For Two Pianos and Live-Electronics: Irrgärten

Hans Tutschku
Irrgrten
for two pianos and live-electronics

score

First Edition 2011
by HT publishing
Somerville, MA 02144, USA

All rights reserved / Alle Rechte vorbehalten.
Photocopying prohibited by law / Fotokopieren gesetzlich verboten

copyright Hans Tutschku 2011

Irrgrten
for two pianos and live-electronics
studio : Harvard University and EMPAC/ 2010
duration: 24 min
dedicated to Jacopo Baboni Schilingi
first performance by Jennifer Hymer and Bernhard Fograscher on
January 21, 2011, Klub Katarakt Festival - Hamburg

The composition is about memory and could be compared to a walk through different mazes (Irrgrten).
Both pianos constantly play very similar material and build up very energetic dialogues and at times a
common voice.
The piece is structured in sections of contrast. Little by little, excerpts of later sections are appearing like
foreshadows. While the composition progresses, certain sections of earlier material are partially or entirely
repeated - though, the electronics are different for those repeated piano parts.
While walking through the maze one tries to get a picture of the path: certain places look similar, but they
are different in reality - one gets trapped.
The electronics are realized with two iPhones or two iPods (4th generation), one for each pianist.
The built-in microphone is used to detect piano notes and to synchronize the electronic sounds to the live
part.

Techni cal requi rements for I rrgrten
- Two iPhone devices (possible models iPhone 3GS, iPhone 4, iPod touch 4th generation)
- Four small, high quality active monitors, two inside each piano, placed on a pieces of foam
- Two cables to connect the output of the iPhones to the monitors
- Electricity on both pianos for the powered monitors

El ectroni cs
This composition is my first attempt to experiment with easy electronics.
Im using the capacity of the iPhone to play back prepared sounds. The build-in microphone is used to track
the instruments amplitudes and synchronize sound files to the interpretation of the pianists. The electronics
are conceived in such a way that each player has an iPhone on the music stand and can control them
without the help of a technician or assistant.
One problem with the realization of pieces involving instruments and electronics is the lack of proper
rehearsal conditions. Very often the instrumentalists will rehearse their parts like chamber music without
getting used to the sound world, nor the interaction with the electronics. At a very late moment, often just a
couple of days before the concert, the electronics are added and the musicians have simply no time to adapt
their interpretation to this new situation.
My desire to avoid returning to a pre-produced CD track, which causes many problems in terms of
synchronization with the instrumental part and forces the musicians into a rigid timeframe, was the impetus
to experiment with the capacity of the iPhone. The electronic sounds are short sequences, which are re-
synchronized to the live part using amplitude tracking with the build-in microphone.
This set up is, indeed, very limited compared to live-processing with Max/MSP or other computer software.
However, I wanted to see how far I could go, musically, with such a sparse configuration that avoids
microphones, sound cards, and computers all together.

There is no need for loudspeakers in the concert hall. The electronics are played back through four small,
high quality monitors, two of which are placed inside each piano. The monitors face the piano lid, which
acts as a sound reflector, and they are placed as far apart as possible from each other. For example, one
monitor is close to the keyboard, and the other one is close to the low strings. The electronic sounds should
fuse as much as possible with the instrumental sounds. The mini-jack output of each iPhone is connected to
the monitors inside the piano. The sound files from each iPhone are in stereo.

two monitors placed inside the piano, facing the piano lid

Fostex 6301B monitor

The i Phone i nterface
There are two separate applications - one for each piano (Irrgaerten-1 and Irrgaerten-2), downloadable from
the iTunes AppStore. The interface has the same look on both applications, but the electronic scores (the
Events) and the sound files are different. To start a rehearsal, on presses the settings button on the main
interface.

The "loudspeaker test" is used to ensure that the two channels are connected to the corresponding monitor
inside the piano.

The "chromatic scale" plays back a chromatic scale from the lowest to the highest piano note and serves to
set the general level on the monitors (7 on the rotary knob for the Fostex Monitors is a good reference). The
output volume of the iPhone should be set to maximum. This sound file can also be used to determine the
sound quality of the loudspeakers in cases where the Fostex monitors are not available. The sound should
be as natural as possible and evoke the impression that the real piano is playing. The use of small computer
or game loudspeakers is not recommended, as they are unable to reproduce the sound quality of a piano.

The Adjust tuning feature will play a repeated A4 note at 440Hz. The iPhone tuning can be adjusted to
the tuning of the piano with the slider below the switch. The new tuning value is stored in the preferences
of the application and is ready to be used. There is, thus, no need to go back to the tuning procedure

between rehearsal and concert. OpenAL, the lowest level of sound playback within the iPhone API, allows
the tuning feature to be accessed.

Because the various iPhone/iPod models have different built-in microphones, the input signal varies from
model to model. The overall sensitivity is too high, which results in false triggers when the respective other
piano is playing loud notes.

By covering the built-in microphones with sticky tape and taping the iPhones to the piano music stand, they
act like contact microphones. That way each iPhone is only picking up the notes from the own instrument.
The sensitivity value of 0.99 (less sensitive) worked best for the iPod (4th generation) but this value may
vary depending on the used piano. To adjust the threshold, on uses the function "adjust microphone trigger
threshold." Each note played on the piano with the dynamic, forte, should gate two consecutive chords in
the electronics part. However, the second chord in the electronics part should not "auto-trigger" another
sound file. If that happens, the microphone is set too sensitively. The sensitivity value is stored in the
preferences of the application and used from then on.

Update events from the I nternet
The electronic score is stored as a database on the device, independent from the sound files. Each Event is
marked in the musical score with a number. They are different for both pianos, as sound files are not
always triggered at the same time. Each Event contains the sound file to play, as well as data about volume
and durations. When an update (corrections) to these electronic scores is necessary, I upload a new database
onto a specific HTML page. The button update Events from the internet is then used to download the
updated version. Because the location of this updated file is known to the application, no further
information has to be given.

For the update to work you need obviously a connection to the internet - through the phone provider or
WIFI. After the update process you press done and you have to close and restart the application to get the
new events activated.

Since IOS 4 it is not sufficiant anymore to press the home button to quit the application.

Press the home button once to get back to the iPhone screen, then press the home-button fast twice. All
active programs are shown at the bottom of the screen. Press now the icon of "Irrgaerten" and keep your
finger on it until it starts to move and a red "minus"-circle is shown. Release your finger and press this red
circle, the application will quit and be removed from the working memory.

Restarting the application after this procedure makes sure, the new events are updated.
From now on you can just start the application as usual and the new events will always be taken into
account.

Performance i nterface

The large rectangular area on the top of the screen is the progress bar. It gives a visual feedback, for
example, how far along one is within any given Event. After an Event has begun, the progress bar scrolls
from left to right. When the progress bar reaches the right edge, the Event is finished. Most often, the
display then presents a green progress bar. This indicates that the iPhone has activated the internal
microphone and is waiting (listening) for the next note to be played. The pianist sees the indication,
green, for such moments in the instrumental score.
When the pianist articulates the next note, the iPhone automatically starts the next Event, and thus plays
synchronously with the piano. This gives musicians some freedom for rubati and interpretation.
Nonetheless, the metronome indications in the score should be as accurate as possible.

Additionally, there are several places where the pianist is required to touch the button, touch, on the
lower left corner of the interface to switch the listening feature back on (marked with the term, touch, in
the score).

If the following Event requires this manual touch action, the progress bar of the current Event is red to
remind the player of the upcoming "touch" action. Once the previous Event has terminated and the iPhone
is ready for the touch action the progress bar turns pink.
To navigate to a different Event during the rehearsal process, the pianist must press the prepare button,
scroll to the desired Event number, and select it from the menu.

The application returns automatically to the main screen, and the small number on the right side of the
prepare button indicates the prepared Event number.

The pianist activates an Event by pressing the touch button. After the pianist presses touch, the
progress bar advances while the sound files preload to give the pianist time to prepare to play before the
Event is activated. The pianist can also use the prev and next buttons to navigate to adjacent Events
during the rehearsal process. Stop stops playback and should not be used during a performance.

