Flute:
Horn:
The flute is slowly taken apart: The flute is only played normally in the very beginning. Mostly the flute part consists of taking the instrument apart, playing on the bits and sliding them around on the table. Dynamics: The flute only has one dynamic in the piece; ppppp – as soft as possible, but always sounding, and always trying to match the different sounds dynamically. All actions are amplified. Resulting system: Above the main system is a small system with a reduced and quantized result of the actions to show the wanted sound or pitch. A normal note head means pitch, a squared note head means noise, 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 more or less out of tune or very noisy. The harmonies (Bethoven Bagatellen op. 126) are not intended to be in perfect tune, but nevertheless, an effort 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 make a quasi legato to the next action of the other instruments. Score: the part should be placed on the table, avoiding a stand to make all actions visible for the audience. M*21: repeat single measure 21 times.
Mute: The beginning of the piece is played with a yahama silents brass practice mute. The horn is slowly taken apart: The horn is only played normally in the very beginning. Mostly the horn part consists of taking the instrument apart, playing on the bits and sliding them around. Dynamics: The horn only has one dynamic in the piece; ppppp – as soft as possible, but always sounding, and always trying to match the different sounds dynamically. All actions are amplified. Resulting system: Above the main system is a small system with a reduced and quantized result of the actions to show the wanted sound or pitch. A normal note head means pitch, a squared note head means noise, 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 more or less out of tune or very noisy. The harmonies (Bethoven Bagatellen op. 126) are not intended to be in perfect tune, but nevertheless, an effort 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 make a quasi legato to the next action of the other instruments. Score: the part should be placed on the table, avoiding a stand to make all actions visible for the audience. Tubes: The tubes (and the corresponding keys) are numbered by size and 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 to the vaults. M*21: repeat single measure 21 times.
1) detach / pick up 2) 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. 1) tap opening of the instrument with 1 finger 2) tap with the palm. 1) close tube 2) open tube. Blow into the key holes as close as possible – as if playing pan flute. Tremolo: Always as fast / dense as possible.
1) detach / pick up 2) 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. 1) close tube 2) open tube. “Air guiro”: During the piece tubes are sled to the “front position”, just in 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.