Christian Winther Christensen A Fall from the Perfect Ground (2004-2006) for chamber ensemble Dur. 15’
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Make the accent with as much sound as possible. Used when playing with particular techniques.
An ordinary glissando (without an articulation or bowchange)
The timeframe in this case: two eighth-notes added one dotted eighth-note
As fast as possible. The timeframe in this case is roughly: quarter-note added one16th-note
Woodwinds ----
Flattertounge
Slaptone
Noise from the key without air
Noise from the key with a little air and clear pitch
Multiphonics.
Cover the entire mouthpiece with the lips. Holding it between the teeth (with out biting down), as far inside the mouth as possible. Do this without pressure and close all the keys. Air. No pitch
Ditto, but instead of blowing, suck in air
Ditto, the first example, but with a definite pitch
Ditto, the last exsample but play a rapid glissando of harmonics. Play in the fundamental note indicated ( with a good deal of pressure), as in done when warming up.
Suck in & suck out with a definite pitch
Hammer on. In this case at the II. string
Hammer on at all the strings. The pitch are not important when there is a square
Bowpressure. Half noise, half tone
A short passage of bowpressure
Tremolo between the artificial harmonic and the keynote used in a glissando
Tremolo between the artificial harmonic and the natural harmonic (opposite to the prior example)
Striking on the bridge up to the sul poniticelle estremo from wood noise to string tone
Opposite to the prior example
Bow at the bridge
Vibrato
Non sounding pizz. by blocking the string. In this case at the II string
This pitches are muted with sticky tack or your hand
Glissando. Only noise form the keys. Play at the white keys (in bar 164 use the black keys) is not important which key of the keyboard you begin and end the glissando with but play approximately the notated interval.
Silence note. Press the key down with no tone
Pizz inside the piano at the strings
Hit lighly at the string with the tip of the finger
Hit lighly on the strings with the tip of the fingers. The pitches are not important.
Mute the tone inside on the strings
Ditto the last example, but with differens levels. From no muting, soft muting to hard muting
Scrape at the strings with you nails.
All this tones are muted with sticky tack (with more noise than tone)