5.

Working with the Timeline of Signs

[a conjunction of few sentences will be added here]

The three compositions of the T.R.M. cycle which I have completed so far are
related to each other above all with regards to the method with which they were
composed. This composition method involves constructing a highly detailed temporal
chart for each work, which I name the timeline of Signs, or, the timeline. The procedure
with which I organize the timeline reflects both my experiences and objectives in musical
composition and the timelines I have prepared so far are comprehensive graphical
representations of the technique of my compositions that make part of the T.R.M. cycle.
Basically they are scores designed with the digital music notation editor Sibelius whereas
extensive use is made of certain properties of the text tool.

The basic principle of the timeline is the juxtaposition of several abstract and non-
identical duration sequences. These contain several rhythmic cells and their variants
which are idiomatically somewhere between [x1] and [x2] seconds long and which are
repeated many times. This procedure involves constructing a stratified structure of
abstract durations which I name the wireframe model. The consistuent vertices of this
preliminary structure are represented in timelines with conventional rhythmic notation on
five staves. Once the wireframe model is fixed all of the durations between its vertices
assume the meaning of a pause by default. Semantic and syntactic properties are then
attributed to some of the durations according to certain strategies for generating musical
patterns. Figure 1a demonstrates the 2. page of the timeline for Time Regulation Music I
for alto ensemble, Figure 1b demonstrates the corresponding extract from the full score.

The duration sequences differ from each other in the quality, phase and length of
the repeated rhythmic cells which they contain. In case the duration sequences contain
rhythmic cells of different lenghts, I tend to order them in an ascending manner so that
the first duration sequence has the longest rhythmic cell and the sixth the shortest. The
quantity of these duration sequences in the model is 6 by default since I have been
conceiving my pieces for 6 meta-voices regardless of the available setup, although quite a
Figure 1b. Time Regulation Music I for ensemble, mm 8-16

Figure 1a. 2. page of the Timeline for Time Regulation Music I for ensemble
few other integers could be theoretically as convenient. In keeping with my ideal of a 6-
voice polyphony where the lowest voice is particularly slow-paced, I distinguish one of
the duration sequences by assigning markedly longer durations to it and naming it as the
fundamental superordinate duration sequence(encoded in the timeline as ÜZR I doing
homage to Stockhausen´s Übergeordnete Zeitdauerreihe). The timeline manifests the
endpoints of the fundamental superordinate durations with thick barlines, while their set
of properties are represented verbally within a grey colored box below the page. The
objects of the fundamental superordinate duration sequence are named the superordinate
durations (encoded as ÜZ), whereas the 5 remaining duration sequences are named
simply the superordinate duration sequences (encoded as ÜZR II, ÜZR III,…, ÜZR VI).
The superordinate duration sequences are represented with traditional rhythmic notation
on staves with two lines that are 4,5 stave lines apart. These notions will always be
referred to with their articles because the musical necessity of constructing longer phrases
often leads to the extension of the wireframe model through juxtaposition of further
duration sequences with larger durations, which in turn relativizes the hierarchical
relations between any two duration sequences.

I will refer to duration sequences with larger durations than the fundamental
superordinate duration sequene as high-level duration sequences,. These are not always
designed according to the same principles with the subordinate duration sequences; a
high-level duration sequence is most often formed by the aggregation of the objects of a
duration sequence that is subordinate to it, hence the high-level duration sequence is
comparable to the phenomenon of grouping phrase structures in traditional music. Unlike
the other types, the the high-level duration sequences are not represented graphically on
the Timeline with conventional music notation elements but only encoded as ÜZRℤ (/

ℤ>0). During the composition of the Patron Saint of Liars, which is the longest and most
complex piece of the project, I have not felt the need to deal with more than 7 additional
superordinate duration sequences such as ÜZR1, ÜZR2,, etc. in which case the ÜZR7
corresponded to the total duration of the piece.

The purpose of these theoretical tools is to answer to the musical necessity of

enhancing the perception of colours1 contained within the continuum of time as if it were

1 [reference to chronochromie, Messiaen]

 directed through a prism. In keeping with my preference for rhythms over pulsations2, I
idiomatically form superordinate duration sequences with augmentations of basic
rhythmic cells rather than a single recurring time interval. If however my descriptions so
ÜZ as color

far have left the impression of a negation of everything except a musical collage where
discrete blocks of different dimensions and colors are sharply contrasted against each
other, I should point out that I have been more attracted towards forming gradual shades
within a continuum and I have sometimes let the complex elements of the materal
overshadow the endpoints of the superordinate durations to some extent, especially when
a certain autonomous character was to be emphasized for long stretches of time.

[a glimpse of aesthetics of stratified time, a multitude of intermediary layers of

time between the instance and the form, freedom of rhythms to travel up and down
throughout the hieararchy, Self-similarity increasing the comprehensibility of the
structure. Adorno´s ideas on Mahler´s phsiognomy. Boulez on Wagner´s time. Deleuze´s
baconian round space and it´s effect on the figure.]

A brief case study should further clarify the application of the method in question.
Figure 2a demonstrates an extract from the x page of the Timeline for T.R.M. II, The
Night Wardens Rattle for alto solo, Figure 2b and 2c show the corresponding extracts
from two versions of the same vocal score.

I will refer to each of the larger panels colored in gray as a presets panel. Two of
them are shown In Figure 2a, representing the 21st and 22nd objects in the fundamental
superordinate duration sequences(corresponding to the mm.46-48 of the composition).
They contain lists of inscriptions which I will name propositions. Figure 3a, 3b, 3c are
close ups on the statements of the 21st fundamental superordinate duration.

