for prepared

(electroacoustic) harp
2014-17

SCORE
 "Dialogues Rêvants" for prepared (electroacoustic) harp (2014-17)
2

Preparation, composition and notation:

2014-07-02 to 08-17 and 2014-09-03 to 08 (preparation);
2015-06-09 to 08-17 and 09-21 to 25 and 10-29 to 11-22 (1st version);
2016-08-04 to 10 and 2016-12-18 to 2017-01-08 and 2017-09-15 to 17 (revised version).

Contents
A. Instrumentation ....................................................................................................................................................... 2

B. Table of preparation (fixed preparations) ................................................................................................................ 3

General views ..................................................................................................................................................................................... 3
Comments .......................................................................................................................................................................................... 3

C. Notation and performance notes............................................................................................................................. 4

1. Staff system........................................................................................................................................................................................ 4
2. Noteheads .......................................................................................................................................................................................... 4
3. Direction, speed and pressure of sound production ........................................................................................................................... 4
4. Further symbols.................................................................................................................................................................................. 5
5. Means of sound production ................................................................................................................................................................ 5
6. Articulation / phrasing ......................................................................................................................................................................... 6
7. Dynamics............................................................................................................................................................................................ 6

D. General remarks ..................................................................................................................................................... 6

E. Programme note ..................................................................................................................................................... 6

F. Score ....................................................................................................................................................................... 7

A. Instrumentation
The work can be performed with three different instrumentations / instrumental line-ups (ordered by preference):
a. one (rather strongly) amplified electroacoustic pedal harp.
b. one (rather strongly) amplified acoustic pedal harp.
c. one unamplified acoustic pedal harp.

B. Table of preparation (fixed preparations)
Preparation object: material,
characteristics, size
1 wooden honey spoon with (approx.
5) deep notches, L ≈ 15 cm,
medium notch: L ≈ 0.8 cm.
34 small / medium-sized 3-prong
plastic hair clips with round claws,
2 sizes:
LxWxH ≈ 1.5 x 1.0 x 1.5 cm (3 clips),
LxWxH ≈ 1.0 x 0.7 x 1.2 cm (31 clips).
21 small partly coated metal binder
clips (= bent strip of spring steel with
nickel plated handles),
W = 1.5 cm,
opening: up to 0.7 cm.
General views
wire strings 1-12
gut strings 8-14
gut strings 22-25
Comments
• L = length, W = width, H = height, D = diameter.
• All preparation objects are fixed: they are attached before the performance, stay on the spot during the complete duration and are not removed
again until after the performance.
• All preparation objects have to stay in the strings while playing. If they slide away or jump off unintentionally during performance, they should al-
ways be returned to the original position as soon and noiseless as possible (e.g. during rests).
"Dialogues Rêvants" for prepared (electroacoustic) harp (2014-17)
3
Manner and place of attachment
Head of the wooden honey spoon is inserted and the medium notch is squeezed between the two lowest
wire strings (C1-D1), with the handle of the honey spoon hanging in the air vertically to the strings, on the side
of the left hand.
The honey spoon is positioned near the soundboard, but
far enough for the spoon not to harm the soundboard
when the handle is plucked or struck with the left hand
(approx. 5-10 cm). The honey spoon should never move
alongside the strings while playing.
Middle claws of the plastic hair clip are clamped tightly around the string, with the claws
in a parallel (not vertical!) position to the string. The hair clip is positioned near the
soundboard, leaving some space between clip and soundboard (approx. 3-5 cm), and
should never move alongside the strings. Always play only as forcefully as possible for
the hair clip not to jump off the string.
One hair clip per string, except for wire strings 1-2 on C1-D1 as well as gut string 1 on A
and gut strings 26-35 on e3-g4 (= unprepared strings!). Distribution of the hair clip
sizes among the prepared strings:
a. Wire strings 3-5 (E1-G1 / 3 strings) = size 1 (1.5 x 1.0 x 1.5 cm).
b. Wire strings 6-12 (A1-G / 7 strings) = size 2 (1.0 x 0.7 x 1.2 cm).
c. Gut strings 2-25 (B-g4 / 24 strings) = size 2 (1.0 x 0.7 x 1.2 cm).
If no appropriate hair clips can be found (esp. for the highest strings), similar
gong sounds can be obtained with the following two alternative objects in-
stead:
a. Small metal alligator clip, L = 2.7 cm, clamped with its tip (1st tooth) on the
string.
b. Small metal binder clip, W = 1.5 cm (see below), clamped on the string at
one of the two notches (in the loops of the spring steel, where the handles
are attached).
Fold the handles towards the spring steel, in order to open
and attach the binder clip around the string at the sound-
board, i.e. between honey spoon / hair clip and soundboard.
The binder clip rests loosely on the soundboard (fixated only
by the string), ready to rattle when the string is set in vibra-
tion.
Only on wire strings 3-12 (E1-G / 10 strings) and on gut
strings 2-12 (B-e1 / 11 strings). One binder clip per string.
Possible to use two binder clips per string in the lowest reg-
ister.
gut strings 1-7
gut strings 15-21
gut strings 26-35 = no preparation
(general view without wooden honey
spoon and with hair clips on strings 26-35)
 "Dialogues Rêvants" for prepared (electroacoustic) harp (2014-17)
4
C. Notation and performance notes
The notation mainly illustrates the different elements of sound production, but not the effectively resulting sound (relative notation).

