Simon Steen-Andersen:

Difficulties Putting it Into Practice (2007, rev. 2014)

for 2 amplified musicians Dur. c. 11’

Written for Royaumont 2007 Dedicated to Dr. Klemann

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstr2dets
Musikudvalg
T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg
Simon Steen-Andersen Difficulties Putting it Into Practice
(2007, rev. 2014)

for 2 amplified musicians Dur. c. 11’

PROGRAM NOTES: Difficulties Putting it Into Practice

To convey information about; make known; impart: communicated her views to the office.
To reveal clearly; manifest: her disapproval communicated itself in her frown.
To become aware of, know, or identify by the means of the senses: I perceived an object
looming through the mist.
To recognize, discern, envision, or understand: I perceive a note of sarcasm in your voice.
This is a very nice idea but I perceive difficulties putting it into practice.
www.dictionary.com, communicate/perceive
Notation:

Amplification: The performers voice actions must be amplified using a dynamic

microphone (ex. SURE SM 58). The table actions are amplified by means of a contact
microphone. The amplification should be rather extreme, turning a ppp into a forte, when
the performer is close to the mic. The performer must use the distance from the
microphone as means of controlling dynamics and as a way to ''zoom in'' on more subtle
sounds. An extra dynamic microphone should be used to amplify the rattled piece of paper.
This microphone should be as close as possible and an equalization that brings out the
low deep sound is desirable.

Dynamics: The basic idea is that the soft sounds are very amplified and the loud sounds
are much less amplified. Often the soft sounds will result louder than the sounds
performed with maximum energy. Once again, the performer must control the distance
from the microphone to bring out this aspects. Indications are often given in the score
regarding distance from microphone, specially when singing.

Objects: On the table there should be a pen, a writing block, a piece of A4 paper with 8
holes in it (an “air-guiro”), and performer 1 should also have a normal piece of A3 paper,
for the ''rattle paper'' actions, hanging from a stand. Two very small holes should be made
in this piece of paper and a soft sewing string should be used to hang it. The writing block
should be positioned horizontally and it is used for scribbling with the pen. Performer 1
should prepare a paper with 28 slices and performer 2 should prepare 31 for ripping by
cutting a couple of cms and bending the paper upwards.

“Air-guiro”: The air-guiro is played by blowing on the holes while moving the paper
sidewards. When blowing, the distance between the mouth and the paper decides the
colour of the sound. The distance will be indicated as either approx. 5 cm, 3 cm, 0 cm or
there will be indications of a gradual transition between two distances. In fff (as loud as
possible) the focus of the air stream should be adjusted to give the loudest possible sound.
When breathing in through the air-guiro is indicated, the mouth position should be found
where the sound of the holes is heard the most. The air-guiro paper is also used for other
sounds, such as a whistle tone produced by blowing a very soft and focused air stream on
the paper edge or simply a noise sound by blowing less focused and a bit harder.
See next page to get instructions on how to build the air guiro

Text: The text is never performed in a way where it is completely understandable, but
nevertheless there should be put a big effort into trying to make it understandable
(although it won’t be no matter the effort). There are two basic ways of performing text:
Speaking with completely closed mouth (mainly P1). 2) Speaking without air, doing an
exaggerated mime, where only the consonant-clicks and other attacks are left (mainly P2).
There will also once be normal speaking, but covered by a loud tone (the tone of
censorship in the american talk shows). Also isolated phonemes are used. The text will be
printed in the program and when knowing or reading the text, one should be more or less
able to follow (this doesn’t mean though, that there should be a special lightning for the
audience to be able to read – the text can also be read before or after).
Instructions on how to build the ''Air-guiro'':

1) Take a thick A4 piece of paper. Experiment with different thickness of paper to

check the best possible result.
2) Draw 8 parallel rectangles around the middle of the paper. Each rectangle should
be approximately 1 cm wide and 4 cms high. The rectangles should be separated
by approximately 2 cm. Leave around 3.5 cms to each margin in order to be able to
hold the paper with easiness.
3) Cut the upper excess of the paper in order to keep it away from the nose and eyes
while blowing. Leave approximately 2 cm between the edge of the cut paper and
the drawn rectangles.
4) Make the holes by cutting the drawn rectangles with a paper cutter.

CUT THIS PART

.
2
cm
.
.
.
4 ..3.5cm..
. 2cm .
cm
.
.
1cm
 Notation continued:
Action areas:

Air-guiro paper actions

Nose actions The tone B (as if in treble clef)

“Inside/outside scale”

Mouth actions
Table actions

“Inside/outside scale”:
“fingers”:
“lungs” “glottal click” “palate click” “vacuum T” “teeth” “vacuum B” “nails” / “finger tips”

- “Lungs”: Breathing sound coming from the lungs or deep from the throat.
- “Glottal click”: Single glottal click without any air, with the mouth/throat pos. like saying “ha”.
- “Palate click”: The very first part of a “g” sound without any air. A normal “g” sound is written with
a capital G to avoid confusioin.
- “Vacuum T”: Same tongue pos. as when say T, but simply performed by moving the tongue away
from the palate. A normal “t” sound is written with a capital T to avoid confusion.
- “Teeth”: The sound of the teeth coming together – only used in very soft dynamics.
- “Vacuum B”: Moving the lips slightly apart with the position of a B and with a slight sub pressure.
The normal “b” sound is written with capital B to avoid confusioin.
- Nails: The clicking sound of one nail sliding over another nail (performed with one hand). The
sound should be performed close to the microphone. The nail sign is also used in combination with
the teeth meaning to slide the thumbnail over an upper front tooth also producing a click sound.
- “Finger tips”: Let the thumb tip and middle finger tip hit eachother rather hard just outside the
mouth (being open) producing a soft resonance in the mouth.
Signs:
Pitch Spoken with closed mouth
Percussive sound Spoken normally
Noise sound Spoken without air (exaggerated)
Whistle / whistle-tone Move air-guiro in the direction of the arrow
Highest possible tone Gradual transition
Lowest possible tone Breath in / out
Used for whistle-tones Hyperventilation / rapid panting
produced inside the mouth Tenuto pos. – quasi legato to the next sound
Staccato always as short as possible
 Difficulties Putting
It Into Practice
for two amplified musicians

