OJ ‰ ‰(fffff)>‰¿ ≈ [F]– ‰ –´JJ[S](fffff)nn≈ n5+ (c.l.b.) ´ + pz5m œ œ œ œ[(actual pitch)œ œ ]˘ ¿–≈ ≈œ¿ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿ œ ¿5(fffff) n(fffff) n125(fffff)Ÿ~~~~‰ ‰ jœ◊j ¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿ jœ œ¿(sim. acc.)m¿ .(fffff)b œœ .∑œ b œœ5 5m œ œ œ œ œ œ œ œ œmœ œbœbœœ œ œJ>5(fffff)≥j¿m œ>œ J œ m œ J œœm œJm˘¿ ≈ ‰ ‰ j œ‡- .‰n∑∑∑∑∑

69 –&( ) (–) ¿.‰¿.œŒ Œ œ ‰fl.hn.cl.pno.cfg.db.pc.&?&&&69&?tt?– – ¿.[screw](detach)‰¿ . œ -(put ontable)Œ Œ Œ ‰ œŒ Œ Œ ‰[F-3]œ-(+F-1?)Œ Œ Œ ‰ œŒ Œ Œ ‰ m-–∑∑∑∑∑´[1/2 key]ŒŒ∑– – ¿ . Œ(prepare todetach Bb-3)– – ¿.∑∑∑∑∑∑[Bb-3](detach)ŒŒ Œ œ - ‰¿ . ‰ Œ¿.(put ontable)‰ Œ œ - ‰œ[F-3+1]Œ Œ œ ‰´[1/2 key]Œ Œ m-–∑∑∑∑∑‰‰∑∑∑∑∑∑√.– – m b œœœœ–b œ∑‰(fffff)b œœœ. ∫ œœœœ.œm œœ. œ 3˘3œ3–.‰ ‰ m œ–3m œ3√‰– ≈ ––m œ œ≈ ≈ J‰(fffff)–m œn3(fffff) 3œ–˘J– . ——˘ ˘–.J˘ ˘ ˘ ˘(fffff)œ333[F]œ˘ –´[S] [F]–˘ ¿˘m–´Ȯ . 3.JJ.( œ(fffff)33. ) .4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 213

74&‰ œ Œ Œ ŒŒ Œ ‰ œ œ˙ .œ ‰( –) ¿.‰¿.‰Œ ‰ œfl.2& 8∑48∑4‰œ-Œ Œ ŒpppppŒ Œ ‰œ- œppppp˙ .œ ‰(prepare to [extension]detach ext.)– ¿.ppppp(detach)‰¿ . ‰(put ontable)Œ ‰œ-ppppp?‰ œ Œ Œ( –)¿ . ‰¿ . ‰ ‰ œ œ˙ .œ ‰Œ ‰œhn.cl.pno.& 82&2& 82874 ¤ œ œ œ œ& 82 ≈?82n∑∑5m œ . œ . œ . œ . œ .n4848484848∑∑(fffff)¤œ˘ œœ> œ≈ ‰ ‰(fffff)∑44444‰‰‰[F-1+3]pppppœ-œŒŒ( –) ¿ . ‰(prepareto detach[mouthpiece]mouthpiece)´ – ¿ .–‰ppppp-(detach)∑∑(prepare todetach Bb-1)–ppppp¿ . ‰¿ . ‰(put ontable)[Bb-1]¿.(detach)‰¿.(put ontable)‰ ‰Œ Œ ‰Œ Œ ‰[F-3]pppppœ- œ(+F-1?)œœ¿ ´ ¿œæ œæ(tap opening with one finger)∑∑ppppp˙ .˙ .¿ .˙æ .∑∑œœ‰‰¿œæ ‰∑∑∑∑Œ ‰pppppœ-Œ ‰[F-1+3](blow into the hole~1 cm. away)Œ ‰∑∑œ´–ppppp-cfg.(fffff) 5PED.Ÿ~~~~~~~~~~~~ >√mœ¿ ≈ ‰ ‰t8248 –´ . –´ –´Jn˘¿ ≈–‰ ÿ(fffff)4∑∑∑∑∑db.pc.√m œ. pzœt 28? 285( œ˘)¿ ¿ ¿ ¿n54848m> J O‰ ‰>¿ ≈ – ‰J[S](fffff)n‰[F]–´Jn+[ m œ œ ]˘¿–‰ œ( p ¿)(fffff)44∑∑∑∑∑∑4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3 4 2 4 2 4 2 4 24 2 4 2 4 2 4 2 4 2 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3∑∑∑∑14