1. Staff system
The staff system consists of 3 elements / clefs:
1. The upper clef is depicting the harp from top to bottom:
Section 1 (brass plate) stands for activities on the (most sonorous
part of the) brass plate on the right side of the harp neck.
Section 2 (string length) is used to graphically describe slid-
ing/scraping movements alongside the string (resp. main sounding
string length), i.e. between the soundboard (low noteheads) and
the mechanical fingers on the bridge (high noteheads).
In section 3, those noteheads are located which indicate the playing
on (a particularly resonant spot of) the soundboard.
Sections 1-3 are omitted if not needed.
2. The large middle clef is depicting the harp from front to back (from
the harpist's perspective), i.e. from high to low strings / tuning pegs,
describing all kinds of plucking and striking action:
The gut strings are divided into 3 registers – high, middle, low (sec-
tions 4-6), the wire strings remain within 1 register (section 7).
Approximate pitches are notated between single staff lines, for exact pitches the standard 5 staff lines and the standard
G and/or F clefs (with octave markings) are added to the otherwise graphical staff system.
The vertical position of the activity alongside the string (if rather stable, i.e. no sliding movement) is indicated in words:
a. in the middle of the strings (ord./ordinario),
b. at the soundboard / "près de la table" (alla tavola),
c. on the short section between bridge pins and tuning pins / "près des chevilles" (alle caviglie) or
d. on the tuning pins themselves (sulle caviglie).
3. The small lower clef is indicating the pedalling, defined by capital letters and accidentals (♭, ♮, ♯), in combination with
stems and exact rhythmic notation. A pedal change has already to be finished at the exact time when the new pedal po-
sition appears (rhythmically).
Pedalling exactly halfway between two pedal positions (pedal buzz) is shown by two adjacent accidentals at the same
time (♭♮ or ♮♯).

2. Noteheads
Notehead Usage (playing technique[s])
pizzicato / pizz. = All kinds of plucking the strings and tuning pins.
battuto = All kinds of striking the strings, soundboard and brass plate.
tratto = All kinds of bowing action on the soundboard and across / alongside / between the strings.
toccato = Touching the (vibrating) string.
Also used for defining the exact pitch on which tratto/toccato playing occurs.
Muting the string(s) while plucking at the soundboard (xylophnonic) or after striking by remaining/resting on the string(s).
Examples for ordinary pedal changes.
Examples for pedal buzz (pedalling exactly halfway between two pedal positions).

3. Direction, speed and pressure of sound production

The following system of symbols uses the traditional down-bow ( ) and up-bow ( ) signs on a more general level for all "tratto" sound producing
actions alongside and between the strings. The down-bow symbol generally stands for movements away from the body, the up-bow symbol repre-
sents movements towards the body.
The line thickness defines the energy or pressure of sound production. Additionally, arrows attached to the pictograms determine the direction of
sound production and, in the case of tratto between the strings, also the speed and the hand of sound production.
These symbols are only used for tratto playing alongside and between the strings. For all other playing techniques and places of sound production
(including tratto across the strings), direction, speed and pressure arise from the context.

Symbol Definition
Horizontal sound production between the strings, normal pressure and speed, right hand.
Horizontal sound production between the strings, normal pressure and speed, left hand.
Horizontal sound production between the strings, normal pressure, high speed, right hand.
Horizontal sound production between the strings, normal pressure, high speed, left hand.
Horizontal sound production between the strings, normal pressure, low speed, right hand.
Horizontal sound production between the strings, normal pressure, low speed, left hand.
Vertical sound production alongside the strings, normal pressure, speed defined by the slope of the glissando line, right
or left hand.
Vertical sound production alongside the strings, high pressure / overpressure, speed defined by the slope of the glis-
sando line, right or left hand.
 "Dialogues Rêvants for prepared (electroacoustic) harp (2014
Dialogues Rêvants" (2014-17)
5
4. Further symbols
1/32
1/32-note tremolo.
ordinario = Unmuted strings, vertical position in the middle of the strings.
ord.
ord. applies also if nothing else is indicated.
sord. con sordino = Muted strings, muted with a finger of the same hand or with the other hand, vertical position separately specified.
D. la (mano) destra = Right hand.
S. la (mano) sinistra = Left hand.
Continuity (of pitch).
Transition (between different speeds of horizontal sound production between the strings).

5. Means of sound production

Pictogram Definition (and description)
Fingertip (i.e. any optional number of fingertips).

(Exactly) 2 different, alternating fingertips of the same hand (i.e. not 2 fingers simul-
taneously).
2-3
3 bundled fingertips.
Side of the thumb.
Fingernail.
Palm of the hand with flat fingers.

Palm of the hand with stretched & curved fingertips.

2 hands (simultaneously).

Notch in the middle of the metal shank of a (non rubber-coated)

rubber
Horngacher tuning key (left image).. With the string enclosed by
the notch, sliding alongside the string is easily controllable.

Produced by Horngacher GmbH, Starnberg, Germany.
Alternatively, a drum tuning key with a (wide) notch works fine
(right
right image),, but might be less handy to play with.
W (notch) ≈ 0.2 cm.
z

Trophy Rhythm Stick – ribbed/fluted wooden stick;

LxD ≈ 30.5 x 1.3 cm (fluted).
Produced by Trophy Music Company, Cleveland/OH, USA.
Rubber ball beater –
e.g. one end of a double pointed metal (sock) knitting needle (LxD = 20 x 0.2 cm) inserted o
or
even glued into a large super
superball
ball / bouncy ball (D ≈ 4 cm) with rough or smooth su
surface.
2 hard felt mallets; mallet head: D ≈ 4 cm. Mallet head.

