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playing techniques

bow:

Position des Bogens:

strings

III

Ñ low bow pressure

Trill always as fast as possible

IIIII

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·ord.

Here you need to play "freely" in the noteted rhythm in a extremly high register. The stringsto be used are written above

‚Övicino al pont.

strong bow pressure

„vicino al pont. estremo

Tremolo always as fast as possible

ÑÖ extreme bow pressure

‰ sul pont.

Here you need to play fast movements over thewritten fingering. The sequence needs to bevaried

˜µ

Increase by a three-quarter tone

Increase by a quarter tone BbB Reduction by a quarter tone

Reduction by a three-quarter tone

ÖThis bar shows the increase of the bow pressure. Wherein the quoted pressure type a tone change needs to beachieved

Kk

Reduction by a sixth-tone

Increase by a sixth-tone

ÖÖThis bar shows the increase and the reuctionof the bow pressure ˘̆

Ö̆ Here is the sound of the bow pressure with slightvariations in the position of the bow and in the intensity of the pressure be freely modulated

Here you need to play a toneless sound. The quoted note shows the string to be played

Here you need to play in very high register

Here the handle should be chosen such that a very richsound in overtones can be played

&o

piano

Actions inside the piano

o o o. . .

. o o o o. . . .

o o o o. . . .

o o o o. . . . Here are the 'Harmonics wich are to be worn inside the piano. In this case, the

lower system shows the notes to be played and the upper systme shows there sounding result. Each of the 2 tones has 2 fixed flagoelette tones wich the deeperones are to be tapped near the dampers and the higher ones away from the dampers(it varies from piano to piano). If a glissando needs to be played, like in bar 49, only the fixed tones are listed. All the sounds between are "free" to play. Intendedto allow for easier playing the fixed tones are marked before in the score

&

ÿ◊The sounds from e3 to c5 need to be prepared before playing so that the "brilliance" is removed. The result should not be tonelessbut rather a "dull" not "overtone rich" sound. In the bars 68 to 72 the strings of the same register should be prepared so that no sound can be produced. Only the noise of the keys/strings should be heard

? j j j j j jj j jjj j j j j j

ªA®

r.H.>Krâ Here the written sound should be played and

additionally, as listed above the system, you sould hit the strings in the same register with your flat hand

ªAr.H.

2

‹r

( )

Here you should scratch with your fingernails within thequoted cluster .The crescendo bar above refers to theaction of scratching

‹

r.H.

ªA r â Here the written tone needs to be damped in the rhythm written above. If x is quoted without it`s above standing rhythm, the sound should alwaysbe damped inside the piano

&Ó Here the written chord should be played very

shortly. Additionally the tones need to be releasedas quick as possible from the top to the bottom, so that in combination with the finger pedal techniquethe sounding result is similar to a vibrato

This notation indivates the finger pedal technique, wichmeans the 3rd. sost. must be held down strictly aswritten. The written tones have to be pressed mute.

°

-åååJ

Here a cluster need to be played with the palm of the hands.The top tone is always indicated. the important thing is that the cluster chord will not be played "perfectly". Wich meansthat the keys should be pressed "irregular", with a very smalltime lag. This always vary

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