Rei MUNAKATA: Pochan (2020) for ensemble

Rei Munakata Pochan (2020) for ensemble

Introduction Pochan (2020) for ensemble is commissioned by the Ernst von Siemens Musikstiftung as a part of project ¨Special Moment in Life¨ launched by Curious Chamber Players Sweden.

First performance: February 8th, 2020 ECLAT Festival Stuttgart Theaterhaus T3, Stuttgart GERMANY Curious Chamber Players

Instrumentation Flute

Flute Piccolo Temi basket Soy beans Sinkers 4 refill glasses

Bass Clarinet

Bass Clarinet in Bb Lamination paper with clip Soy beans in small bowl

Percussion I

Large concert bass drum Floor tom with plastic head Frame drum Meinl headed spark shaker Recorder head CD Jagged glass jar Soy beans in small bowl

Percussion II

Meinl original spark shaker Recorder head Metal fruit bowl with stick Paper megaphone Temi basket Soy beans

Piano

Grand piano with 3 pedals 2 Rubber blocks Jagged glass jar 3 metal rods mounted on a wooden board Soy beans in small bowl

Guitar

Classical guitar Temi basket Soy beans Sinkers 4 refill glasses

Violin

Violin with bow Soy beans in small bowl

Cello

Cello with bow Safety pin Binding clip Soy beans in small bowl

Amplification and Reverb: • • •

All instruments should be amplified with a tiny bit of reverb. Specially it is important that the metal rods and the fruit bowl are resonant and acoustically ¨wet¨ with a sense of mystery and ambiguity. Somewhat depressive and reluctant. Very dull and distant with blue-grey sound colour.

The amplification of soy beans and sinkers should be carefully considered. The sound of each grain should be very textural and clear but with a sense of big room and acoustical space with a help of slight reverb (not too much, just a hint). The metaphor is a hot summer evening, constantly raining…

The amplification of the floor tom should enhance the articulation of the screeching CD scraping sound and the rattling sound from the loose screws.

Program Note Pochan (2020) for ensemble After a great concert and reception in Tokyo, I came back to the empty apartment in Yokohama and stepped into the puddle of water on the kitchen floor. The water has been dripping from the ceiling for more than 9 hours.

There is no doctor in Cortona and it was Sunday, the day of no public transportation. We finally managed to catch the bus without timetable, and walked through the ¨blue tunnel¨ in Arezzo hospital to reach the doctor. Our daughter was cured immediately after the tunnel.

The moment my grandmother in the elderly house in Hitorizawa spoke, I understood the connection between the two events.

DispositionRei MUNAKATA: Pochan (2020) Piano with

Right pedal and

Sostenuto (middle) pedal

Percussion 2

Percussion 1

Salad bowl

Floor tom Bass drum Guitar

Bass clarinet

Metal rods

Violin Flute Cello

Binding Clips

Conductor

•

Table

Soy beans

Notestand

Temi basket

Sinkers

Glass filled

with soy beans and sinkers

• • •

The disposition of the ensemble should follow the above diagram as closely as possible. The piano to the left and the fruit bowl to the right. The bass drum should be placed in the middle of the stage and not in the back of the ensemble, however not extremely close to the piano.

The temi baskets are placed near flute, guitar, and percussion II players (see ¨Performance Notes¨ for detailed preparation).

8 glasses with soy beans and sinkers should be placed near the bass drum (see ¨Performance Notes¨ detailed preparation) From bar 166 and 155 respectively, the flutist and the guitarist are asked to walk to the bass drum. Walk naturally and discreetly without getting too much attention. Position yourself in order to be able to reach both the bass drum and the refill glasses at ease.

Performance Notes - General The score is transposed.

Dropping

All players are asked to drop soy beans or sinkers onto different surfaces during the piece.

The physical movement of dropping action should be calm and somewhat ritualistic without being theatrical and exaggerated. Do NOT act or play theatre in any aspect. Focus on the sound of the grain dropping and the very moment of the grain reaching the indicated surface while being attentive to the other grain sound around you.

Dropping with slow preparation

The water drop symbol = Indicates the moment of dropping. Drop one or a few indicated grains from ca 15 cm above the indicated surface. Let the grain fall onto the other grains. Just let it go without any effort as if it is not intentional.

The dotted line before the water drop symbol = The preparation of dropping. The slow movement of raising the hand with the appropriate amount of grains in hand for forthcoming dropping action.

Move naturally and calmly without being theatrical.

