Bauauf #3 FL, KL, VC, PF

bauauf
fr 4 spieler
version III:
klarinette, bass flte (H-fuss),

klavier und cello
eduardo moguillansky
2009-10
ii
first version commissioned by the Ernst-von-Siemens-Musikstiftung
iii
The actions on these wooden boxes should be amplified. A recommended way of amplification is by means of contact
microphones placed inside the box or on the side.
Duration: 12
The wooden boxes
Instrumentation + extras
Player A)
B-Clarinet (sounds a major second lower than notated)
Wooden Box + Wooden Pieces
Table to hold the Wooden Box
A soft cloth around the box
A superball mallet
The boxes have an approx. dimension of 100 x 50 cm of surface. The height is not really important. They must be somewhat
resonant and the material should be ostentatiously raw.
A contact microphone should be attached to the inside of the boxes in order to amplify all the sounds made in contact with
Player B)
them.
Bass Flute (with low B natural)
The disposition of each box varies from plaver to plaver and should allow for fast changes between the box and the instrument.
Prototypes of the boxes are provided by the composer but the players are free to build these themselves.
A superball mallet
These are the most important characteristics of the boxes:
The box should have four zones clearly marked. It is desirable that these zones are of slightly different material or
thickness so that they sound slightly different when hit or scratched. They should always be made of some sort of
Player C)
Piano
Elastic or cloth tape to mute some notes
Megaphone (>= 25 WATTS).
Superball mallet.
A soft cloth around the box.
A plastic tube (as the ones used to connect a wasching-maschine to the water-disposal)
wood(s).
Between zones I-II and III-IV it should be possible to perform a glissando as uninterrupted as possible. That means
that there should be as little unevenness as possible between these zones.
Between zones I-III and II-IV it should be impossible to perform a glissando. There should be some sort of
unevenness or elevation between these zones.
Each zone should to some extent follow the principles of other percussive surfaces like drums: at the edges the
sound produced by hitting or rubbing should be higher, at the center it should be lower.
The wooden pieces
Player D)
Cello (placed horizontally on a table)
Bow
Important is that at least three can be grabbed in one hand simultaneously. The material should be hard enough so that it makes a rich
Table to hold the Wooden Box (this is the main table, the second table with the cello is put at a side, making an angle
sound when struck, but at the same time with a quite unpolished surface so that it generates rich textures when rubbed.
Each player has 8 wooden pieces to his/her disposition. These pieces are of approx. 8x4x4 but these dimensions can vary.
of 90)
Megaphone B(>= 25 WATTS)
A superball mallet
A plastic tube (as the ones used to connect a wasching-maschine to the water-disposal)
The megaphones
The megaphone is of medium range (~25W) and must have a detachable microphone as indicated in the following illustration,
as well as a mechanism to lock the ON/OFF button so that it stays ON without one having to press the switch. The player has his/her
megaphone placed next to him on a chair or stand to the left of the piano. To facilitate the performance of some of the actions the
megaphones have been modified to include a small kalimba to perform the pizz. actions.
Some of the actions imply rubbng or hitting the microphone against two different surface. In these cases a two line staff is used
Each of the players has, in addition to their own instrument, a wooden box, divided in 4 regions, as seen in the following
to indicate the two different surfaces. These two surfaces can be the chest and the leg of the player, for instance, given that the
diagram. This box is played with small pieces of wood, like proto chess-pieces. Each player has an amount of 9 of these pieces. The
material of what he/she is wearing is different between these two zones. If this is not the case two pieces of cloth of different thickness
boxes should be placed each in a separate table with enough space to the sides to put a soft material to place the wooden pieces and
can be attached to the table to produce two different colors when rubbed. In some cases the chest or leg is indicated explicitely and it
allow to reach them and let them back in this material in very short time.
should be followed independently of the fact that some other surface might be used for the normal case.
iv
away from you),

you), lower notes correspond to lower positions. This notation is used
use when movements are mainly in this coordinate.
ate. In most
cases where this notation is used, exact placement along the left-right
left right axis is not relevant.
Both player C and D are asked, in some sections to play the megaphone open and closed. This is achieved by putting the megaphone
facing down (laying on the table),
), this being the closed position. The open position can be achieved by tilting the megaphone. It can
remain open by simply tilting it all the way down or by putting some object to serve as a rest for the megaphone so that it can remain
open without one having to hold it.
Electronics
In the previous example, four pieces

pieces are placed on the zone IV, on the lower extreme (the one closest to the player). The exact position
along the left-right
left right axis is not relevant whereas by placing them next to each other makes it easier later to move them, as indicated at the
In addition to the amplification there is a tape consisting of a high-frequency noise

oise band, starting at around 17,000
17
hertz. It
end of the example,

example, where three of them must be moved up to the zone III.
should be started with the first chord and ended at the end of the score, where it is n
notated.
In the rare cases where very precise notation regarding both up-down
up
and left-right
right movements, the exact horizontal position is
indicated according to the following graphic
Wooden Box: Notation

There is an immanent problem with our notational system in regards to movements in two dimensions. Since in paper one of the
dimensions (the x coordinate) is use to express time, we are left with only one coordinate to deal with many other musical parameters. In
the special case of this piece, movements in the x axis (left
(left-right) and y axis (up-down or front-back)
back) have to be expressed with only one
dimension.
Two notations have been used, corresponding to the two possible orientations of the boxs surface:
a)
Normal notation
In the normal notation the y-axis

axis corresponds to up
up-down
down movements. As seen in this scheme:
:
b)
Rotated notation. Where left-right

right movements predominate a rotated notation is used. In this case the mapping is done as
if the surface was rotated 90, so a movement from left to right appears in the notation as a movement from up to down.
Here you see how the zones I-IV

IV are distributed in the staff. It is as if one would have cut the box by the vertical divis
division and put
In the following example two pieces are placed on the zone IV, on the extreme right. The up-down
down position is not relevant at this point.
the smaller part (zones I-II)

II) on top of the bigger part (III
(III-IV).
IV). Higher notes correspond to upper positions (positions more to the front,
Put the pieces and leave them there (take hands away, with a clear
and fast movement).
Grab previously placed pieces. Do not move, just place the hands
above them, in preparation for a future movement. It should make
a sound.
Remove the pieces from the board. This gesture should be
AUDIBLE and always very fast.
First these two pieces are shifted from right to the center and then one is moved back again to the right.
Place a piece on the board but in horizontal position.
Place two pieces on the board. The first as described above, lying
in horizontal position. The second piece ABOVE the first one. This is
the ONLY case where two pieces occupy the same space.
Move the piece to horizontal position
Move a piece already on the board in the indicated direction.
The same as above. In fact this is the ordinario way of moving a
Movements in the front-back axis are shown in the previous example. Three pieces are put in the zone IV, to the left. Then they
piece, with all the lower part of the piece in contact with the
are moved to the front, to zone III. Then one is moved to the right. The lines are different to show this difference.
board.
Place a piece on the wooden box in vertical position. In this case
The same as above, but with the angle of the moving piece shifted
two pieces at the same time, with two hands.
so that only one line of it is in contact with the board. The

resulting color should be different (darker) from the full version.
The same as above, but only one point of the moving piece is in
Place the indicated pieces to the RIGHT of the indicated zone. An
contact with the board while moving. The resulting sound should
L sign would indicate LEFT.
be darker still.
Move the piece with extra pressure. This does not mean extra
speed. A somewhat granulated sound should result.
vi
One piece in contact with the board (only one point in contact), a
Hold the piece of wood as indicated in the illustration, so that the
second piece plays a tremolo on the first, whose color changes as
wood and the nail(s) are in contact with the wooden board. By
the position of the first piece shifts.
shifting the angle it is possible to isolate any of the two sound or

make a continuous transition between them.
One piece lying horizontally on the board. A second piece rubs the
first piece.
The same as above, but the piece in contact with the board is lifted
on one side, so that only one line is in contact with the board.
Rub the side of the wooden board with the nail, with some extra
The resulting sound is brighter than with the previous version.
pressure.
In all cases where two pieces are used (one rubbed against the
other, only one in contact with the board) this notehead is used for
clarification.
Tap the board with the fingers, the fingers remain in contact with
the board (dead stroke). Then remove as indicated by the arrows,
One piece horizontal on the board, shifts position from center to
the action of removing the fingers must be AUDIBLE, as with the
edge. A second piece performs a tremolo on the first piece, with
pieces of wood.
very little pressure (flaut.). While the position on the board shifts,
Upbow and downbow with the nail. When performing
one side of the piece lying down is lifted, as notated already.
downbow the nail faces the same direction in which it is moving,

the resulting sound is more intense and the texture is richer. When
performing upbow, the nail points in the opposite direction and
the resulting sound is much softer and the texture is flat.
Hit the board with your knuckles.
Megaphone cleff.
Megaphone facing down.

