Sepa /, wasup cen ying spontaneous, infor vhom pan experiment with caress attack t and un ther fingers over il. They ple up seemingly discon tnd, andi this happens to arouse their musical instinc! they look Conscious for sume of the harmon ound by chence ard keep repeating ther: ‘Thus this series does no: provide a tutor, nor does i simply stand as colle menting and not for learning "ta ploy the plane”, Preasuceinplaying the jy of moverent-dhring andi nd be fas movement over th entire Keybuk {rom he rt lessons inet of chimsy greping for keys ail the counting of thythirsal these ahr vay lea lay at the outset of the creation of this collection, ion of pieces. Ics 2 possibility for expert Playing#s just playing. I requires a great dea! of recek-m and initiative fram the perfeemer, Cm no account shuld ‘the waltten image be taken seriously but the weliten image must be taken exiremily seriously as cegards the reusical Process, the quality of scund and silence. We should trust the picture of the printed antes and it ie exer ite ine fluence upen us. The graphic picture conveys an iden atvou the arrangement tn ime of even the most fee pisces ‘We should make use ofall that we know and remember of free declamation, fll-musie parlande-tubna, of Cre. fgorian chant and ofall chat improvisational musical practice has ever broughs fon ket us lacie bravely even the must sftcuk ask without being afraid uf making inistakes: we shun try to erate Valid proportions, unity and continuity oc€ of the lung and shunt valies-just for uur own pleasure! Key to the Signs Used valores : ron Len mile Ls indicating ave Shanes oe heen 1. Sound values ‘White © signs indicate generally Jonge, black(e }signs shorter values. Each sign indicating value i fave i Portion the chosen ope of the nih pace” Gugwat blancos (<9) mente ars ywncPalye ei mas argos valaide ; Mrgesoe is , = vey tong Kury large co) val sre ee less 3 yee = Laqrws que. ncaa ye eos: ‘ poporce wm ad fembs = . es rolabive a Vopr SS = tong Large Be gilts pare chda olera SS een Ge FE . SE ~ tite on appogyaua COLO regalo SESE ~ suas in brackets: to,be performed suihly ot 9 ekently,sometinys with an tanh importance CO Sutra PAreMVs 515 4a olabe fouar falls Pmenl@- oO esuue vmeederlwedltj a veees com” ww horawerd weloul ay Ta Son ecg ihe arton ow ois ores! YRannos Que uhvcan donacign (Fabre is oO silences GY = very long prolengationProlaue 4s wd lated 1D = Kong protongation. p, Sav 7! lt a4 Us = shonened Pesto ageteni Ls PA sede cory 78) The range of scund values, in decreasing aren: EE Paeny de wieray 2, == SSS SS SSS Ss# Sig ve imdesu urvindaing ruses | gos gue ime Ps uy \ CY Fs vey ons ttermess Gslolerem cmuy lar Lares Corfe qearfa ali ferent e Yom shores, 9 ae > = uneven Fr CeO 2S rest'of caesura Value and! ite modifications: a 9 Silbice som wler de aheainlora Il Acciona ‘ Les alvetdcenas se ablreim coloa fb» which they precede, In case of repetitions the accilental before the first ling, Signs written beture, Accidoncals (fbb) appy only te then noe is vad tnveughout, Natural sign over &r under a ciusterpglissando oF group af notes apply 10 ah their notes. indicate white keys, while FoF b back ones. Aa qlirimelos Gincean lertas wleucas ) jh Ob s bes Lag any has often been inserted forthe sake uf easi "Hh by by = meets wien gran inet a tint vel be ated sharps, fats or neturals fodag las A\feraaon Ereritas + gtémdias pinay eat, $ ve , motes dal cistowh Sow jretudas cow Olichs Alirra rey os forthe diferent mangers ef puformance her plucice 2 pies cksltathos oma erae de fpanter pee\ucs 1. Sine notes SS) = notes ol approrinnte pte wales de aldura Sproat: = keys depressed siiently for playing overtones ——— SS Baler iiss decles en ile of the palm (or fingers held ike drumsticks} (see also the mute in Vol |, p. Vil : eee lo pales & Ne oO pele. PA ae aT ea s)with'an approximative range; Cow Tams o alproxiswukde thesign eles ta the manne of pevformance, theYange ofcaseris indicate by accidensals. the range of any els ter without accidental may be freely chosen) ~ HL yianis serelaere a la forma Le inisrbretdcon - €l range e4 tmdueata jaar la 7S GIS ct te palm, perhaps wat five ingen Vera commas «(Sie SaaS rye Msc et) 2, Clusters cM ~ i tealos llere.) 2 ve ME Com las Upslwns yenyas a = wih het id at Clam a Yow 2oS Pacers] ~ with the edge ofthe fist 4 § pt Com (os) avielrizes a 3 aus sobre as } Bacar yetra sobre bs wepmis The above-mentioned sie manne's of 2 \ with the fovea teow CS @\ = with both forearms together, one on the white, the other on the black keys [the second acci dental stands here exceptionally bebind the sign jelas ores wel a ane of te ae Thine vith “crcing? palm; PMA CAT OUIRT The palm on the white keys tuens in the indicated direction. While doing so the fingers should attempt to remain on the same black keys chown by the black fine and Sh Tomine pam Pw rotawcle The ve efgis fe palm play witha rotating movement of he forearm bowith a rite range: Cane ranga ctebrartole icias nec la t auta y ex POUIAMeMeINCdIbarinr ow Moree quadradas y a par Be inch cow Sera &s orkbs aBayo ons dle Tor clusters al he backer Mile Rs between the two entreme Rates ae to be stick with Ue inge o Celreens fenint Tada as eee ee los 2 ey] dloloen Shr tocadas on dados ocon pak = the same with chromatic range _ ean emi ticg ih SEIS] - coer contin toons deposed ies Te J ~ clusters sounded withthe forearm (lbow! Dy the upper extreme note i given, ite range is sv Patap antebrazo= She ute hey at ng antes we en agora) i Telne “niwness [jz y sHUADY santa 2apt cr madd = om the black keys wth the palm 4 veo ly pales) ( # las eg@ys Seva bay ge imace ores jadeqligamate ve bore Yt ov veevierdsy.c om awlds Aupeceoues Ae indicated by the i Pe omipo . Acel doclo © esac. ch. SS areal zr to Aran . el ply ating cama $14. bene = tegato Fades legata = does not indicate couch but holds together units belonging together (phrasing) Heke praseo _ these convolvdusike cures indicate the units belonging together wihen played with alternate hands 4 Br so pa ee ie aed de \p me veletacl (ecacte com Mmavias lboruatlas } | “con Ped," ~ calls for very subtle, colourful use of the pedal. Harmony must be created from the melodic succession of notes but this must not happen at the expense of phasing, Thus the pedal should be used a5 required from simple echo-production (c. th Ped) to the creation of fll tesorance, whie Constant being controlled by the ear. Particular aitention should be given at the phrase endings to the quances/shadings of cclenses and redepressions (Yh ¥, ee fed). al hiss valid even forthe “sempre con Fed." The pedal kept depressed deeply al the | way leads to chaotic sound effets and the superivous accumaltion of dyna In pieces without pedal markings the pedal may be vied according tothe foregoing lexcept of course, where “senza Ped” is indicate.) soins simp oiawconpan eet ee conhints get Peal, ie Bi hcoheiadi tae : ge goltarla coms lefa wade SE i eo y colar gisalualameute