Mallet handle.

Thin metal finger cymbal including a strap; HxD ≈ 0.07 x 5.2 cm. Flat (on the string).
Oblique (to the string).

Vertical (to the string).

2 narrow serrated plastic knives; L ≈ 6 cm, prongs: W (distance) ≈ 0.13 cm. Edge of the knife
(= prongs).
prongs)
Tip of the knife.

Crumpled
rumpled sheet of paper (DIN
DIN A4 or 8.5x11
8.5x in); D ≈ 10 cm.

The pictograms display the symbols for the playing objects which appear on the top stave in the score. The occurrence of a new symbol (in in the
same hand) eliminates the previous one. Capital letters above the symbols stand for the material of the playing objects
objects respectively of those parts
of the playing objects which touch the instrument and thus produce the sound:
- C = "(foglio
(foglio di) carta
carta" = (sheet of) paper;
- F = "feltro" = felt;
- G = "gomma" = rubber
rubber;
- L = "legno" = wood
wood;
- M = "metallo" = metal
metal;
- P = "plastica" = plastic
plastic.
 "Dialogues Rêvants" for prepared (electroacoustic) harp (2014-17)
6
6. Articulation / phrasing
Generally, the natural resonance of the harp is a central aspect of this piece, a precondition determining the following articulation rules:
a. Pizzicato and battuto:
Exact occurrence of attacks and always let the strings, the body and/or the preparation objects vibrate after the sound production (attack), i.e.
always laisser vibrer ( ). The notated duration is irrelevant.
b. Tratto, toccato and muting:
- Single notes and final notes within groups: Always with exact duration of sound production (tenuto or indicated articulation mark), but without
dampening during rests, i.e. always laisser vibrer ( ).
- Groups of (tratto) notes: Always detached sound production (non legato / portato) as far as possible. However, fast or tremolo notes are auto-
matically played less detached than slower notes.
c. True dampening (i.e. sound production without laisser vibrer) only occurs if a notehead for muting the string(s) is notated (cf. Noteheads).
d. Staccato markings never mean muting, but removing the sound producing object from the vibrating string/tuning pin as fast as possible.

At the end of the last bar, all strings are supposed to be dampened. Keep the tension for some seconds (fermata).

7. Dynamics
Due to the relative notation, all dynamic instructions apply in relation to the respective playing technique (relative dynamics). In other words: each
individual combination of playing technique, means and place of sound production has its own dynamic range with individual maximum and mini-
mum levels of loudness. The individual maximums do not only depend on the general potentials of maximum volume, but also on the necessary
tenderness to protect the instrument.
Many of the playing techniques are frequently employed in a vigorous way of playing, i.e. in a "relative forte". However, no general (absolute) forte
character can be derived from that concerning the final sound result of the piece, as some "relative" forte indications sound several absolute dy-
namic levels softer than others.

New dynamic levels generally start abruptly (subito), if no crescendo or decresendo is indicated.

D. General remarks
• A commission by the Norwegian harpist Sunniva Rødland Wettre, funded by Norsk kulturråd (The Arts Council Norway).
Revision advised by the French harpist Alice Belugou for the New Directions Festival 2017 in Piteå / Sweden.
• Duration: ≈ 16-17 min (14 min with constant tempo 72).
• Setup on stage: free.

E. Programme note
The main idea behind the piece is the creation of a dialectic dramaturgy within the monophonic limitations of solo music. During the entire dura-
tion, two dialogue partners (played by one and the same musician) lead a continuous discussion between two basic and opposite acoustic phe-
nomena: higher pitched sounds, largely produced by the right hand, versus lower, noisy and complex unpitched sounds, mainly generated by the
left hand.
The discussion between these two major sound centres is organized as a permanent variation of two parallel, quasi-unstoppable and mutually
interrupting processes, at the same time exploring the rich sonic potentials of the harp:
The pitched process or dialogue partner runs between the binary opposites of stasis and fluidity: The sounds develop from single to repetitive
block chords, from chordal to single-note bisbigliandos, from articulated to legato two-note trills to pedal trills, from fluidic trills to fluidic scales, from
slow to fast (ordinary) glissandos with increasing density (tremolo), from continuous arpeggios to single virtuoso gestures and finally from repetitive
back to single block chords.
The unpitched process or dialogue partner proceeds between the poles of attack and resonance: Starting with dry single attacks, the sounds
transform to resonant attacks, then to unattacked continuous resonances (i.e. distorted sounds), next to continuous grained resonances with inter-
nal, increasingly articulated and dry attacks, thereafter to continuous, dry repetitive scraping, then to chains of dense attacks (sort of unpitched
glissandos), before they end up again in dry single grains or attacks.
Both processes are evolutionarily consequently autonomous, but structurally constantly interlaced and thus dramaturgically and contrapuntally
vividly interacting.
This dramaturgical strategy might be compared to the yin and yang from Chinese philosophy: a dynamic system of opposite, but complemen-
tary, interconnected and interdependent forces, in which the whole is greater than the assembled parts.
However, the expressive substance of the multifaceted harp sounds, their antagonism, intense emotionality and dramaturgical organization with
many quick cuts (i.e. rapidly changing images) might be perceived as dreamlike:
A dream is a normally uncontrollable succession of moving (not fixed) visual images, often combined with auditory and bodily sensations, with
intense emotions, hallucinated speaking and thought processes.
Usually, familiar protagonists (dream figures) are proactively acting in eventful but unfamiliar situations and scenarios, thus mirroring a creative
rearrangement of the waking reality, being neither constantly realistic nor particularly surreal or bizarre during the actual experience, whereas a
possible felt bizarreness, improbability or even impossibility is typically produced retroactively by the memory.
Dreams are generating a large range and a balanced ratio of different positive, negative and neutral emotional qualities: everything from power,
joy, peace and love to disgust, shame, anxiety and despair.
Score Dialogues Rêvants
for prepared (electroacoustic) harp
q»72 7 44 78 85
Prepared, composed & notated: 2014-07-02 to 2017-09-17 Ansgar Beste (*1981)
8
brass plate