Rub the board with one nail, shifting position as indicated.
The different positions of the opening of the megaphone. Black
means megaphone totally closed, some sounds might not be
audible. White means totally open.
Many nails at the same time (in this case, 4 nails on each hand).
hit the indicated surface with the megaphone, leave it there if not
The notated fade-out of the individual nails is only
otherwise indicated (dead stroke)
approximative. NB: there is no diminuendo written, so that the

remaining fingers must compensate when other fingers turn mute.
Turn the siren switch ON and OFF very fast. Only a click sound
with a very short hint of a low resonance (the beginning of the
siren) should be audible. The siren itself should not be audible. The
duration of the note has no meaning whatsoever.
Tremolo with the nail while holding the mic of the megaphone so
that the actions are also amplified by it (see below for the other
The siren s held slightly longer so that it begins to sound.
megaphone actions).
vii
The same but with tremolo.

Take the microphone away from the surface it was previously used
on. Similar to the action produced with the wooden pieces.
Snap the back of the microphone with one finger
Rub the indicated surface with the superball
While blowing air (u shaped, a very concentrated stream of air,

away from the microphone, not audible), intercept the air-stream
air
with the microphone. In this case, very fast. The result should a
very clear cut burst of white noise.
arpeggio (which
Blow on the hose to produce an overtone-arpeggio
depends on the dynamic of the air and on the
e diameter of the
hose).
The same as above but the microphones moves slowly towards the
air-stream.
stream. The changes in dynamic are a product of the
microphone intercepting the air, not a change in the air-stream
air
itself. One can think of this action as a slow motion version of the
previous one.
Piano
While constantly blowing move the microphone in front of the airair
Some notes must be muted in advance. These are the D5 (C4 = central C), the highest B natural
natura and the highest C, the lowest E
stream in a very fast tremolo movement. A kind of helicopterhelicopter

and Eb
like sound should result.
Muted sound
Put the mouth as if you were to speak the indicated vocal, then
pop you mouth with a finger. A very clearly pitched sound should
result.
Lift previously depressed keys.
Gero action on the ridges of the microphone, with up direction,
fast. Always with the nail. When up, perform with the back of
your nail. It should be posible to perform these actions with one
hand,
and, that means, that the same hand that holds the mic performs
Guiro on black keys, as fast as possible.
the gero (with the thumb)
The same as above (gero down) but with the action should fit in
the duration given.
The same as above, but rhythmically measured.
pizz on the pizzicato surface attached to the megaphone (there are
three different metal tongues, similar to a kalimba, which produce
three different pizzicati).
Turn the megaphone on and off as inidcated. The ON switch should
produce a clear click, the OFF only a faint one and sometimes no
click at all.
Pick two different
rent surfaces (chest and leg, for instance) and rub the
microphone against it to produce a kind of white noise
viii
Score
bauauf.2
the score is in C
4n =d 60
4
tape ON
arowdn
A - KL
5
4
4
4
hands away
right
mute
YY .
"3 "
B - BFL
eduardo moguillansky (2009-2010)
fr 4 spieler
4 3
4 16
4
4
(in 5)
3
8
grab
arowdn
remove
J DI
D
mute
YY .
mute
arowdn
J DI D
4
4
YY
mute
arowdn
.. D D
simile
5
16

YY
D D
"3 "
[amplify]
lift previously depressed keys
(prepare unnoticed)
open
< >
megaficht
C - PF
leg
megaficht
closed
decrsnoubitm
)parentlviszb
)parentlviszb
t
lvaisezbr
lvaisezbr
.
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq

6
6
f
arowup
decrsnoubitm
open
chest
closed
P
j ..
i
06J
glisbackpnour
WWW
WWW
WWW
WWW
WW
3
6 . :
open1/2half
closed
"3 "
:!.
ient
close meg.
cr1es
:!.
scordatura:
? j
+
closed
open
><
megaficht
megaficht
D - VC
0 5
chest
closed
cr1es
open
leg 6 6
n
ient
B
violnbdyce
superbal/
T6
nail
cr1es
rub side
6 ..
Score [1/22]
4
4
11
A(KL)
2
4
2
4
3
8

:!.
Ii

3
right
mute
YY YY
D
"3 "
4
4
5
4

mute
simile
YY 66

D D D
66 EE D

3
YYY
3
4
Y YY
with 2 hands
mute
5
16
:
YY Y
mute
4
4
mute
DYJ YjY
D
B(BFL)
5
4
YY YD
sf
mute

Y . mute
Y.
YD
DD

D D
C (PF)
rub side
T6
6 .
nail
superbal/
{+
molto tenuto
take superball and mic. in one hand

megafonic-
D (VC)
violnbdyce
Score [2/22]
molto tenuto
u
|
B .
j
6
superbal/
1
open/8
closed
0 5
6 .
6 .
open
closed
bright
cr1es
open1/4quartmsd
3
4
21
A(KL)
7
4
4
4
5
4
d
arowdn
2
4
3
8
9
8
(in 3)

YYY
B(BFL)

mute
666
f
sf
66
YY .
YY
YY
mute
66
superbal/
.
cr1es
open
5
cr1es
j ..
6D 6i
"3 "
13
open/8
open1/2half
open/8
closed
s
6 6
open1/4quartmsd
0
closed
6 .
molto tenuto
superbal/
.
.
.
5 0
decrsnoubitm
open
1
open/8
closed
6 6 .

5
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
" 43 "
sf
cr1es
sf
j
6
liscio
decrsnoubitm
cr1es
2
open1/4quartmsd
open/8
D (VC)
1
cr1es
3
openhalfir
D 66
C (PF)
YY
sf
6D6
YYYD
6D
D
2 0
D
6 6 .
3
f "s4 "
open1/4quartmsd
open
table
D
3
cr1es
closed
open/8
3
s 6
D
2
open1/4quartmsd
cr1es
5
open
1
open/8
0 5
closed
cr1es
open
6 6
" 3 "
cr1es
2
open1/4quartmsd
6 6D
p sf
Score [3/22]
2
4
31
4
1
12
5
4
(in 2)
4
4
3
4
5
16
2
4
4
1
12
3
4
(in 2)
4
1
12
8
112
(3+3+3+3+2+2)
(in 2)
tablero
DY
A(KL)
[tenuto]
66 EE
Y E.
Y YD EE ..
E E
B(BFL)
EE ..
mute
YY
E.
D 66J
66s D D
mute
j 66
J
D
left
mute
Y YY YY
6
D 6D
D66 6
YY Y
C (PF)
6 ..
Y Y
3
closed
oJ
open
D6 D
Y 6
mute
..
D
Y Y
J
YY
3
D
open/8
cr1es
6 6
n
ient
closed
sf
cr1es
Score [4/22]
Ys
3
open1/2half
0
closed
6 .
0s
.
very fast
j j .
D6 D
66s
mute
6

D6
D6 D
right
66
66

sf sf
left
;
maderwo:\_
maderwo:|_
YY YY 6666
6666
closed
cr1es
very gradual transition, close completely

only at the very end of the gesture
open1/4quartmsd
closed
. 0D
maderwo:|_
open1/4quartmsd
D66 D j j
open
s .
right
1 5
Y Y
Y mute D
left
cr1es
DY DY 6;6
D (VC)
right