2 [reference to Grisey, tempus ex machina]

Figure 2a. Extract from the xth page of the Timeline for Time Regulation Music II, The Night
Wardens Rattle for alto solo

Figure 2b. Time Regulation Music II, The Night Wardens Rattle for alto solo, mm.46-48, version
with colored graphic notation

Figure 2c. Time Regulation Music II, The Night Wardens Rattle for alto solo, mm.46-48, version
with rhythmic notation
Figure 3a. Close up on the contents of Figure 2a. Contents of the contingency panels

Figure 3b. Close up on the contents of Figure 2a. Contents of the preset panels

Figure 3c. Close up on the contents of Figure 2a. Identification of an expression

The propositions contained in the panel fall into two main categories with regards
to their truth values:

1) Tautologies that remain true all the way through between the endpoints of the
inclusory fundamental superordinate duration. I will refer to them as the presets. Presets
always have grey background color (See Figure 3a and 3b).

2)Possible propositions whose interpretation rely on additional temporal

operators. I will refer to this kind of propositions as contingencies and to the temporal
operators which determine when they are true or false as quantifiers. I have noticed that
habitually assigning colors to matching panels and quantifiers facilitate working with the
timeline of signs, therefore in the timelines I have prepared so far these consistently
appear in one of 5 colors(black, red, green, asparagus or blue, see Figure 3c). I don´t give
synaesthetic meaning to the colors themselves.
 In the timeline the quantifiers are shown as several colored lane segments on the
staves each of which is connecting two noteheads. The quantifiers relate to the
contingencies comparably to the way grammatical tenses relate to verbs, in other words,
they specify a temporal domain in which the statements are true. There is no strict logical
procedure that governs which durations are going to be interpreted as quantifiers; that has
often been settled by pure musical intuition. The fixation of the quantifier structure is a
phase that will deeply influence the rest of the composition process and since it involves
the author leaving the control of the steering wheel to some extent to the machine, it
necessitates a certain foresightedness and time for critical experimentation.

Once the quantifier structures beginned to appear I made much effort to form
patterns that are simple and persistent. As a matter of fact in T.R.M. I every quantifier was
alternated with a pause all throughout the piece to compensate for the complexity of the
ensemble writing (see Figure 1a). Where the quantifier structure undergoes changes this
corresponds to important structural events. Figure 4 shows the quantifier structure of a
long term process of accumulation from the Patron Saints of Liars. This process
corresponds to the evocation and arrival of a supernatural entity in the libretto.

Returning to the example in Figure 2a. The expressions containing the word
Zeiteinheit indicate the proportions of the superordinate duration sequences to each other.
Expressions such as K4P-Reihe indicate the pattern between quantifiers and pauses; in
this case it reads every quantifier is followed by 4 pauses. Both of these propositions
remain unchanged for long durations, hence they are placed within the preset type of
propositions.

The contingency panels each contain two propositions; a pitch class name in
German and an expression that reads three strikes motiv. The pitch class names delimit
the musical results of each the contingencies to single pitches. The three strikes motiv is
loosely identified in Figure 3c as three tenuto-staccato tones, placed in predetermined
proportions to each other, the first and last of which have pianissimo dynamics whereas
middle one has mezzoforte dynamics. Figure 2a, 2b and 2c shows how these informations
were evaluated.
 1 evocando
q=75
535 2x(3x)
° œ4x(3x) ≈ ‰ ‰ ‰ ‰ ‰ œ
5x(3x)
≈ ‰ ‰ ‰ ‰ ‰ ≈ ≈ ≈ œ
2x(3x)
‰ ‰ ≈
3x(3x)
œ ‰ Œ ‰
4x(3x)
œ ≈ ‰ ‰ Œ ‰
5x(3x)
œ ≈ ‰ ‰ Œ ‰ ≈ ≈ ≈ œ ‰ ‰™
3x(3x)
œ Œ Œ œ
4x(3x)
≈ ‰ ∑
& ZDRIV . Einheit: 3x; Wandlerdauer:6x; ZDRIV . Einheit: 3x; Wandlerdauer:6x; Wandleranfang:53.4; Wandlerende:
Wandleranfang:53.4; Wandlerende: 55.2. 55.2.

2x(4x) 3x(4x) 4x(4x) 5x(4x) 2x(4x) 3x(4x) 4x(4x)

& Œ ≈ œ ≈ ≈ Œ ≈ œ ≈ ≈ Ó ≈ œ ≈ ≈ Œ Ó ≈ œ ≈ ≈ Œ Ó Œ ≈ œ ≈ Œ ≈ œ ≈ Œ Œ ≈ œ ≈ ≈ Œ ∑

5x(5x) 2x(5x) 3x(5x) 4x(5x) 5x(5x)

∑ . [Zeiteinheit: 5x; Wandlerdauer:10x; Wandleranfang:33.3; Wandlerende: 36.1]. Inhalt: [Dreifachschlag-Motiv];
&ZDRVI ‰ ≈ [r9. œ Œ ∑ Œ œ ‰™ Œ ‰ œ ≈ ∑ ≈ œ ‰ Œ Œ ∑ ≈ œ ‰ Œ
(1,32)]

2x(6x) 3x(6x) 4x(6x) 5x(6x)

& ∑ Œ ≈ œ ‰ Ó ≈ œ ‰ Œ Ó ≈ ≈ ≈ œZDRV . [Einheit:
ΠΠWandlernfang:46.4; Wandlerende: 54.2]. Inhalt: [Dreifachschlag-Motiv];
6x; Wandlerdauer:30x; ∑ [r9.(-2,64)] ≈ ≈ ≈ œ Œ ∑

2x(7x) 3x(7x) 4x(7x) 5x(7x)