œœ.œœ
at bridge
string length pizzicato ord. pizzicato ord.

œœœœ œœœœ
at soundboard
soundboard
g4

† Œ Œ. ‰ Œ.
ƒ ƒ
b2
(electro- gut 3
acoustic) strings
harp d1
F F
battuto battuto
A
ord. ord.

ƒ ¿* * Ó ‰ .. ƒ¿ Œ ‰ -¿
G
wire 3

-¿
1 2
strings
C1
pedals DfCnBn l EnFnGfAs

7
16 78 38 5
16 28 78 28
œœœœ .. œœœœ
5 pizzicato ord. pizzicato ord.
œœ œœœœ œœœœ œœœ œœ
œœ œ œœ
≈ ‰ ‰ ≈
g4

†
‰ ‰ ‰
ƒ ƒ f
b2
gut 3 3 F
3 3 battuto
str

f- - - -
battuto ord. ord.
(EA)

-¿ -¿
d1

-
F

- -
hp
¿ ¿¿¿
- -
-¿ ¿ ¿ ¿ ¿
≈ ≈-¿ -¿ ¿- -¿ -¿ ¿ ‰ -¿ ¿
A 3 3

ƒ -¿
G 3

¿
wire
str 3 3

∑ . .
3
*
∑
C1 3 3
ped. Cs Gn

48 78 38 78
3 3

œ . œ œœ œ . œ œ “œ
12
œœœ .. œœœ œœ œœœ .. œœœ ‡g “œ ‡g œ
pizzicato ord. pizzicato ord.
œ œœ œ œœ
œœ œœ œœ œœ
œ ≈ œ ≈
g4

‰ ‰
† ∑
ƒ F ƒ P3
b2
gut 3 F 3
3 3

f ƒ
str

-¿ -¿ -¿ - - ƒ
(EA) battuto ord.
d1
hp
¿ ≈ ¿ ¿ -¿ -
-¿ -¿ -¿ -¿ ¿ ¿ -¿ -¿ -¿ ¿ ¿
3 3 3
¿
A 3 3 3

- - - - -¿ -¿ *4
G
wire
str 3

∑
3 3

∑
C1
ped. Ff Bf ( DfCsBf l EnFfGnAs )

2 3 7 2 7
3

17 8 4 8œ pizzicato ord.
œ.
4 8œ pizzicato ord.

œœœ ..
œœ œœ œœœœ ‡g “œ “œ “œ
œœœ œœ œœ œœ œœœ œ“œ œ“œsimileœ“œ “œœ
œœ œœ œœ œœ œœ œ ‡g
simile

œœ œœ
≈
g4

œ ‰ ‰ œ ‰ ‰
†
ƒ p 3P ƒ p P
b2
gut 3 3 3 3 3

f ƒ
str

f ƒ
battuto ord. battuto ord.
(EA)
f ƒ
1

-“¿ -“¿ -¿ -¿ -
d
hp

“¿¿ “¿ “¿ ¿ ¿
3 3

¿ ¿ “¿ “¿ “¿ “¿
- -¿ -¿ -“¿ -“¿ “¿¿ Œ
A

-“¿ -“¿ -“¿ -“¿ -“¿ “¿ Œ

¿ -¿ ¿¿¿¿¿¿
G 3 3
wire

.
str
C1
3 3
ped. Dn An

44 78 85 48
3

22 A
br. plate

Œ ‰ .. ‰ ‰ ¿ ‰
at bridge

œœ .
battuto pizzicato ord. battuto
¿ ¿
str length

œ œ œœ œœ œœœ “œœ œ“œsimile

œœœ
P œœ ... œœ œœ œ ‡g “œ “œ “œ
at soundb.

œ P
soundb.

œœ
≈ œœ ≈ P
g4

œ
3

†
ƒ p F
2
b
(EA) gut
pizzicato 3 3 3 3 pizzicato
str
hp
Œ ‰ ≈œ ‰
1
alla tavola alla tavola
d 3

œ œ
ƒ ƒ f
A
G
wire
str

∑
C1
ped. Cn Af

3
1 Battuto: Always leave the string and let it vibrate immediately after having struck it.
*2 In bars 2-20, play all hard felt mallet notes with the left hand. Always keep the mallet in the left hand, while playing the chords, even if the chord passages
* are played with 2 hands already before bar 16.
3 Pedal changes: Always execute any ordinary pedal change as fast and silently as possible, i.e. with as little sliding sound and mechanical noise as possible.
* At the exact time when the new pedal position appears (rhythmically), the pedal change has to be finished. 4 Silently remove the hard felt mallet.
*
 Dialogues Rêvants (2014-17)
8
26 78 38 28 78 28
br. plate

‰
at bridge
pizzicato ord. battuto pizzicato ord. battuto
¿ ¿ ¿ ¿ œ œ œ œ œ simile ¿ ¿ ¿
str length

œ œ œ œœ œœ œœ “œ “œsimile
3

œœ œœ œœ ‡g œ œ “œ “œ “œ ““œ “œœ “œœ œœ œœœ œœœ œœ ‡g œ œ œ œ œ œ œ œ œ “œ “œ “œ “œœ

3
œœœœ œ “ “œ “œ “œ “œ “œ “œ “œ “œ œ œ œ
at soundb.