Certain Events (for example: piano 1 - Event 49) do not simply play one single sound file. For the entire
duration of the Event, the microphone conveys loud notes in the piano part and triggers short buffered
sound files which were preloaded at application start. In these sections, the rendering of the electronics may
vary from performance to performance, depending on the interpretation. The progress bar is blue for
these Events.

Di sposi ti on of the pi anos on stage

To use the piano lids as reflectors for the electronic sounds into the concert hall, both pianos have to keep
their lids at the maximum opening facing the audience. The following arrangement allows for this and
enables the pianists to communicate visually with each other.

Expl anati ons and symbol s i n the score

All accents should be played clearly louder than the dynamics of the surrounding notes. All alterations are
valid for the entire measure. Repetitions of alterations are only printed as reading aids.

Many sections of the piano part are notated on a double system. The treble clef is extended upwards and
reads 2 octaves above the normal treble clef, the bass clef is extended downwards two octaves. This makes
fast switches between registers easier to read.

In sertain sections silent chords are put into the middle pedal and used as resonances.

The same symbol in parenthesis is a reminder that there is still a chord in the middle pedal.

Release the middle pedal.

Downl oads
download the iPhone applications Irrgaerten-1 and Irrgaerten-2 from the iTunes Appstore

&
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
2
4
2
4
2
4
2
4
2
4
2
4
6
4
6
4
6
4
6
4
6
4
6
4
2
4
2
4
2
4
2
4
2
4
2
P1
P2
b
b

U
b
b

U
b

M!
M!
70
put chord silent into
middle pedal
middle pedal
electronics
touch
A
green
electronics
touch green

#
>
b

b
#

b

#

U

b
>

n
b

b

U
b

70
f
f
F
F p
p
1
1
green
green
excerpt bars 7+8
excerpt bar 5
>
>
!
p
p
2
2
excerpt bars 4+5 (treatment 1)
green
bar 7 treated
>
b
>
b
b

>
#
3
!
>
J

b
3
!
3
F
F
f
*
bars 2 and 4
f
*
&
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
P1
P2
!
5
#

b
>

n
b

n

b

.
>
3
!
!
5

b n

>
b
!

!
.
n
!
f F P
f P
(M!)
(M!)
green
p
F
>

!
!
.
.
.
.
.
.
.
.
b
n
!
P
3
excerpt bars 4+5 (treatment 2)
green
F
!

b

b n

b

>

3 3

J
b
>

.
. .
"

b
>
b
3
3
f
f
*
P
# P
f
4
bars 2 and 4 + reversed
- page 1 -
Hans Tutschku (2010)
Irrgrten for two pianos and live-electronics
A
updated 2011-2-27
&
?
&
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
9
4
9
4
9
4
9
4
9
P1
P2
!
8

b
>
#
n
b
>
n

b

b
b
n

n
b
3 3
3 3
!
8
b

#

>
b . n .

b
3
F
P
( 70)
( 70)
(M!)
(M!)
!
b

>
.
b
!
!
b

>

b

>
P

b
.
n
>
.

.
p
green
green
P
touch
touch
P
>
@
W
!
! !
>
@
W
F
F
4
5
bars 14 and 17
bars 7 to 11 treated
&
&
4
3
4
3
4
6
4
6
P1
P2
12

>
b

b

>
b

b

3 3
12

>

f
f
*
(M!)
(M!)
P
P
*
R
b

>
n
#

b n
n
.

>
b

b

>
b
5
3
3
>
b
>

n
b

b

.

>
b

.
b n

b
>

f
f
&
?
&
4
4
4
4
4
4
4
4
4
4
4
7
4
7
4
7
4
7
4
7
4
2
4
2
4
2
4
2
4
2
P1
P2
!
14

b

>

b
b
>

n
3
!
!
14

b
b
>
n

b

f
F
(M!)
(M!)
P
P
!

!
!
!

!
green
touch
green
touch

5
f
f
*
*
6
bar 2
bars 8 to 10 + reversed
- page 2 - A
&
?
&
?
4
5
4
5
4
5
4
5
4
5
4
5
4
4
4
4
4
4
4
4
4
4
4
4
P2 P2
P1
!
17

b

b

>
n
b
b
>
n
"

b

3 3
!
!
17
w
p
f p f
( 70)
( 70)
(M!)
(M!)

>
>
>

!
M*
M* *
*
f
green
F
touch
touch
!
# .

. n
!

#
. #

.
#
3
55
55
7
green
d-sharp gliss 0.8
B
&
?
&
?
P1
P2
".

20
.
#
.

"
.
#
"
.
#
!
20
"

.
!
$
#
()
()
6
d-sharp gliss1.3
!
R
.
5
!
.
#
#
# .

.
#
green
"

"
#
.
#
# .

3
!
. .
#
!
#
7
d-sharp gliss 1.1 and 1.3
green
!
.
n .
!
. #

#
. .
n
3
#
#
8
d-sharp gliss 1.1
&
?
&
?
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
P2 P2
P1
24
"

#
#
.
3
!
24
. . .
#
!
#
()
()
w
!
!
.
.
#

R
. .
3

.
#
"
. .
3
$
#
*
!
!
b
b
>

n
#

n
>
b
b
>
n
b
!
76
f
76
P
"

#
. # .
n
. n
@

!

.
#
#
!
55
55
#
$
green
touch
- page 3 - A/B
&
?
&
?
4
3
4
3
4
3
4
3
4
3
4
3
4
7
4
7
4
7
4
7
4
7
4
7
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
P2 P2
P1
!
28

28
#
.
#
. #
5
"
"
( 55)
( 55)
()
()
9
d-sharp gliss 1.3
!
#
#

.
@
!
!
#

.
@
.
#

$
!
. . w
!
!
. . w
!
!

#
.
#
.
#
!
.
#
#
J
3
"

R
.
5
!
!
.
#
#
!
green
green
touch
&
?
&
?
P1
P2
#

33
#
#
.
#
# .

3

33
#
.
#
. #
. .
n
5
"
"
8
()
()
10
d-sharp gliss 0.9
!
.
n .
!
!
. . .
#
b

.
.
!
!
.
b
.
#
#
J
!
.

#
#
!
.
#
#
!
green
!
3
#

#
#
.
b

#
. .
"
11
&
?
&
?
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
P2 P2
P1
!
38
.
#
.
#
38
.
. .
@
#
!
()
()
!
.
#
#
!
w
!
*
p
!
#
#
#
!
#
#
!
M!
p
middle pedal
!
>
#
#
#
>
#

#
. #
>
!

!
!
76
76
P
*
like a surprising
outburst
!
.
!
.
#
. .
#

.

. #
55
55
p
$
$
.
U

#
#
U
!
green touch
- page 4 - B
&
?
&
?
4
9
4
9
4
9
4
9
4
9
4
9
4
4
4
4
4
4
4
4
4
4
4
4
P1
P2
! !
44
b
b
#
b
#
! !
!

!
44
"
#

b
b
b
#
b
!
!
( 55)
( 55)
f
(M!)
() *
f
F
9
12
chord tremolo
green
chord tremolo
touch
!
.
#
#
U
!
!
#
#
b

U
!
M!
*
*
middle pedal
C
F
green
green
p
>
>
#
#
#
>
#

#
. #
>
. .
#
>
n
b
b
>

n
#

n
>
b
b
>
n
b

>
>
b
b

>
b
b

>
76
76
f
f
10
13
treated gures of part C
&
?
&
?
4
5
4
5
4
5
4
5
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
P1
P2
47
#
>

5
!
47
b
>
b
b
b
.
n
!
f
P
(M!)
(M!)
f
P
#
>

@
w
!

#
#

.
p
#
#
55
55

#
#
>

@
. .
@
#
!
f
F
f
76
76
F
f
.
#
#
!
w
>
!
*
*
F P
&
?
&
?
P1
P2
51
#
"

>
#

#
>
#

#
#
>
51
>

>

# n
>
#
5
!
f
f
(M!)
(M!)
#
>
#
.
n

>

n
!
# . .

>
.
!
P
P
.
>
" b
.
!
#
>
#
#
# n
. b
b
>
b
>
b
b
>
b
>

b

n .

>

f
f
P
f
- page 5 - B/C
&
?
&
?
P1
P2
54
b

!