81&œ‰ Œ ÓŒ œ ‰ ÓŒ œ ‰ Ófl.3& 8∑∑48∑4œ-ppppp‰ Œ ÓŒœ-‰ ÓpppppŒœ-‰ Óppppp?œ ‰ Œ Œ¿ . ‰¿ . ‰ œ ‰ ÓŒœ‰ Óhn.& 83&∑∑48∑4[F-1+3]pppppœ-œ‰ Œ(prepare todetach B-0)– ¿.ppppp[Bb-0](detach)‰ Œ Œ Œ‰¿.(put ontable)Œ‰[F-3]‰ Ópppppœ-(+F-1?)œ‰ ÓŒŒ[F-1+3]œ-‰ Óppppp‰ Óm œcl.pno.cfg.db.pc.3& 838(fffff)¤81œ œ œ n (fffff)œ œ œ œ& 83≈J œ J œ ‰35(fffff)35?83 ≈‰ ‰jm œ œ œ◊ . œ . œ . œ . œ .œ◊n (fffff) nt83t 38? 38‰‰∑Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~¿jJjm œ¿œ(fffff)( p )[ m œ ](fffff)35≈ ≈œ ¿ œ ¿ œ ¿(fffff) œ ¿ œ ¿ œ ¿( p ) n∑j ¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿ jœ œ¿m¿ .(fffff)48484848484848b œœ .55m œ œ œ œ œ œ œ œ œmœœbœbœœ œ œJ>5(fffff)≥j¿m œ>œ J œ m œ J œœm œJm˘¿ ≈ ‰ ‰ j œ‡- .‰∑∑œœ b œn´4pppppm– -444444‰ Œ Ó∑∑∑∑∑Œ´– ‰ Óppppp-∑∑∑∑∑Œtap hole with palm¿m œ ǣ ‰ Ó-ppppp∑∑∑∑∑15

fl.hn.cl.pno.cfg.db.pc.87&&?&&&87&?tt?‰ œ Œ Œ ‰ œ‰œ-pppppŒ Œ ‰‰ œ Œ Œ ‰ œ‰‰‰[F-1+3]pppppœ-Œ Œ ‰œ ( –) ¿ . ‰´–ppppp-(prepare todetach joint)[joint]– ¿ . ‰(detach)∑∑∑∑∑œ-ppppp[F-3]pppppœ-(+F-1?)¿ . œ¿ . ´m-–(put ontable)(blow into the hole~1 cm. away)( –) ¿.(prepareto detachmouthpiece)[mouthpiece]– ¿.(detach)‰‰¿.‰ ‰ œ¿ . ‰ ‰(put ontable)Ó Œ ‰Ó Œ ‰Ó Œ ‰Ó Œ ‰∑∑∑∑∑tap hole with one finger,doing the indicated fingering¿ ´æœppppp-œ[F-3]œ-pppppœ´pppppm– -∑38∑[F]œ˘3–´[F]–˘ ¿˘m–´Ȯ . 3.8 JJ( œ(fffff)33. ) ..8338∑∑∑∑38√.– – m b œœœœ83–b œ∑‰(fffff)b œ83œœ∫ œœœœ.œm œœœ 3˘3œ3–.‰ ‰ m œ–3mœ383√‰– ≈ ––m œ œ≈ ≈ J‰(fffff)–mœn3(fffff) 3œ–˘3 J8– . ——˘ ˘–.J˘ ˘ ˘(fffff)œ˘33328822828828282√m œ. pzœ O2828n∑∑∑¤ œ œ œ≈( f )œœ . œ . m œ œ . 5œ .(fffff)5nŸ~~~~~~~~~~~~~~~œm ¿œ˘( )n5¿ ¿ ¿5¿( f )44444444416

92&œ ‰ Œ Œ ‰ œŒ Œ ‰ œ ŒŒ ˙ .˙ .Œ Œ œ ‰ Œœ ‰ ‰ œ ‰ . œfl.tap hole with fingersim. fingertap4 ¿ ´¿ ´&æœ‰ Œ Œ ‰ æœppppp -ppppp -fingertap¿ ´Ó ‰ æœŒppppp -Œfingertap¿ ´ ¿ ¿æœœæ œæppppp -¿œæ¿œæ¿œæ(blow into the hole~1 cm. away)Œ Œ – -´‰ Œ´–-‰ ‰ m – -´(fingertap)‰ ≈ n¿ ´œhn.?&4&œ ‰[F-1+3]pppppœ-œ‰(–) ¿ . ‰(prepare)[F-0]– ¿.(detach)‰¿ . œ¿.(put ontable)‰ Œ Œ ‰[F-0]œœŒ Œ ‰œ (–)(prepare)[F-0/Bb-0]–Œ Œ ‰ m œ -ppppp(–) ¿ . ‰¿ . œŒ¿ . ¿ . ˙ .(put on[F-1] table)¿. ¿.[F-0/Bb-0](detach)Œ˙- .˙ .˙ .˙ .˙ .Œ Œ œŒ¿ . ‰Œ[F-0]pppppœ-¿ . ‰ œ ‰(–) ¿ . ¿ .[mouthpiece]– ¿. ¿.(prepare) (put ontable)(detach)¿ . ‰( œ)([Bb-0])–-´(–) ¿ . ¤ ( œ)[spittube]– ¿. – -´‰ .œ[spittube] [vault-holesF-2+Bb-2]‰ ≈ –-´(blow into (detach(blow into themp the hole "spit tube"indicated~1 cm. and blow"vault-tubes"away) into it sim.)~1 cm. away)œ ‰ ‰ œ ‰ . œcl.4&4‰ Œ Œ ‰m –ppppp -´´ppppp–-[lower key-part](prepare)– ¿ . ‰(detach)(put ontable)[upperkey-part]¿ . -´n –ŒŒ[upperkey-part]´ppppp–-– –– – –[lower]¿ . ‰[upper]¿ . ‰(pick up the lowerkey-part and putthe upper key-parton the table)[lower]¿œ- ǣ ‰(palm)[lower->¿ . upper]‰(pick up the upperkey-part and putthe lower key-parton the table)¿-œæ-[upper](palm)‰ ‰-¿œæ-(palm)‰ .-¿[F open]œ(palm)92&4∑∑∑∑∑∑pno.?4∑∑∑∑4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3 4 4 4 4 4 4 4 44 4 4 4 4 4 4 4 4 4 4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3∑∑cfg.t4∑∑∑∑∑∑db.t 4∑∑∑∑∑∑pc.? 4∑∑∑∑∑∑17