q =~60 Simon Steen-Andersen 2007

PAPER WITH HOLES
blow while passing all 8 holes with a sidewards movement (rev.2014)
blow 2-3 cm. away from paper,

m–- –- –- –- –- -– -– –-
breath in in every pause movement

–
ritardando

ã 41 ‰ .. 8 J
x203 J ‰ 41 .. ‰ .. 42 Œ 41 ‰ ‰ ‰
1
x5
P.1

Ï (poss.!) n Ï 3

PAPER WITH HOLES

blow 2-3 cm. away from paper,

m
slow movement,

˘–
q =~60 –- –- –- –- -– –-
breath in in every pause

–
accelerando

ã 41 ‰ .. 38 ‰ J 41 .. ‰
x52
‰ .. 4 Œ 41 ! ‰ ‰ ‰
x20
P.2

Ï (poss.!) n Ï 3

ª ª
(blow while passing all 8 holes with a sidewards movement)

–- ˘– ˘– –- -– –-
slow movement,

– –
accelerando mov. acc.

㉠42 Œ ! ‰ ‰ 41 ! ‰ ‰ ‰ 38
8

P.1

n Ï n Ï 3

–- –- –. –- –- –- –-
movement
ritardando mov. rit.

‰ 2 Œ ‰ 1 ‰ ‰ ‰ 3
8

P.2 ã 4 4 8
n Ï n Ï 3

ª ª

–- –- -– -– -– -– -– -–
(only 4 holes when
(use up all air!)
– –
playing 16th notes)

ã 38 J ‰ ! 41 ‰ 38 ! ! J 41 .. ! ! .. 42 .. .. 10
14
x5 x3
P.1 4

–- –- -– -– -– -– -–
(only 4 holes when

– –
playing 16th notes) (use up all air!)

ã 38 ‰ J ! 41 ‰ 38 ! ! ‰ 41 .. ! ! .. 42 .. .. 10
14
x5 x3
P.2 4

Simon Steen-Andersen: Difficulties Putting it Into Practice - 1

 -–
5 cm. -– -–
0 cm.
-–
ã 10 " 41 ‰ ‰ ‰ ‰
19 catch breath... (audible because of amplification)

P.1 4
Ï
5 cm.
-– -– -–
0 cm.
-–
10 " 1
4‰ ‰ ‰ ‰
19 catch breath... (audible because of amplification)

P.2 ã4
Ï
ª ª
(breath in
naturally -

-– -– -– -– -– ( –# ) -– ( –# ) ( –# ) ( –# )
as before) (sim.)
5 cm. (2-3 cm.)

‰ ‰ ‰ ‰ ‰ ‰
24

P.1 ã
($) Ï ( $ )
(breath in
naturally -

-– -– -– -– -– ( –# ) -– ( –# ) ( –# ) ( –# )
as before) (sim.)
5 cm. (2-3 cm.)

㉠‰ ‰ ! ! ! ‰ ‰ ‰
24

P.2
3 3 ($) Ï ($)
ª ª

-– -– -– -– -– 3 cm.
-– -– -– 0-–cm. -–
3 cm. 0 cm.-–
‰ ! ‰ ! ! ‰ ‰ ‰ 48 ! ! ! ! 41 ‰ ‰
32

P.1 ã
(Ï) 3 3
Ï

-– -– -– -– -– -– -– 0 -–cm. -–
3 cm.
-–
3 cm.
-–
3 cm.

‰ ‰ ‰ ‰ ‰ 48 ! ! ! ! 41 ‰ ‰
32

P.2 ã
(Ï) Ï
ª ª

("rattle" piece of paper very

(breath in)
(breath in) (breath out) close to the microphone - so

-–# %-– -–# %-–

soft that only a deep rumbling

-– -–
3 cm. 3 cm. 3 cm. 3 cm.
3 cm. effect is sounding)

㉠‰ ‰ ‰ ‰ æ
40

P.1
pppppp
(breath in) (breath out)

-–0 cm. -– -– -–# %-–

3 cm. 3 cm.

‰ ‰ ‰ ‰ ‰ "
40

P.2 ã

Simon Steen-Andersen: Difficulties Putting it Into Practice - 2

 -–
3 cm.
-–
3 cm.
-– -–
0 cm.
-–
0 cm.
-–
3 cm.
–
0 cm.
–
38 ! fl
㉠! ! 41 ‰ ‰ 28 41
46

J ¿.
$
P.1

Ï 't

-–
0 cm.
-–
0 cm.
-– -– 3 cm.
-– -–
0 cm.
–-
0 cm.

‰ 3 ! ! ! 1 ‰ ‰ 2‰ 1
46

ã 8 4 8 J 4
$
P.2

ª ª

-#– -#– %-– -– -– -– -–# -–#

0 cm. 0 cm. 3 cm. 0 cm. 0 cm.
0 cm. 0 cm.