>

!
54

>
b

>

b
b
b

!
( 76)
( 76)
(M!)
(M!)
f F
F
f
#
>

#
>

>

#
>

>
#

#
>
#

#
#
>
b
b
>

n
#

n
>
b
b
>
n
b
f
f
P
P
&
?
&
?
4
7
4
7
4
7
4
7
4
7
4
7
P1
P2
!
56
>

.
"

.
b
!

!
!
56
b
>

>
b
b

>
b
b

>
b
>
b
b
b
.
n
f
f
f
(M!)
(M!)
!

w
U
!
!

"

!

U
!
P
F
p
p
green touch
green touch
&
?
&
?
4
6
4
6
4
6
4
6
4
6
4
6
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
P2 P2
P1

!
58
b
b
#
b
#

#
#
>
.

58
b
b
b
#
b

b
>

b
>

>
3
3
p
F
(M!)
(M!)
f
11
14
!
.
.
!
!
.
!
b
>
. . #
>

.

.

!
!
.

>

#
!
f
f
*
*
- page 6 - C
&
?
&
?
4
3
4
3
4
3
4
3
4
6
4
6
4
6
4
6
4
4
4
4
4
4
4
4
P1
P2
61

>

5
61
#

n
>
#
5
!
f
( 76)
( 76)
(M!)
(M!)
f
P
P
>
#

#
>

@

#
>
#
#
# n
b
#

>

@
w
P
P
F
f

>
>
>
b
>

b
>
b
# n
b
b
>
b
b
b
>
>
>

b
>
b
>
b

n
>
f
f
&
&
?
4
3
4
3
4
3
4
4
4
4
4
4
P1
P2
64
64
!
(M!)
p
p
(M!)
f
f
>

#
>
# n

>

n .
b
b
>

n
#

n
>
b
b
>
n
b

>
>
b
b

>
b
b

>
f
f
b
>
b
b
b
.
n "

.
!
!
F
F
&
?
&
P1
P2
67
b
. .
@
b
>
.

!
67
w
P
P
(M!)
(M!)
>
#

>
>

>

#

. n
>
#
5
f
f
#

#
>

>

n
>
#
>
n
b
>
b
# n
b
3
# . .

>
.
&
?
&
?
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
P1
P2
70
>

.
"

.
b
@

!
70
#
>
#
>
#
#
# n
b
>
b
>

b
>
b
>
b
>
(M!)
(M!)
F
F
p
P
p
P
#
>

!
>
b
b
b
>
n
# n
>
b
b
>
n
b
f
f

>
>
n
>
#
>
n .
b
>
b
b

>
b
b

>
.
b
>
b
b
b n
- page 7 - C
&
?
&
?
P2 P2
P1

73
b
b
# n
b
b
>

#
>
#
n
n
#
. #
U

73
U
!
F
f
F
f
( 76)
( 76)
(M!)
(M!)
green
P
P
touch
green
touch
>

>
.
>
b
>
.
>

>
>
>

#

b
.
b
>
b
>

b

J
#
>
6
3
F
F
f
chord tremolo (bar 81)

12
chord tremolo (bar 81)
15
!
w #
!
!
. .
>

#
"
n
>
#
3
5
!
#
#
*
*
&
?
&
?
4
7
4
7
4
7
4
7
P2 P2
P1
76
>
b
b
# n
b

76
#
>

>

#
>
#
>
3
f
f
F
(M!)
(M!)
f
b
>

#
>
#
n
n
#
. #

!
#
# n
b

>
b
>

b
>
b
>

>

b
>

b

. n
3 3
f
M*
M*
F
P
p
$
F P
!
!
!
!
55
55
&
?
&
?
4
9
4
9
4
9
4
9
4
9
4
9
4
7
4
7
4
7
4
7
4
7
4
7
4
9
4
9
4
9
4
9
4
9
4
9
P2 P2
P1
!
79
w
w
w
w
b
b
w
w
w
w
w
w
w
b
#
w
w
w

!
79
w
w
w
w
w
w
w
b
b
b
#
b
w
w
w
w
w
w
w
!
*
as soft as possible with

very equal voicing
as soft as possible with
very equal voicing
*
!
w
w
w
w
w
w
w
w
#
b
b
b
b
#
.
.
.
.
.
..
.
!
!
w
w
w
w
w
w
w
w
#
b
b
b
b
#
.
.
.
.
.
..
.
!
*
*
!

!
w
w
w
w #
#
b
w
w
w
w

w
w
w
w
b
b
#
w
w
w
w

!

!
w
w
w
w
w
w
w
w
b
b
#
b
#
w
w
w
w
w
w
w
w
!
green
touch
green
touch
*
*
- page 8 - C
&
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
P2 P2
P1

82
.
>

>
.
b
.
>

b

82
.
>

>
>

#

b
.
b
>
b
>

b

J
#
>
6
3
F p
f
F
96
96
D
chord2 + b-at tremolo

chord2 + b-at tremolo, different version from piano 1
*
*
13
16
!
b
#
>
.

!
!
# n

.
#
>
J
J

>
3
!
*
f
f P
*
!
n
#
>
b

b
#
#
3
!
.
b
#
>
3
!
*
F
p

*
P
&
?
&
?
P2 P2
P1
85
.
#

#
>

#
b

#
b

#
b
b
n
>
"

#
b
n
#
>
J
n #
#
#
b
>

n
#
#

#
b
>

>
3 3
3
!
85
>

.
>

.
b
* *
f
*
f
P
. .
#
#
>
.
.
!

b
>

.
b
>

P p
p
*
!
>
#
>

#

#

>
>
#
>
#
.
.
*
F
P
F P
&
?
&
?
P2 P2
P1
88
>
>
b
88
!
!
*
F
P

b
b
>
n
.
n
#
>
b
3
!
>

.
n
#
>
.
b
!
5
*
f
f
p
P
P
b
>

. b
>
"

b
>
P
F
*
b
n
#
>
b
!
b
@
b

#
#

>

#
#
.
#
>

#
b
#
>

f
P
P
p
P p
F
P
- page 9 - D
&
?
&
P2 P2
P1
92
.
>
b
>

b
#
>
#
b b
b
>
.
.
.
.
.
#
b
b
n

92
#
#

#
>
#
#

#
#
.
.
.
n
#
#
>
#
#

#
#
b
n

#
n
>
#
#
.
.
.
.
.
#
#
#
P
F
P
F
f
( 96)
( 96)
*
()
p
>
#
>

b
#
>
b
b
#
#

n
n
#
#
#
!

#
#
#
!

#
#
#

#
3
3 3
#
#
#

b
#
>
.
.
.
.
.
.
b
b
b
b
#
>
b
#
n
>
#
b
.
b

#
b
b
n
>
n
>
n
b
n
#
>
b
#

#
>
b
F
P F f
*
P
*

&
?
&
?
4
6
4
6
4
6
4
6
4
6
4
6
4
2
4
2
4
2
4
2
4
2
4
2
P2 P2
P1
"
94
. .
#
#
>

.

#
>

3
"
94
b
#
>
n
#

>
!
"
*
*
*
F
P
F
"
b
b
>
n

b
>
3
"

!

