In spite of, and maybe even therefore - Simon Steen-Andersen

Flute:The flute is slowly taken apart: The flute is only played normally in thevery beginning. Mostly the flute part consists of taking the instrumentapart, playing on the bits and sliding them around on the table.Dynamics: The flute only has one dynamic in the piece; ppppp – as softas possible, but always sounding, and always trying to match thedifferent sounds dynamically. All actions are amplified.Resulting system: Above the main system is a small system with areduced and quantized result of the actions to show the wanted soundor pitch. A normal note head means pitch, a squared note head meansnoise, a cross means percussive sound.Tuning: The pitches in the resulting system are quantized pitches.Many of the alternative playing techniques produce tones, that are moreor less out of tune or very noisy. The harmonies (Bethoven Bagatellenop. 126) are not intended to be in perfect tune, but nevertheless, aneffort should be made to get as close to the written pitches as possible.Quasi legato / tenuto possible: All actions marked with a tenuto sign(-) are to be held evenly during their whole value, actively trying to makea quasi legato to the next action of the other instruments.Score: the part should be placed on the table, avoiding a stand to makethe actions as visible for the audience as possible.M*21: repeat measure 21 times.Detach / pick up – put on table.Noise sound – for example from sliding off a part of the instrument.Blow into the instrument (as indicated) 1 cm. away from the hole.Slide object on table.Tap opening of the instrument with 1 finger / tap with the palm.Close tube – open tube.Blow into the key holes as close as possible – as if playing pan flute.Tremolo: Always as fast / dense as possible.Horn:Mute: The beginning of the piece is played with a yahama silents brasspractice mute.The horn is slowly taken apart: The horn is only played normally inthe very beginning. Mostly the horn part consists of taking theinstrument apart, playing on the bits and sliding them around.Dynamics: The horn only has one dynamic in the piece; ppppp –assoft as possible, but always sounding, and always trying to match thedifferent sounds dynamically. All actions are amplified.Resulting system: Above the main system is a small system with areduced and quantized result of the actions to show the wanted soundor pitch. A normal note head means pitch, a squared note head meansnoise, a cross means percussive sound.Tuning: The pitches in the resulting system are quantized pitches.Many of the alternative playing techniques produce tones, that are moreor less out of tune or very noisy. The harmonies (Bethoven Bagatellenop. 126) are not intended to be in perfect tune, but nevertheless, aneffort should be made to get as close to the written pitches as possible.Quasi legato / tenuto possible: All actions marked with a tenuto sign(-) are to be held evenly during their whole value, actively trying to makea quasi legato to the next action of the other instruments.Score: the part should be placed on the table, avoiding a stand to makethe actions as visible for the audience as possible.Tubes: The tubes (and the corresponding keys) are numbered by sizeand horn (1 being the smallest); F-1, F-2, F-3 (middle pos., upper,lower), Bb-1, Bb-2, Bb-3. F-0 and Bb-0 are the tubes, leading the air tothe vaults.M*21: repeat measure 21 times.Detach / pick up – put on table.Noise sound – for example from sliding off a part of the instrument.Blow into the instrument (as indicated) 1 cm. away from the hole.Slide object on table.Close tube – open tube.“Air guiro”: During the piece tubes are sled to the “front position”, justin front of the player. Blow on the setup of pipes one after the other,from one side to the other, very close to the pipes.