Quick and repeated Dropping

The bracket over a group of water drop symbols = Throw at once the indicated amount of grains onto the indicated surface. When marked with sfz, throw intentionally rather than the default dropping.

Types of grains Soy beans

Several kilos of soy beans are needed.

Sinkers (fishing sinkers or floats)

Weight used to increase its rate of sink, anchoring ability, and/or casting distance in fishing. Several handfuls of sinkers are needed.

Mix different shapes (round, pear shaped etc) and sizes (maximum 10 g or smaller).

Temi basket Temi is a Japanese winnowing basket made of bamboo, used to separate grain from straw, dust, and shells.

Approximately 60 cm x 60 cm.

One side of the basket should be curved and the other flat opening. ¨Shake¨ Shake the temi sideways to let the content rattle. ¨Stir¨ Move the temi in circular motion and sideways to stir. ¨Toss¨ Let the content jump like the traditional winnowing process.

Traditional use of Temi: The winnowing process is often done outdoor. Hold the basket as in the photo and toss the soy beans in the air.

The wind blows away all the unnecessary dust, shells, and straw.

Flute/Piccolo Preparation before the performance

Soy beans and sinkers in Temi Place the temi basket on a small table close to you where you can easily reach with one hand without effort. Put 2 handfuls of soy beans a handful of sinkers in the Temi basket. Mix well.

Refill glasses Place 4 glasses (on a small table for easy access) close to the bass drum. Fill the glasses with mixture of soy beans and sinkers.

Performance Note

Note head Black note head (¨●¨) Square note head (¨ ⬜ ¨) Cross note head (¨x¨)

Normal playing with pitch.

Air noise with a hint of pitch.

Instrument: Hold the indicated key silently.

Whispering

Cover the mouth hole entirely with mouth and whisper into the instrument with indicated fingering.

All whispering should be pronounced clearly without letting the vocal cord to vibrate.

Dropping and Temi basket

For the basic technique of dropping and the temi basket, see ¨Performances Notes - General¨

Walking and Dumping

From bar 166, the flutist is asked to walk to the bass drum while performing the temi basket. Walk naturally and discreetly without getting too much attention.

Position yourself in order to be able to reach both the bass drum and the refill glasses at ease. ¨Dump¨ ¨Refill¨ Drop sign

Tilt the temi basket and pour the content (soy beans and sinkers) over the bass drum skin.

Quickly refill the basket with new soy beans and sinkers. One refill portion should be prepared in each glass.

Grab soy beans and/or sinkers with palm and drop on the basket little by little.

Bar 169 Bar 170 Bar 171 Bar 172 Bar 169b Bar 170b Bar 171b Bar 172b

Dump Refill (Glass 1) Dump slowly Drop (Glass 2) Dump Refill (Glass 3).

Dump slowly Drop (Glass 4)

Bass Clarinet Preparation before the performance

Laminate paper A4 size 250 g/m² laminate paper should be attached to cover the bass clarinet bell. Attach with a paper clip.

Experiment with the angle of the laminate paper to achieve constant buzzy tone/noise when the low note is played. If there is an open vent hole, close the hole with your toe.

Soy beans Prepare a handful of soy beans in a small bowl (soft fabric material) where you can easily reach without effort.

Performance Note

Note head Black note head (¨●¨) Square note head (¨ ⬜ ¨) Cross note head (¨x¨)

Normal playing with pitch.

Air noise with a hint of pitch.

Instrument: Hold the indicated key silently.

Bass Clarinet extended techniques Teeth on reed Place the teeth on the reed to achieve the high pitch. The pitch is completely controlled by the embouchure.

Gentle and fragile. Penetrating.

Soft ¨slap¨ tongue Very quiet, delicate and wet ¨slap¨ tongue (or more like a tongue click) with a lot of saliva. Slightly change the sound quality and timbre for each note while keeping the same fingering (of the performer’s choice) throughout.

Amplification: This passage should be amplified with a lot of reverb as if water dripping slowly and quietly in a very dark and resonant corridor.

Buzzy effect “B natural / Bb” = Rapidly trill between the B key and the Bb key back and forth.

“Lip buzz” = Let the relaxed lips buzz from the force of the strong air blowing. ¨flt.¨= Flutter-tongue.

Intense and aggressive in character, static and insisting with absolutely no diminuendo unless otherwise indicated.

Dropping soy beans

For the basic technique of dropping, see ¨Performances Notes - General¨.

Percussion I Preparation before the performance

Floor tom Loosen all drum head screws slightly (but not too much) until the screws rattle quietly and nervously with small movements when the drum is shaken.