œœ œœ
soundb.

œœ œ P3
g4

œ œ œ
† ∑
ƒ p f ƒ p ƒ
2
b
3 3 3 3 3 3 3 3
(EA) gut 3 3

∑ alla tavola
str
pizzicato

œ œ œ
hp
d1
œ œ œ œ
ƒ F
F F ƒ
A
G
wire pizzicato

.
str alla tavola

∑
C1
ped. Gf ( DnCnBf l EnFfGfAf )

38 78 43 44
3

33
br. plate

≈¿ ‰ ‰ Ó ¿ .. Ó.
at bridge
battuto pizzicato ord. battuto
¿ ¿
str length

g‡ “œœ “œœ “œœ “œœ “œœ “œœ “œœ “œœ “œœ “œœ “œœ “œœ
at soundb. 3

“œœ œœ“
f
soundb. simile

F “œœ
g4

@ @ @ @
3

†
ƒ
b2

ƒ
(EA) gut 7
pizzicato

∑ ∑
str

ƒ p ƒ
hp alla tavola

œ ‰
d1

œ œ œ
wire
A
G
P P P P
str pizzicato
C1 alla tavola
ped.

38 44 B 43
br. plate

‰
at bridge
pizzicato ord. battuto pizzicato ord.
¿¿¿¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿ ¿ ¿ ¿
str length

œœ arpeggio)
at soundb.

œœ(non œœœœ œœœ ,

soundb.

œœæ
œœ œœ œœœ œ
g4

œ œœ œœ
† @ @ æ
œœ ƒ P œ œœœ œœ
7 3 3

æ æ @ @ æ
œœ
2
b
(EA) gut
str
hp
ƒ F f P
d1

A
G
wire

.
str
C1
ped. Df Gn

41 43 42
br. plate

≈¿ ≈¿ ≈¿
at bridge
pizzicato ord. battuto
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
str length
at soundb.
soundb.

œ@ œœ@ œœæ
g4

† œœœ œœæ ƒ P ƒ
3 3 3 3 3 3 3 3 3

œœ œœ œœ
2
b

F p
(EA) gut
str
hp
d1

A
G
wire
str
C1
ped. Cf

4 3
44 4 8
br. plate
at bridge
pizzicato ord. battuto
¿ ¿ ¿ ¿ ¿ ¿
str length
at soundb.
soundb. ¿¿ ¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿
g4

@ œœ@ œœæ
† œœœ œœæ œœæ œœ@ œ@ ‰
œœæœ œœ@œœ @
3

œ œœ œœ
b2

œœ œœ œœ œœœ
œ œœ œœœœ œœœœ œœœœ
œœ
(EA) gut
str
hp
P π F
1
d

A
G
wire

. .
str
C1
ped. Gs Bn ( DfCfBn l EnFfGsAf )
 Dialogues Rêvants (2014-17)
9
48 44 C 28 3
16 28 5
16
br. plate

¿ ¿¿¿¿ ¿. *fi 5 ¿ .
at bridge
battuto
¿ ¿ ¿¿ ¿
str length

∑
at soundb.
soundb. ¿¿¿¿ ¿¿¿¿ ¿¿¿ 3
g4

P ƒ
2
b

œœœœ œœœœ œœœœ

pizzicato ord.
œœœ œœœ œœ œœ
(EA) gut

Œ
str

æ æ æ æ æ æ æ
hp
V
d1

A
G
p P F
wire
str
C1
ped. An As Fn Gn Gf

54 78 85 38 48 F

br. plate
≈¿ ‰
‰ ‰
at bridge
6
battuto *
¿ ¿ ¿
str length

fi 3
fi
at soundb.
soundb.

ƒ
g4

, œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ

2
b

œœ œ.
(EA) gut pizzicato ord.
str
œ œœœœœœœœœ œ
æ æ
hp
V æ æ
d1

F f
P F
3 3 3
A
G
wire
str

∑
C1
ped. Cn

44 85 ‰ 3
4
*fi ‰ .
F

Œ Ó*
58 battuto
¿ ¿ ¿
5 7
br. plate
at bridge
str length
5 5

ƒ
at soundb.
soundb.
g4

b2
(EA) gut pizzicato ord.
œœ œœ œ œ
str
hp
V
æ æ æ æ
d1

wire
A
G f ƒ
str
C1
ped. ( DfCnBn l EnFnGfAs )

61 43 D 44 43
br. plate

Œ
at bridge
battuto
¿
str length
at soundb.
soundb.

ƒ
g4

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
b2
(EA) gut pizzicato ord. pizzicato pizzicato ord.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ
str
hp
Œ ‰ ..
œ œ œ
alla tavola
V
d1

p P œ
PP F
3 3 5 7
A
G
wire
str
C1
ped. Dn Cf

64 85 43 42
br. plate

‰ ≈¿ ‰ ‰
at bridge
battuto
¿
str length
at soundb.
soundb.

f
g4

F
3

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
2
b
(EA) gut pizzicato pizzicato ord.