1 ‰ ‰ 4! ! ! ! 1 3
4‰ ‰
51

P.1 ã4 8 8
Ï

-–# -–# %-– -– -– -– -– -–

0 cm. 0 cm. 3 cm. 0 cm. 3 cm. 3 cm.

ã 41 ‰ ‰ 48 ! ! ! ! 41 ‰ ‰ 38
51

P.2

Ï
ª ª

%-– -–# %-– -–# %-– -–#

mov. mov. 3 cm. 0 cm. 3 cm. 0 cm. 3 cm. 0 cm.
– – –
rit. acc.

fl
ã 38 41 ‰ ‰
56

¿.
P.1
$ 't Ï

%–- %-– -–# -–# %-– -–#

0 cm. 3 cm. 0 cm. 0 cm. 3 cm. 0 cm.

3 1
ã8 ‰ ! J 4‰ ‰ ‰
56

¿.
P.2

Ï
$
't

ª ª
whistle tone by blowing

%-– -– -– -– –- -– -–
a soft focused airstream

O.
0 cm. 3 cm. 0 cm. (0 cm.) on the edge of the paper 0 cm. 3 cm. 3 cm. 0 cm.

ã! ! ! ! 85 41 ‰ ‰
61

$
P.1

%-– -– -– -– -– -–
3 cm. 0 cm. 3 cm. 3 cm. 0 cm.
0 cm. 3 cm.

! ! ! ! 85 ! ! ! ! ! ! 41 ‰ ‰
61 3 3

P.2 ã ¿. ¿. ¿. ¿. ¿. ¿.
$'t T to T 't 't

Simon Steen-Andersen: Difficulties Putting it Into Practice - 3

 (transform to air sound

-–# %-– -–# %-– -–# %-– -–#

0 cm. 3 cm. by focusing less 0 cm. 3 cm. 0 cm. 3 cm. 0 cm.
3

O O –
and blowing more)

2 fl 1 2
!
66 9:4

ã 4 4 4
$ ¿. ¿. &to&convey
&&&&&&&
P.1

T to information 3
abou

%-– -–# %-– -–# %-– -–#

3 cm. 0 cm. 3 cm. 0 cm. 3 cm. 0 cm.
3 cm.
– O
0 cm.

42 ! ‰ 41 42
66

ã
¿. ¿. ¿.
P.2
P $
$ 't T to

ª ª

%-– -–#
(whistle tone ([f]) 3 cm. 0 cm.

O O –
on paper edge)

fl
ã 42 ! ¿ ‰ ! !‰ 41 42
71 3

. ¿. ¿. ¿. ¿. ¿. ¿. – – –.
P.1

$T 't T to T 't 't

' s f
n
(whistle tone 0 cm. 3 cm.

O- # %-– -–#
on paper edge - 0 cm.

$
NOSE
O O3–
right side)

2 J % –
1 2
! ‰ ! ! >˘
71

ã4 ¿. – . – ! ‰
4 4
$ ¿. ¿. ¿. –
P.2

$+ ("tongue stop")
T to T F 't F
n n

ª ª

(gradual transition
from air-noise to ("normally"
a whistled pitch) whistled tone)
always away

>
tremolo by patting (no patting) (sim. pat mouth)
from mic
mouth with finger(s)
œ œ
ã 42 –æ. 43 O 42 " 43
76 5

æO æ
– – –æ –. –. –. ¿.
P.1

$
[f] J [f] [s] s s s T

("normally"
whistled tone)

% %
(gradual always away
3 cm. 0 cm. from mic
(nose) transition

– –
–# -œ
3 from air-noise

– –
. .
ã 42 3 42 Œ 43
to a whistled pitch) ("glotal click")

‰
76

4 &. O ¿.
$ –. –. –. –. –. –. –. –
P.2

h h h f f f f [f]
ppppp
h'

Simon Steen-Andersen: Difficulties Putting it Into Practice - 4

 (singing,
always away from mic)

-
(hyperventilate)

%æ# %æ# % æ #
(nose)

-–
ng
(never vibrato)

‰
3 cm. 0 cm.
œ – œ œ œ œ
ã 43 42 81 J 42
79 5 3

¿. ¿. ¿. ¿. ¿. ¿. ¿. &to& convey
& & &&& &&¿. ¿. – –
3
P.1
Ï $ Ï
$
T 't 't 't 't 't T information
abou
T 't [f] [f] [m]

(singing,

%æ#
always away

-–
from mic)

-œ
5

%æ#
5
tremolo by patting

-– -–
0 cm.
œ.
3 cm.
œ
ã 43 O ‰ 42 81 J 42
mouth with finger(s) 3

!
79

æO æ
– – ¿. ¿. ¿. – &to&convey
& &&&&& & &
P.2
Ï
$ [f] [f] 't T to to [s] information
about

ª ª

(blow on

. . cm. on paper edge)

right paper (whistle-tone

œ. – – – O O >3 >+
edge) 0
œ
ã 42 ! 38 ‰ ¿j ‰ 42 Œ ‰ 38 24
83 ("glotal click") 3

¿. ¿. ¿. . ¿. ¿. ¿. ¿. ¿. ¿. –. O
P.1
J
$ m 3 't 't 't
ppppp
h' h'
$'t T T d d f
(d)

(half whistle,
half f-noise)
(whistle-tone

–. O O – O O O
(left side)

˘
on paper edge)

3 >
(very
œ œ
2 2 3J J J 2
ã 4 O –O – – & & 8 –j –j –
("glotal click")