¢& Œ œ ≈ ‰ Œ Œ ≈ ≈ œ ≈ Œ Ó Œ ‰ ≈ œ Ó Œ Œ Œ ≈ ≈ ≈ œ ≈ ≈ ‰ Œ Œ ∑ ∑

Figure 4a
ZDR VI

ZDR V
°
&
542

&
5x(3x)
œ

≈
≈

œ
5x(4x)
‰

≈ ≈
Œ

Œ
Œ

Œ
≈

Ó
≈ ≈ œ
2x(3x)
‰ ‰ ≈

≈
3x(3x)
œ

2x(4x)
œ
‰

≈ ≈
Œ

Œ
‰

≈
3x(4x)
œ
4x(3x)
œ

≈
≈

≈
‰

Œ
‰ Œ

‰ ≈ ≈
‰

≈
4x(4x)
œ
œ

≈
5x(3x)
≈

≈
‰

Œ
‰ Œ

‰ ≈ ≈
‰

≈ ≈
≈

≈
≈

≈
≈

≈
2x(3x)
œ

5x(4x)
œ
‰

‰
‰™

‰ ≈
3x(3x)
œ

≈
Ó

Œ Œ
œ

Œ
4x(3x)
≈ ‰ Œ

≈
2x(4x)
œ ‰
Œ

Œ
œ

≈
5x(3x)
≈

œ
3x(4x)
‰

‰
Œ

Œ
Œ

Œ
≈

≈
≈

4x(4x)
≈
2x(3x)
œZDRIVŒ. Einheit: 3x; Wandlerdauer:6x; ≈
Wandleranfang:53.4; Wandlerende: 55.2.

ϪZDRIII . Einheit: 4x; Wandlerdauer:16x;

Œ Œ
Wandleranfang:53.2;
Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]
Π57.2.
Wandlerende:
œ
3x(3x)
‰ Œ

2x(5x) 3x(5x) 4x(5x) 5x(5x) 2x(5x)

2x(5x) 3x(5x)
ZDR IV & Ó™ Œ ‰ œ Œ
ZDRVI . Einheit: 5x; Wandlerdauer:10x; Œ œ Ó Œ ≈ œ ‰ Ó Ó ≈ œ ‰ Œ ∑ Œ ‰ œ ≈ Œ ‰ ‰ œ ≈ ‰ ∑
Wandleranfang:33.3; Wandlerende:
36.1. Inhalt: [Dreifachschlag-Motiv]; [r9.

The Patron Saint

2x(6x) 3x(6x) 4x(6x) 5x(6x) 2x(6x)
ZDR III & Ó™ Œ ≈ œ ‰ Œ Œ ≈ œ ‰ Ó Œ ≈ ≈ ≈ œ Ó Ó Œ ‰™ œZDRV . Einheit: 6x; Wandlerdauer:30x;∑Wandlernfang:46.4; Wandlerende: 54.2.Inhalt: [Dreifachschlag-Motiv];
∑ [r9.(1,32)] Œ ≈ œ ‰ ∑

2x(7x) 3x(7x) 4x(7x) 5x(7x) 2x(7x)

ZDR II ¢& Œ ≈ ≈ œ ≈ ‰ Œ Œ ≈ ≈ œ ≈ Œ Ó Œ ‰ ≈ œ Ó ‰ Œ ‰ Œ ≈ ≈ ≈ œ ≈ ≈ ‰ Œ ‰ Œ ∑ ‰ Œ ≈ ≈ œZDRII ≈ ‰ Œ

of Liars, mm. 531-653,

Quantifier structure.
ZDR VI
°
&
550

5x(4x)
œ
4x(3x)
Œ Œ ‰
5x(3x)
œ Œ Œ

2x(4x)
Œ ≈
2x(3x)
œ

3x(4x)
‰ ‰ ≈ œ
3x(3x)
‰ ‰ ‰

4x(4x)
‰
4x(3x)
œ ‰ Œ ‰ ‰ œ
5x(3x)

5x(4x)
‰ Œ Œ ‰ ≈ œ
2x(3x)
‰ ‰ ≈
3x(3x)
œZDRIV ‰. Einheit: 3x; Wandlerdauer:6x;
‰ ‰
Wandleranfang:53.4; Wandlerende: 55.2.

2x(4x)
‰

3x(4x)
œ
4x(3x)
‰ ‰ ‰ ‰ ‰

4x(4x)
5x(3x)
œ ‰ ‰ Œ ‰ ‰

ZDR V &ZDRIII ≈ œ ‰ Œ Œ Ó ≈ œ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ‰ ≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ≈ œZDRIII ≈. Einheit:≈ 4x; Wandlerdauer:16x;

Œ ‰ ≈ Wandlerende:
Wandleranfang:53.2;
Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]
≈ ≈ œ
57.2. ≈ ≈ Œ Œ ‰ ≈ ≈

4x(5x) 5x(5x) 2x(5x)

2x(5x) 3x(5x) 4x(5x) 5x(5x)
ZDR IV & ‰™ œ ZDRVI
‰ . Einheit: 5x;‰Wandlerdauer:10x;
Œ Ó
Wandleranfang:33.3; ‰ Inhalt: ≈
Wandlerende: 36.1. œ ‰ ‰ Œ Ó Œ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ Œ ‰ ‰ ≈ œ ‰ ‰ ‰ Œ Œ ‰ ‰ ≈ œ ‰ ‰ ‰ Œ
ZDRVI . Einheit: 5x; Wandlerdauer:10x; Wandleranfang:33.3; Wandlerende: 36.1. Inhalt: [Dreifachschlag- Ó
[Dreifachschlag-Motiv]; [r9.(1,32)] Motiv]; [r9.(1,32)]

3x(6x) 4x(6x) 5x(6x) 2x(6x) 3x(6x) 4x(6x)

ZDR III & ≈ œ ‰ Œ Œ Œ ≈ ≈ ≈ œ ∑ ≈ ≈ ≈ œ Œ Ó ∑ ≈ œZDRV ‰. Einheit:Œ6x; Wandlerdauer:30x; Wandlernfang:46.4;
Œ ≈ œ ‰ Œ Œ Œ ≈ ≈ ≈ œ Ó
Wandlerende: 54.2.Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]

3x(7x) 4x(7x) 5x(7x) 2x(7x) 3x(7x)

ZDR II ¢&
ZDRII Œ ≈ ≈ œ ≈ Œ Ó Œ ‰ ≈ œ Ó Ó Œ ≈ ≈ ≈ œZDRII
ZDRII ≈ ≈ ‰ Œ Ó ∑ Œ ≈ ≈ œ ≈ ‰ ‰ Œ ‰ ≈ ≈ œ ≈ ‰ Œ

558
° 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x)
ZDR VI & ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œZDRIV . Einheit:
‰ 3x; Wandlerdauer:6x;
‰ Wandleranfang:53.4;
‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰
Wandlerende: 55.2.