06 . 2
66
6D
sf
(close meg.)
0
closed
D66
mute
D6 D

66 D
YY
6s
cr1es
D
D66
tablero
D
mute

3 mute
Y
.
Y Y.
D D
DY .
3
mute
Y YY
6s D
6
sf
p
3
closed
.
6
] 6
66t
J
maderwo:\_
maderwo:|_
65
cr1es

mute
sf
D D
D
sf
5
4
4
4
42
A(KL)
.
Y Y
B(BFL)
DY
D

66

6
iY6
mute
D6s .
66s ..
DY DYY
YY
6 .
Y Y
YY
6t
D

66 ..
DYY
6t

mute
l.h.
r.h.
66s .
.
D
D
l.h.
66
5
4
j
6
D
YY
D
6
6
4
4

mute
(empty)
DY

.mute
Dj
6
4
D
r.h.
D
sf
cr1es
C (PF)
back
6qqqqqqqqqqqqq66
back
.
sf
cr1es
;
maderwo:\_
YYY 666
.
maderwo:|_
666 .
sf
center
WW W
6t
WWW
P .
glisbackpnour
.

WW W
front
u
arowup

t
"4 "
)parentlviszb
)parentlviszb
P f
sf .
lvaisezbr
cr1es
WW WW
lvaisezbr
sf
glisbackpnour
cr1es
WWWW
superbal/
table
WWW
D (VC)
right
Y
6s
|Y
6
sf
cr1es
R
:left
right
YY
L mute
:left
66 66 .
sf
.
...
D
D .
cr1es
..
.
D .
.
D
f
table
body of vc
u
u
superbal/
superbal/
3
molto tenuto

D
6s
6
.
D66 D
sf
n
ient
n
ient
Score [5/22]
5
4
49
A(KL)
3
8
5
112
4
4
(in 5)
3
4
4
4
3
4
(empty)
66s
mute

66
D
66
sf
6 Y
Y Y 66
Y YY
D66
6
mute
66s
sf
D
66 ..
66 6
Y Y.
(empty)

6s D
66
ss
s ssss s
DY DYY
5
4
66
)
y
t
p
m
e
(
empty
B(BFL)

YY
"2 "

66 mute
66
D
6
6
66s ..
D6
6s
mute
l.h.
J
Y
_/__ s66
66 sssssss 66 mute
r.h.YY mute
/_piezamdrubscth
r.h.
66s ..
l.h.
r.h.
D
6
6s
6
6
D
Y . -
DY DY
5:45j
-
5
"3 "
5:45j
YD
YD
YD
.
i .
"3 "
5:45j
left
right
C (PF)
1
open/8
.

closed
0 1
open
..
n
ient
cr1es
rub side
T6
nail
D (VC)
6 .
open/8
closed
J IJs ..
5a
open
closed
1
open/8
open1/2half
2
open1/4quartmsd
.
tremupdownvical
cr1es
tremupdownvical
s
closed
YD
"3 " . - .
tremupdownvical
6 6 6 6

6 6 6 6
6 6 6 sf
"4 "
cr1es
26
Score [6/22]
3
6
open/8
..
closed
open1/4quartmsd
1
6
YY
D
YD
open/8
1
6
open/8
3
open1/2half
.
5

D
6 ..
pop
open
/o/
IJ
-
5
- .
58
A(KL)
5
112
4
4
(in 5)
66
6 6 D
6
YY
Y
sf
YY
sf
DY
6
6

6
DY
YY
YY
9
maderwo:\_
flautdigconH-C#38
6t
YY
66
6
6
s s s .
s .
t
sf
DY
mute

(+1)
6t
.
0
D 52

Y YA
23
. Y ADY
open
open
maderwo:\_
j
6i ..
{2=3=4;=2=3=4}C#
open
D (VC)
66
quasi sinosoidale
mute
5
YY
sf
4
4
c < 80
66t
D D

superbal/
YY mute
DYY
DYY
66
D6
D6
C (PF)
tempo II:
)
y
t
p
m
e
(
empty

u
B(BFL)
3
4
.
sf
superbal/
D
D
..
cr1es
closed
sf
3
. .
0 1s
open/8
open
open
closed
snap
mic
2
. Y . : 5
. Y Y 5
Y
Y

Y
D

closed
open1/4quartmsd
open
s
Y Y
5Y 6 D a
D
/o/ a
/u/ . /u/ /o/

. /u/
tremupdownvical
open
a /u/ .
open1/4quartmsd
open
tremupdownvical
tremupdownvical
open
open
:!.
violnbdyce
n
ient
cr1es
sf
table
. Y DY D
open
arowleft
open1/4quartmsd
sf
cr1es
open
L
arowleft
s
sf
sf
0 5
0
s s 6s Da s
closed
3
Y ADY .
5
open
open1/2half
2
a Da s .
f
D L . 5 Y D
open
. : .
. 6 D Y Y
:!.
open1/4quartmsd
02
D
2 5 2
open/8
0s

closed
1
table
open
open
closed
sf
1 5
3
s 6 6 .

5
open/8
cr1es
open
open
0s
closed
cr1es
Score [7/22]
5
4
66
tempo I
A(KL)
15
16
7
8
(in 6: 2+3, 2+3, 2+3)
4
4
(in 7)
66 D 6 D
]6 .
maderwo:\_
maderwo:\_
D D
66s 6
D
s
666
s
sss
sss
sss
6s
"4 "
6.

Y Y
66
sf
J
3
sf
cr1es
D

3
3 45
YYY 666
Y Y Y Y
sf
sf
)
y
t
p
m
e
(
empty
66s66 6qqqqqqq6s

56
56
66
YY YY 66
34
"3 "
(from m. 59)
B(BFL)
p D
66 6 D
YY
D D
YRY 66qqqqqqqqL YRY 66qqqqqqqq L YRY 66qqqqqqqq L

right
right
:left
:left
right
:left
66
Y YY 6
Y Y Y Y 666
sf
sf
66
sf
sf
)
y
t
p
m
e
(
empty
666 D D
6 D
sf
666 D
66 6
6t
D D

3
C (PF)
D .
6
Y Y D6 D
open/8
DY Y
2
6
Y ADY Y

closed
tremupdownvical
sf
open1/4quartmsd
open

DY Y
tremupdownvical
YY Y 666
j
.
.
.
ssssssssssssssssssssssssssssssssss
"3 "
Y Y Y Y 666
sf
sf
56
YY
YY 6666
:left
YY YY

66
66
1
2 5
arowdn
open
r 5
YYY 666
56
)
y
t
p
m
e
(
empty
sf
D
)
y
t
p
m
e
(
empty
66s66 6qqqqqqq6s
34
(from bar 59)
66
D
sf
D
tremupdownvical
table
6D D
superbal/
IJ
..
rub mic on wood
r
megafonic-
1 5
open/8
cr1es
open
6.
6
:restilncopauh1/8
.
:restilncopauh1/8

.
:restilncopauh1/8
:restilncopauh1/8
superbal/
5
open
D
/u/
D
/o/
..
Y D6 D
5
cr1es
Score [8/22]
cr1es

cr1es
closed
a .
f
666
ient
0 1
Y 6 D a
sf
rohmanguetb
WWWW
D (VC)
ient
W WWW
2
open1/4quartmsd
ient
n

n
YY YY
cr1es
leave open
n
ient
open/8
s ..
5
cr1es
sf
cr1es
.
2
4
73
3
4
5
8
5
#4
3
4
tablero
3
8
4
1
12
(in 2)
tablero

-
66
sf
5
YY
YY 66qqqqqq
6 66
qqqqqq6 66
YY
YY
YY 66
66
t
66
YY 66
YY 66
qqqqqqqq
qqqqqqqqqq
qqqqqqqqqq
qqqqqqqq
qqqqqqqqqq
qqqqqqqq
qqqqqqqqqq
qqqqqqqqqq
qqqqqqqqqq
qqqqqqqqqq
q q
66
C (PF)
66 6t
66 66t
)
y
t
p
m
e
(
empty
; ]- ;D
66
maderwo:|_
.
66s
66
YY YY
YY 66
66s
66
maderwo:\_
YY
Y
sss
ss
ssssss
ssssssss .
sssssss
ssss
"3 "
; ]s
maderwo:|_
maderwo:|_
.
6
66
66
.