" 4¿ ‰ Œ
83 3 sharp S)

8 4
. . . . .
P.2
$
$ f f f fs. s. S n $ ppppp
h'

ª ª

> %æ#
(spoken with closed (nose)
(nose)

–æ
3 or covered mouth)

œ.
("glotal

–.
(pat mouth)
œ
41 ‰ 28 38 42 Œ 43
89 click")

ã –æ
æO
3
P.1
¿. ¿. –. –. –. ø ø – ¿. ¿.
J
to to T s f h to con f f
ppppp
h' g'

(sing while making a whistle tone

%#
on the paper edge, resulting PEN ON PAPER (nose)

O Oœ
in kind of distortion of the tone)
(never vibrato) 5 3

œ œ œ
38 . –.
3 6 5

ãJ 41 28 2 " 43
89

P.2
¿. ¿. –. –. –.
4
Ï ––––––– – – – –
Ï
$
m

$
to to T s f h

Simon Steen-Andersen: Difficulties Putting it Into Practice - 5

 (whistle tone

-–
on paper edge)

– O
(sim. rattle paper) (pad mouth)

œ œ &
(pad mouth) (just patting)

j
ã 43 Œ Œ ¿j ‰ 42 æ æ 38 æ 42 43 O
94 9:4

æ &
æ¿
3

. pppppp O &&&&&&&&& ¿
P.1

$
to convey
h' information
abou

# %% 3 3
(sim.
nose trem)

> æ–
24 + #
("palate

– –
. .
ã 43 ¿. ¿j Œ j 2 38 ! ! 34 +
click")

Π"
94 3

¿. 4 .– ! ‰
3 3

. –. –. –. ¿. ¿. – –
$ –h. –.f –s. T¿. ¿'t. T¿.
P.2

ppppp $ $>
g' h' h' h f s T d f

n
ª ª

O O O 0–cm.O –
(left side)

2 38 ‰ % 2
(teeth) "lungs"

㌠Œ Œ ‰
99

¿. ¿. ¿. 4 ‹ ¿. ¿. ¿. 4
3 4:3

¿. ¿
. ¿.
$ -–
P.1
ppppp
ppppp
't g' h' h' g' 't 't g' h'

# >+ >
"lungs"

# 38 #j ‰ ‰ 42
"lungs"

Œ Œ Œ 42 Œ ‰
99 3

ã ¿ ¿. ¿.
3

P.2
. ¿. – ¿. ¿. ¿. – – – –. ¿. ¿. -–
+ d T ppppp
ppppp
h' g' 't h'
$'t T d f
(d)
f
n $
ª ª
(blow on right

-–
paper edge)

–
3 cm.

fl
0 cm.

.
("vacuum b") (teeth)

ã 42 " 43 ¿ 42 Œ ‰ ¿ ¿ 38 ¿ ¿ ‰ 28 38 ‰ ‰ j
105

J
3 3 3

¿ ¿. ¿. ¿. . . . . ¿. ¿. ¿.
P.1

'b 't g' g' g' 't g' h'

$ 't $ 't
't

O.
3 cm.

– – – –
0 cm. 0 cm.

# fl
ã 42 ¿ ¿. ¿. ‹ ‹ 43 24 ‰ 38 ‰ ‰ j 28 J 38 J
(teeth) ("lungs")

"
105 3
3

. & & & & – ¿.

P.2

h' g' 't commu ni ca $ $

't (f)

ª ª

#3
("lungs") (fingers+
(closed mouth) (teeth) resonance)

42 ‹ ‹ ‹ Œ
3 3

" ‰ ¿. ¿ ¿. Œ
111

P.1 ã ¿. –. ¿. ¿. ¿. ø ø ø
ppppp
h' h' g' 't
$to con vey ppppp 'b 'b

PEN ON PAPER

%#
(always energetic) (thumbnail

# %
over tooth) (teeth)

42 Œ
("lungs")

ã –j –
6 5

" Y‹ Œ
111

. ‹ ‹ ¿ ¿ ¿
P.2
- - . . .
ppppp –– ––––– – – – – – – – –
$ ppppp 't g' g'

Simon Steen-Andersen: Difficulties Putting it Into Practice - 6

 # . œ.
(teeth)

Y.
("quasi exagerated mime") ("lungs") (teeth) (pat mouth)
ng
œ
3 ‰ ‰ ‹‹ 1 2
5:4 3 3 (nails)

Œ 8!‹ ‹ 4Œ Œ
116

ã& & & & & 8

3

–æ
¿ O.
P.1
-– .
ppppp
Com Mun Ni Ca T 't
$f

(paper edge)
3

–
fl
(thumbnail

38 1 24 Y‹. Y‹.
3 over tooth)

" Œ ‰ ! " Œ
116

ã 8
3

¿. ¿ ¿ ¿.
. . ¿. ¿. ¿. ¿. ¿.
P.2

ppppp
't g' h' h' g'
$'t 't 't 't
ª ª

# # %
(fingers+ (lungs)
(teeth) resonance) (teeth)

3
3 3

¿ ¿ ¿ ‰ ‰ Œ
122 3 3

ã ‹ ¿. ¿
. ¿ ‹ ¿
. . 4 ¿. ¿.
& & & & & & -– -– -–
P.1
‡
'b (deepest 'b 'b 't g' Com Mu Ni Ca Te D h'
tone)

("quasi exagerated mime")