Soy beans Prepare a handful of soy beans in a small bowl (soft fabric material) where you can easily reach without effort.

Performance Note

Recorder head The head joint of the soprano recorder. Only the head joint is used throughout the piece. Preferably a student recorder with very low quality.

Cover a) the labium with the left hand fingers and b) the head joint bottom opening with the right hand fingers. Experiment with the finger angle, pressure, and position to cover in order to achieve a colourful palette of air noise timbres and pitches Be aware of even a very slight movement of the finger movement makes totally different sound/noise.

Square note head (¨ ⬜ ¨)

Hissing air noise without any pitch. Only a very small part of the Labium should be opened. Always tenuto.

Bar 65: Move the finger angle and pressure etc to change the timbre. Add more pitch when needed. Dynamics ad lib.

Black note head (¨●¨)

Tone with pitch. Absolutely no vibrato unless otherwise indicated.

2-line-staff: The upper line indicates the highest and brightest pitch/noise (the labium and the opening hole totally open) and the low and dark pitch/noise.

Bar 140 Make expressive glissando up by opening both holes with an intense gesture. Hold the tone for a while until making very wide, slow, and crying vibrato (by lips and fingers) and diminuendo. Soon after add tongue vibrato by moving the tongue sideways back and forth. The phrase ends with a quick glissando down as if loosing energy. The whole action should be phrased as one organic and expressive phrase.

Meinl headed spark shaker Head up

Head down

A shaker from Meinl made of perforated sheet on one side and goat skin on the other. ¨Head up¨: The goat skin facing upwards, and the grains do not touch the skin. ¨Head down¨: The goat skin facing downwards, and the grains roll on the skin.

Stir: Stir the shaker in circular motion.

Shake: Shake the shaker horizontally.

CD on Floor tom

Place a compact disk (CD), the top side facing down, on the floor-tom skin and scrape in a random and fast curved motion. Choose a CD with grainy texture top in order to achieve whistle-like squeaking noise.

Jagged glass jar on Floor tom Short and wide glass jar with jagged bottom used for crème brûlée, often sold in normal supermarket.

Ex. La Crème Brûlée by brand Rians.

Place the glass jar on the floor tom skin upside down (the jagged bottom facing upwards). Slowly scrape the glass jar with the bottom (back) of the spoon along the jagged edge. Let the floor tom function as a resonant board.

Floor tom (as shaker)

Shake the drum quietly and nervously with very small movement, otherwise indicated. Let the loosen screws slightly rattle.

Dropping soy beans

For the basic technique of dropping, see ¨Performances Notes - General¨.

Percussion II Preparation before the performance

Soy beans in Temi Place the temi basket on a small table close to you where you can easily reach with one hand without effort. Put a handfuls of soy beans in the Temi basket.

Performance Note

Recorder head The head joint of the soprano recorder. Only the head joint is used throughout the piece. Preferably a student recorder with very low quality.

Cover a) the labium with the left hand fingers and b) the head joint bottom opening with the right hand fingers. Experiment with the finger angle, pressure, and position to cover in order to achieve a colourful palette of air noise timbres and pitches Be aware of even a very slight movement of the finger movement makes totally different sound/noise.

Square note head (¨ ⬜ ¨)

Hissing air noise without any pitch. Only a very small part of the Labium should be opened. Always tenuto.

Bar 65: Move the finger angle and pressure etc to change the timbre. Add more pitch when needed. Dynamics ad lib.

Black note head (¨●¨)

Tone with pitch. Absolutely no vibrato otherwise indicated.

2-line-staff: The upper line indicates the highest and brightest pitch/noise (the labium and the opening hole totally open) and the low and dark pitch/noise.

Bar 140 Make expressive glissando up by opening both holes with an intense gesture. Hold the tone for a while until making very wide, slow, and crying vibrato (by lips and fingers) and diminuendo. Soon after add tongue vibrato by moving the tongue sideways back and forth. The phrase ends with a quick glissando down as if loosing energy. The whole action should be phrased as one organic and expressive phrase.

Metal bowl A metal leaf design fruit bowl as shown in the photo. The design of the bowl consists of many leaves with separate stems. The bowl is made of iron or similar and each leave/stem has unique tone and colourful timbre with VERY big resonance when lightly hit.

If it is difficult to find the same or similar bowl, any other bowl or object with similar feature can be used instead.

Place the metal bowl on a small wooden box to enhance the volume and resonance.