fl.hn.98&3& 8?& 83&∑∑∑∑&4 ¿ ´8 œæJppppp -48œJ‰ ‰ J œœJ[vault-holesF-2+Bb-2]–-´Jppppp‰ ‰¿m œæ´J-‰ J ¿. ‰(put horn aside[horn] in a way so thatthe vault-holescan still be blownwithout pickingit up again)‰ J ¿ .(put ontable)‰œJ‰ ‰ j œ‰ .∑.J ¿.[spit-tube ->F-3 (tube)].J ¿ .(put down s.-t.and pick up F-3)œJ ‰ J œ¿ ´œæJ-jœ´j–-‰ j m-´–¿J. J œ[Bb-2][F-3] [Bb-2]J ¿ .(blow intothe detachedtube sim.)œJJ – -´‰ J œ≈J œ≈ J– -´¿ . ≈ ≈[F-3]¿.≈≈ ≈j œœ¿ ´œæ-¿J. j[Bb-2 ->Bb-3]¿.JœœJjm -´–œ¿œæ´-œJjm -´–œJ ¿. œ J ¿.[Bb-1][Bb-1][Bb-3]J – -´ J ¿ .œJ-´–ø(close the tubein the other end)‰ j œ[Bb-3]¿.JJ œœ .‰ ¿ .J¿ ´œæ .-‰ ‰ jœ ¿..‰-´– .ø .[Bb-1](sim.)[F-3]œJ[mouthpiece][mouthpiece]‰ J ¿. -–øJ3‰ ¿ . ¿ .œ(blow into tubewhile closing themouthpiece hole)‰J œ‰ j3¿. ‰ ¿ . ¿ ‰ .–-´–-´J[F-3][Bb-1] [Bb-2][Bb-2]‰ J ¿. J ¿. œ ‰‰ ‰ ‰ œ .[flute]´‰ ‰ ‰ –- .j‰¿ j.¿ j. ‰¿ j.¿ .œ .‰ J œ j œ‰–-´.[F-3][Bb-2][F-2]j j¿ . ¿. ‰œ .m œ .¿ j[F-3].-´‰ – J[F-2]¿ j.-´–øJ[Bb-2](closetubesoftly)16 3 16 3 16 3 16 3cl.pno.cfg.db.pc.3& 838∑¤98 œ˘ œ& 83 ≈ ‰ ‰(fffff)?83∑PED.>t83¿ ≈–´ .‰ ‰–´ .(fffff)n√>pzOt 3 J8‰ ‰(fffff)>‰¿ ≈ [F]–? 3‰ –´8 JJ[S](fffff)nn∑(fffff) n¤œ> œ œ œ œ‰55 >≈.m œ◊ . œ . œ . œ .(fffff) œ . œ .n5¿Ÿ~~~–fl≈ jm œ(fffff) . œ . œ . œn (fffff)+ (c.l.b.) ´ + pz[5m œ œ œ œ˘ ¿– n(fffff) 5(arco)jœ œ ](fffff)œ¿ œ ¿ œ ¿ œ ¿ œ> ¿ œ ¿(palm)4 ¿-8 æ œ ‰ ‰Jppppp -484848484848∑∑∑∑∑¿-æœ-J(palm)∑8 3 16 3 8 68 3 16 3 8 68 3 16 3 8 68 3 16 3-8 616 3 ∑ 8 3 ∑16 3 ∑ 8 616 3 ∑ 8 3 ∑16 3 ∑ 8 616 3 ∑ 8 3 ∑16 3 ∑ 8 616 3 ∑ 8 3 ∑16 3 ∑ 8 616 3 8 3 16 3 8 6∑´j–-´‰ j- –∑¿-≈ æœJ(palm)∑18´–jm -´–∑∑∑∑∑‰¿-æœJ-(palm)´j- –[upper] [lower][lower]¿.‰ J J ¿. -¿æ ‰œ-(palm)∑∑∑∑∑-¿ .æœ- .∑∑∑∑∑´–- .

fl.107&&&œ .-–.ø .[mouthpiece](blow intotube, mouthhole closed)œJœ ‰ J ¿ .J-–øJ[mouthpiece]‰ J ¿.j œ J œ ‰ ‰ j œ38m œ[flute](palm)¿-æœ-jœj œm J œ(finger)¿b œæ-´Jj œw .b ¿œ¿ œæ-´ ¿ œæ-´ ¿ œæ-´ ¿ œæ-´ ¿ œæ-´æ-´w .œ¿œæ -´œJjœ J œ j œJ – -´∑∑∑hn.&[Bb-2]–-´J– ´øJJ –´‰ ‰-´–øJ[Bb-2]83´j–-[F-2]j j– –´ǿ-´–ø[Bb-2]-´–ø-´–ø-´–ø-´–ø-´–ø-´–øJ–´J– ´øJ∑∑∑cl.&&107&mœ´–-œJ(palm)-j¿b - œæ∑œJ-j¿æœ-j œ-j¿b - œæJ œ-j¿æœ-383883œ .b -´– .∑w .-¿b - œæ-¿æœ--¿æœ-∑-¿æœ--¿æœ--¿æœ-œ-¿æœ-∑œJjb-´–∑n¤ œ œ≈4 6 4 6 4 6 4 64 6 4 6 4 6 4 6 4 6 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 8 1 8 1 8 1 8 18 1 8 1 8 1 8 1 8 1 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 8 1 8 1 8 1 8 18 1 8 1 8 1 8 1 8 1 8 6 8 6 8 6 8 68 6 8 6 8 6 8 6 8 6∑(fffff)Ÿ~~~~~~~~~~~~œœJ J ‰∑∑pno.?∑83∑∑∑33m œ◊ . œ . œ .(fffff) n‰ ‰(fffff)Ÿ~~~~~jœ◊b œjœb œ œcfg.t∑83∑∑∑Ÿ~~~~~~~~~~~~~~~~~~~~~~~¿jjJjmœ¿œ(fffff)( p )5m œ œ œ œ œ>(fffff)db.t∑38∑∑∑j[ mœ ](fffff)j ¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿ jœ œ¿≥j¿ œ>m˘œpc.?∑38∑∑∑≈œ ¿(fffff)m¿ .¿‡-J≈19