" ! Œ 43 ‰ Œ Œ ¿. ¿. ¿. ¿ Œ Œ
122

ã ¿.
& & & .
P.2

But I Per g' g' 't g' h'

ª ª
ng

. . . œ >
(teeth)
(nail+

! ‹. ‹. ‹. ‹. ‹. Y‹ ‰ 38 Y ‰ Y 28 3 38 ‰ ! Y‹ ‹ ¿ 43 ‰ ! ¿ ¿ ‹ Y.‹ ‰ ¿ ‰ 42
5 5 5 3

ãŒ
126 tooth) (nails)

P.1
J J ! ¿. ¿. ¿. ! . ¿
.. ¿
. .. .
ppppp 't g'
3
$ 't 't 't h' g' 't h'

(teeth)

. . 38 Y. ‰ ‰ . .
ã ¿ ¿. ¿. ‹ ‹ ‹ ‰ ‰ Y 38 ‰ YJ ‰ 28 ! j 43 ¿ ‰ Y ‰ Y 42
3 3 (very

‰ ¿
126 (nails) (nails)
sharp s)

P.2
. ¿. -– J . .
ppppp
$
3 3
h' g' 't 't S h' h'

ª ª
(nail+
tooth)

ã 42 ‰
(closed mouth) 3 3

‰ Y.‹ ‹ ¿. ¿ " ¿ Œ
131

¿ ¿
P.1
ø ø ø ø ø . .
ppppp 'b
$
to con vey in for 'b 'b

%#
PEN ON PAPER (fingers+

Y. #
resonance)

ã 42
6 5 3 3 5

‰ Œ ¿ ¿ Œ
131 (nails)

O‡
P.2
– – – – – – – – – – – – – – – – – – ppppp ‡ - ‡ & & & & &
$ But I Per Ceiv D

Simon Steen-Andersen: Difficulties Putting it Into Practice - 7

 –
(rattle paper)
– -–
3 3
4æ æ æ
3 3

" ¿. Œ
135

ã ¿. ‹ ¿. ‹ ¿. ¿. ¿ ¿. ¿. 8
.
P.1

't 'b 't g' h'

pppppp g' 't g'

# #
" 43 " Π38
135 3

ã ¿. ¿.
-– -–
P.2
& & & & & & &
h' h' Com Mu Ni Ca Te D Her

ª ª

j
(nail+

Y. Y‹.
(nail+ (closed mouth)

ã 38 ¿ ¿. ¿. ‹ Y.‹ 43 45 " 85 ‰ 42
tooth) (nails) tooth)

"
139

. ø ø ø ø ø ø ø
P.1

h' g' 't ppppp $

to convey in for mation

%#
(whistle tone by blow a very PEN ON PAPER

34 Y. Y. Y.
-OY
soft and focused air stream

ã 38 5 OY OY OY
85 42
6 5 3

" Œ
139 (nails) on the edge of the nail)

P.2 4
–– ––––––– ––– – – – – – – – –
$
ª ª

#
(fingers +

j
resonance)

#
(teeth)
(whistle inward)

ã 42 ‹ ¿ ‹ ‹ ‹ ‹ ‹ 85 ‹ ¿. ¿ ¿ 38 42
3 3

" ¿ Œ
143

O‡ O‡
P.1
‡ ‡
ppppp
't 'b
(deepest
tone)
(whistle highest

%— .
posible tone) (fingers +
(teeth) resonance)

ã 42 Œ ! ‹ ‹ ‹ ‹ ‹ 85 38 42 Œ
6 3

" ¿
143

¿
P.2
O. . ¿.
ppppp 'b 'b

ª ª

# # #
41 " " 24 Π41
147 5 5

ã&
-– h'¿. -– ¿. -– ¿.
P.1
& & & & & & & & &
But I Per Ceive Dif Fi Cul Tie S Pu
ppppp h' h'

(fingers) (teeth)

41 ¿. ¿ ¿. ‹ ¿ ¿ ¿ 42 41
3 3

" " Œ
147

P.2 ã . . . ¿. ¿. ¿.
ppppp
'b 'b 't g' h' h' g' g'

Simon Steen-Andersen: Difficulties Putting it Into Practice - 8

 (teeth)

ã 41 42 ‰ 38 43 ! ‹ ‹ ‹ ‹ ‹ ‹ 42
7:4

‰ Œ
152 5

ø ø ø ø ø ø ø ø ø
P.1
& & & & & & & & &
Com Mu Ni Ca
$ to con vey in for ma tion a bout
ppppp
Te D'herView S To

PEN ON PAPER (teeth)

ã 41 42 38 43 Œ ‹ ‹ ‹ ‹ ‹ 42
5

j
3

"
152 (slow)

¿
. ¿. ¿.
–æ –!
P.2
& &
$ ppppp
't g' 't

ª ª

-— -—
(fingers+ (whistle highest
resonance) posible tone)
3

ã 42 ‹ ¿. ¿ Œ
3 3

Œ Œ ¿ "
156

¿. ¿.
O O
P.1

'b ppppp 'b 'b

(whistle tone produced

# -—— #
inside mouth)
(fingers+ 3
resonance)

ã 42 Œ ¿ Œ Œ ¿ Œ
156

P.2
O‡ ‚ O‡
‡ - - ‡ & & & & & & & &
ppppp
But I Per Ceive Dif Fi Cul Ties

ª ª

3 1 3 . Y. 2
3

㉠8ø ø ø ø ‰ 4ø ø ‰ 4Œ ‰ ¿. ‹ Y‹
160 3

P.1
ø ø ø ø ø
4
$to con vey in for ma tion a bout im part 'b

38 41 43 42
PEN ON PAPER (slow)

‰ Œ
160 3

ã
–æ –!..
&
–@
P.2
&.
& & & & &
&
$ ppppp
PutTing It In To Pra

ª ª

ã 42 38 42 ø
3 3

" ‰ ‰ ‰ ‰
164

ø ø ø ø ø ø ø ø ø ø ø ø
P.1

$
to con vey in for ma tion a bout make known im part

2 Y. Y.
(whistle tone

OY 3 2
164 on nail) PEN ON PAPER

ã4 8 4
–æ –! –æ
P.2

ppppp & &. & ..