The metal bowl should be amplified with some reverb to fill / resonate the concert venue when played.

The metal bowl is played with a small wooden stick or pencil by scraping along the inner wall of the bowl (i.e., circular motion). The 2-line-staff indicates left and right. Thus, the ¨wave line¨ is a representation of a circular motion (periodic function). Contact the composer for video demonstration. a) Dotted line indicates the speed and physicality of the circular motion. The stick almost touches the wall of the bowl but not quite. Thus silence. The ¨leaf¨ sign indicates a hit/scrape of one leaf or stem by the stick held very loosely with two fingers. But play as if it is not intentional. It is slightly touched during the silence circular motion.

a)

Move organically with a sense of fluidity without being over theatrical. The foreground is the physical movement of the circular motion and its mental perception of the infinite periodic cycle, accompanied by occasional and unintentional ¨touch¨ of a leave resonating in the distant darkness. b) Agitated and fast scraping/hitting of the metal bowl with stick. The stick is touching the wall of the bowl all the time.

b)

Meinl original spark shaker A shaker from Meinl made of perforated sheet.

Stir: Stir the shaker in circular motion.

Shake: Shake the shaker horizontally.

Speaking Speak into megaphone made of a thick A2 paper.

Distant and timelessly lost. Quiet but intense like an uncomfortable and never-ending desperate crying of a missing child from hundreds of years ago who has not realised his/her own death.

The Japanese word, ¨Oka-chan¨, means ¨mama, perhaps in an informal old fashion way used by children in the countryside.

As for the performance, the main focus should go to the sound of the voice itself and the resonance.

Absolutely not theatrical in any way. In the beginning it is barely audible, and slowly it becomes louder and more agitated.

The letter ¨a¨ should be long and the accent should be on ¨ka¨. ¨O kaaaaa chaaaaaaaa n¨

Dropping and Temi basket

For the basic technique of dropping and the temi basket, see ¨Performances Notes - General¨

Piano

Grand piano with 3 pedals.

Preparation before the performance

Soy beans Prepare a handful of soy beans in a small bowl (soft fabric material) where you can easily reach without effort.

Metal rods 3 metal rods or sticks of different diameters and lengths. Attach the rods on a wooden plate with sharp edges and flat surface, and secure the rods with a flat stick and clamps, for example, as below. Place the metal rods construction on a small wooden box to enhance the volume and resonance. Place the whole construction to the right hand side. The metal rods should be amplified with some reverb. Contact the composer for video demonstration.

The desired sounding result when the rod is plucked: Rod ① Ø 1 - 1.5 mm Very quiet and slow for a long time (a few minutes) when bouncing against the wooden plate.

Distant and gentle but still clearly audible. Weightless and mysterious. Echo of water drops in distance.

Rod ② Ø 2 - 2.5 mm

Constant beating when bouncing against the wooden plate.

Rod ③ Ø 4 mm

Fast beating when bouncing against the wooden plate.

Very loud and violent as if someone is violently banging the wall from the other side.

Cross note head (¨x¨) = Pluck the edge of the indicated metal rod.

The wave line after the cross note head is only a graphical illustration of the rod waving back and forth by its own without the help of the player. Thus, pluck only when there is a cross note head appeared.

Performance Note

Clef

Treble and bass clef

Ordinary treble and bass clef to specify pitch. Always played on the piano key.

Regional clef The regional clef is notated with the Roman numerals (I, II, III, IV) on 2 line staff for inside piano action.

The regions are divided with the piano frames (¨I¨ the highest and ¨IV¨ the lowest), and no specific string/pitch is indicated for the practicality.

The 2 line staff indicates high and low within the given region.

Note head

Black note head (¨●¨) Normal playing with pitch.

Diamond note head (¨♢¨) Press the keys silently without letting the hammer touch the strings.

Pedal Sostenuto ¨middle¨ pedal

The cluster chord from E2 to E3 should be sustained with the sostenuto (middle) pedal throughout the piece.

The notes/strings belonging to the cluster are reserved to support and create resonance of different piano technique, and are never directly touched during the entire piece.

¨Right¨ pedal In general, the right pedal should not be used throughout the piece unless otherwise indicated. The piano part mostly focuses on percussive attacks or scraping noise coloured by the cluster chord held by the sostenuto pedal like a shadow, and direct enhancement of dynamics with the right pedal is not necessary.

However, feel free to add the right pedal if necessary to adjust the balance and expression of the music.

Percussive pedalling Kick the right pedal percussively and let the pedal mechanic to sound. Violent!