fl.hn.cl.114&6& 8&& 86&6& 811468& 86œJ–-´ jJ b-´–œJJ œ J œ J ¿ .b-´J ––-´J‰ J ¿. J ¿. J œ j œ‰ J ¿ .œ .-¿ .b - œæ .[F-2][F-3][Bb-2]¿.J∑–-´JœJ[extension]¿ . J j m-´–– ´øJ[ext.]j œ[F-3]´j–-œJ J œ J œ-j¿æœ´j¿æœ-´j – -œ .m -´>– .¿J¿.Jm œn -´–œJ(finger)´j¿æm - œœ J œJJ œ J œ J œ ?[Bb-2] [horn on table:vault-holes F+Bb-2]œJ> ´jm -–-´–øJ–´J– ´øJ¿J. J ¿. œ .[upper] [lower][upper]¿. J¿. J ´–- .∑–´J– ´øJœJ´ j¿æm - œœJ‰ J ¿ .m œ[ext.][flute](palm)‰ J ¿. -¿mæœ-¿.œJ[F-2]‰ j ¿ . ´-´J – –øJ[F-3](take F# withleft hand only)œJ&j œ¿.œJ‰ ‰ j[F-2] ¿´.– –-´Jm œ J´j–-J ¿.¿ j.[F-3] [Bb-2]œ .œ J œ´–- .∑´–-‰´j–-œJ(finger)¿m œæ-´Jjœ‰ J œ ‰ J œ J œ‰¿ .œJ¿œæJ-´j ¿ .œ‰ j j¿ . ¿ .–ø J – –øJJ[Bb-2]œJ´j–‰œ .[F-2] [Bb-3][Bb-3]œJ´j–b-´ – .pocon -´rit.¿– m œJ æ-´J(lower the toneby coveringa bit of the end)œJ J œ J œ j œ´j j– –´∑poco rit.poco rit.´j–-¿œæ-J(palm)poco rit.‰´‰ j- –œJJ œ J œ œ ≈ J ¿ .j¿.œ‰ j ¿ .–-´–J´øJ[Bb-2]œJ´j–´j–-¿ .œJ¿ j.–´J[Bb-3][F-3]œJ´j–œJ´j–∑œJ[mouthpiece] [mouthpiece]´– ≈ J¿. -´–øJ(tube end,mp-hole closed)j œj œ¿. ?œ œ-‰‰ ≈¿-´.–-´– Rø –-´J J øJœJ´j–[F-2->3][F-2] [Bb-2]m œJ´jm–œJ´j–‰ j ¿ ‰œ . .œ .[mouth piece]a tempo‰ ¿ . ‰Jm -´ ¿ .– . næœ . -´jœ J œ j œa tempo[F-3] ´j–- ø´j–a tempoa tempo(finger)j œ J œ œj j – ´– ǿ –ǿ øJœJ J ¿. ¿. J œ .´j–-¿J. J ¿. ´¿æ .-œ .[low.] [upp.][lower](finger)∑[Bb-2]¿.œ[Bb-2]≈R ¿ .j– ǿ[F-3]œ .J – J œ J œ´–- .¿.œ J œJ[Bb-3]j¿ . bj –´– J ǿ[Bb-3][breath in]–-≤J´j–-¿ ´æœJ-j œ J – J œ œJ[breath in]j J –- ≤[F-3]– ǿ[Bb-3]J –-´-´–øJœ .‰ œ J ‰-¿ .-œ æ .(palm)∑‰-j¿œ æ -38[vault-holesF+Bb-2]‰83383883œ´–-œJ¿œæJjœ J œ j œ[Bb-3][F-3] [F-3]bj –´– J ǿœj– ǿœJ- ´ j¿¿œ-æ œ æ -∑(finger)4 5 4 5 4 5 4 54 5 4 5 4 5 4 5 4 5pno.?86∑∑∑∑∑∑∑83∑cfg.t86∑∑∑∑poco rit.∑a tempo∑∑83∑db.t 68∑∑∑∑poco rit.∑a tempo∑∑38∑pc.? 68∑∑∑∑poco rit.∑a tempo∑∑38∑20