>

>
>
>

#

f
*
P
P

b
@

U
"

b

@

U
"
#
#
green touch
green touch
b
>

"
b
#
>

"

different from piano 1
*
*
14
17
&
?
&
?
4
4
4
4
4
4
4
4
P2 P2
P1
98
.
.
b
.
#
>
.
#
>
#
#
.
.
3
98
>

.
b
b
>
*
f
P
f
f P
f
. .
. .
#
#

>

.
#

#
>
#
#
J
b !
b
>

. .
>
>
3
F
P
f
*
#
#
>
>
#
J
>
#

b
b
>

3
3 3 3
#
>
.
.
"
F
F
P
p
- page 10 - D
&
?
&
?
P2 P2
P1
101

b
.
>
#
>
.
#
.
#
.
101
.
.
b
#

>
#
#
#
#

#
>
R
#
#
3
3
5
>

>
#

f
F
( 96)
( 96)
f
P
*
*
f
F
F
.
#
>
.
#
>
#
#

n
#
#
>
#
#

#
#
b
n

#
n
>
#
#

#
#
#

#
#
b
n
>

j
b
>
3
f
f P
P
f
. .
>
. .
# .
#
>
. .
. .
. .
. .
. .
. .
#
#
#
#
>

w b
*
*
P
&
?
&
?
P2 P2
P1
104
#

>
!
.
3
!
104
#
"

b
#
>

.
.
.
.
.
.
b
b
#
#

n
n
#
#
#
"

#
#
#

#
#
#
3
p F
p
f
>

"

#
>
.
"

>

5
!
f
F
*
*
"
# n .
>
!
#
.
b
b
>
b
>
b

#
>
!
P
P F
#
#
#
>
#
>
.

b
#
>
5
!
f
*
F
f
P
*
f
&
?
&
?
P2 P2
P1
108
#
#
>

#

>
108
>

b
. b
b
>

f
f F
F
. b
b
>

.
.
.
.
.
b
#
>
#
>

b
#
>

b
#

>
" "

b
#
>

b
#

>
"
3 3 3 3
b
#

b
b
b
"

b
b
b

.
.
.
.
.
.
b
b
b
.
.
.
.
.
.
b
#
>

b
#

>
n
5

" b
.
>
F
F f
*
*
P
F
f
f
f
- page 11 - D
&
?
&
?
P2 P2
P1
!
110
"

b
b
b
>
b
b
#
b

b
#

b
b
>

!
!
110
b
b

b
b
#
b

n
n
#
b
#
"

#
b
#

.
.
.
.
.
.
#
b
#
.
.
.
.
.
.
b
b
n
>
b
b
#

b
#

#
>
#
5

"
.
>
( 96)
( 96)
f
f
()
!
.
.
.
.
.
.
b
#
.
.
.
.
.
.
b

!
!
"
.
>
@

#
>
!
!
w #
!
!
w n
!
#
#
!
w
!
!
w
U
!
U
!
touch
green
touch
green
&
&
4
6
4
6
4
6
4
6
P2 P2
P1

115
#
b
b
b
b
#

115
b
>

b

f
chord 3 - resonance
55
55
green
*
*
F
F
glissandi
15
18
19
!
!

#

green
green 21
20
green
#
b
b
b
b
#

b

chord 3 - resonance
green
F
16
22
!
!

b

green
green
green 23 24
&
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
6
4
6
4
6
4
6
4
6
4
6
4
4
4
4
4
4
4
4
4
4
4
4
P2 P2
P1

119
w
w
w
w
b
b
w
w
w
b
#

119
w
w
w
w
b
b
w
w
w
b
#
f
b-at tremolo glissando up 1.035

bat tremolo gliss up 1.03
*
f
*
17
25
!
b

!
!
b
"
.
!
!
!
!
b
!
!
b
!
!

"
.
!
!
!
!

!
!
b

.

!
E
!
#

!
#
b
b

M!
M!
*
*
middle pedal
middle pedal
blue
blue
- page 12 - D/E
&
?
&
?
P2 P2
P1

125
>
#
>

>
#
.

>

>
b
. b
>
@

125
>
>
b
#
#
>

#
>
#

>
#

>

#
#
>
76
76
F
f

f
in this section 10 prepared excerpts of E are triggered in a circular order,
everytime the microphone depicts a loud attack
in this section 10 prepared excerpts of E are triggered in a circular order,
(M!)
(M!)
18
26
!
w
!
!
b

>

# n #
>
#
.
n

>

>

. #
!
p
f
P
&
?
&
P2 P2
P1
127
. b
@
b
>
b

>

>
.
5
!
127
w #
f
p
p
P
(M!)
(M!)
.

>
#
.

>
>

> #
.

>
. n
@

!
. #
>
.
b
>
n
f P
f
.
#
>

>

>

>

.
5
p
F
p
&
?
&
?
4
7
4
7
4
7
4
7
4
4
4
4
4
4
4
4
P2 P2
P1
130

>
#

>
.
>
. .
>

>
!
130
b
>
b

b
>
#
#
>
n
#
>
#
@

!
p

p
f
f
(M!)
(M!)
>
#
>
.
n
.
>
#
>
n
. . b
>

>
#
n .
>

>
b
#
#
>

#
#

>
#
f
f
!
.
.
w
w
.
w
!
>
#

>
.
>
#

>

>
b
b
>

>
#
#
>

b

>
# n #
>
#
.
n
f
f
f
&
&
?
4
6
4
6
4
6
4
4
4
4
4
4
P2 P2
P1
134
b .
>
b

> .
134
"
. #
>
.
b
>
.
n

>

5
!
f
(M!)
(M!)

. b
>
@

>

>

>

>
#

#
>

>
n
F P
F
f
. w b
.
w
!
P
P
b

@

>
b
!

#
>
n .
b
b
#
>
n
#
b
>
.
b
>
#
>
n
#
>
n
#
#
p
f
f
f
- page 13 - E
&
?
&
?
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
6
4
6
4
6
4
6
4
4
4
4
4
4
4
4
P2 P2
P1
138
>

b
b
>

#

>
n
>
n
>
138
#
!
f
( 76)
( 76)
(M!)
(M!)

.
>

>
. .
5
!
#
b

>

#
>
#
.
n

>

. #
>
!
F p
F
p
f
. w
!
. w #
!
P
P
>

#

.
>

n
>

#
.

b

>

w #

!
f
f
&
?
&
?
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
P2 P2
P1
sync start of part F to other player
sync start of part F to progress bar
142
# n

>
# n
b
>
b
b

#

>
n
n

#
@

@
3
!
142

>
. n
. #
>
.
b
>
n
!
(M!)
(M!)
.
#
!

. n
!
touch
P
P

b
b

#

n
>
n

>
!
>
#

>
#

#
>
n
>
memory of B
.
#

#

3

#
.

.
5
#
"
"
M*
M*
F
55
55
subito
d-sharp tremolo transposed 1.2
27
&
?
&
?
P2 P2
P1

146

.
#
.
#
!
146
.
b
.
#
"
()
()
.
5
!
!
#
.
# .
#
#

.
touch green
. $ $

$

#
.
#

. #
#
3
!
. .
#
!
"
green
19
"
!

. n
5
!

#
.
#
.

.
5
"
28
- page 14 - E/F
&
?
&
?
P2 P2
P1
!
150

.
"
5
!
150
.
b
.
( 55)
( 55)
#
()
()
p
#
like a surprising
outburst
!
.
#
. #
!
.
b
b

b n
#

!
. .
!

.
#
#
!
#
#
touch
touch green
.

R
#
#
R
n
n
5
5 3
.
#

#
.
#

. #
. .
n
5
green
#
29
20
!

#
5
!
. . .
#
&
?
&
?
P2 P2
P1
155
#
R

J
n
5 3
!
!
155
.
#
.
#
#
R
. .
3
()
()
J
b
.

3 3 5
3
!
!
.
#
#
!
green
.

"

"
#
.
#
. #
. .
n
5
#
30
#
#

# #

3
!
. . .

"
#
J
3
!
!

.
#
.
#
#
R
. .
3
.
n
5
!
!
.
#
#
!
&
?
&
?
4
7
4
7
4
7
4
7
4
7
4
7
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
9
4
9
4
9
4
9
4
9
4
9
4
7
4
7
4
7
4
7
4
7
4
7
P2 P2
P1
!

161
w
w
w
w
w
w
w
w
#
b
b
b
b
#
.
.
.
.
.
..
.
!
!

161
w
w
w
w
w
w
w
w
#
b
b
b
b
#
.
.
.
.
.
..
.
green
*
*
touch
green touch
"

#
#
3
3
"
#
"

"
#
.
#
#
. .
n
5
#
21
31
!
. n
!
!
.
. .
@
!
.
!
!
!
.
$
!
w
w
w
w
b
b
w
w
w
w
w
w
w
b
#
w
w
w

!
w
w
w
w
w
w
w
b
b
b
#
b
w
w
w
w
w
w
w
*
*
!
w
w
w
w
w
w
w
w
#
b
b
b
b
#
.
.
.
.
.
..
.
!
!
w
w
w
w
w
w
w
w
#
b
b
b
b
#
.
.
.
.
.
..
.
- page 15 - F
&
?
&
?
4
9
4
9
4
9
4
9
4
9
4
9
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
P2 P2
P1
!
167
w
w
w
w #
#
b
w
w
w
w

w
w
w
w
b
b
#
w
w
w
w

!
167 w
w
w
w
w
w
w
w
b
b
#
b
#
w
w
w
w
w
w
w
w
!
*
*
"
"
( 55)
( 55)
!
.
#
#
. #
>

!
.
#
.
#

>
.
3
!
#
#
!