Inside Piano ¨Dead stroke¨ on 3 strings with 3 fingers.

Hammer 3 strings percussively against 3 strings respectively. Do not lift the fingers after the attack.

Pitch ad lib. based on the given piano region and register indicated with the regional clef and the 2 line staff.

Scrape the indicated strings with different tools. The score indicates nail, plastic card, or coin, but feel free to alternate. Experiment with different object or tool to achieve a sense of resistance and tension as if someone is scratching the other side of the wall with great force and a sense of hatred.

Rubber blocks

2 big rubber blocks in rectangular shape.

Hold one hand each rubber block. Strike the rubber block against the strings in the indicated region like distant footsteps.

Experiment with the angle and which part of the rubber block to use. Ad lib.

Absolutely senza pedal.

The rhythm (Septuplet) should NOT be mechanical. ¨Almost¨ in strict rhythm but slightly ¨off¨.

Glass jar

Short and wide glass jar with jagged bottom used for crème brûlée, often sold in normal supermarket. Ex. La Crème Brûlée by brand Rians.

Scrape the strings in the indicated region with the glass jar, bottom down, in circular motion. Scrape lightly with very little pressure in order to let it resonate and not to damp.

The spiral line = Scrape in circular motion with approximate indication of how many circles to draw. The jar constantly stays on the strings.

Cross note head (¨x¨) = Quickly lift the jar in the air and slam back against the strings.

Dropping soy beans

For the basic technique of dropping, see ¨Performances Notes - General¨.

Guitar Preparation before the performance

Soy beans and sinkers in Temi Place the temi basket on a small table close to you where you can easily reach with one hand without effort. Put 2 handfuls of soy beans a handful of sinkers in the Temi basket. Mix well.

Refill glasses Place 4 glasses (on a small table for easy access) close to the bass drum. Fill the glasses with mixture of soy beans and sinkers.

Performance Note

Clef Treble clef: Ordinary treble clef with the usual transposition, sounding octave lower than written.

Behind the nut clef: The 4 line staff indicates four strings (① ∼ ④ ) behind the nut.

Note head

Black note head (¨●¨) Cross note head (¨x¨) Diamond note head (¨◇¨) Zig zag wave Triangle note head (¨▷¨)

Normal playing with pitch. Let it ring.

Damped and quiet ¨failed¨ noise as if unintentional or just happened to ¨brush¨ the string by mistake. Do not let ring.

Harmonics. Let it ring.

Scratch with nail and finger. Light and quiet but nervous and unpleasant.

Hammer-on. Tap the indicated note and do not lift the finger after the attack.

Guitar extended techniques Breathing Bring the instrument near the mouth and breath into the resonance hole. Quiet and discreet, but nervous and stressed with intensity. ¨Out of breath¨ and ¨sweaty¨. ¨ex¨ and arrow down = exhale ¨in¨ and arrow up = inhale The rhythm (Septuplet) should NOT be mechanical. Follow the piano rhythm - ¨Almost¨ together with the piano but slightly ¨off¨.

Slamming and Rasgueado Upper staff (left hand): Slam the palm against the indicated strings (damped mute sign with sfz marking). Keep the palm on the strings during the right hand action.

Lower staff (right hand): Rasgueado up and down. The specific strings are not indicated, but the space between the two lines of the staff represent all strings (upper line higher pitched string and lower line lower pitched string). The number of strings in one rasgueado stroke depends on how long and where the arrow is graphically notated.

Body

Strike percussively the most resonant part of the instrument body (resonance board) with palm.

Dropping and Temi basket

For the basic technique of dropping and the temi basket, see ¨Performances Notes - General¨

Walking and Dumping

From bar 166, the flutist is asked to walk to the bass drum while performing the temi basket. Walk naturally and discreetly without getting too much attention.

Position yourself in order to be able to reach both the bass drum and the refill glasses at ease. ¨Dump¨ ¨Refill¨ Drop sign Bar 169 Bar 170 Bar 171 Bar 172 Bar 169b Bar 170b Bar 171b Bar 172b

Tilt the temi basket and pour the content (soy beans and sinkers) over the bass drum skin.

Quickly refill the basket with new soy beans and sinkers. One refill portion should be prepared in each glass.

Grab soy beans and/or sinkers with palm and drop on the basket little by little.

Dump Refill (Glass 1) Dump slowly Drop (Glass 2) Dump Refill (Glass 3).