122&wœ˙ .œ ‰‰ ‰ J œ . œfl.&¿ ´ ¿ ¿ ¿ ¿œæœæ´œæ´œæ´œæ´∑∑¿ ´ ¿ ¿œæœæ´œæ´m -´–‰‰ ‰ j ¿ .m-´ ´– n œæ?wœ˙ .jœ J œ j œ¿J. ¿. J j œj œ J œ j œ&hn.&– ǿ– ǿ– ǿ– ǿ– ǿ∑∑[F-3]– ǿ– ǿ– ǿ´j–- ø´j–j– ǿ[Bb-3]¿.J[Bb-2]J ¿ .´j–- ø[F-3][Bb-2]´ jj –– ǿø[F-3]j– ǿcl.&&w´¿œ-æ´¿œ æ -´¿œ æ -´¿œ æ -œ´¿œ-æ∑∑˙ .´¿œ-æ´¿œ æ -´¿œ æ -œ-¿(palm)œ æ -œJ´j–-‰ ‰ J œ . œ‰ ‰-j¿œ æ -(finger)´¿ .œ æ - .pno.122&?∑∑(fffff)b œœ∑∑œbœœœœœ∫œœœœœm œœ5∑∑∑∑∑∑cfg.t∑5œ œ œœmœ œbœbœœ œ(fffff) 5œJ‰n∑∑∑db.t∑m J œ m œ J œ(fffff)m œœ5–R∑∑∑pc.?4 5 4 5 4 5 4 54 5 4 5 4 5 4 5 4 5 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 2 4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 8 6 8 6 8 6 8 68 6 8 6 8 6 8 6 8 6∑( œ)(fffff)œ5[F]–R∑∑∑21

fl.hn.cl.128&&&&&&œ .‰ ‰ ¿ .J¿ ´œæ .-[mouthpiece]‰ ‰ J ¿.jœ J œ j J ¿. ¿ . ‰ ?œ[F-3]´j–[vaultholes]– ´øJ´j–[F-3](blow into one ofthe F-3 vault tubes,close the other one)œ .´¿ .œ æ - .[Bb-2]¿.J[Bb-3]J ¿ .‰‰ J ¿. J ¿.[upper] [lower]‰ J ¿. ¿.J. œ-´– .ø .[mouthpiece]jœ J œ j œ´j–- ø[F-3]. œ¿ ´æœ.-[upper]´j–œ– ´øœJ´j–-[flute]j œ J œ j œ[Bb-3]bj j –´– ǿ –ǿ Jœ[F-3]j– ǿœJ[F open]¿ ´ j ¿´œæœæ&––-≤(breath in- as if preparingto play a note)–J–-≤J‰ J ¿ .[mouthpiece]œJ‰ J ¿. ¿ ´œæ-JœJjm -´–‰ J ¿. J ¿. J œ J ¿.[F-3]‰ J ¿ .(breath in as ifpreparingto play a note)[Bb-1]¿.J[Bb-3][Bb-1]-´–øJŒ . ‰ j œŒ . ‰¿-æœ-J(palm)J ¿ .J œ´j- –. œ ‰¿ ´œæ .-‰ ‰ jœ ¿..‰-´– .ø .[Bb-1][F-3]‰¿.‰[mouthpiece]¿ . ‰3‰ ¿ . ¿ .Œ .[Bb-1] [Bb-2]‰ j ¿. ‰3¿ . ¿ .‰Œ .‰ J ¿. J ¿. Œ .[upper] [lower]‰ J ¿. J ¿. Œ .‰–J(breath in)–-≤J‰ ‰ œ .[flute]´‰ ‰ . –-j‰¿ j.¿ j. ‰¿ j.¿ .‰ ‰ jœ œ ‰ Jj œ[Bb-2][F-2]j jj‰ ¿ . ¿.[F-3]‰ ¿ .‰ ‰ -´-´J – ‰ – J[F-3]‰ ‰ œ m œ .J‰ ‰-j¿æœ-´–- .[F-2]¿ j.-´–øJ[Bb-2]48484848∑¿‰ j ( œ( œ)J) ‰‰(try to match the 2sounds dynamically)[Bb-2]j¿ø .(closetubesoftly)‰ ‰j ¿˜fl‰(removefingersuddenly)(breath in as if preparingto play a note)–-≤‰ ‰–4 9 4 9 4 9 4 94 9 4 9 4 9 4 9 4 9128&∑∑∑∑∑48∑pno.?∑∑∑∑∑48∑cfg.t∑∑∑∑∑48∑db.t∑∑∑∑∑48∑pc.?∑∑∑∑∑48∑22

fl.134&&hold possition (non theatrically)∑–J¿.J[mouth(breath in) piece]–- ≤ J J ¿.m œ[flute](palm)¿-æœ-m J œ‰ – J ‰(finger)¿b œæ-´J(breath in)‰ J –- ≤‰∑∑hn.&&&hold possition (non theatrically)∑∑jœ´j–-[F-2]œ .j œj œj j– –´ǿ¿j ( œ( œ)J) j ( œ)(sim.close)[Bb-2](sim.open)¿. jø¿˜J fl¿.øJ(close)‰ J – ‰‰ J ¿. J ¿ – . ‰‰j j¿ . ¿. ‰[F-2] [F-3]‰ ‰ -≤J – ‰(breath in)∑cl.&hold breath and possition (non theatrically)∑∑b -´– .‰ J –- ≤(breath in)‰∑∑pno.134&?∑∑∑∑∑∑∑∑.–‰ ‰(fffff)˘–√– – m b œœœ. ‰–33cfg.t∑∑∑∑(fffff)– ≈ – –≈ ≈ J–ndb.t∑∑∑∑–˘3– . – –.—Jpc.?4 9 4 9 4 9 4 94 9 4 9 4 9 4 9 4 9 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 2 8 6 8 6 8 6 8 68 6 8 6 8 6 8 6 8 6 8 4 8 4 8 4 8 48 4 8 4 8 4 8 4 8 4 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 2∑∑∑∑(fffff) 3[F]˘ –´–˘ ¿˘m–´ . O(fffff) 323