$

Simon Steen-Andersen: Difficulties Putting it Into Practice - 9

 -——
(whistle

#
inward)

" 43 ‚ ‰ O ¿ Œ 42 ‰ 38 ‰ 44
168

ã
ø ø ø ø ø ø ø ø ø
P.1
-‡ ‡
ppppp $
to con vey in for ma tion a bout

-—
(whistle highest
(whistle tone posible tone)

OY
168 on nail)
OY 3 2 3 4
3

¿ ¿ ‹
4‰ Œ
PEN ON PAPER

ã O . 4 8 4
ppppp –æ !
P.2
& &.
'b
$
ª ª

–
(rattle paper)
– – -–
%æ #
(hyperventilate)

ã 44 æ 42 28 ‰ 41 ¿. ¿. ¿ ¿. ¿. 42
3 3

æ æ æ
5

‰ ‰ j
172

ø ø ø ø -– .
P.1
pppppp im part make known
ppppp
't g' h' g' 't

‰
28% æj#
(hyperventilate)

ã 44 " 42 41 " 42
172

–! -–
-–æ – ! ‰
P.2
& ..
fl
ª ª

2 3 2 2
3 3

ã4 ‰ ‰ ‰
176

8ø 4ø ‰ 8
ø ø ø ø ø ø ø ø ø ø ø
P.1

$ to con vey in for ma tion a bout im part make known

ã 42 38 42 28
176 PEN ON PAPER

–æ –! -–æ
P.2
& &. & ..
$
ª ª
PEN ON PAPER

%æ # 28 ‰ % æj#
(hyperventilate) (always energetic) (hyperventilate)

ã 28 ‰ –j 42 41 ‹ ‹ ‹ 42 ø ø ‰ 42
3 3 3
179

‰
- –æ ! ø ø -–
P.1
& .. -– ppppp im part make known

%æ # ‰ 28% æj# ‰
(hyperventilate) ("quasi exagerated mime") (hyperventilate)

2 42 ‰ . 41 ! ‹ ‹ ‹ ‹ 42 42
5

ã8 j
179 5

-–– ! ‰ –! -–
& & & & & &
-–æ – ! ‰
P.2

Com Mu Ni Ca Ted Her ppppp & ..

fl fl

Simon Steen-Andersen: Difficulties Putting it Into Practice - 10

 ã 42 28% æj# ‰ 42 ‰ ø ø ø 1
184 PEN ON PAPER 3

4
–! -– ø ø
–æ -–æ – ! ‰
P.1
& & .. to re veal clear ly

fl

28 ‰ % æj#
PEN ON PAPER

ã 42 ‰ . 42 41
184 5 3

–!..
& & & & & & & & -– -–æ
& & & & &
–æ
P.2

Com Mu Ni Ca Ted Her View S To The Of Fi Ce

ª ª

(teeth)

1 2 3 2
7:4 3

ã4 ‹ ‹ ‹ ‹ ‹ ‹ ‹ 4 ‰ Œ "
188

P.1
ø ø ø ø ø ø ø ø
8 4
ppppp
$
to re veal clear ly ma ni fest

%æ # % æ-– #
(nose)

38 % æj# %æ #
(teeth) PEN ON PAPER

ã 41 ‹ ‹ ‹ ‹ ‹ 42 j 42
5

‰
188

J
–!.. -– æ æ -– –-
–æ -–æ – ! -–
P.2

ppppp $ -–
fl
ª ª

˘¿
(blow on (finger-snap
paper edge) on paper edge)

– –
ã 42 ! 43 42 43
5

! ! ‰ Œ
192

ø ø ø ø ø ø ø ø ø ø ø ø ø ø ø
P.1

Ï
'' f ''
her dis a pro val com mu ni ca ted it self in her frown
n
(rip of a whole
slice of paper -

#
ã 42 43 42 43
prepared in

Œ
192
advance)

–æ –! -–
P.2
& & & gg -– $
f
ª ª

% -æ– #
(nose)

%æ#
ã 43 ! ø ø ø ø ø ø 42 Œ 85
5 3

‰ ‰
195

ø -–
–æ
P.1
&
$
to be com' a ware of know

% æ # %æ#
(nose)

-– Œ
5

ã 43 24 ! ! 85
195

–æ –!.. –æ -– !
– & & & & & & &
P.2
& or i den ti fy by the

fl

Simon Steen-Andersen: Difficulties Putting it Into Practice - 11

 (rip of a whole
slice of paper -
prepared in

ã 85 j ‰ ‰ 42 Œ Œ ‰ 1 85
198 advance)

4
3

ø ø ø.
–! –!. –æ
ø
–æ
P.1
& gg -–
f $
I perceived an

˘¿
(finger-snap
on paper edge)
(blow on

– –
paper edge)