5x(4x) 4x(6x) 2x(4x) 3x(4x) 4x(4x) 5x(4x) 2x(4x) 3x(4x) 4x(4x)

ZDR V & Œ ≈ ≈ ≈ œ Œ Ó ≈ œ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ‰ ≈ ≈ ≈ œZDRIII ≈. Einheit:
≈ 4x; Wandlerdauer:16x;
Œ Œ
Wandleranfang:53.2; ‰ ≈57.2. ≈
Wandlerende: ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ‰ ≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈
Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]

2x(5x)
2x(5x) 3x(5x) 4x(5x) 5x(5x) 2x(5x)
2x(5x) 3x(5x) 4x(5x)
‰
IV . Einheit: 5x; Wandlerdauer:10x;
ZDR ZDRVI & ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ Œ ‰ ‰ ‰ ≈ œZDRVI‰. Einheit:‰5x; Wandlerdauer:10x;
‰ ‰ Œ Wandlerende: 36.1. Inhalt:Œ[Dreifachschlag-Motiv];
Wandleranfang:33.3; ‰ ‰
[r9.(1,32)] ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰
Wandleranfang:33.3; Wandlerende: 36.1.

5x(6x) 2x(6x) 3x(6x) 4x(6x) 5x(6x)

ZDR III & Ó™ ≈ ≈ ≈ œ Œ ∑ Œ ≈ œ ‰ Ó ≈ œZDRV ‰. Einheit: 6x; Wandlerdauer:30x;
Œ Ó Wandlerende: 54.2.Inhalt: [Dreifachschlag-
Wandlernfang:46.4; ≈ ≈ ≈ œ Œ Œ ∑ ≈ ≈ ≈ œ Œ ∑
Motiv]; [r9.(1,32)]

4x(7x) 5x(7x) 2x(7x) 3x(7x) 4x(7x)

ZDR II ¢& Œ Œ ‰ ‰ ≈ œZDRII ‰ Œ Ó™ Œ ‰ ≈ ≈ ≈ œ ≈ ≈ ‰ ‰ Ó ∑ ‰ ≈ ≈ œ Œ Œ ‰ œZDRII ≈ Œ ∑ Œ ≈ ≈ ≈ œ

566
° 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x)
ZDR VI & œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œZDRIV . Einheit:
‰ 3x;‰ Wandlerdauer:6x;
‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰
Wandleranfang:53.4; Wandlerende: 55.2.

5x(4x) 2x(4x) 3x(4x) 4x(4x) 5x(4x) 2x(4x) 3x(4x) 4x(4x)

ZDR V & ≈ œZDRIII≈ . Einheit:
Š4x; ΠWandlerdauer:16x;
Œ ‰ ≈ Wandlerende:
Wandleranfang:53.2; ≈ Œ 57.2. ≈ œ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ‰ ≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ Œ ≈ œZDRIII≈. Einheit:
≈ 4x; ŒWandlerdauer:16x; ≈ œ ≈ ≈ Œ ‰ ≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈
Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] Wandleranfang:53.2; Wandlerende: 57.2.

5x(5x) 2x(5x)
2x(5x) 3x(5x) 4x(5x) 5x(5x) 2x(5x)
2x(5x)
ZDR IV & ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰ Œ ‰ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ≈ ‰
ZDRVI . Einheit: 5x; Wandlerdauer:10x; ‰ ‰
Wandleranfang:33.3; Wandlerende: 36.1.

2x(6x) 3x(6x) 4x(6x) 5x(6x) 2x(6x)

ZDR III & Ó™ Œ ≈ œ ‰ Œ Œ ≈ œ ‰ Ó Œ ≈ ≈ ≈ œZDRV Ó. Einheit: 6x; Wandlerdauer:30x; Wandlernfang:46.4;
Ó Œ
Wandlerende: 54.2.Inhalt: [Dreifachschlag-Motiv]; ≈
[r9.(1,32)] ≈ ≈ œ ∑ ∑ Œ ≈ œ ‰ ∑

5x(7x) 2x(7x) 3x(7x) 4x(7x)

∑ Œ ≈ ≈ ≈ œ Œ Ó ∑ Œ ≈ ≈ œ
ZDRII ≈ Ó Œ œ ≈ ‰ Œ ∑ ≈ œ ‰ Œ ∑
ZDR II ¢&

574
° 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x)
ZDR VI & ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œZDRIV . Einheit:‰ 3x; Wandlerdauer:6x;
‰ ‰ Wandleranfang:53.4;
‰ ‰ Wandlerende:
‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰
55.2.

5x(4x) 2x(4x) 3x(4x) 4x(4x) 5x(4x) 2x(4x) 3x(4x) 4x(4x)

ZDR V & ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ≈ œZDRIII .≈Einheit:≈ 4x; Wandlerdauer:16x;
Œ ‰ ≈ Wandlerende:
Wandleranfang:53.2; ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ≈ œZDRIII≈. Einheit:
≈ 4x; Wandlerdauer:16x;
Œ ‰ ≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈
57.2. Wandleranfang:53.2; Wandlerende: 57.2.