Y
D D .
66
66s
qqq
qqqqqqqq
qqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqq
qqqqqqqq
qqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqq
qqqqqqqq
66
t

qqqqqqqqqqqqqqqqqqqqqq
YY 66
66
66 ..
qqqqqqqqqqqqqqqqqqqqqqq
Y
YY
66
t

66
)
y
t
p
m
e
(
empty

sf
Y Y
6t Y
cr1es
maderwo:\_
66 .
qqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqq
qqq qqq
-
D
D
qqqqqqqq
qqqqqqq
qqqqqqq
qqqqqqq
qqqqqqqqqqq
qqqqqqq
qqqqqqqqqqq
qqqqqqq
qqqqqqq
qqqqqqq
qqqqqqq
qq qq
.
66s
66 ..
qqqqqqqq
qqqqqqq
qqqqqqqqqqqqqqq
qqqq
qqqqqqq
qqqqqqqqqqqqqqq
qqqqqqq
qqqqqqqqqqq
qqqqqqqqqqqqqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqqqq
qq
qq
Y.
Y
qqqq
sf
qq
qqqqqqqqqq
6666
4:

Y 6666
Y
qqqqqqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq
YY
66
6
arowightup
6
66s
B(BFL)
)
y
t
p
m
e
(
empty
>
qq
qqqqqqqqqq
66
6
qq
qqqqqqqqqq
superbal/
YY
Y
qqqqq
qqqqqqqqqq
qqqqqqqqqq
u J
YYYY 666.6
.
YY
Y
qqqqqqqqqq
sf
6 .
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqq qqq
qqqqqqqqqq
qqqqqqqqqqqqqqqqqqqqqqqq
qqqq
qqqqqqq
qqqqqqq
qqqqqqq
qqqqqqq
qqqqqqq
qqqqqqqqqqq
qqqqqqqqqq qqqqqqqqqq

maderwo:\_
maderwo:|_
66 ..
66 ..
qqqqqqqqqqqqqqqqqqqq
qqqqq
qqq
6
; ] 66s
maderwo:\_
.
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
4:

4
maderwo:|_
qqqqqqqqqq

; ]s
qqqq
qqqqqqqqqq
A(KL)
s
6666
66s ..
6.
)
y
t
p
m
e
(
empty
sf
cr1es
66
"3 "
66
3
open/8
open/8

636 3 6
sempre
open1/2half

6 36 6
0
closed
.
1 3 1
open/8
open1/2half
13
open/8
open/8
open1/4quartmsd
open1/2half
cr1es
6 6 6 6
s
6 6 .

3
tremupdownvical
tremupdownvical
sf
cr1es
0 2
closed
cr1es
open1/4quartmsd
IJ
..

n 6
W
WWW W
open1/2half
ient
cr1es
cr1es
66
>
.
66
.
arowightup

YLY
6666
:left
6s6 ..
Y 66 ..
.
.
6666
.
arowightup
;3 ]
66
open1/2half

3
tremupdownvical
tremupdownvical
0

closed
.. R66
YLY 66qqqqqqqqqqqqqqqqqq
:left
right
.. R66
YLY 66qqqqqqqqqqqqqqqqqqqqqqq
:left
maderwo:|_
6s .
L
:left
66
t
66
D (VC)
>
.
R
right
maderwo:\_

6s6
sssssssssssss
ssssssssss
ssssssssss
sss
1 3
open
WWWW
YY 66qqqqqqqqqqqqqqqqqq66s 66
right
..
closed
tremupdownvical
n
ient
Score [9/22]
maderwo:\_
open1/4quartmsd
maderwo:\_
6
maderwo:\_
6.
6
YY 66 6
6s
6

.
6.
6
..
D66
.
()
p p
()
BD
maderwo:\_
6D
sf
cr1es
YY 66 sf
cr1es
"1 "
YD
()
p p
maderwo:\_
()
maderwo:\_
D6
"2 "
D6
>
maderwo:\_
9
66

66s
>
maderwo:\_
D6
arowightup
arowightup
.
maderwo:\_
66
.
D6
;
maderwo:|_
.
"2 "

D
6.
6.
maderwo:|_
maderwo:|_
6
6
sf
Y
66
cr1es
sf
6s
cr1es
66
6D
sf
sf
D6
.
6.
6
6
66
6s
66
p
maderwo:\_
C D
6 B
p

6
j
maderwo:\_
q q
.
.
; ]D ;D
66
q q
qqqqqqqq qqqqqqqq
qqqqqqqq qqqqqqqq
qqqqqq qqqqqq
qqqqqqqq qqqqqqqq
qqqqqqqq qqqqqqqq
qqqqqq qqqqqq
qqqqqqqq qqqqqqqq
q
q
maderwo:|_
.
6
cr1es
6t
sf
6s .
maderwo:\_
maderwo:|_
66s
D6
"2 "
ss
sssssss
ssssss
sssssss .
ssssss
sssssss
"3 "
ssss
s
6.
" 3 " sf
cr1es
.
.
ss
D66
66
D6
5
112
s ss
66
qq qq
qqqqqq qqqqqq
qqqqqq qqqqqq
qqqqqq qqqqqqqq
qqqqqq
qqqqqq qqqqqqqqqqqq
qqqqqq
qqqqqq qqqqqqqqqqqq
qqqqqq
qqqq qqqqqqqqq
5
8
ss
YY
arowightup
s ss
maderwo:|_
qqqqqqqqqqqq
qqqqqqqqqq
qqqqqqqqqq
qqqqqqqq
qqqqqqqqqq
qqqqqqqq
qqqqqqqqqq
qqqqqqqq
qqqqqqqqqq
qqqqqqqq
; ]
cr1es
6
cr1es
sf
cr1es
sf
qqqqqq
qqqqqq
qqqqqq
qqqqqqq
qqqqqq
qqqqqq
qqqqqq
qqqqqq
qqqqq
cr1es
sf

66
66
6s
YY
maderwo:|_
qqqq
6
] ;
6
>
qqqq
arowightup
maderwo:\_
qqqqq
.
.
>
maderwo:\_
qqqqqqqqqqq
D
s6
D
)
y
t
p
m
e
(
empty
D6
; ]- ;D
66
qqqqq
6 .
9
maderwo:|_
sf

6
f
Y.
maderwo:\_
qqqqqqqqqqqqqqqqqqqqq
maderwo:\_
q q
; ]
6 D
.
sf
D .
maderwo:|_
arowightup
qqqqqqqqqqqqqqqqqqqqqqqqq
D6
>
sf
"3 "
66
qqqqqqqqqqqqqqq qqq
q q
66
6
Y 6
qqqqqqqqqqq
Score [10/22]
cr1es
Y
qqqqqqqqqqq
qqqqqqqqqqqq
cr1es
sf
.
maderwo:\_
6s

^
66
qqqqqqqqqqqqqqqqqqqqqqqqq
..
YY
] ;s
q
qqqqqqqqqqqqqqqqq
D (VC)
^ .
66
q
q
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq qqqqqqqqqqqqqqqqqqqqq
qqq
qqqqqqqqqqqq
maderwo:\_
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
cr1es

Y
Y ..
qqqqqqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq
qqq
qqq
Y

qqqqqqqqqqqqqqqqqq
-6
.
D6s
qqqqqqqqq
qqqqqqqqqqqqqqqqq
maderwo:|_
66 ..
^
6 ^
66
qqqqqqqqqqqq
66 EE
66s ..
qqqqqqqqqqqq
qqqqqqqq
]Y
qqqqqqqq
Y
qqqqqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq

6 .
YY
qqqqqqqq
qqqqqqqqqqqqqq
qqqqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqq qqqq
qqqqqqqqqqqq
qqqqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqqqq
qqqqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqqqqqq
qqqqqqqq qqqq
qqqqqqqqqqqq
qqqqqqqqqqqqqq
qqqqqqqqqqqq
qqq qqq
q q
maderwo:\_
qqqqqqqq
qqqqqqqqqqqqqq
qqqqqqqqqqqqqqqqq
C (PF)
qqqqqqqqqqqqqqq
B(BFL)
3
4
qqqqqqqqqqqqqqqq
A(KL)
qqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqq
qqqqqqqqqqqqqqqq
qqqqqqqq
83
(3+2)
4
4 tempo II: c < 80
maderwo:|_
"3 "

(+2)
superbal/
D
3
:flauteU/
5
b b 55
r
f
r
rohmanguetb
cr1es
WWW
a
f sf
WWWW
WWWWW
WWWWW
55 d d 55
rohmanguetb
r
s

n
5
sf
n
ient
ient
D6
D6
/oo \
:flauteU\
keep fingering
"2 "
BC D D

maderwo:\_
3 " 2 " sf sf
"2 "
ient
5 55 r
D6 Y6 .