œ œ œ œ œ
str
hp alla tavola
œ œ œ œ œ
V
‰ ‰ ‰
d1

œ
F f F
3
œ
p p
A
G
wire
str
C1
ped. Ds Dn

*56 Palm of the hand (b. 53) / tuning key (b. 59) rests on the soundboard resp. on the brass plate immediately after the attack.
Silently take the hard felt mallet with the right hand and keep it in the right hand until bar 60.
*7 Silently remove the hard felt mallet.
*
 Dialogues Rêvants (2014-17)
10
68 42 44
br. plate

® ¿ .. ≈.
at bridge
battuto
¿ ¿
str length
at soundb.
soundb.

P P
g4

p
2
b
(EA) gut pizzicato pizzicato ord.

≈. œ ‰ œœœœœœœ œ œ œ œ œ œ œ œ œ œœœœœœ
str

‰ ®œ . Œ
hp alla tavola

œ V
1
d

A
G
p P P F
3 3 5
P
5 3 3

wire
str
C1
ped. Cn

72 42 43 44
br. plate

Œ ‰ Ó Ó.
at bridge
battuto battuto
¿ ¿ ¿
str length
at soundb.
soundb.

p P
g4

p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~
b2
(EA) gut pizzicato ord.

œ œ œ
str
hp œ œ œ
V
ƒ œ ..
d1

œ œ P p
pizzicato

F
alla tavola

f
A
G 3
wire pizzicato
str alla tavola
C1
ped. Df ( DfCnBn l EnFnGfAs )

76 45 E 44 45
g4

b2
gut pizzicato ord. pizzicato ord.
œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœœ
str battuto ord.
V
Ó ‰ ..
(EA) d1

¿.
hp
¿
p f f p
3 3 3 3 3 3 3 3 3 3

ƒ
A 5 5 5 5 5
G
wire
str
C1
ped.

3 5 5
79 4 8 4
g4

b2
gut pizzicato ord. battuto ord. pizzicato ord.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈œ œ œ œ œ œ œ œ œ œ
str

V œ œ
Œ ‰. ¿¿ ¿¿ ¿¿. Œ ®¿¿ ¿¿ ¿¿
(EA) d1

¿.
hp

f ƒ p
A 3 3 3
G
wire
str
C1
ped.

5 4 7 3
83 4 8 16 8
g4

2
b
pizzicato ord. battuto ord.

‰ ≈
gut

‰ ¿
5 5
œ ¿¿ ¿¿ ¿¿ ¿¿ ¿. ¿¿ ¿¿ ¿ ¿
str

œ œ œ œ œ œ œ œ œ œ œ ¿¿
V
. ¿¿ ¿ ‰ ¿¿ ¿¿ ¿ ¿
(EA)
.
d1

¿¿
hp

f p f ƒ
A 3
G
wire
str
C1
ped.
 Dialogues Rêvants (2014-17)
11
87 44 43 5
16 28

ƒ F* ƒ
g4
battuto ord. 9
2
b
pizzicato ord. F F
gut
*8
‰ ‰ ‰ Œ
5
¿ ¿¿ ¿ ¿
str

V œ œ œ œ œ œ œ œ œ œ ¿¿ ¿¿ ¿¿ ¿ ¿ ¿ ¿¿
≈ ≈ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿¿ ¿ ¿
(EA) d1

¿. ¿. ¿¿
hp F F

p f p
A
G

.sul¿ *cucchiaio ¿.
wire
str
10
C1
ped. per miele

93 46 F 44 28
g4

b2
gut pizzicato ord. F F

‰ Œ
str

V œ œ œ œ œ œ œ œ œ F ƒ
(EA) d1

‰ ® ¿ ¿¿ ¿. ®¿ ¿¿ ¿. ®¿¿¿ ≈
F
hp

p f p
battuto ord.
A

ƒ *Ó8
G sul cucchiaio
wire per miele
¿.
str
C1
ped. An As

97 45 28 3
16 44
g4

2
b

∑ ∑
gut pizzicato ord. F F
battuto pizzicato ord.

‰ Œ ‰ ‰ ‰ Œ
str 5 5 ord. 3 3 3

V œ œ œ œ œ œ œ œ œ œ œ œ
F ƒ
(EA) d1
hp

p F p .¿ ≈ ¿¿ ¿. ≈ ¿¿ ¿. ≈ ¿¿
¿. ¿¿ ≈ P F P
A
G
wire

. .
str

∑
C1 5
ped. An As Gn Gf

81 28 43 85 78 28
3
103
g4

gut
b2
f ƒ pizzicato ord.

≈ œ. Œ ‰
str

œ.
5 battuto ord.
V œ œ œ œ
(EA) d1

*9
F F F F
hp battuto

ƒ
simile

F
ord.

‰ ¿. ”¿¿ ¿. ”¿¿ ¿.
A

¿. ¿¿ ¿ ¿ ¿ ≈ Ó
G 3 3 3

. ¿¿ ¿. . .
wire

. .
str
C1 5

∑ 2
ped. Gn Gf Fs Fn

109 48 38 8 85
g4

2
b
pizzicato ord. pizzicato ord.

Œ.
gut

Œ Œ
str

œ. œ œ. œ.
3 3 battuto ord. 3

V œ œ œ œœ
(EA) d1

ƒ
F F
hp 9
*
f ∑
simile
A

ƒ ”¿. ”¿. . ”¿. . ”¿. . ”¿. . ”¿. .