fl.139&2& 8¿.JœJ[extension]¿ . J j m –-´[ext.]68∑‰ ‰ J ¿ . –[ext.] (breath in)‰ ‰ J ¿. – - ≤‰‰‰ ‰ ‰ J – ‰ ‰‰ ‰ ‰ J –- ≤poco rit.‰ ‰J – J œ Œ J ¿ .–-≤J´j–-[flute]Œ J ¿.[mouthpiece]a tempo∑4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3hn.cl.&& 82&2& 828jœ– ´øJjœ´j–-[Bb-2] [F-3]œJ´j¿æœ-œJ´j – -866868¿J. ( J œ)(¿œ . )J¿.J¿.øJ˘¿˜J¿( œ . )( œ) JJ[Bb-2] [horn on table:vault-holes F-2](close)(open)¿.øJ˘¿˜J( J œ)?¿.øJ‰ J ¿. J ¿ – . ‰ ‰ ‰[upper][lower]j j‰ ¿ . ¿. Œ .‰ ‰ -≤J – Œ .(breath in)‰‰‰¿.( œ) J œ ‰ J ¿. J ¿. &J[F-2]¿ j.¿ø .J[F-3]‰ ‰-´–˜ Œ .J‰ ‰ J œ Œ .´‰ ‰ j – -[upper]Œ .¿ j.¿ j.[F-3][Bb-2]¿j ( .œ )( œ) J‰ j ¿ .¿ ¿ø ˜J Jfl[Bb-2]j¿.( œ)¿ j.¿øJ[F-2] [Bb-3]Œ .Œ .poco rit.Œ . ‰ ‰ J –poco rit.Œ . ‰ ‰ J –- ≤(breath in)poco rit.8 5 11 4j¿.¿ .‰( œ )œ J j ≈ ¿.( œ)[Bb-3][F-3]8 5 ‰ ¿ j. ¿ j[Bb-2]. ‰ ≈ ¿.–‰´ ¿ ¿.R 11ø ˜ ø4‰J J J[Bb-2] fl‰ œ J ‰ ‰ ‰8 5 [upper]‰ j ‰ ‰ ‰–´11 48 5 11 48 5 8 5 8 5 8 5 8 5a tempoa tempo¿æ>a tempo¿æ¿æ(smallest and fastest posible trembling movement on the table -[upper] lifting the piece a tiny bit and putting it down again -resulting in a nervous uneven tremolo)¿æ¿æ¿æ∑¿æ¿æ¿æ¿æ¿æ139& 82∑86∑∑∑∑114∑pno.?82∑86∑∑∑∑114∑poco rit.a tempocfg.t82∑86∑∑∑∑114∑poco rit.a tempodb.t 28∑68∑∑∑∑114∑poco rit.a tempopc.? 28∑68∑∑∑∑114∑24

145&Œ ‰–ŒŒ¿. –‰¿.ŒŒ–‰ ‰Œ ‰–ŒŒ ‰œ–‰ ‰fl.hn.cl.&&&&&Œ ‰‰‰( œ . )¿.( œ)¿. ˘¿ø ˜[F3]¿ . ‰¿ . ‰œ´[upper]-–(breath in)–-≤‰‰Œ‰ Œ‰ Œ¿ . ¿ .[F3] [B2]¿. ¿.Œ[mouthpiece]¿ . – - ‰(slide m.p.on table)¿ . ¿ . ¿ . ‰˘ ¿ ˘ ¿ ¿.[B2]ø˜[B2](close both holeswith palm, press hard,lift away suddently)Œ ‰Œ ‰‰¿ .¿ . ‰[F3]¿.¿ . ‰[upper]¿ . ‰‰–(breath in)– ≤ -Œ‰3( œ . )3¿( œ . )Œ‰[F3]‰ ¿ . ˘¿‰ø ˜¿ . ‰[upper]¿ . ‰––-[B1]3(breath in)–-≤‰‰(slide on tablein direction ofthe front pos.* see preface)œ´[upper]-–‰ Œ‰ Œ333‰ ‰¿ . ¿ .[F3][B2]¿. ¿.Œ ‰¿ . ¿ . ‰˘ ¿ ˘¿[B2]ø˜(sim.)¿ . ‰˘ ¿ø[bell]‰–-[extension](slide ontable)Œ¿ . ¿ . ‰[B2] [F3]¿. ¿.¿ . ‰ ‰¿˜˘(press palm hard againstthe small opening of thebell standing upright onthe table, then lift suddently- support bell with other hand)‰–æ(C pointingto the right)[upper]‰ ‰ ‚ -‚Œ ‰¿( œ . )œ ‰( . )¿. ˘¿‰ø ˜[F3](blow into thekey holes -as if playingthe pan flute,move the instrumentsideward, keep the head still)‰‰œ´[upper]-–(breath in)[mouthpiece]Ō(whistle toneon m.p.)––-[B1]‰‰(slide further inthe direction ofthe front pos.)ŒŒ–-≤‰‰ŒŒ333‰ ‰¿ . ¿ .[F3][B2]3¿. ¿.¿ .æ¿ .æ¿ .æ¿ .æ∑¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿.[B2]ø˜(close and open withpalm as fast as possible)ø˜ø˜ø∑˜¿ .æø˜¿ .æø˜¿ .æø˜145&∑∑∑∑∑∑pno.?∑∑∑∑∑∑cfg.t∑∑∑∑∑∑db.t∑∑∑∑∑∑pc.?4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3 4 7 4 7 4 7 4 74 7 4 7 4 7 4 7 4 7 8 2 8 2 8 2 8 28 2 8 2 8 2 8 2 8 2∑∑∑∑∑∑25