6 6s
a
sf
maderwo:\_
sf
cr1es
66
ient
?
s 6 6s
.
I+II
n5
n
ient
3
4
93
4
4
3
4
4
4
two different fingerings
A(KL)
b 55 ..
12
cc
Hc
Bc
c
c
c
55
5
55
5
55
55 55
j
i ..
qw
5 5
:1cirlefngbs
:2cirlefngbs
superbal/
B(BFL)
IJ ..
/oo \
s s 555 bb n 555 55 + + 55
t b t
quasi sinosoidale
b 5Yt 5 ..
C (PF)
6 6t a .
D6
Y D6
. . 6 6
t
s b 55555 5t
Dt
j
bi
Yt 5 ..
D
a 6 Y 6 . 6
s
n
ient
n5
n 5t
b 55 t s t
D
sf
a
arowdn
2
2
s
cresd<>
t .
f
2
2
.
cresd<>
cresd<>
cresd<>
( )
cresd<>
5 5 s 5555 s 55
sempre
chest
s 5s
..
6 6s Y D6
Y Y

3
2
sf
n 5
2
[lock]
rohmanguetb
2
3

..
s D55 n s b 5s
keep fingering
D6
Y D6
a
s6 a . . . 6 6s t
sf
sf
molto secco
:flauteU\
:flauteU/
table
w ..
)parentlviszb
quasi sinosoidale
IJ
bloweft
tremupdownvical
cr1es
D .
closed
tremupdownvical
ient
cr1es
sf
n
ient
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
n
ient
j n 55
D (VC)
..mute
. Y . s
6 6s

sf
tremupdownvical
p
cr1es
cr1es
tremupdownvical
bloweft
tremupdownvical
ient
rohmanguetb
D
D6 6 s a 6 6s Y s

n
sf
cr1es
tremupdownvical
sf
cr1es
a.
6
Y . 6
6 6 .
6

t
tremupdownvical
tremupdownvical
1
open/8
tremupdownvical
n
ient
3
cr1es
open1/2half
0
closed

n
ient
leave open
a Y D a .
open
table
B?
mute
b ..
violnbdyce
cr1es
tremupdownvical
J IJ
n
ient
5
cr1es
mute
.
.
Score [11/22]
99
7 tempo I
8 #
4
4
tablero
(in 3: 2+2+3)
A(KL)
3
110
xx
6]666 ;
maderwo:\_
maderwo:|_
D D
666s 6
6D6 YY 6666
D ..
66J
666t 6 ^ ^ 66
sf
sf
decrsnoubitm
sf
"1 "
decrsnoubitm
cr1es
sf
(in 3)
D
66
3
4
)
y
t
p
m
e
(
empty
4
4
D pD
6
4
)
y
t
p
m
e
(
empty
maderwo:\_
]3 ;
sf
YYYY 6666
f sf
]5
maderwo:|_
6666 6j6
K
;
maderwo:|_
maderwo:\_
66 YY 6666
6666
6666
" 3 " sf
maderwo:\_
ss ssss s
s ss
sf
sf
j66
sf
66
66
xx
YY 66
.
YY
66sss D D.
D 5 D
6t6
s
sssss
ssss
66
maderwo:\_
maderwo:\_

maderwo:\_
maderwo:\_
66s s s 6
sf
maderwo:\_
"2 " .
maderwo:\_
sf
r.h.
maderwo:\_
maderwo:\_
maderwo:\_
maderwo:\_
Y
)
y
t
p
m
e
(
empty
.
"1 "
-D -D
maderwo:\_

3
s
ssss
J IJ
t
sf
cr1es
Y
J
" 3 "sf
cr1es
closed
open

r
?
s
maderwo:\_
)
y
t
p
m
e
(
empty
6 6j
"3 "
WW
cr1es
" 4 " sf3

cr1es
qq
knuckles
sf
D (VC)
]
"3 "
- - 6-
05
maderwo:\_
WWWW
cr1es
open1/4quartmsd
cr1es
maderwo:\_
WWWW
IJ ..
6 .
6 .
maderwo:\_
maderwo:\_
W
WWWW
WWWW
Y
YY
9K
E ]
"3 "
sf
s
ss s
9K
r.h.
" 3 " sf
cr1es
"3 "
- -
66
Y Y 66
decrsnoubitm
maderwo:\_
maderwo:\_
cr1es
C (PF)
()
96
maderwo:\_
sss
66
ssss
ssssss
; 66
maderwo:|_
maderwo:|_
6t p
"3 "
()
] B G- - G
G
6 p - - -
maderwo:\_
; 9
cr1es
maderwo:\_
xx
YY YY 6666
ssss
ssss s
s
"3 "
decrsnoubitm
B C
"3 "
3
maderwo:\_
sempre subito
B(BFL)
()
maderwo:\_
2
4
(in 2)
96
maderwo:\_
sfz
2
112
()

3
4
66
pp
66J
]
6
)parentlviszb
sf
cr1es
6
sss
6 sss
maderwo:\_
sf
cr1es
D- D- D5
)
y
t
p
m
e
(
empty
]
j 6 ss s s ss s 6
maderwo:\_
"3 "
maderwo:\_

quasi inaudibile

3
.
3
;
maderwo:|_
maderwo:\_
Y 6sssss
sssss
ss 6
3
r-
arowightup
-
arowightup
sf
sf
superbal/
i
j
leg
Y
5
Score [12/22]
j j
A
a
f
[unlock]
closed
"4 "
1
open/8
0
6.
i
j
: . :
:!.
liscio
:!.
open/8
108
5
4
1
4;
maderwo:\_
()
maderwo:|_
maderwo:\_
YY 66
sf
3
"3 " B
cr1es
cr1es
maderwo:|_
9K
9 ;
()
66s D D D D
maderwo:\_
sss
sss
sss
j]
YY
YY
66
sf
maderwo:\_
66 D
decrsnoubitm
Bp
D D

maderwo:\_
.
maderwo:\_
maderwo:\_
6
9
maderwo:\_
maderwo:\_
Y s..ss
sss j
(empty)
maderwo:|_
A(KL)
4
4
(in 1)
"3 "
9K
"3 "
6 p .
YY 66 .. 66 D D
maderwo:\_
maderwo:|_
maderwo:\_
J ED
"3 "
mutedx
mutedx

IJ
AA
AA
mutedx
Y . .
maderwo:\_
maderwo:\_
maderwo:\_
mutedx
sempre subito
G FG F
maderwo:\_
maderwo:\_
B(BFL)
maderwo:\_
maderwo:\_
p -
- - - 6
.
5
9
maderwo:|_
Y Y 66ssssssssss66ssssssss
66
maderwo:\_
66
sssss
r-
r-
arowightup
sf
66
;
maderwo:|_
arowightup

5
C
maderwo:\_
6
move 1st piece
6D 6t
"3 "
maderwo:\_

9
maderwo:\_
sf
6D
6D
()
()
maderwo:|_
maderwo:\_
YY 66 ....
9 6;6 D D

J6
Y YY 666
maderwo:\_
9Y K

maderwo:\_
C (PF)

J
"3 "
j3
4sf
cr1es
()
sf
()
5
. 6
3
"3 "
sf
maderwo:\_

Y 6 6t
6t
" 3 " sf
cr1es
5s .
D6 ..
IJ
leg
WWWWW
WWWWW
IJ
WWWWW
..