!
!

.
#
#
#
!
#
.
>

3
!
#

.

. .
5
!
"
!

.
#
#
5
!
!
w
!
.
U
.
U
.
touch green
touch green
- page 16 - F
&
&
?
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
P2 P2
P1

173
b
b
>

#

n
b n
b
>

b

173

b
b n
#
G
*
*
70
70
f
f
ad lib
bars 173 to 181 slow
22
32
!

b n

b

b

>

>
n

b
>

b

b n
b
>

b
9
7
!
b
b

b n
#

!
*
*
F
P
&
&
?
P2 P2
P1
175

b n

>

b

b

>
n

>

b
>

9 7
175
"
#

#

#

.
.
.
#
#

#
#
>

.

P
P
*
F
P
#
>
n

#
b
>
#
n

>

#
b
#
>
n

#

n
#

b
>
n
b

#
n

>

n
9 7
6 10

b
b n
.
#

.
.
.
b
b

b n
. #
P
*
f
F
&
&
?
P2 P2
P1
177 b

b

>
n

>
b

b

b
n
b

>
b

b

b
n
b n
>
n

7 9
7
9
177

b n

b
.

#
>

>
*
F

F
p
ad lib
b

n
>

#

n

>

.
b
>

b
9
7
#

b

#
n

# n

b

>
n
#

#

>
#

b

n
n
9 7
!
p
F
F F
ad lib *
- page 17 - G
&
&
P2 P2
P1
automatic
179

>
. b

>
b

b
b
n
>
b

b
b
.

179
b

>
# n

b
b
>
b
#
n
b

@
#
n
f
f
touch
P
*
*
( 70)
( 70)
!
b
>
b
b
.
b
>
.
@

#
>

#
#

#
>

#
n
>
b
b

b
b

#
>
#

9
7
f
*
* ad lib
33
P
p
P
p F
&
&
P2 P2
P1
automatic

. .

181

@
.
@
!
>
. b

>
b
181
#
#
n
#
>

#
#

#
>

n

#
n
>
b
b

b
b

#
>
#

9
7
7
9
P P
touch
P p
()
bars 181to 184 slow
23
F
f
"
b
b
b
>

b
b
b

b
>
#
#
n
>
b

#
n

# n

b

>
n
#

#

>
#

6
9
9
P
#
P
*
&
&
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
P2 P2
P1
auto
auto
"
183
b

>
# n

b
b
>
b
#
n
b

@
#
n
"
183
b

>
. b

>
b

b
b
n
>
b

b
b
!
f

P
*
P
*

. #
.
n
U

.
U
p
p
*
*
touch
touch
>

!
!
>

#

>

b
>

n

b
>
#

#
n

>
b
n
#
n

# n

b

>
n
#
9 7
p
p
p
* ad lib
ad lib
24
34
- page 18 - G
&
&
?
P2 P2
P1
186

b
>

# n

#
n b
#
>
n

#
b
#
>

#
b n
186

#

>
#

b

n
n

b
>

n

#

#
n
.
f
*
*
( 70)
( 70)
.
!
>

#

>

b
>

# n

#
n b
#
>
n

b
b n
#

.
b
b

b n
#

@
>
*
F
f
* ad lib
&
?
&
?
P2 P2
P1
188
#
b
#
>
#
b n
!
>
>
#
#
#
#

#
.
>
@
188

b n

b

.
.
#
>
. .
. .
f

F
*
*
*
ad lib
@
!

#
#

#

#
n
#
>
.
.
@
.
.
!

#
#
#
#
>
#
!

! #
>

#
#
#

b
>
b

#

n
b n
#
>

n

#
n
>
b
b

b
b

#
>
#

9
7
"
F
f

P
*
*
&
&
P2 P2
P1
190
#
>

#

n
#

b
>
n #

n #

>
n b

b

b
>
n

#
n
n
b
190
#
#
n
#
>
#
#
.
!
b
>
b

#

n
b n
n
>
f
f
* ad lib
b
>

b

b n

>
n b

b

>
n

>
b

b

b
n
#

>
# n

b

>
n
#

#

>
#

b

n
n

b
>

n

#
#
&
?
&
?
4
6
4
6
4
6
4
6
4
6
4
6
4
4
4
4
4
4
4
4
4
4
4
4
P2 P2
P1
auto
auto
"

192 b n
>

b

b
>

b

>
b
!
.
9
7
"
"

192
#

#
n

>
b
b

b
b

#
>
#

#
#
n
#
>
#
#
!
.
9
7
"

p
*
*
touch
touch

b
>
b
b
b
b
>
b

b
>
.
>
>
.
.
#

>
@

.
b

>

b
*
*
f
f
25
35
- page 19 - G
&
&
4
7
4
7
4
7
4
7
P2 P2
P1
!
194
.
# n

.
b
b
>
b
b

!
194

>
. b

>
#
.
n

.
b
b
>
b
b

()
()
F
F
( 70)
( 70)
!
b
>
.
@
.
>
# .
@
.
!

w
!

w
no decrescendo "
no decrescendo
"
touch green
touch green
&
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
P2 P2
P1

197
R
b
>

#

.

>
b
>
5 3
5
3
!

197
>

>
b

b
>

#
#
H
55
55
36
part H granulation + reverb reversed
*
*
part H granulation + reverb reversed
f
f
26
!
w
!
!
j
. b
>
!
!
b
>
r
. .
3
!
w
!
!
.
b
b
>
3
!
j

>
.
3
!
*
!
b
b
>
.
.
b

.
n
!
!
.
#
>

>
.
!
*
&
?
&
?
P2 P2
P1
202

.

>

b
5
!
202
# .
3
!
#
#
()
()
. b

.
n
b
.

>

!
#

>
b
.
n
b
b
b
r
>
3 5
5
!
"
w
!

.

#
3
b

b

b
>

.
#
>
#
R
#
>

#
# n
. #
#

5
3
3
!
"
- page 20 - G/H
&
?
&
?
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
4
4
4
4
4
4
4
4
P2 P2
P1
206
!
w #
206
.
#

>
# n
#
#
!
"
"
( 55)
( 55)
w #
. #
.
>
!
r
#
5
. .
#
>
R
#
5
!
*
*
. #
r
#
>
>
5
!
R
#

. . .
5
#
>
.
5
"
p
$
!
!
w
$
!
!
.
$
w
#
>
#
>

3
!
"
p
w
!
w #
!
"
w
!
w #
!
&
&
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
P2 P2
P1
!
215
. .
b
>
. .
b n
!
215
w #
"
b
>

w n
touch
touch
p
!
.
!
. #
green
green
p

.
.
.
.
.
..
.
#
b
b
b
b
#

.
.
.
.
.
..
.
#
b
b
b
b
#
I
115
115
37
F
F
*
*
chord bar 218 resonance
chord bar 218 resonance
27
!
b
>
.
.
b

n
!
>

#
>

#
>

>
b
n
b
b
5
P
P
!
b
>
#

!
b
.
b
>
#
>

&
&
?
P2 P2
P1
221
. .

j
#
>

R
#
. .
3
3
221
w #
!
*
b
.

>

>
w #
!
P
P
w
w
!
*
b

>
b
>
.
#
>
#
>
# .
.
n
#
b
!
F
F
*
w #
>
.
P
w #
w
!
F
w #
>
.

5
P
w #

#
.
>
F
&
?
&
?
P2 P2
P1
!
229
w #
!
!
229
b
>
!
*
P
P
!
#
R
. .
>

3
!
!
. .
b
>
!
!
.
j
b
>

b
>
.
b
b
b
b
.
#
!
*
!
.
b
b
>
b
3
!