#
3

5 2 1 5
5 3 3

ã8 & & ! & & & ‰ J 4 !‰

198

4& & & 8

–!..
& -– –æ –æ –ob jec t
P.2

Ï gg -–f $ R
'' f ''
means of the sen ses n
fl
ª ª

˘¿
(finger-snap
(blow on on paper edge)

– –
paper edge)

j #j
PEN ON PAPER
j
ã 85 ! j ‰ 42 ‰ ‰
202

ø ø ø ø ø -– -–æ -–æ
P.1
'' f ''
Ï gg -– gg -– $
– f
loo ming through the mist n
R
fl (blow on
paper edge)

–
ã 85 j ‰ j ‰ j ‰ ‰ 42 ! & & & & &
202 (rip paper)

–æ. –! gg -–
P.2
gg -–
f $
'' f ''
to re cog ni ze
n

ª ª

> > -–
(rip halfway

– – – – – –
through paper) (rattle paper)

74 æ 42
3

‰ ‰ ‰ ‰. ! æ æ æ æ æ æ
205

P.1 ã ø ø ø ø
g-– g -– pppppp
f $
dis cern en vi

#
˘¿– – .
(finger-snap

–¿
on paper edge) 3

fl
PEN ON PAPER

! ! ! ‰. ! 74 " 42
205

ã
g –. –. –æ –æ –æ
P.2

Ï '' f ''
n Ï$

Simon Steen-Andersen: Difficulties Putting it Into Practice - 12

 > ˘¿–
(blow on (finger-snap
paper edge) on paper edge)

–
2 1 .. ‰ .. 10 5
5

! "
208
x15
ã4 ø ! ø 4 4 8
ø ø ø
gg -–
P.1
gg -–
$ Ï f
'' f ''
sion or un der stand n

5 (point!) (rip

ã 42 ! ! 41 .. .. 10 85
paper)

! ‰ ‰
208
x15 (rip very slowly)

