the loudness and speed with which the event is to be
affects only the event indicated by the fingers of the
performed. The conductor must, as with any notation, insist
left hand. Players whose parts do not contain events
on accurately articulated relationships from the rhythmic
signaled by the conductor’s left hand must remain
“shape” of phrase and pitch sequences in this work.
unaffected by his subsequent right-hand indications.
General Modifications
As soon as the conductor initiates (by left-hand event-
con d u cte d fe r mata :
signal and right-hand down-beat) a new event that appears
the conductor may introduce a
fermata at any time during the performance, in any single
on the player’s part, the preceding event is automatically
event or combination of events. Both hands cupped
cancelled. No specific stop-signal is required. The player
towards the orchestra and held stationary indicates that all
simply discontinues the event he is playing and, without
musicians in that group should hold the sound or silence
break between events, begins to play the new one.
which they are at that moment performing, until the next sign from the conductor tells them either to cut off or to
With these procedures clearly understood by the con
continue from the point of interruption. A cut-off is signaled
ductor and the musicians it is possible to achieve smooth
with both hands and must be followed by another event-
transitions and long lines of connected material of
signal from the left hand and a down-beat. To continue,
extreme complexity and frequent modification. The first
the conductor moves both hands from the “hold” position
impression derived from the score will be one of many
back to the body and then outward towards the orchestra,
sporadic fragments. This wealth of fragments shows
palms up (as if giving the initiative back to the orchestra).
the numerous formal possibilities inherent in the work, and it is this realization, not the fragmentations, that must
con d ucte d stop :
the conductor may stop any event or
become the dominant characteristic of performance.
combination of events at any time during the performance. The normal, two-hand cut-off signal will silence his entire
dynam ics :
group. Leaving the hands up will hold that silence until the
instrumental technique and register of the particular sound
signal to continue from the point of interruption is given. If
called for, i.e., a string sound to be played col legno tratto,
the hands do not remain up in “hold” position, the musicians
sul ponticello, with a dynamic of ffff, must be played as
are to expect another event-signal from the left hand,
loudly as possible regardless of the dynamic intensity
and a down-beat.
produced by the same dynamic marking in an instrument
all indications of dynamics are relative to the
of a different nature. Thus, a low C in the flute marked mod i fication of s i ng le eve nt :
any two-hand cut-off
ffff is not expected to have the same volume as a middle-
signal affects the entire group. The conductor may wish,
register tone marked ffff in a clarinet. This simply means
however, to modify only one event among two or more
that the flutist is to play his tones at the maximum volume
events being performed simultaneously. To do this he
available in that register of his instrument. The pppp
signals the number of the event to be modified with his
indicates that the sound is to be as soft as possible. All
left hand; then indicates the modification — a hold or
dynamic indications are “balanced” in this way, relative to
cut-off — with only his right hand. (Events not indicated
their acoustic functions within the event-structures and
by the fingers of the conductor’s left hand continue
the characteristics of the instruments employed in them.
to proceed normally.) It is absolutely essential that the orchestra members clearly understand this difference in signaling: a hold or cut-off by both hands affects an entire group; a hold or cut-off by only the right hand
Earle Brown