>
.
. #
!
!
b
b
>
.
!
!
#
>
!
p
!
b
b
!
#
>
b

!
w
U

!
w
U
green
*
*
touch
green touch
- page 21 - H/I
&
&
?
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
P2 P2
P1

236
b
b
>

#

n
b n
b
>

b

236

b
b n
#
70
70
f
f
K
38
memory of G
ad lib
bars 236 to 244 fast
28
!

b n

b

b

>

>
n

b
>

b

b n
b
>

b
9
7
!
b
b

b n
#

!
*
*
F
P
&
&
?
P2 P2
P1
238

b n

>

b

b

>
n

>

b
>

9 7
238
"
#

#

#

.
.
.
#
#

#
#
>

.

F
P
P
P
#
>
n

#
b
>
#
n

>

#
b
#
>
n

#

n
#

b
>
n
b

#
n

>

n
9 7
6 10

b
b n
.
#

.
.
.
b
b

b n
. #
P
*
f
F
&
&
?
P2 P2
P1
240 b

b

>
n

>
b

b

b
n
b

>
b

b

b
n
b n
>
n

7 9
7
9
240

b n

b
.

#
>

>
*
F

F
p
b

n
>

#

n

>

.
b
>

b
9
7
#

b

#
n

# n

b

>
n
#

#

>
#

b

n
n
9 7
!
p
F
F F
* ad lib
- page 22 - K
&
&
P2 P2
P1
auto
242

>
. b

>
b

b
b
n
>
b

b
b
.

242
b

>
# n

b
b
>
b
#
n
b

@
#
n
f
f
touch
P
*
*
( 70)
( 70)
!
b
>
b
b
.
b
>
.
@

#
>

#
#

#
>

#
n
>
b
b

b
b

#
>
#

9
7
f
*
* ad lib
39
P
p
P
p
F
&
&
P2 P2
P1
auto

. .

244

@
.
@
!
>
. b

>
b
244
#
#
n
#
>

#
#

#
>

n

#
n
>
b
b

b
b

#
>
#

9
7
7
9
P P
touch
P p
()
29
F f
"
b
b
b
>

b
b
b

b
>

!

#
#
n
>
b

#
n

# n

b

>
n
#

#

>
#

6
9
9
P
#
P
*
&
&
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
P2 P2
P1
auto
auto
"
246
b

>
# n

b
b
>
b
#
n
b

@
#
n
"
246
b

>
. b

>
b

b
b
n
>
b

b
b
!
f

P
*
P
*

. #
.
n
U

.
U
p
p
*
*
touch
touch
>
!
!
>

#

>

b
>

n

b
>
#

#
n

>
b
n
#
n

# n

b

>
n
#
9 7
p
p
p
40
* ad lib
ad lib
30
- page 23 - K
&
&
?
P2 P2
P1
249

b
>

# n

#
n b
#
>
n

#
b
#
>

#
b n
249

#

>
#

b

n
n

b
>

n

#

#
n
.
f
*
*
( 70)
( 70)
.
!
>

#

>

b
>

# n

#
n b
#
>
n

b
b n
#

.
b
b

b n
#

@
>
*
F
f
* ad lib
&
?
&
?
P2 P2
P1
251
#
b
#
>
#
b n
!
>
>
#
#
#
#

#
.
>
@
251

b n

b

.
.
#
>
. .
. .
f
F
*
* * ad lib
@
!

#
#

#

#
n
#
>
.
.
@
.
.
!

#
#
#
#
>
#
!

! #
>

#
#
#

b
>
b

#

n
b n
#
>

n

#
n
>
b
b

b
b

#
>
#

9
7
"
F
f

P
*
* ad lib
&
&
P2 P2
P1
253
#
>

#

n
#

b
>
n #

n #

>
n b

b

b
>
n

#
n
n
b
253
#
#
n
#
>
#
#
.
!
b
>
b

#

n
b n
n
>
f
f
b
>

b

b n

>
n b

b

>
n

>
b

b

b
n
#

>
# n

b

>
n
#

#

>
#

b

n
n

b
>

n

#
#
- page 24 - K
&
?
&
?
4
6
4
6
4
6
4
6
4
6
4
6
4
4
4
4
4
4
4
4
4
4
4
4
P2 P2
P1
auto
auto
!

255 b n
>

b

b
>

b

>
b
!
.
9
7
!
!

255
#

#
n

>
b
b

b
b

#
>
#

#
#
n
#
>
#
#
!
.
9
7
!
p
*
*
touch
touch
( 70)
( 70)

b
>
b
b
b
b
>
b

b
>
.
>
>
.
.
#

>
@

.
b

>

b
*
*
f
41
f
31
&
&
4
7
4
7
4
7
4
7
P2 P2
P1
!
257
.
# n

.
b
b
>
b
b

!
257

>
. b

>
#
.
n

.
b
b
>
b
b

()
()
F
F
!
b
>
.
@
.
>
# .
@
.
!

w
!

w
no decrescendo "
no decrescendo "
touch green
touch
&
&
4
6
4
6
4
6
4
6
P2 P2
P1

260
b
>

b

260
#
b
b
b
b
#

f
55
green
chord 3 - resonance
55
*
F
*
glissandi
F
32
33
42
green

#

!
!
green
green
green
35
34 green
#
b
b
b
b
#

green
chord 3 - resonance
36
43
F

b

!
!
green
37
38
- page 25 - K
&
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
4
5
4
5
P2 P2
P1
!
264
b
!
264
b
M! *
middle pedal
70
M! *
middle pedal
70
this chord remains in the
middle pedal till the
end of the piece
this chord remains in the
middle pedal till the
end of the piece
blue
blue
L
>

.

#
#
#
#
#
#
. #
n
#
#
#
>
#
n
.
>

#
#
#
>
#
#
#
n
n
>
f
P
F
p
F
P
f

F
P
F
in this section 18 excerpts of L are triggered in a circular order,
in this section 20 excerpts of L are triggered in a circular order,
39
44
P
!
#

@
.

>
"
b
n
. b
3
!
#
#
#

#
#

#
#

>
# n

#
#
#
. #
>
.
3
f P
P
f
f
F
F
P
&
?
&
?
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
P2 P2
P1
267
b
>
b
.
b
>
b

b
>
b

b

.

>
b
#
# . #
267
#
>
>
#
#

#
@
!
. #
n #
#
#
#
#
n
>
f
f
P
P
f
F
f
P
F
(M!)
(M!)
. #
>

#
#
#
#
>
#
#

#
>
#

. #

>
#

#
#
>

>
@
#
#
#
>
#
#
.
#
n
#

n
# n
n
>
#

P
f

P
p
f P
P

P
F

p
p
&
?
&
?
4
7
4
7
4
7
4
7
4
2
4
2
4
2
4
2
4
6
4
6
4
6
4
6
P2 P2
P1
269
. .
. .
. .
. .
. .
w
w
w
w
w #
#
!
269
. . w
!
# P
(M!)
(M!)
*
.
.
.
.
.
#
#
#
.
.
#
#
!

>
.

>
b
p
p
p
#
#
>
.
. #
>
@
j
b
b
n
. b
b
b

.
>
b

3
b
b
>
b

b
b
b

>
b
b
b
>
n
b

.
b
.
b
6
.
>

f
F f p
$
P
f
f
F
p
$
P
- page 26 - L
&
?
&
?
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
P2 P2
P1
272
b

>
b

#

b
>
n
#
272
b
>

>

b
b
. b

b
>
b
n
b
3
P f
F !
F
( 70)
( 70)
(M!)
(M!)
P
F P
"
#
>
b

b
b
b

b
b
.
b

>
b
n b
b
>
n
b
"
b
b

>
b

b
b
b
b

>
b
b
>
b
n
>
3
F
p
P f
P
F
P
f
&
?
&
?
4
4
4
4
4
4
4
4
P2 P2
P1
274
b
>
" b
>

>

>

#
b b
.
b

>
#
274
>

b
b
b
b
>
n
b
b
.
b
>
b
n
n
"

>
F

(M!)
(M!)
f
F

P
b

b

>
b
b
b
b
>
b
b
b n
#
b
>

.
b

>
b

b
b
.
.
.
.
.
j
b
>
#
F F P
F f
F
P
&
?
&
?
4
5
4
5
4
5
4
5
P2 P2
P1
276
b
>
.

b
b
b
b
b

.
.
.
.
.
.
b
b
b
b
276
b
b
b

b
b
>

b
b

n
b
n b
n b
>

b
b
5
f

(M!)
(M!)
F
b
b
b
b

>
b

b
b

. .
. .
. .
. .
. .
b
>

b
b
b
b
>
.
b
b
>
.
b
. b

n
b
n b
.
n
b j
b
n
.
b
P
F
P
- page 27 - L
&
?
&
?
4
4
4
4
4
4
4
4
P2 P2
P1
278
.
>

>

#
# .

>
b

>
b
J

>
#
#
278
.
b
b
>
n b
b

>
.
b
n
#
b

.
b
P
f P
( 70)
( 70)
(M!)
(M!)
f
p
p
p F
p

>
#
b
.
n
>
#
n
#

b

>

# .
b
>

.
b
!
b

.
>
b
.
!
f P
f P
f P
F

&
?
&
?
P2 P2
P1
280
b b
>

b

>
b

280
. .
b

>
b

#
.
#

#
>
n #
#
#
# n
b

f P
f
(M!)
(M!)
f
b
#
b
b
b

.
!