3
arowdn
cr1es
megafonic-
6t
" 3 " sf
{6d 6
6 6t

maderwo:\_
"3 "
sf
p J
J
J
Y ]6
Y
Y Y
maderwo:\_
maderwo:\_
cr1es
- - -
666
sf
sf
cr1es
maderwo:\_
cr1es
cr1es
6
sf
maderwo:\_
F

.
53
cr1es
YY 66
J 66s
mute
j

3
3
rr
3
D (VC)
6s
Y
5
a .
sf
arowightup

- -
maderwo:\_
chest
6 6s leg
6
"3 "
6 ..
.
ORD
+j
ponticelbrdg

b
3
sf
cr1es
p

..
maderwo:|_
maderwo:|_
"3 "
Y 6sssss 6s
ss
s s6
6s s s s s
maderwo:\_
maderwo:\_
bloweft
open
table
superbal/
arowightup
ORD
s

3
chest
leg
6 6s 6
5
cr1es
"3 "
IJ
6 ..
cr1es
Score [13/22]
()
5
112
115
7
112
(in 2: 3+2)
4
4
(in 3: 2+2+3)
3
110
2
4
(in 3)
]6
2
112
maderwo:\_
]
A(KL)
)
y
t
p
m
e
(
empty
;
maderwo:\_
YY 66
56
YY
34
YYYY
mute
66 6 6 6 6
1 2
maderwo:|_
D- D-
D-
F G
)
y
t
p
m
e
(
empty
"3 "
maderwo:\_
maderwo:\_
6D6
6]6
66s
sfz B
96
maderwo:\_
D JD
cr1es
sf
]6
maderwo:\_
maderwo:\_
J
"3 "
D D
66 YY 6666 .. s
D D
66J
6666 - - 6J6
sf
maderwo:|_
maderwo:\_
96
simile
cr1es

3
decrsnoubitm
()
]6
(empty)
(empty)
()
sempre subito
B(BFL)
G F G F
j
j
"3 "
D D D D
666
mute
maderwo:\_
I
T
6 6
simile
YY 66
j
maderwo:\_
maderwo:\_
9
6ssss 6
(from m.110)
"2 "
maderwo:\_
]6-
sf
sf " 3 "
maderwo:\_
- .
; s96
maderwo:|_
YY
s6
66 ssssssssss
cr1es
maderwo:\_
66
maderwo:\_
.
6
s6sss
66s s
; 6s
maderwo:|_
5
3
maderwo:\_
maderwo:\_
- simile
- - 6j
.
maderwo:\_
-
BC
96-
G F

()
96
maderwo:\_
96
maderwo:\_
p
"3 "

maderwo:\_
GF
maderwo:\_
maderwo:\_

"3 "
maderwo:\_
"3 "
sf
cr1es
()
]6
(measure 110)

)parentlviszb
C (PF)
6 6 6 6 6 6
"1 "
D D D D D D
666
)
y
t
p
m
e
(
empty
"3 "
sfz
decrsnoubitm
maderwo:\_
J6 J6
sfz B
J6 J6
()
cr1es
maderwo:\_
sf
maderwo:\_
]6 6s
maderwo:\_
6 6
Y
"3
" sf
6
6.
IJ
F G
maderwo:\_
"3 "
5
maderwo:\_
Y
()
9K
t
sfz
"3
" sf
cr1es
)
y
t
p
m
e
(
empty
j

"3 "
)
y
t
p
m
e
(
empty
ss s
s
maderwo:\_
Y
YYYYYY J6 J6
()
maderwo:\_
"3 "
K
9 D
3
5
maderwo:\_

-D -D -D
YYY 666

cr1es
6-
sf
cr1es
9
maderwo:\_
D (VC)

6 6

-
4sf
cr1es
66

]6
maderwo:\_
66J
6
ss s
s
s
6s
6
sf
cr1es
D- D- D5
j 6sssssss6 .
6
maderwo:\_
maderwo:\_
"3 " B
cr1es
leg
"3 "
IJ
6 ..
1 3 ..

3
5
open/8
tremupdownvical
Y
bloweft
a "1 "
tremupdownvical
cr1es
Score [14/22]
open1/2half
cr1es
6-
. 0
closed
()
124
9
8
2tempo II: c < 80

4
(in 9)
4
4
A(KL)
5 5 5 l quasi
sinosoidale
q w e
:1cirlefngbs
:2cirlefngbs
3
5
cresd<>
superbal/
:2cirlefngbs
b 55 55
ient
5
n
ient
. b 55 55 .
55 55
ient
ient
ient
ient
5 w5 . . j .
:1cirlefngbs
:2cirlefngbs
ient
:1cirlefngbs
ient
5 5 5 j .
q w q
= .
:1cirlefngbs
ient
:2cirlefngbs
ient
lontano
()
(empty)
/ \
:flauteU/
:flauteU\
\/
b5 g5
b 55 n 55
B(BFL)
:flauteU\
d d 55 d d 55
d d 55 n n 55
b t n
t
3
3
n
ient
5
b b 55
blow away from mouthpiece

"white noise"
..
D
"4 "
b t
\/
:flauteU/
r r 55 j j 55
:flauteU\
n
ient
n
ient
r5 n5
r 5j 5
D.
J
" 4 " 5
n
ient
cr1es
:flauteU/
j . . + .
cr1es
C (PF)
s
W
WWWWW
molto secco
WWWW
D s
b 55 b 5
n 5s
s
b5
5
3
5a
open
D5 b 5t b n 5t n 55t

qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
3 0
6 ..
cr1es
open1/2half
20
closed
*)
tremupdownvical
tremupdownvical
5
cr1es
*) very fast trem
open1/4quartmsd
0
6
closed
2
6 06
J
open1/4quartmsd
closed
2
6
open1/4quartmsd
5

cr1es
2
cr1es
closed
cr1es
open1/2half
5
D
open
tremupdownvical
tremupdownvical
sf

tremupdownvical
0 1
open
.
5
5s .
tremupdownvical
35
tremupdownvical
closed
tremupdownvical
open/8
cr1es
tremupdownvical
tremupdownvical
tremupdownvical
open
cr1es
closed
open
3

j n 55
?
rohmanguetb
s mute

3
open1/2half

3
6.
sf
open/8
6 6
3
cr1es
6
6
open1/2half
closed
2
6
sf
cr1es
sf
open1/4quartmsd
Y D
closed
Y
a.
p
cr1es
sf
cr1es
5
open
Y D6
n
ient
leave open
03
closed
tremupdownvical
sf
sf
cr1es
bloweft
0 5
D 6 6 s t s 55
s 5t n 5t

open1/4quartmsd
open/8
rohmanguetb
sempre subito
26
bloweft
3s
a D .
Y Y

open1/4quartmsd
closed
surface ad lib.
D (VC)
s 5 s 5s n 5s
open1/2half
cr1es
Y
0 5
Y
Y t .
5s

cr1es
closed
tremupdownvical
open
tremupdownvical
tremupdownvical
D6
sf
sf
D6
bloweft
cr1es
cr1es
2
.
.