fl.hn.cl.pno.151&2& 8&& 82&2& 828∑∑∑√œ 151 b œ& 82‰œ 3œ3?82 ‰ mœ(fffff) mœ∑4 6 4 3 8 2 15 4ø˜ø˜‚(blow into the key holes (whistle tone)Jø ˜3(sim. blow- like a pan flute, move fluteinto the holes)¿ .¿ .¿ .¿ .¿ .¿ .sideward, keep head still)¿ . ¿ . ¿ . ¿ . œ–ææææææ‰ ‰‰‰‰≈ ¿. ¿ .¿ . ¿ . ¿ . œ––¿ . ¿ . ¿ .¿‰‰‰‰‰J. ‰[Bb2][mouthpiece][Bb2][B2][Bb1][mouthpiece][mouthpiece][F1][Bb1] [mouthpiece][B2]4 6 ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿.4 3 ˘ ¿ ˘ ¿¿. ¿.–-Ō¿. ˘¿˘ ¿ ˘ ¿ ˘¿–-–-O O O ˘‰ ‰‰‰‰≈‰‰‰ ‰8 2 15 4ø ˜ ø ˜ ø ˜ ø ˜ ø ˜ ø ˜ø ˜ø˜ ø ˜˜ ø ˜ ‰¿ ˘ ¿ ˘ ¿˘¿‰ø ˜ ø˜(slide almost to (whistle tone(slide toward3by blowing athe front pos.)front pos.)(slide TO 3J3focused and(close both endsfront pos.) (close the other¿ . ¿ . very soft air streamhard, open onevery close to the sharp–œedge of the tube)¿ . ¿ . end in the indicatedend suddently)rythm while making–œ¿ . .¿ .–the whistle tone)‰Œæ‰‰ Œ Œ‰ ‰æŒ‰ ‰ Œ‰ æJ[bell]˘ 34 6 ∑4 3 ¿ø˘[bell][bell]¿˜[upper][upper]´˘ ¿ø ¿˜˘[upper]´˘¿ ˘[upper]3ø .¿˜J Œ - ‚ ‰ Œ Œ‰ ‰ 8 2 [upper]15 4‚‰4 6 4 3 –-(sim.)-‚ j‰ ‰ Œ‰‚Œ–‚--38 2 ‚15(sim. blowinto the holes)44 6 4 3 8 24 6 4 3 8 24 6 4 3 8 24 6 4 3 8 24 6 4 3 8 2∑∑(close the mouthpiece holeand close the tube hole (audible)by pressing the palm hard againstthe opening, then lift this handaway suddently (audible))¿.‰[mouthpiece]¿. –‰–æ[extension]˘ ¿˘ ¿- – [flute]‰ - ‚‚33∑∑ŒŒœŌ‰‰––-≤≈ ‰(breath in)[mouthpiece]∑∑≈ ‰¿.‰¿. –‰ ‰3[mouthpiece]˘ ˘ [extension]3¿3¿–-J∑∑Œ–æ[flute]J ‚ -‰ ‰3‰ ‰œŌ‰[mouthpiece]33‰∑∑– ¿. ¿.–-≤ ˘¿˘¿[mouthpiece]∑∑∑154154cfg.t82‰m œ√œmœ∑∑∑∑∑∑1543(fffff)db.t 28—˘˘ ˘ ˘˘ ˘œ∑∑∑∑∑∑1543(fffff)3pc.Ȯ . .3? 28.( œ3 . ) .(fffff)∑∑∑∑∑∑15426

158&‰–æŒ‰œ‰œŒ ‰–æfl.15& 4∑[flute]‰ - ‚ Œ‚‰[mouthpiece] [mouthpiece]O O O˜ ø ˜ ‰O O O˜ ø ˜&– – – – – – – – – – – – – – ––‰¿ . –æhn.&154[F1]– – – – – – – – – – – – – – –(slide around on table in even circles)–-(move TO‰[B2] ["air guiro"]¿. ‚ - ‚(put in the front pos. next tofront pos.Bb1 and F1, leaving 6 parallel pipesnext to Bb1) in even distance: an "air-guiro",&blow on the pipes from right to left)33(close tube in the indicated rythmŒ ‰[flute]‚-‚while making the whistle tone)≈ – ‰œ‰–æ ‰–æ ‰≈–-[F2]‰[mouthpiece]O O O˜ ø ˜ ‰["air guiro"]["air guiro"] [F2]‚-‚‰(right to left)‚- ‚ ¿.(left to right)3œ≈ ‰ Œ‰–æŒcl.15& 4154∑∑4 2 4 2 4 2 4 24 2 4 2 4 2 4 2 4 2 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3´[upper]–-≈ ‰ Œ[upper]‰ ‚ -‚Œ158&154∑∑∑∑pno.? 154∑∑∑∑cfg.t 154∑∑∑∑db.t 154∑∑∑∑pc.? 154∑∑∑∑27