>
b

#
#

.
n

>
. #
"
#
#
n
F P
P
&
?
&
?
P2 P2
P1
282
. b n
b
>
n
. #
"
#
"
>
b
#
b

b
j
282
.
#

>
#
#
>
n
n

#

#
>
#
n

#

#
#
3
(M!)
(M!)
F
F

b
.
>
.
b
#
#
.
.
.
.
.
#
>
#
#

#
#
>
#
# # # n
#

5
f
p
F p
&
?
&
P2 P2
P1
284
b

>
b

#

#
>
n

#
3
284
#

>
#
.
# . #

#
( 70)
(M!)
(M!)
P f
p
#
>

#

#
>

.
#
>
# n
# n
# # n
#
#

n
.

>
!
n
>
b

>
b . b
b
>
. .
b
b
>
b

b
n
b
b
p
f
p
- page 28 - L
&
?
&
?
P2 P2
P1
286
#
b
>
b
b
>
b b
n
#
b
3
286
b

>
b
.
b

>
b

>
.
b
b
>
.
b
.
b
b
>
(M!)
(M!)
p
F
p
F
( 70)
( 70)
b
.
j
!
.
>
b
b
b

>
b
n
#
b
b
@
3
P
F
P

>
b

#

#
>
n
.
>
#
b
b
5
F
f
P
&
?
&
?
4
2
4
2
4
2
4
2
4
2
4
2
P2 P2
P1
!
289
#

.
"
#
>
#
#

# .
!
!
289
b
>
b
(M!)
(M!)
P
F
!
.
b
>
#
b
b
5
!
>

#

#
>
.
#
"

#
>
#
#

#
3
55
F
f
P
F f
55

# .
U
!

#

.
U
!
touch
touch
green
green
&
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
6
4
6
4
6
4
6
4
6
4
6
P2 P2
P1

292
w
w
w
w
b
b
w
w
w
b
#

292
w
w
w
w
b
b
w
w
w
b
#
b-at tremolo glissando down 0.98
bat tremolo gliss down 0.975
f
( 55)
(M!)
(M!)
( 55)
40
45
!
b

!
!
b
"
.
!
!
!
!
b
!
!
b
!
!

"
.
!
!
!

b

U
!

b

.

U
!
touch green
touch
green
- page 29 - L
&
?
&
?
4
2
4
2
4
2
4
2
4
2
4
2
4
6
4
6
4
6
4
6
4
6
4
6
4
2
4
2
4
2
4
2
4
2
4
2
P2 P2
P1

297
#
>
b

b
#

b

#

297
b
>

n
b

b

b

70
f
f
F
F p
p
70
(M!)
(M!)
M
*
*
memory of A
chord tremolo
chord tremolo
41
46
!
>
!
!
>
!
p
p
>
b
>
b
b

>
#
3
!
!
>
J

b
3
!
F
F
f
*
f
*
&
?
&
?
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
P2 P2
P1
300
#

b
>

n
b

n

b

.
>
3
!
300

b n

>
b
!

!
.
n
!
f F P
f P
(M!)
(M!)
p
F
>
!
.
.
.
.
.
.
.
.
b
n
!
f P

b

b n

b

>

3 3

J
b
>

.
. .
"

b
>
b
3
3
f
f
*
P
# P
f
&
?
&
4
2
4
2
4
2
4
3
4
3
4
3
4
9
4
9
4
9
P2 P2
P1
303

b
>
#
n
b
>
n

b

b
b
n

n
b
3 3
3 3
303
b

#

>
b . n .

b
3
F
P
(M!)
(M!)
b

>
.
b
!
b

>

b

>
P
f
.

!
b
.
n
>
.

.
p
P
>
@
W
>
@
W
F
F
- page 30 - M
&
&
4
3
4
3
4
6
4
6
P2 P2
P1
307

>
b

b

>
b

b

3 3
307

>

f
f
*
(M!)
(M!)
P
P
*
( 70)
( 70)
R
b

>
n
#

b n
n
.

>
b

b

>
b
5
3
3
>
b
>

n
b

b

.

>
b

.
b n

b
>

f
f
&
?
&
4
4
4
4
4
4
4
4
4
4
4
9
4
9
4
9
4
9
4
9
4
7
4
7
4
7
4
7
4
7
4
9
4
9
4
9
4
9
4
9
P2 P2
P1
!
309

b

>

b
b
>

n
3
!
!
309

b
b
>
n

b

f
F
(M!)
(M!)
P
P
!
w
w
w
w
b
b
w
w
w
w
w
w
w
b
#
w
w
w

!
w
w
w
w
w
w
w
b
b
b
#
b
w
w
w
w
w
w
w
*
55
55
*
!
w
w
w
w
w
w
w
w
#
b
b
b
b
#
.
.
.
.
.
..
.
!
!
w
w
w
w
w
w
w
w
#
b
b
b
b
#
.
.
.
.
.
..
.
"
*
"
!

!
w
w
w
w #
#
b
w
w
w
w

w
w
w
w
b
b
#
w
w
w
w

!

!
w
w
w
w
w
w
w
w
b
b
#
b
#
w
w
w
w
w
w
w
w
green
touch
green
touch
*
*
soundle 41 should
blend into 42
soundle 46 should
blend into 47
&
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
P2 P2
P1

313
.
>

>
.
b
.
>

b

313
.
>

>
>

#

b
.
b
>
b
>

b

J
#
>
6
3
F p
f
F
96
96
*
*
(M!)
(M!)
N
memory of D
chord tremolo
chord tremolo
42
47
!
b
#
>
.

!
!
# n

.
#
>
J
J

>
3
!
*
f
f P
*
!
n
#
>
b

b
>
#
#
3
!
.
b
#
>
3
!
*
F
p

*
P
- page 31 - M/N
&
?
&
?
P2 P2
P1
316
.
#

#
>

#
b

#
b

#
b
b
n
>
!

#
b
n
#
>
J
n #
#
#
b
>

n
#
#

#
b
>

>
3 3
3
"
316
>

.
>

.
b
* *
f
*
f
(M!)
(M!)
P
( 96)
( 96)
. .
#
#
>
.
.
"

b
>

.
b
>

P p
p
*
"
>
#
>

#

#

>
>
#
>
#
.
.
*
F
P
P
P
F
&
?
&
?
P2 P2
P1
319
>
>
b
319
"
"
*
(M!)
(M!)
F
P

b
b
>
n
.
n
#
>
b
3
"
>

.
n
#
>
.
b
!
5
*
f
f
p
P
P
b
>

. b
>
!

b
>
P
F
*
b
n
#
>
b
!
b
@
b

#
#

>

#
#
.
#
>

#
b
#
>

f
P
P
p
P p
F
P
- page 32 - N
&
?
&
P2 P2
P1
323
.
>
b
>

b
#
>
#
b b
b
>
.
.
.
.
.
#
b
b
n

323
#
#

#
>
#
#

#
#
.
.
.
n
#
#
>
#
#

#
#
b
n

#
n
>
#
#
.
.
.
.
.
#
#
#
P
F
P
F
f
( 96)
( 96)
*
(M!)
(M!)
p
>
#
>

b
#
>
b
b
#
#

n
n
#
#
#
!