4
–æ –æ.
~~~~~~~~~~~~~~~~~~~~~~~~~~
P.2
– ¿ gg -– gg -– – ~~~~~~~~~~~~~~~~~~~~~~~
$ fl fl f $
ª ª

#
(breath in)

5 j 1 2
7:4

‰ ‰ 4– ‰ ‰
212 PEN

ã8 ! 4
–æ -
P.1
ø ø ø ø ø ø
gg -– gg -– $ gg -–
$ sar kas m in your voice
f f f

˘¿–
(finger-snap
on paper edge)

–
ã 85 & & & & & & j 41 42 ‰
6

‰ ! ‰ ‰
212 PEN

J
–æ gg -–
P.2

I per ceiv' a note of -

gg -– gg -– gg -–
$ Ï f
'' f ''
n
ª ª

# # 5

㉠‰ 44
216 PEN

ø ø ø ø ø
-– -– > > > > > –æ ø ø ø
–æ
P.1

$ ve
>
nice
> >
this is a ry i dea

44
5 5

"
216 PEN

ã
–æ –æ
& & & & & & & & & &
P.2

$ > > > > >

this is a ve ry
> > > > >
but I per cei ve

ª ª
5
5

ã 44 42
5 5 5 3
219

ø ø ø ø ø
–æ >ø tice
>ø –æ
P.1
>ø >ø >ø >ø –æ –æ. >ø >ø >ø >ø –æ. –æ >ø >ø >ø >ø >ø >>>>>
> > fpossibile $ fpossibile $
but I per ceive dif fi cul ties puttingit in to prac
this is a ve ry

ã 44 2
5
219

4
–æ
& & & & æ
–æ
& & & & & & & & æ & & & & &
P.2

> fi cul ties – ti ce –

> > > > > > > > > > fpossibile $ > > > fpossibile > > > > >
prac

$
dif putting it in to this is a ve ry

Simon Steen-Andersen: Difficulties Putting it Into Practice - 13

 (teeth)
3

1 ‹ ‹ ‹ 42
5 5
222

ã 4
–æ >ø >øi dea
>ø ppppp –æ >ø >øI per
>ø ceive
>ø –æ >ø >ø >ø >ø
P.1

f possibile $
nice
f possibile $
but
f possibile $
dif fi cul ties

(teeth)
5

1 ‹ ‹ ‹ ‹ ‹ 42
5 5
222

ã 4
–æ –æ –æ
& & & & & & & & & & & & & &
P.2

f possibile > > > > ppppp f possibile > > > > > f possibile
$ > > > > >
$
ni ce i dea but I per cei ve dif fi cul tie s

ª ª

#
(fingers+
resonance) *)
3 5

Œ ¿ ¿
226 3

ã
–æ –æ >ø >ø -O‡ –æ
˜ ˜ ˜ ˜ ˜
P.1
>ø >ø >ø >ø >toø ‡
f possibile $
put ting it in
fpossibile $
prac tice
ppppp f possibile ( ' ) this is a ve ry

(teeth)
**) -œ
‹ ¿ ‹ ¿. Œ
226 3

ã .
–æ æ –æ
& & &
P.2
& & & & &
–
> > > > > fpossibile >
f possibile $ > > ppppp f possibile (ƒ)
put ting it in to prac ti ce ee
$
't 'b

ª ª

#3 – -–
(whistle

#
inward) (rattle paper)
5 5

æ æ
230

ã O‡ ¿.
–æ –æ –æ
˜ ˜ ˜ ˜ ˜ ˜ ˜ -– ˜ ˜ ˜ ˜
P.1
pppppp
fpossibile ( ' )
nice i dea
f possibile ( ' )
but I per ceive
ppppp h'
f possibile ( ' ) dif fi culties

-œ -œ -œ
" "
230

ã
–æ –æ –æ
P.2

fpossibile ( ƒ ) f possibile ( ƒ ) f possibile ( ƒ )

ee ee ee

*) Spoken clearly but away from mic

until measure 237

**) very loud singing or very loud

Siren (ex: megaphone siren,
football siren, phone app, etc.

Simon Steen-Andersen: Difficulties Putting it Into Practice - 14

 # #
("lungs")

Y‹. j
43 Œ 42 58 ‹ ¿ 42
(nail+ 3

Œ ‰
235 3
tooth)

ã . ¿. ¿. – O‡
–æ –æ
˜ ˜
P.1
˜ ˜ ˜ ˜ ˜
f possibile ( ' )
putting it in to ppppp fpossibile ( ' )
prac tice
ppppp
't g' h'

-œ -œ
3 Y‹. Y. 2 5 2
3 (teeth)

‰ "
235

ã 4 ¿ ¿. ¿. ‹ 4 8 4
–æ
. –æ
P.2

fpossibile (ƒ) ppppp fpossibile ( ƒ )

ee ee
h' g' 't

ª ª

– – -– – – – –
(rattle paper) (rattle paper)

ã 42 3æ 42 44 æ 42
5

æ æ æ æ æ
239 PEN PEN

4
–æ –æ
ø ø ø ø ø pppppp ø ø ø pppppp
P.1

$ $
this is a ve ry nice i dea (keep rattle!)

ã 42 43 42 44 42
5
PEN PEN

" "
239

–æ –æ
&& && & & & & &
P.2

$ this is a ve ry
$ ni ce i dea

ª ª

*) Next 5 measures: Keep paper rattle until

measure 248. Try to whisper the
resulting sentece "I perceived an
object looming through the mist"
as understandable as possible...

ã 42 ¿ ‰ ! ! ‰ ‰ ! ! ‰ ‰ !‰ ‰
243 3 3 3 5 3

¿ ¿ ¿ ¿ ¿ – ¿ ¿ – ¿ ¿ ¿
P.1

$
a(re) p
F
ee
$
a(n)
F$ F
B dj e(ct)
$
k
F$
L oo
F
ng
$
oo

*)

ã 42 ‰ ! ! !‰ ! ! ‰ ‰ ! ‰. ‰ ‰.
243 3 3 3 5

¿ ¿ – ¿ ¿ ¿ ¿ ¿ ¿ ¿ – – –
P.2

$ F $ F $F $ $F F$ $
ee (p)e(r) s v d n o(b) T m i(ng) th hr th

ª ª

–
(rattle paper)
– – -– 5 –
(rattle paper)
– – -–
ã ‰ . ¿ ¿ – ¿ ! 44 æ æ æ æ 42 44 æ æ æ æ 41
247 5 PEN

–æ
ø ø ø ø
P.1
pppppp pppppp
F $F
m i s t
$ but I perceive

44 42 44 41
5

ã ¿ ‰. Œ
PEN

" "
247 5

–æ
& & & & &
P.2

F
(th)e
$ But I Per Cei Ve

Simon Steen-Andersen: Difficulties Putting it Into Practice - 15

 –-–
(rattle paper)
–
(rattle paper)
– -–
ã 41 " 42 æ æ " " " 43 æ æ æ 42
251

P.1
pppppp pppppp
-–#
0 cm.

1 " 2 " " Π" 3 " 2

251

P.2 ã4 4 4 4

ª cover mouth with 1 finger

ª
to change the colour of the

-–
noise - as if a slow melody

–
(rattle paper)

ã 42 38 # # #
43 42 æ
uncovered

" " æ
257

P.1
.
– –. -– . pppppp
0 cm. Ø
(F)

-–# -–#
0 cm.

ã 42 Œ 38 " " " 43 Œ Œ 42 "

257

P.2
Ø
Ø
ª ª

1 finger no fingers

38 #j # # # #
no fingers 1 finger 2 fingers

42
3

" "
263 PEN

ã j
–.
–æ
– – – -–
P.1
ø ø ø ø ø
$ put ting it in to
Ø
(F)

-–# -–#
0 cm. 0 cm.

38 42
3

Œ " " " Œ

263 PEN

ã
–æ
P.2
& & & & &
Ø
$ Put Ting It In To
Ø
ª ª

-–
–
(rattle paper)
no fingers 1 finger 2 fingers 3 fingers 2 fingers 1 finger no fingers

ãæ æ " 38 #j # # 58 # # 38 # # # 1
269

j 4
– – –. –. – –. – –-
P.1
pppppp
Ø(F)

-–#
0 cm.

" Π3 " " 5 " 3 " " 1

269

P.2 ã 8 8 8 4
Ø

Simon Steen-Andersen: Difficulties Putting it Into Practice - 16

 -–
(rattle paper)

38 #j # #
no fingers 1 finger 2 fingers

ã 41 " æ " 85
276

– – –.
P.1

pppppp Ø (F)

-–# -–#
0 cm.

ã 41 " 38 " " 85

276

P.2
Ø Ø

ª ª

increase the force with which the fingers are pressed

against the mouth to let less and less air in, and at the
same time increase the force of breathing in, until the
maximum force is used and practically no air is passing.
No theatrical intention!

# # 44 # # # # # # # # # # # # #
3 fingers 4 fingers

ã 85 – . 49 –
281

– – – – – – – – – – – – –
P.1

ã 85 " 44 " 49 "

281

P.2

Simon Steen-Andersen: Difficulties Putting it Into Practice - 17