3 3 3 3

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
G
wire

. . . .
str
C1
ped. Fs Fn Ff Fn Ff Fn

5 3 6
4 4 4
3 3 3
114
g4

b2
gut pizzicato ord.

Ó
12
str
battuto ord. 3 battuto ord. *
V œœœ
(EA) d
1

ƒ
F
hp 9
*
ƒ¿
3 3
¿ ¿ ¿
simile

¿. “¿ ¿. “¿ ¿. “¿ *Ó11. ƒ ”¿. ”¿¿ ”¿. ”¿¿ ”¿. ”¿¿ Ó Ó.

A 3 3

“¿ ‰
G

. ¿. ¿. ¿. . . .
wire
str
13
ped.
C1
Ff Fn
3
( DfCnBn l EnFnGfAs )
*

*98 Bars
Silently take the two hard felt mallets, one in each hand, and keep them until bar 114. Right-hand mallet can alternatively be taken in bar 94.
89-92 / 108 / 111-12 / 114: Single strings are always struck with a hard felt mallet or with the side of a thumb, groups of strings with 2-3 bundled
* fingertips, clusters with the palm of the hand (flat fingers).
10 Strike the head of the honey spoon while not touching the strings. 11 Silently remove the hard felt mallets.
*12 Silently take the rubber ball beater with the left hand and keep it until bar 131. *
* 13 Same pedal positions as in bar 75.
*
 Dialogues Rêvants (2014-17)
12
85 G 43 44 78
G
117 tratto
br. plate
at bridge

–
str length

f
at soundb.
soundb.
g4

2
b
(EA)
Œ. Œ.
gut pizzicato ord. pizzicato ord.

‰ Œ
str
hp 3 3 3
V œœœ
∑ œœœ
d1

A
G
p – p
wire

. .
str
C1
ped. Ef En Ef En

43 44
3 3

121

∑
br. plate G
at bridge
tratto
¬ ¬
str length
at soundb.

f
soundb.
g4

2
b
(EA) gut pizzicato ord.

Ó
str
hp 3
V œ œœ
d1

A
G
p
( )
wire
str
C1
ped. Ef En

7 5
8 4
3
G
124 tratto
br. plate
at bridge

–
str length

f
at soundb.
soundb.
g4

b2
(EA)
Œ. Œ.
gut pizzicato ord.

‰ Œ ‰ Œ
str
hp 3 3
V œ œ œœ
d1

–
P
A
G
wire

. .
str
C1
ped. Ef En Ef En

45 44
3 3

127
br. plate
at bridge
str length
at soundb.
soundb.
g4

b2
(EA)
Ó. Ó.
gut pizzicato ord.

‰
str
hp 3
V œ œ œ
d1

Ó Ó. P F
A
G
wire
str
C1
ped. Ef En Ef En

6 5
4 4
3 3
G
130 tratto 14
br. plate
at bridge
*
–
str length

f
at soundb.
soundb.
g4

2
b
(EA) gut
str
hp
d1

Ó Ó.
A
G

–
wire
str
13
C1
ped.
*
( DfCnBn l EnFnGfAs )

*14 Silently remove the rubber ball beater. Silently take the crumpled sheet of paper with the left hand and keep it until bar 150.
 Dialogues Rêvants (2014-17)
13
98 H 78 44
C
C
tratto tratto

–.
132
br. plate
at bridge . . –
– – –
str length

ƒp ƒ ƒ P ƒ
at soundb.
soundb.
g4

2
b
(EA)
Œ.
gut

Œ
str
pizzicato ord.
hp
V
œ
1
d

–
F –
A
G
wire
– –
.
str
C1 3 3
ped. Dn Df Dn Df

44 78 tratto
85 44
–.
135
br. plate
at bridge
Œ
– .
– – – – –
str length

ƒ F ƒ ƒ f ƒ
at soundb.
soundb.
g4

2
b
(EA)
Ó. ≈ ‰ Ó.
gut pizzicato ord. pizzicato ord.

‰
str
hp 3 3
V
œ
d1

œ
F – – f
A
G
wire
– –
str
C1 3 3 3 3 3
ped. Dn DfDnDf Dn Df Cs Cn s n s n s n

38 tratto 28 3
16 1
8 44 28 tratto
81 simile16
3 48
–. ‰ –.
139
– – – – – – –
‰ –
simile
br. plate
–
– –
at bridge

– – – – – – – – –
str length

ƒ ƒ p
at soundb.
soundb.
g4

2
b
(EA)
Ó.
gut pizzicato ord.
str simile
hp
V
d1

œ
– – f
A

– –
G

–
– – – –
wire
– – – – – –
str
C1 3 3 3 3
ped. Cs Cn s n s n s n s n s n

148 45 44 tratto 98
– – – – – – *15
–
br. plate

– – – – – –
at bridge

– –
str length
at soundb.

p ƒ
soundb.
g4
5 3 3

2
b
(EA)
Œ. Œ.
gut pizzicato ord. pizzicato ord.

≈ ‰ Ó Ó
str simile
hp 3
V
œ.
d1

œ
ƒ ƒ
A
G
wire
–
.
str
C1 3 3 3 3 3 3 3 3 3 3 3 3
ped. Cf Cn f n f n f n f n f n f n f n f n Bf Bn f n f n f n f n f n f n

151 44 tratto 16 45 28 tratto 38 48

*
– –
– – –
–––––– – – – – –
∑ ‰ ∑
br. plate

– – – – –
at bridge

–
str length
at soundb.