#
#
#
!

#
#
#

#
3
3 3
#
#
#

b
#
>
.
.
.
.
.
.
b
b
b
b
#
>
b
#
n
>
#
b
.
b

#
b
b
n
>
n
>
n
b
n
#
>
b
#

#
>
b
F
P F f
*
P
*

&
?
&
?
P2 P2
P1
325
. .
#
#
>

.

#
>

3
325
b
#
>
n
#

>
!
"
*
*
*
F
(M!)
(M!)
P
F
#
#
>

#

>
>

b
. b
b
>

f
f F
F
. b
b
>

.
.
.
.
.
b
#
>
#
>

b
#
>

b
#

>
! !

b
#
>

b
#

>
!
3 3 3 3
b
#

b
b
b
!

b
b
b

.
.
.
.
.
.
b
b
b
.
.
.
.
.
.
b
#
>

b
#

>
n
5

! b
.
>
F
F f
*
*
P
F
f
f
f
&
&
?
P2 P2
P1
"
328
!

b
b
b
>
b
b
#
b

b
#

b
b
>

"
328
b
b

b
b
#
b

n
n
#
b
#
!

#
b
#

.
.
.
.
.
.
#
b
#
.
.
.
.
.
.
b
b
n
>
b
b
#

b
#

#
>
#
5

!
.
>

f
(M!)
(M!)
f
()

.
.
.
.
.
.
b
#
.
.
.
.
.
.
b

U

!
.
>
@

#
>
U
"
green
green
*
*
*
touch
touch
- page 33 - N
&
?
&
?
4
5
4
5
4
5
4
5
4
5
4
5
P2 P2
P1

330

>

.

#
#
#
#
#
#
. #
n

330
#
#
#
#
>
#
n
.
>

#
#
#
>
#
#
#
n
n
>
f
P
F
p
F
P
f

F
P
F
(M!)
(M!)
70
70
O
memory of L
part O excerpts granulation + reverb
43
48
P
!
#

@
.

>
"
b
n
. b
3
!
#
#
#

#
#

#
#

>
# n

#
#
#
. #
>
.
3
f P
P
f
f
F
F
P
&
?
&
?
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
P2 P2
P1
332
b
>
b
.
b
>
b

b
>
b

b

.

>
b
#
# . #
332
#
>
>
#
#

#
@
!
. #
n #
#
#
#
#
n
>
f
f
P
f
P
f
F
f
P
F
(M!)
(M!)
. #
>

#
#
#
#
>
#
#

#
>
#

. #

>
#

#
#
>

>
@
#
#
#
>
#
#
.
#
n
#

n
# n
n
>
#

P
f

P
p
f P
P

P
F

p
p
&
?
&
?
4
7
4
7
4
7
4
7
4
7
4
7
4
2
4
2
4
2
4
2
4
2
4
2
4
6
4
6
4
6
4
6
4
6
4
6
P2 P2
P1
!
334
. .
. .
. .
. .
. .
w
w
w
w
w #
#
!
!
334
. . w
!
(M!)
*
# P
(M!)

.
.
.
.
.
#
#
#
.
.
#
#
U
!

>
.
U

>
b
U
green
p
p
p
touch
touch
green
#
#
>
.
. #
>
@

j
b
b
n
. b
b
b

.
>
b

3
b
b
>
b

b
b
b

>
b
b
b
>
n
b

.
b
.
b
6
.
>

F f p
$
P
f
f
f
F
p
$
44
49
P
- page 34 - O
&
?
&
?
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
P2 P2
P1
337
b

>
b

#

b
>
n
#
337
b
>

>

b
b
. b

b
>
b
n
b
3
P f
F !
F
( 70)
(M!)
P
( 70)
(M!)
P F
"
#
>
b

b
b
b

b
b
.
b

>
b
n b
b
>
n
b
"
b
b

>
b

b
b
b
b

>
b
b
>
b
n
>
3
P
F P
f
F
p
P f
&
?
&
?
4
4
4
4
4
4
4
4
4
4
P2 P2
P1
auto
339
b
>
" b
>

>

>

#
b b
.
b

>
#
"

339
>

b
b
b
b
>
n
b
b
.
b
>
b
n
n
"

>
F

(M!)
(M!)
f
F

touch
50
P
b

b

>
b
b
b
b
>
b
b
b n
#
b
>

#
.
b

>
b

b
b
.
.
.
.
.
j
b
>
#
F
F P
F f
F
P
&
?
&
?
4
5
4
5
4
5
4
5
P2 P2
P1
341
b
>
.

b
b
b
b
b

.
.
.
.
.
.
b
b
b
b
341
b
b
b

b
b
>

b
b

n
b
n b
n b
>

b
b
5
(M!)
F
f

(M!)
b
b
b
b

>
b

b
b

. .
. .
. .
. .
. .
b
>

b
b
b
b
>
.
b
b
>
.
b
. b

n
b
n b
.
n
b j
b
n
.
b
P
F

P
- page 35 - O
&
?
&
?
4
4
4
4
4
4
4
4
4
4
P2 P2
P1
auto
343
.
>

>

#
# .

>
b

>
b
J

>
#
#
!
343
.
b
b
>
n b
b

>
.
b
n
#
b

.
b
P
f P
( 70)
( 70)
(M!)
(M!) f
p
p
p
F
p

>
#
b
.
n
>
#
n
#

b

>

# .
b
>

.
b
!

b

.
>
b
.
!
f P
f P
f P
F

p
51
touch
&
?
&
?
P2 P2
P1
auto

345
b b
>

b

>
b

345
. .
b

>
b

#
.
#

#
>
n #
#
#
# n
b

f P
f
(M!)
(M!) f
touch
#
b
b
b

.
!

>
b

#
#

.
n

>
. #
"
#
#
n
F
P
P
45
&
?
&
?
P2 P2
P1
347
. b n
b
>
n
. #
"
#
"
>
b
#
b

b
j
347
.
#

>
#
#
>
n
n

#

#
>
#
n

#

#
#
3
(M!)
(M!)
F

F

b
.
>
.
b
#
#
.
.
.
.
.
#
>
#
#

#
#
>
#
# # # n
#

5
f
p
F p
- page 36 - O
&
?
&
P2 P2
P1
349
b

>
b

#

#
>
n

#
3
349
#

>
#
.
# . #

#
(M!)
P f
p
(M!)
( 70)
( 70)
#
>

#

#
>

.
#
>
# n
# n
# # n
#
#

n
.

>
!
n
>
b

>
b . b
b
>
. .
b
b
>
b

b
n
b
b
p
f
p
&
?
&
?
P2 P2
P1
auto

351
#
b
>
b
b
>
b b
n
#
b
3
351
b

>
b
.
b

>
b

>
.
b
b
>
.
b
.
b
b
>
(M!)
(M!)
p
p
F
f
46 touch
!
b
.
j
!
.
>
b
b
b

>
b
n
#
b
b
@
3
P F
P
!

>
b

#

#
>
n
.
>
#
b
b
5
F
f
P
&
?
&
?
4
2
4
2
4
2
4
2
4
7
4
7
4
7
4
7
P2 P2
P1
354
#

.
"
#
>
#
#

# .
!
354
b
>
b
(M!)
(M!)
P
F
.
b
>
#
b
b
5
>
#
>
.
#
"

#
>
#
#

#
3
55
F
f
P
F f
55
# .
!
#

.
!

!
.
U
!
.
!
.
U
!
.
w
w
w
w
b
b
.
.
.
.
w
w
w
b
#
.
.
.
w
w
w
w
b
b
.
.
.
.
w
w
w
b
#
.
.
.
M*
M*
F
F
w
w
w
w
b
b
.
.
.
.
U
w
w
w
b
#
.
.
.
w
w
w
w
b
b
.
.
.
.
U
w
w
w
b
#
.
.
.
*
*
P
P
let ring until the
electronic sound
has faded out
let ring until the
electronic sound
has faded out
- page 37 -

For Two Pianos and Live-Electronics: Irrgärten

Hochgeladen von

Dokumentinformationen

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

For Two Pianos and Live-Electronics: Irrgärten

Hochgeladen von

Copyright:

Verfügbare Formate

Hans Tutschku

chord tremolo (bar 81)

as soft as possible with

chord2 + b-at tremolo

chord2 + b-at tremolo

b-at tremolo glissando up 1.035

Das könnte Ihnen auch gefallen