.
cresd<>
.
.
s mute
|
on cello
"white noise"
rohmanguetb
x1
6 . 6 .
f
"4 "
mute D6
|
on cello
6
cr1es
"4 "
Score [15/22]
130
A(KL)
2
.
cresd<>
= j
y
bloweft blowright
2
=5 5 j .

cresd<>
qw
:1cirlefngbs
B(BFL)
V D
"4 "
:2cirlefngbs
arowdn
cr1es
a .
D (VC)
n
ient
Score [16/22]
"4 "
DY
. ? .
c
3
Y 0 5
open1/2half
cr1es
closed
ij
b
n
ient
cresd<>
.
III+IV
j5
cr1es
.
5
3
cr1es
open1/2half
.
. 6 . 6 . 6
closed
D
2
open1/4quartmsd
.
5
.
6 .
D
open
closed
.
r 5 .
5t
. b
.
b
open
a .
bloweft .
open/close ad lib.
a .
Y .
a table
Y Y Y . Y a
5
5
.
6
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
open/8
s .
5
:!.
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
g n
=5 5
..
" 3 " sf
= j 55
mute
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
+ j 55
.
:flauteU/
t ..

sf
tremupdownvical
55 5
..
"3 "
closed
open
.
.
cr1es
mute
J bloweft . ?
cresd<>
oflageot 5
j t n 5t .
+ j 55
bloweft
:2cirlefngbs
~~~~~~= / 2
2
s .

5 =
ient
3qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
blow "f"-hole
.
bl
er
ov
e
:2cirlefngbs
:flauteU/
sf
C (PF)
sf
.
a
5
.
.
~~~~~~~~~=
:1cirlefngbs
. s5 5 5
"4 "
ient
qw
d 55
n
ient
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
sf
cr1es
a.
3
8
135
6 tempo I
4
accents much louder than the rest (pp accent = ff)
A:
B:
Y Y 6
A(KL)
r 5
A:

n
ient
j
j5
l5
5 .
3
4
2
112
6
t
C:
Y
J6
B:
D:
Y^

6
6s Y
4
4
D
6
C:
6
j6 6
D:
C:
B:
6t
J6
J6
accents much louder than the rest
^3
A:
B(BFL)
2
. s
2
2
s .
cresd<>
n
ient
cresd<>
2
s .
cresd<>
cresd<>
Y Y 6 Y 6 Y
6
6J
A:
B:
C:
D:
j
3
3
6
t
6
6t
Y
1
6
1
6t
qqqqqqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq

6
Y
3
7
C (PF)
D bloweft
6
D6
5
bloweft
a .
5
6 6

Y 6^
4
IJ ..
a . . a D .
closed
qqqqqqqq
s
bloweft 6- 6 6
6^
6
closed
5
5
closed
qqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
D (VC)
0 3
closed
cr1es
IJ
.
n
ient
open1/2half
..
5
cr1es
Score [17/22]
143
9
8
7
4
2
112
4
4
6
4
()
molto tenuto
()
G
maderwo:\_
A(KL)
J
Y
J
6

J6
^ Y
4
6^
6^
-
6 .
6J
j
6
^
6Js
, G
..
maderwo:\_
-
-6
-
maderwo:|_
maderwo:\_
maderwo:\_
-
G F
I

maderwo:\_
6
8
-
sf
sf
cr1es
3
3
5:
-
sf
molto tenuto
B(BFL)
;-
maderwo:\_
9
8
Y
j
6^
q6
qqqqqq
qqqqqq
qq
qq
6^qqqqqqqqqqqq
6J
3
6s 6
6^
6
D
3
qqqq
6qqqqqqqqq
qqqqqq
qqqqqq
;-6
F
-
maderwo:\_
maderwo:\_
,-6
-
maderwo:\_
6 sssss j
-
F
-
maderwo:\_
,6
maderwo:\_
sf
sf
.
cr1es
6 .
maderwo:\_
sf
()
maderwo:|_
G 9
maderwo:\_
6s
qqqqqq
()
sf
sf
cr1es
molto tenuto
()
G3 F
, G 96 s
s
R
right
qqqq
F
-
:left
qqq
cr1es
maderwo:\_
sf
cr1es
maderwo:\_
-6
6L
q
qqqq
" 3 " sf
GF
. - maderwo:\_

F
-
maderwo:\_
maderwo:\_
.
maderwo:\_
maderwo:\_
q
qqqq
qqqq
q
qqqq

D
qqqq
q
qqqq
C (PF)
()
- .
sss
maderwo:\_
s6
6 .
-
96 ssss 6 .
maderwo:\_
sf
sf
,6
maderwo:\_
sf
0 3
closed
tremupdownvical
molto tenuto
()
, G
6
3
maderwo:\_
qqqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq
sf
cr1es
open/8
Score [18/22]
31

3
. 1

3
open1/2half
open/8
open1/2half
open/8
open1/2half
1
.
open/8
IJ
6 .
FG
maderwo:\_
maderwo:\_
-6
;6
maderwo:\_
- .
maderwo:\_
:left
D (VC)
open1/2half
cr1es
tremupdownvical
tremupdownvical
.
tremupdownvical
open1/2half
cr1es
closed
.

tremupdownvical
open1/2half
cr1es
closed
closed
tremupdownvical
.

tremupdownvical
tremupdownvical
3
open1/2half
cr1es
.
tremupdownvical
-
- .
sf
maderwo:|_
, G F 9J
maderwo:\_
maderwo:\_
- .
tremupdownvical
right
closed
()
open1/2half
cr1es
.

maderwo:\_
maderwo:\_
,6
-
sf
maderwo:\_
sf
1
open/8
tremupdownvical
3 1
J
open1/2half
decrsnoubitm
open/8
3 1
J
open1/2half
decrsnoubitm
open/8
J
open1/2half
decrsnoubitm
open/8
3 1
J
open1/2half
decrsnoubitm
open/8
30
open1/2half

closed
150
4
4
3
8
4
4
5
4
A(KL)
J
5
J
5
6s
Y 6
^
"4 "
Y Y
3
8
4
5
qqqqq6
qqqqqqqqqqqq
6^qqqqqqqqqqqqqqqqqqqqqqqqq .
6s
J
3
6
3
5
4
)
y
t
p
m
e
(
empty
^3
2:
qq6
j 6qqqqqqqqqqqqqqqqqqqqqqqqqqqq
6
6s
()
T 5:3
maderwo:\_
5:35
sf
sempre
()
sf

6
sf
maderwo:\_
>
^ ^ 3
Y
j

Y
3
Y Y
6 6
3
1
maderwo:\_
. 6 6
J
4
arowightup
. 6
6 6^
qq
qqqqqqqqqq
qqqqqqqq
qqqqqqqqqq
6^
6s
6
6J
6s
1:
B(BFL)
Y
qqqqqqqqqqqq6
qqqq
qqqqqqqq
qqqqqqqq
qqqqqqqq
6^

3
" 4 " sempre
J
6s
K
maderwo:\_
Y 6
6 .
J^ 6
Y ^
6^qqqqqqqqqqqq
()
^
qqq6 6
qqqqqqqqqq
qqqqqqqqqq
qq
3
T
maderwo:\_
sf-
5:35
-6
sf-
^
maderwo:\_
5:35
()
)
y
t
p
m
e
(
empty

-
-6
sf
-6
^
3
^
3
Y Y
3:
1:
5:
>^
5:
arowightup
1:
4:
6
4:
4:
2:
1:
3:

J6 6
6^
6qqqqqqqqqqq
qq
qqqqqqq
C (PF)
,5:3
maderwo:\_
sf-
6-
-sf
sf
]5:3
5:35
-
6
D (VC)
sf
6
maderwo:\_
]-
maderwo:\_
-

-
-6
JY
>
arowightup
maderwo:\_
maderwo:\_
5:35
maderwo:\_
-
sf
-6
j
-sf
maderwo:\_
IJ
6 ..
sfz
cr1es
IJ ..
open1/4quartmsd
cr1es

tremupdownvical
closed
tremupdownvical
tremupdownvical
IJ
open1/4quartmsd
..
cr1es
Score [19/22]
4
4
157
6
4
>
4
arowightup
6j
2
A(KL)
6s 6Dqqqqqqqqqqqqq
qqqqqq
qq
qqqqqq
maderwo:\_
3:
sf
"3 "
6s
(in 6)
15
16
(in 3)
maderwo:\_
G F
maderwo:\_
.
3:
5
16
()
, G
^
j
6
.
^
.