3x(5x) 4x(5x) 5x(5x) 2x(5x)

2x(5x) 3x(5x) 4x(5x) 5x(5x)
ZDRVI . Einheit: 5x; ‰ œ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰
ZDRVI . Einheit: 5x; Wandlerdauer:10x; Wandleranfang:33.3; Wandlerende: 36.1. Inhalt: ‰ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰
ZDR IV &
Wandlerdauer:10x; [Dreifachschlag-Motiv]; [r9.(1,32)]

3x(6x) 4x(6x) 5x(6x) 2x(6x) 3x(6x) 4x(6x)

ZDR III & ≈ œ ‰ Œ Œ Œ ≈ ≈ ≈ œZDRV . Einheit: 6x; Wandlerdauer:30x; Wandlernfang:46.4; Wandlerende:
∑ 54.2.Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] ≈ ≈ ≈ œ Œ Ó ∑ ≈ œ ‰ Œ Œ ≈ œZDRV ‰. Einheit: 6x; Wandlerdauer:30x;
ΠΠWandlernfang:46.4; Wandlerende:
Œ ≈ ≈ ≈
54.2.Inhalt: [Dreifachschlag- œ ∑
Motiv]; [r9.(1,32)]

5x(7x) 2x(7x) 3x(7x) 4x(7x) 5x(7x)

ZDR II ¢& Œ Œ ≈ œZDRII ‰ Ó ∑ Œ œ ≈ ‰ Ó ‰ œ ≈ Œ Ó Œ ≈ ≈ ≈ œZDRII Œ ∑ ∑ ≈ ≈ ≈ œ Œ

582
° 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x)
ZDR VI & ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œZDRIV . Einheit:
‰ 3x; Wandlerdauer:6x;
‰ ‰ Wandleranfang:53.4;
‰ ‰ ‰ 55.2. ≈
Wandlerende: œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œZDRIV . Einheit:
‰ 3x; Wandlerdauer:6x;
‰ ‰ ‰
Wandleranfang:53.4; ‰
Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] Wandlerende: 55.2.

5x(4x) 2x(4x) 3x(4x) 4x(4x) 5x(4x) 2x(4x) 3x(4x) 4x(4x)

ZDR V & ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ Œ ≈ œZDRIII ≈. Einheit:
≈ 4x; Wandlerdauer:16x;
Œ ≈ œ ≈ ≈ Œ ‰ ≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ ≈ œZDRIII .≈Einheit:≈ 4x; Wandlerdauer:16x;
Œ Œ
Wandleranfang:53.2; ‰ ≈ 57.2.≈
Wandlerende: Œ ≈ œ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ‰ ≈ ≈ ≈ œZDRIII≈. Einheit:
≈ 4x; ŒWandlerdauer:16x; Wandleranfang:53.2;
Œ ‰ 57.2.≈
Wandlerende: ≈
Wandleranfang:53.2; Wandlerende: Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]

2x(5x)
2x(5x) 3x(5x) 4x(5x) 5x(5x) 2x(5x)
2x(5x) 3x(5x)
ZDR IV & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œZDRVI‰. Einheit:‰5x; Wandlerdauer:10x;
‰ ‰ Wandleranfang:33.3;
‰ ‰Wandlerende:
‰ 36.1. Inhalt:‰ [Dreifachschlag-Motiv];
‰ ≈ [r9.œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ ‰
(1,32)]

5x(6x) 2x(6x) 3x(6x) 4x(6x) 5x(6x)

ZDR III & Ó™ ≈ ≈ ≈ œ Œ ∑ Œ ≈ œZDRV‰. Einheit:Ó6x; Wandlerdauer:30x; Wandlernfang:46.4; ≈ œ ‰ Œ Ó ≈ ≈ ≈ œ Œ Œ ∑ ≈ ≈ ≈ œZDRVŒ. Einheit: 6x; Wandlerdauer:30x; Wandlernfang:46.4;
∑ Wandlerende:
Wandlerende: 54.2.Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] 54.2.Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]

2x(7x) 3x(7x) 4x(7x) 5x(7x)

ZDR II ¢& ∑ Œ Œ ≈ ≈ œ ZDRII≈ ‰ ‰ Œ ‰ ‰ œ ≈ ‰ Ó Œ ‰ ≈ ≈ ≈ œZDRII ‰ Œ ∑ Œ ‰ ≈ ≈ ≈ œ ‰ ∑ ∑

590
° 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x)
ZDR VI & œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œZDRIV ‰. Einheit: 3x; ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œZDRIV ‰. Einheit: 3x; Wandlerdauer:6x;
‰ ‰
Wandlerdauer:6x; Wandleranfang:53.4; Wandlerende: 55.2.

5x(4x) 2x(4x) 3x(4x) 4x(4x) 5x(4x) 2x(4x) 3x(4x) 4x(4x)

& ≈
ZDRIII . Einheit: 4x;
ZDR V
Wandlerdauer:16x;
œ ≈ ≈ Œ Œ ‰ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ≈ œZDRIII ≈. Einheit:≈ 4x; Wandlerdauer:16x;
Wandlerende: 57.2.
Œ ‰ Wandleranfang:53.2;
≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ ≈ œZDRIII .≈Einheit:≈4x; Wandlerdauer:16x;
Œ Œ ‰ Wandlerende:
Wandleranfang:53.2;
Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]
≈ 57.2.
≈ Œ ≈ œ ≈ ≈ Œ ≈ œZDRIII ≈. Einheit:
≈ 4x; Wandlerdauer:16x;
Wandlerende: 57.2.
Œ ‰ Wandleranfang:53.2;
≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈

4x(5x) 5x(5x) 2x(5x)

2x(5x) 3x(5x) 4x(5x) 5x(5x)
ZDR IV & ‰ ≈ œZDRVI‰. Einheit:‰5x; Wandlerdauer:10x;
‰ ‰ Wandleranfang:33.3;
[Dreifachschlag-Motiv]; [r9.(1,32)]
‰ ‰ ‰ ‰36.1. Inhalt: ‰
Wandlerende: ≈ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œZDRVI‰. Einheit:‰5x; Wandlerdauer:10x;
Motiv]; [r9.(1,32)]
‰ ‰ ‰
Wandleranfang:33.3; ‰ ‰36.1. Inhalt: [Dreifachschlag-
Wandlerende: ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰

2x(6x) 3x(6x) 4x(6x) 5x(6x) 2x(6x) 2x(6x)

ZDRV
ZDR & Ó™
III . Einheit: 6x; Wandlerdauer:30x; Wandlernfang:46.4; Wandlerende: 54.2.Inhalt:
[Dreifachschlag-Motiv]; [r9.(1,32)]
Œ ≈ œ ‰ Œ Œ ≈ œ ‰ Ó Œ ≈ ≈ ≈ œ Ó Ó
ZDRV . Einheit: 6x; Wandlerdauer:30x; Wandlernfang:46.4; Wandlerende: 54.2.Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] Œ ≈ ≈ ≈ œ ∑ ∑ Œ œZDRV ‰. Einheit: 6x;≈Wandlerdauer:30x;
‰ ≈ Œ
Wandlernfang:46.4;
54.2.Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]
≈
Wandlerende:

2x(7x) 3x(7x) 4x(7x) 5x(7x)

ZDR II ¢& Ó™ ‰ ≈ ≈ œZDRII ≈ ‰ ‰ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ Œ Œ ‰ ‰ ≈ ≈ ≈ œZDRII ‰ ‰ ∑ ‰ ‰ ≈ ≈ ≈ œ ‰ ‰ ∑ ∑ Œ ‰ ‰

598
° 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x)
ZDR VI ZDRIV‰. Einheit:
&3x; œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œZDRIV . Einheit:
‰ 3x;‰ Wandlerdauer:6x;
‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ œZDRIV . Einheit:
‰ 3x; Wandlerdauer:6x;
‰ ‰ ‰ ‰
Wandleranfang:53.4; œ ‰ ‰ ‰ ‰ ‰ ‰
Wandleranfang:53.4; Wandlerende: 55.2. Wandlerende: 55.2.

5x(4x) 2x(4x) 3x(4x) 4x(4x) 5x(4x) 2x(4x) 3x(4x) 4x(4x)

ZDR V & ≈ œZDRIII .≈Einheit:≈4x; Wandlerdauer:16x;
Œ Œ ‰ Wandlerende:
Wandleranfang:53.2; ≈ ≈ 57.2.Œ ≈ œ ≈ ≈ Œ ≈ œZDRIII ≈. Einheit:≈ 4x; Wandlerdauer:16x;
Œ ‰ ≈ ≈Wandlerende:
Wandleranfang:53.2; ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ ≈ œZDRIII .≈Einheit:≈4x; Wandlerdauer:16x;
Œ Œ
Wandleranfang:53.2; ‰ ≈ 57.2.
Wandlerende: ≈ Œ ≈ œ ≈ ≈ Œ ≈ œZDRIII ≈. Einheit:≈ 4x; Wandlerdauer:16x;
Œ ‰ Wandleranfang:53.2;
≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈
Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] 57.2. Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] Wandlerende: 57.2.

2x(5x)
2x(5x) 3x(5x) 4x(5x) 5x(5x) 2x(5x)
2x(5x) 3x(5x) 4x(5x)
ZDR IV & ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œZDRVI≈. Einheit:
‰ 5x; Wandlerdauer:10x;
‰ ‰ ‰ Wandlerende:
Wandleranfang:33.3; ‰ ‰ 36.1. Inhalt:≈ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰
ZDRVI . Einheit: 5x; Wandlerdauer:10x; Wandleranfang:33.3; Wandlerende: 36.1. Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰
ZDRVI . Einheit: 5x; Wandlerdauer:10x; Wandleranfang:33.3; Wandlerende: 36.1. Inhalt: ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰
[Dreifachschlag-Motiv]; [r9.(1,32)] [Dreifachschlag-Motiv]; [r9.(1,32)]

3x(6x) 4x(6x) 5x(6x) 2x(6x) 2x(6x) 3x(6x) 4x(6x)

ZDR III & œ ‰™ Œ Œ Œ ‰ œZDRV ≈. Einheit: 6x;Œ Wandlerdauer:30x; Wandlernfang:46.4;
Œ Œ
Wandlerende: ΠΠ[r9.(1,32)]
54.2.Inhalt: [Dreifachschlag-Motiv]; ≈ ≈ œ ≈ Œ Œ Œ Œ Œ Œ Œ œ ‰ ≈ ‰
ZDRV . Einheit: 6x; Wandlerdauer:30x; Wandlernfang:46.4; ≈ Œ ≈ œ ‰ Ó ≈ ‰ ≈ ≈ ≈ ≈ œZDRV .≈Einheit: 6x;ŒWandlerdauer:30x;
‰ ≈ ≈
Wandlerende: 54.2.Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] Wandlernfang:46.4; Wandlerende: 54.2.Inhalt:

2x(7x) 3x(7x) 4x(7x) 5x(7x) 2x(7x)

ZDR II ¢& ≈ ≈ œ ≈ ‰ ‰ ‰ ‰ ‰ ‰ œZDRII ≈ ‰ ‰ Œ Œ ‰ ‰ ≈ ≈ ≈ œ ‰ ‰ ‰ Œ Ó ‰ ‰ ‰ ≈ ≈ ≈ œZDRII ‰ ‰ ‰ ∑ Œ ‰ Œ ‰ ‰ ≈ ≈ œ ≈ ‰ ‰ ‰ ‰ ‰

2 macabro
606
° 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x)
ZDR VI & ≈ œ ‰ ‰ ≈ œZDRIV‰. Einheit: 3x; ‰Wandlerdauer:6x;
‰ ‰ œ ‰ ‰ ‰ ‰ œZDRIV . Einheit:
‰ 3x; Wandlerdauer:6x;
‰ ‰ Wandleranfang:53.4;
‰ ‰ Wandlerende:
‰ 55.2. ≈ œ ‰ ‰ ≈ œZDRIV ‰. Einheit: 3x; Wandlerdauer:6x;
‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œZDRIV‰. Einheit: 3x; ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰
Wandleranfang:53.4; Wandlerende: 55.2. Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] Wandleranfang:53.4; Wandlerende: 55.2. Wandlerdauer:6x;