Dump slowly Drop (Glass 4)

Violin Preparation before the performance

Soy beans Prepare a handful of soy beans in a small bowl (soft fabric material) where you can easily reach without effort.

Performance Note

Clef Behind the bridge clef: The 4 line staff indicates four strings (from above to bottom I, II, III ,IV) behind the bridge.

Treble clef: Ordinary treble clef.

The 2 line staff represents the bow position on the fingerboard. The upper line is the end of the fingerboard and the lower line the bridge.

Metaphor: The bridge is at the bottom and the bow and/or the clips ¨fall¨ and/or drop due to the gravitational force.

Note head

Black note head (¨●¨) Cross note head (¨x¨) Diamond note head (¨◇¨) Zig zag wave

Normal playing with pitch. Let it ring.

Damped and quiet ¨failed¨ noise as if unintentional or just happened to ¨brush¨ the string by mistake. Do not let ring.

Harmonics. Let it ring.

Scratch with nail and finger. Light and quiet but nervous and unpleasant.

Violin extended techniques Breathing + Brushing The 2 line staff indicates the bow position between the bridge and the fingerboard.

Left hand: Damp all strings (l.h. damp sign).

Right hand: Brush the bow vertically against two strings of your choice, always from the air. The brushing should imitate the breathing.

The arrows indicate the breathing. Quiet and discreet, but nervous and stressed with intensity. ¨Out of breath¨ and ¨sweaty¨.

Always together with the brushing.

Arrow down = exhale Arrow up = inhale

Spiccato (circular)

Constantly perform spiccato while changing the bow position (tasto/pont., tip/frog) in a circular motion. Unpredictable and unstable. Dirty and unsophisticated.

One circle per given rhythmic value.

In a quicker (smaller) circle, the speed of spiccato is faster (condensed) and vice versa.

Dropping soy beans

For the basic technique of dropping, see ¨Performances Notes - General¨.

Cello Preparation before the performance String preparation Binder clip

Safety pin

Attach a binder clip and a safety pin on the IV (C) string between the bridge and the end of the fingerboard (The binder clip to the bridge side and the safety pin the fingerboard side).

Choose your clips with the following guidelines: • The clips should rattle noisily when the string is bowed or plucked.

• It is easy to quickly bring up the clips from the bottom (bridge) to the top (end of the fingerboard) with slight sense of the clips lightly scraping the string.

When released, the clips should fall easily onto the bridge and make a rattling noise.

Soy beans Prepare a handful of soy beans in a small bowl (soft fabric material) where you can easily reach without effort.

Performance Note

Clef The 2 line staff represents the bow position on the fingerboard.

The upper line is the end of the fingerboard and the lower line the bridge.

Metaphor: The bridge is at the bottom and the bow and/or the clips ¨fall¨ and/or drop due to the gravitational force.

Behind the bridge.

The 2 line staff represents two strings (I and III).

Note head Black note head (¨●¨) Cross note head (¨x¨) Diamond note head (¨◇¨) Zig zag wave

Normal playing with pitch. Let it ring.

Damped and quiet ¨failed¨ noise as if unintentional or just happened to ¨brush¨ the string by mistake. Do not let ring.

Harmonics. Let it ring.

Scratch with nail and finger. Light and quiet but nervous and unpleasant.

Cello extended techniques Vertical brushing

Left hand: Damp all strings (l.h. damp sign).

Right hand: Perform a series of small bow brushing vertically against two strings of your choice from the bottom (bridge side) upwards. Tender but quick and busy.

Breathing + Brushing Similar to the above except the bow should be move up and down.

The sound and the action of bow brushing should imitate the breathing.

The arrows indicate the breathing. Quiet and discreet, but nervous and stressed with intensity. ¨Out of breath¨ and ¨sweaty¨.

Always together with the brushing.

Arrow down = exhale Arrow up = inhale

Spiccato (circular)

Constantly perform spiccato while changing the bow position (tasto/pont., tip/frog) in a circular motion. Unpredictable and unstable. Dirty and unsophisticated.

One circle per given rhythmic value.

In a quicker (smaller) circle, the speed of spiccato is faster (condensed) and vice versa.

Clips

Dropping soy beans

¨O¨ = Open string (Not damped. Opposite of the damp sign).

The dotted line upwards = bring up both the binding clip and the safety pin from the bridge to where graphically indicated.

The comma, the arrow downwards with sfz marking = Release the binding clip and the safety pin and let them fall onto the bridge by their own. Do not push or interfere the natural gravitational force.

For the basic technique of dropping, see ¨Performances Notes - General¨.