6t
qqqq
qqqqqq
qqqqqq
18
16
B:
1:
6
qqqqq
4
4
(in 4)
()
A:
8
112

3
j
maderwo:\_
maderwo:|_
6 .
6
3
G ,6
maderwo:\_
GF
maderwo:\_
maderwo:\_
6 .
maderwo:\_
.
sf
sf
sf
cr1es
()
()
] 9-6
maderwo:\_
A:
B:
D6
arowightup
2:
B(BFL)
6s
6
3:
4:
6
2:
6s 6 .
3
3
" 3 " sf
G 9
;-6
maderwo:\_
maderwo:\_
1:
6^
qqqqqqq
qqqqqqq
qqqqqq
qqqqqq
>
C:
3:
,-6
maderwo:\_
-
1:
J
2:
3:
F
-
maderwo:\_
,6
sf
sf
maderwo:\_
maderwo:\_
6 ..
IJ
maderwo:\_

sf
maderwo:\_
9
maderwo:\_
;
6 j
6-
maderwo:|_
J
maderwo:\_
6t
()
, G 9
maderwo:\_
6

C (PF)
D
" 3 " sf
maderwo:\_
-6
- . 6
maderwo:\_
maderwo:\_
6 .
96
sf
glisbackpnour
sf
..
9-6
maderwo:\_
maderwo:\_
ij ..
5
9]
maderwo:\_
GF
6 ..
maderwo:\_
F G 96
maderwo:\_
sf
sf
maderwo:\_
maderwo:\_
6- 6
D
maderwo:\_
j
.
nail
()
()
maderwo:\_
maderwo:\_
.
3
sf
D (VC)
, G F 9J
maderwo:\_
maderwo:\_
table
Score [20/22]
;6
, G
superbal/
-6
cr1es
T
j
.
6 j
"4 "
arowdniect
maderwo:\_
IJ
-
WWW
WWWW
WWW
maderwo:\_
cr1es
F G
maderwo:\_
maderwo:\_
cr1es
sf
F G
()
-6
T
j
.
nail
sf
cr1es
G-
maderwo:\_
96
maderwo:|_
maderwo:\_
maderwo:\_
-
dm
nl
aa
hp
maderwo:|_
,6 F
maderwo:\_
maderwo:\_
J.
GF
maderwo:\_
maderwo:\_
j
.
maderwo:\_
sf
.
sf
0
ij
3
open1/2half

3
closed
ij
3
open1/2half

tremupdownvical
j
sub.
50
decrsnoubitm

open
closed
0
bloweft 2 blowright .
closed
open1/4quartmsd
simile
.
.
4
4
165
A:
6.
3
A(KL)
C:
^s
^ 6
6s
3
8
p6
6s
B:
D:
5
112
5
4
C:
pD pD
maderwo:\_
()

j
^
^
6s
()
BD D
()
maderwo:\_
arowdniect
()
G F 9 .
6
maderwo:\_

"3 "
p p.
pD
()
()
()
G F

"3 "
()

6 .
"4 "
maderwo:\_
maderwo:\_
maderwo:\_
sf " 3 "
2 0
open1/4quartmsd
closed
closed
tremgula
()
GF
maderwo:\_
maderwo:\_
.
maderwo:\_

k
maderwo:\_
6 j
.
FG
9s
"3 "
maderwo:\_
maderwo:\_

maderwo:\_
FG
.
96 sssss 0
s
maderwo:\_
()
F G
G F
maderwo:\_
maderwo:\_
s
-
maderwo:\_
maderwo:\_
D (VC)
G
F

"4 "
pD
GF
C (PF)
D
]6 s s 6s
D
9
16

6 6
5
8
()
B(BFL)
2
4
3
4
A:
B:
3pD pD .
D:
2 0
J
open1/4quartmsd
closed
2 0
open1/4quartmsd
closed
()
FG
maderwo:\_

"3 "
sf
s .

cr1es
maderwo:\_
96 .
maderwo:\_
"3 "
sf
0
closed
tremupdownvical
2
open1/4quartmsd

closed
J4 5 0
cr1es
open
closed
2 0
open1/4quartmsd
closed
5 .
open
Score [21/22]
12
16
175
D ..
6
4
D ..
2
4
G
D
s
sf
G F (u)

G
.

9
maderwo:\_
C (PF)
96
maderwo:\_
F
G
6 6
maderwo:\_
1
open/8
closed
<
cresubitodna
:!.
<
open/8

cresubitodna
:!.
6 .
cr1es
open
sf
cr1es
.

K 9
maderwo:\_
G
-
maderwo:\_
-6
sf
cr1es
-
"3 "
sf
"3 "
cr1es
..
j
ssssssssssssssssi
j
.
"3 "
5
open
k k..
n ..
tremgula
punta
Score [22/22]
maderwo:\_
"4 "
-
-
maderwo:\_
maderwo:\_
maderwo:\_
G F

cr1es
F G

sf
"3 "
D
()
maderwo:\_
D (VC)
s
()
()
F
G

maderwo:\_
cr1es

G F
9
6
B(BFL)
:!.
j
.

tape OFF
"3 "
A(KL)
7
4
tremgula
ij
mute
..
5
cr1es
maderwo:\_
G
maderwo:\_
maderwo:\_
-

Bauauf #3 FL, KL, VC, PF

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Bauauf #3 FL, KL, VC, PF

Enviado por

Direitos autorais:

Formatos disponíveis

bauauf

klarinette, bass flte (H-fuss),

first version commissioned by the Ernst-von-Siemens-Musikstiftung

B-Clarinet (sounds a major second lower than notated)

Wooden Box + Wooden Pieces

Table to hold the Wooden Box

A soft cloth around the box

Bass Flute (with low B natural)

Wooden Box + Wooden Pieces

Table to hold the Wooden Box

A soft cloth around the box

These are the most important characteristics of the boxes:

Elastic or cloth tape to mute some notes

Megaphone (>= 25 WATTS).

Wooden Box + Wooden Pieces

Table to hold the Wooden Box

A soft cloth around the box.

The wooden pieces

Cello (placed horizontally on a table)

Wooden Box + Wooden Pieces

A soft cloth around the box

Megaphone B(>= 25 WATTS)

away from you),

In the previous example, four pieces

In addition to the amplification there is a tape consisting of a high-frequency noise

end of the example,

Wooden Box: Notation

In the normal notation the y-axis

Rotated notation. Where left-right

Here you see how the zones I-IV

the smaller part (zones I-II)

Place a piece on the board but in horizontal position.

Move the piece to horizontal position

Move a piece already on the board in the indicated direction.

The same as above. In fact this is the ordinario way of moving a

Place a piece on the wooden box in vertical position. In this case

two pieces at the same time, with two hands.

so that only one line of it is in contact with the board. The

Place the indicated pieces to the RIGHT of the indicated zone. An

L sign would indicate LEFT.

Hold the piece of wood as indicated in the illustration, so that the

second piece plays a tremolo on the first, whose color changes as

the position of the first piece shifts.

shifting the angle it is possible to isolate any of the two sound or

The resulting sound is brighter than with the previous version.

the action of removing the fingers must be AUDIBLE, as with the

edge. A second piece performs a tremolo on the first piece, with

Upbow and downbow with the nail. When performing

one side of the piece lying down is lifted, as notated already.

downbow the nail faces the same direction in which it is moving,

Hit the board with your knuckles.

Megaphone facing down.

The notated fade-out of the individual nails is only

otherwise indicated (dead stroke)

approximative. NB: there is no diminuendo written, so that the

The siren s held slightly longer so that it begins to sound.

The same but with tremolo.

Rub the indicated surface with the superball

While blowing air (u shaped, a very concentrated stream of air,

stream in a very fast tremolo movement. A kind of helicopterhelicopter

like sound should result.

Guiro on black keys, as fast as possible.

the gero (with the thumb)

6 6 6 6

/u/ . /u/ /o/

D5 b 5t b n 5t n 55t