5x(4x) 2x(4x) 3x(4x) 4x(4x) 5x(4x) 2x(4x) 3x(4x) 4x(4x)

ZDR V & ≈ œZDRIII .≈Einheit:≈ 4x; Wandlerdauer:16x;
Œ Œ
Wandleranfang:53.2; ‰
Wandlerende: ≈ ≈
57.2. Œ ≈ œ ≈ ≈ Œ ≈ œZDRIII≈. Einheit:
≈ 4x; ŒWandlerdauer:16x; Wandleranfang:53.2;
‰ ≈ ≈ ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ ≈ œZDRIII .≈Einheit:≈ 4x; Wandlerdauer:16x;
Œ ŒWandleranfang:53.2;
‰ Wandlerende:
≈ ≈ 57.2. Œ ≈ œ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ‰ ≈ ≈ ≈ œZDRIII ≈. Einheit:
≈ 4x; Wandlerdauer:16x;
Œ Œ
Wandleranfang:53.2; ‰
Wandlerende: ≈57.2. ≈
Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] Wandlerende: 57.2. Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]

5x(5x) 2x(5x)
2x(5x) 3x(5x) 4x(5x) 5x(5x) 2x(5x)
2x(5x)
ZDR IV & ‰ ‰ ‰ ‰ ≈ œZDRVI‰. Einheit: 5x;
‰ Wandlerdauer:10x;
‰ ‰ ‰
Wandleranfang:33.3; ‰ ‰36.1. Inhalt: ‰[Dreifachschlag-Motiv];
Wandlerende: ‰ ‰ ‰
[r9.(1,32)] ‰ œ ≈ ‰ ‰ ‰ ‰ œZDRVI≈. Einheit:
‰ 5x; Wandlerdauer:10x;
‰ ‰ Wandleranfang:33.3;
‰ ‰ Wandlerende:‰ 36.1. Inhalt:≈ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œZDRVI‰. Einheit:‰5x; Wandlerdauer:10x;
‰ ‰ ‰ Wandlerende:
Wandleranfang:33.3; ‰ ‰ Inhalt:‰[Dreifachschlag-Motiv];
36.1. ‰ ‰
[r9.(1,32)] ‰ ‰ œ ≈ ‰ ‰ ‰
[Dreifachschlag-Motiv]; [r9.(1,32)]

5x(6x) 2x(6x) 2x(6x) 3x(6x) 4x(6x) 5x(6x)

ZDR III ZDRVΠ. Einheit: 6x; Wandlerdauer:30x;
& [Dreifachschlag-Motiv]; ‰ ≈Wandlernfang:46.4;
ΠŠ54.2.Inhalt:
Wandlerende: ≈ ≈ œ ≈ Œ Œ Œ Œ Œ Œ Œ œZDRV ‰. Einheit: 6x;≈ Wandlerdauer:30x;
‰ ≈ Wandlernfang:46.4;
Œ ≈ œ ‰ Ó ≈ ‰ ≈ ≈ ≈ ≈ œZDRV ≈. Einheit:
Œ 6x; Wandlerdauer:30x;‰Wandlernfang:46.4;
≈ ≈ Wandlerende:
Œ ‰ ≈ Œ [r9.(1,32)]
54.2.Inhalt: [Dreifachschlag-Motiv]; ≈ ≈ ≈ œ ≈ Œ Œ Œ
[r9.(1,32)] Wandlerende: 54.2.Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]

3x(7x) 4x(7x) 5x(7x) 2x(7x) 3x(7x)

‰ œZDRII ≈ ‰ ‰ Œ Œ ‰ ‰ ≈ ≈ ≈ œ Œ Œ Ó ‰ ‰ ‰ ‰ ≈ ≈ ≈ œ ‰ ‰ ‰ ‰ Œ Ó ‰ ‰ Œ ‰ ‰ ≈ ≈ œ
ZDRII ≈ ‰ ‰ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ Œ ‰
ZDR II ¢&

614
° 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x)
ZDR VI & œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œZDRIVŒ. Einheit: 3x; Wandlerdauer:6x;
≈ œ ‰ ‰ ‰ ‰ œ Œ Œ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œZDRIV‰. Einheit: 3x; ‰ ≈ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œZDRIV‰. Einheit: 3x; ‰Wandlerdauer:6x;
≈ œ ‰ ‰ ‰
Wandleranfang:53.4; Wandlerende: Wandlerdauer:6x; Wandleranfang:53.4; Wandlerende:

5x(4x) 2x(4x) 3x(4x) 4x(4x) 5x(4x) 2x(4x) 3x(4x) 4x(4x)

ZDR V ≈
ZDRIII . Einheit:
& œ ≈ ≈ Œ Œ ‰ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ‰ ≈ ≈ ≈ œZDRIII .≈Einheit:≈ 4x; Wandlerdauer:16x;
Œ Œ ‰ Wandlerende:
Wandleranfang:53.2; ≈ ≈ 57.2. ≈ œ ≈ ≈ Œ Œ ‰ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ≈ œ ≈ ≈ Œ ‰ ≈ ≈ ≈ œZDRIII .≈Einheit:≈ 4x; Wandlerdauer:16x;
Œ Œ
Wandleranfang:53.2; ‰ 57.2. ≈
Wandlerende: ≈
4x; Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]

3x(5x) 4x(5x) 5x(5x) 2x(5x)