162&Œœ–Œ–‰¿ ¿fl.3& 8∑Œ(breath in)[mouthpiece]Ō– - ≤Œ(breath in)–-≤‰[mouthpiece]˘ ¿ ˘¿ø˜∑∑&& 83&4 2 4 2 4 2 4 24 2 4 2 4 2 4 2 4 2 4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3 4 14 4 14 4 14 4 144 2 4 2 4 2 4 24 2 4 2 4 2 4 2 4 2hn.¿J[F2+horn]¿.J–J–Jj¿œ[F2 key]¿.J(attach F2 (push (presson horn) F2 in) F2 key)press downF0 on horn‰‰œ––-[Bb2]ŒŒ(slide towardfront pos.)‰ ‰¿ .– ¿œŒ[F2+horn][F2 key]–¿.(pull F2almost out)press downF0 on horn¿ . ‰ŒŒŒ¿ . ¿ . –‰– ¿(push in)[F2+horn]œ– ¿.– ¿–(pull out)[F2 key] (sim.)press downF0 on hornœ– ¿œ¿. – ¿.– ¿ – ¿–œœ¿. – ¿.– ¿ – ¿–œœ¿. – ¿.– ¿ – ¿–œœ¿. – ¿.– ¿ – ¿–œœ¿. – ¿.– ¿ – ¿–œœ¿. – ¿.– ¿–œ¿.– ¿œ– ¿.–(pull out allthe way)–cl.3& 838∑´[upper]-–‰ ‰˘ ¿ø[bell]˘ ¿˜‰˘ ¿ø[bell]¿˜˘[reedattachment]–-‰(slide on table)∑∑162& 83∑∑∑144∑∑pno.?83∑∑∑144∑∑cfg.t83∑∑∑144∑∑db.t 38∑∑∑144∑∑pc.? 38∑∑∑144∑∑28

fl.167&&∑œœ.–≈ ‰[mouth (breath in) [mouthpiece]piece]Ō– - ≤Ŏ≈ ‰‰¿. ¿. –æ[mouthpiece] [extension]‰¿ . ¿ . - Œ‚‚Œ∑∑&&&4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3 4 2 4 2 4 2 4 24 2 4 2 4 2 4 2 4 2 4 17 4 17 4 17 4 174 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3¿ . ‰¿ . –æ ‰Œ––‰ Œhn.[F2]¿.3‰[F2][air-guiro]¿. ‚ - ‚‰3(detach) (put in the(8 pipes wide,front pos.right to left)next to the other ones)¿ . ¿ . ‰ ‰œŒ[Bb3]–-(slide tofront pos.)cl.&¿ø .[bell]33¿˜˘‰ ‰´[upper]–-∑(as when blowinginto the holes, but startingat the left edge, endingat the right edge of the tube)–[air-guiro]‚-(10 pipes wide,right to left)‚‰ Œ–-[F3](slide tofront pos.)∑¿ . ¿ . ‰–æ∑[upper][lower]¿ . ¿ . ‰[lower]b ‚(E pointingto the right)–æ–æ–æ–æ–æ–æ–æ–æ∑–æ–æ–æ–æ–æ–æ–æ–æ–æ(blow softly into theE-hole while trilling the key)Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚167&∑∑∑∑174∑pno.?∑∑∑∑174∑cfg.t∑∑∑∑174∑db.t∑∑∑∑174∑pc.?∑∑∑∑174∑29

172&–æ–æ–.≈Œ ‰–æfl.hn.cl.&&&&&‰‰–æ[air guiro]‚–æ(12 pipes)(left right left)– – . ≈ ‰‚‚≈ ‰b ‚ fl∑– . ≈ ‰‚˘≈ ‰–æ[air guiro]‚- ‚(left to right)– – – . ≈‚‚‚fl≈∑∑∑[flute]j‚ J ‚ ≈‚ fl‰ ‰–æJ‚-‰ ‰ J¿J. ‰ ‰[air guiro](right to left)(hold upper in right hand, C pointing[upper]to the right, hold lower in left handnext to upper, E pointing to the left¿ . - as if one long tube)‰ ‰‚Œ ‰ŒŒ–æ[lower + upper]‚b ‚‚–æ‚(hold extensionnext to flute with~1cm. between)–æ ‰[air guiro]‚‚-‰(left to right)– . ≈ ‰‚‚‚ fl≈ ‰[flute + extension]‚‚ ‚ ‚172&∑n¤≈œ( f )œ∑∑pno.?∑œ3œ .∑∑cfg.t∑(fffff) 3( p )m . œ .√ Ÿ~~~~~~~~œJ(fffff)m ¿∑∑db.t∑m˘ œpz pzœ O∑∑pc.(fffff) 3√( œ˘) ¿?4 3 4 3 4 3 4 34 3 4 3 4 3 4 3 4 3 8 1 8 1 8 1 8 18 1 8 1 8 1 8 1 8 1 8 3 8 3 8 3 8 38 3 8 3 8 3 8 3 8 3 4 2 4 2 4 2 4 24 2 4 2 4 2 4 2 4 2∑3(fffff) ( p )¿( f )30∑∑

In spite of, and maybe even therefore - Simon Steen-Andersen

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