2x(5x) 3x(5x) 4x(5x) 5x(5x)
ZDR IV & ‰ œZDRVI≈. Einheit:
‰ 5x; Wandlerdauer:10x;
‰ ‰ Wandleranfang:33.3;
‰ ‰ Wandlerende:
‰ ≈
36.1. œ ‰ Œ Œ Œ Œ ≈ œZDRVI‰. Einheit: 5x; Wandlerdauer:10x;
‰ ‰ Wandleranfang:33.3;
‰ ‰ Wandlerende:
‰ 36.1.‰ Inhalt:‰[Dreifachschlag-Motiv];
‰ ‰
[r9.(1,32)] ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ ‰ ‰ ‰ ‰ ≈ œ ‰ ‰ ‰ ‰ ‰
ZDRVI . Einheit: 5x; Wandlerdauer:10x; Wandleranfang:33.3; Wandlerende: 36.1. Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] ‰ ‰ ‰ ‰ ≈ œ ‰ ‰
Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]

2x(6x) 3x(6x) 4x(6x) 5x(6x) 2x(6x) 2x(6x)

ZDR III & Œ Œ Œ Œ œ ‰ ≈ Œ Œ œ ‰ Ó ≈ Œ ‰ œZDRV ≈. Einheit:Œ 6x; Wandlerdauer:30x;
‰ ≈Wandlernfang:46.4;
ŠΠWandlerende: 54.2.Inhalt:
‰ [Dreifachschlag-Motiv];
≈ Œ ≈ ≈
[r9.(1,32)] ≈ œ ≈ Œ Œ Œ Œ Œ Œ Œ œ ‰ ≈ ‰ ≈ Œ ≈

4x(7x) 5x(7x) 2x(7x) 3x(7x) 4x(7x)

ZDRII ‰ ‰ ‰ ≈ ≈ ≈ œ ‰ Œ Œ Œ Œ Œ Œ ≈ œ ‰ ‰ ‰ ‰ Œ ‰ Œ ‰ ‰ ‰ Œ ‰ ‰ ≈ ≈ ZDRIIœ ≈ ‰ ‰ ‰ ‰ ‰ ‰ œ ≈ ‰ ‰ Œ ‰ ‰ ‰ ‰ ≈ ≈ ≈ œ ‰ ‰
ZDR II ¢&

622
° 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x) 2x(3x) 3x(3x) 4x(3x) 5x(3x)
ZDR VI & ‰ œ Œ Œ ‰ œ Œ Œ Œ ≈ œZDRIV‰. Einheit: 3x;‰Wandlerdauer:6x;
≈ œ ‰ ‰ Œ œ Ó œ ‰ Œ Œ ‰™ œZDRIV . Einheit:
‰ 3x; ‰ ≈ œ ‰ ‰ ‰ ‰ œ Œ Œ ‰ œ Œ Œ Œ
Wandleranfang:53.4; Wandlerende: Wandlerdauer:6x;

5x(4x) 2x(4x) 3x(4x) 4x(4x) 5x(4x) 2x(4x) 3x(4x) 4x(4x)

ZDR V ≈ œ
ZDRIII . Einheit:
& ≈ ≈ Œ Œ Œ Œ ≈ œ ≈ ≈ Œ ≈ œ™ Œ Œ ≈ œZDRIII ≈. Einheit:≈ 4x; Wandlerdauer:16x;
Œ Œ ‰ Wandlerende:
Wandleranfang:53.2; ≈ ≈ 57.2. ≈ œ ≈ ≈ Œ Œ Œ Œ ≈ œ™ Œ ≈ œ™ Œ Œ ≈ œ™ Œ Œ Œ
4x; Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]

2x(5x)
2x(5x) 3x(5x) 4x(5x) 5x(5x) 2x(5x)
2x(5x) 3x(5x)
ZDR IV & Œ Œ Œ Œ Œ œZDRVI . Einheit:
≈ ‰5x; Wandlerdauer:10x;
Œ ‰
Wandleranfang:33.3; œ ≈ Œ Œ Œ ≈ œ ‰ Œ Œ Œ Œ ≈ œZDRVI‰. Einheit:Œ 5x; Wandlerdauer:10x;
ΠWandleranfang:33.3;
ΠWandlerende: 36.1.
ΠInhalt: [Dreifachschlag-Motiv];
Œ [r9.(1,32)] ‰ œ ≈ Œ Œ œ ≈ ‰ Œ Œ
Wandlerende: 36.1. Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)]

3x(6x) 4x(6x) 5x(6x) 2x(6x) 2x(6x) 3x(6x) 4x(6x)

ZDR III & œ Œ Œ Œ ‰ œ ≈ Œ ‰ ≈
ZDRV . Einheit: 6x; Wandlerdauer:30x; Wandlernfang:46.4; Wandlerende: 54.2.Inhalt: [Dreifachschlag-Motiv]; [r9.(1,32)] ≈ Œ ‰ ≈ Œ ≈ ≈ ≈ œ ≈ Œ Œ Œ Œ Œ Œ Œ œ Œ Œ œ ‰ Ó
ZDRV . Einheit: 6x; Wandlerdauer:30x; Wandlernfang:46.4; Wandlerende: 54.2.Inhalt: [Dreifachschlag-Motiv]; [r9. ≈ Œ ‰ œ ≈ Œ Œ
(1,32)]

5x(7x) 2x(7x) 3x(7x) 4x(7x)

‰ Œ ‰ Œ ‰ ‰ ‰ ‰ ≈ ≈ ≈ œ Œ Œ Ó Œ Œ Œ Œ ‰ œZDRII Œ Œ Œ œ ≈ ‰ ‰ Œ ‰ ‰ ‰ Œ ≈ œ ‰ Œ Œ Œ Œ
ZDR II ¢&
6. Commentary on T.R.M. I and T.R.M. II

[draft] The propositions can have very different qualities. Colors. They can be like
pedal tone or tremolo. If they have pedal for example they woul be like sciarrinos panels.
When they have perforated existences they are only tracable by their traces on the figures
like Bacon´s. Analysis of the pieces will demonstrate its aesthetic possibilies.

In Time Regulation Music I for ensemble, …