ƒ p p ƒ
soundb. 3
g4 3 3 3
5

b2
(EA) gut pizzicato ord. 17 *
≈ ‰ Ó Ó
str simile
hp 3
V
1
d

œ –
–
ƒ –
A

–
G

–––– –
wire
– – – – –
str
C1 3 3 3 3 3
ped. An As n s n s n s n s n s ( DfCnBn l EnFnGfAs ) *13
15 Silently remove the crumpled sheet of paper. Silently take the metal finger cymbal with the left hand and keep it until bar 225.
*16 Always let the metal finger cymbal ring while sliding or scratching alongside the strings: in flat position, hold the cymbal only with one finger inside
* the strap without touching / muting the metal. In oblique and vertical position, place the 2nd finger vertically and centrally on the inside of the
cymbal, letting it ring as strongly as possible (even when playing "ff"). 17 Silently take the tuning key with the right hand and keep it until bar 214.
*
 Dialogues Rêvants (2014-17)
14 I5
157 8
M
tratto 98 44 M
tratto

‰
tratto tratto
–
. ∑ Ó
– – ‰ – –
–. ∑
br. plate
at bridge

–
str length

p ƒ P ƒ
at soundb. 3 3 3 3 3 3 3 3 3
soundb. 3 3
g4
la stessa corda

2
b
(EA) gut pizzicato pizzicato

Œ Ó Œ
str alla tavola alla tavola
hp
V
œ.
d1

– œ –
ƒ ƒ
A
G

–
wire
–
str
C1
ped.

161 78 M
tratto 44 85
≈ Ó
tratto tratto

Œ – – –
Ó – – ‰ – –
–. –.
br. plate
at bridge
str length

F ƒ
at soundb. 3 3 3 5

f ƒ
soundb. 3 5
g4 3

b2
(EA) gut pizzicato

Ó Ó Œ
str alla tavola
hp
V
œ.
d1

– œ –
ƒ f
A
G

– –
wire
str
C1
ped.

165 38 28 44 M
tratto
43
‰ ‰ ‰. ‰
tratto

∑ ‰ ‰
– – – – –
∑ Œ Œ Ó
br. plate
at bridge

– –
str length

(ƒ)
at soundb. 5
soundb. 3 5 5
g4 3

b2
(EA) gut pizzicato

Œ Ó Œ Œ Ó
str alla tavola

‰ ‰ ‰
hp
V
d1 5

– – œ œ œ
f F
A

– –
G
wire
str
C1
ped.

42 43
M
tratto tratto
170
– – – – – – – –
Ó ∑ Ó ‰
simile 3

‰ ∑
br. plate
at bridge

– – – – – –
str length

ƒ p
at soundb.
soundb. 3
g4 3 3 3 3 3

b2
(EA) gut pizzicato

Ó Ó
str simile alla tavola
hp
V
d1

– – œ œ
– – – – – – – –
P
A
G
wire
str
C1
ped.

174 44 tratto
42
M
tratto 44 tratto
42
M
tratto
br. plate – – – – – – Œ ‰‰ –
Œ ‰‰ – – – – – – – – Œ ‰ –
‰
– – – – – – – – – – –
at bridge

– –
str length

p
3 3

ƒ
at soundb.

ƒ p
soundb.
g4 3
5 5

2
b
(EA) gut pizzicato pizzicato

Œ Œ Œ
str simile alla tavola simile alla tavola

‰‰ ‰‰ ‰ ‰
hp
V
d
1 3 3 3

– œ œ – ––– – – – œ
F f
A
G
wire
str
C1
ped.
 Dialogues Rêvants (2014-17)
15
41 42 41 42
M M
179 tratto tratto tratto

‰ ‰ – ‰ ‰ – – – – – – ‰ ‰ –
‰ –
‰ – ‰ –
‰ –
‰
simile
– –
–
‰ ‰
br. plate

– – – – –
at bridge

– – –
str length
at soundb. 3 3

p ƒ
soundb. 3 3
g4 3 3 3 3
3 3 3 3

2
b
(EA) gut pizzicato pizzicato
str alla tavola alla tavola

‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
hp
V
d1 3 3 3 3 3 3

œ œ – – – – œ œ œ œ œ
f – – ƒ
A

– – –
G

– –
wire ( )
–
str
C1
ped. ( DfCnBn l EnFnGfAs )
*13

5
K 2 4 2 5
8 *) 4
(U 8 8 8
M
16 18 tratto
187 tratto * tratto
br. plate
at bridge
– –
‰ ‰ – ‰ –
‰ –
‰ –
‰ ‰ – ‰ ‰ –
‰ ∑
– – –
– –
str length

ƒ f ƒ
at soundb. 3 3
soundb. 3 3
g4 3 3

b2
(EA) gut pizzicato

Œ
str alla tavola

‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
hp
V
d
1 3 3 3 3 3

t–
œ œ œ œ œ œ œ –
œ. ƒ f ƒ
A

p
G
wire
– –
.
str
pizz. 18
C1
ped. B fn Bn *
5 7 4 M 5
8 8 8 (U) 8
tratto

–. –. ≈ –. ≈ –. ≈ –.
193 tratto
br. plate

– – – – –
–
Œ ‰ ‰ ≈
∑
at bridge
str length

F ƒ P f
at soundb.
soundb. 3
g4

b2
(EA) gut pizzicato

∑ ≈
str alla tavola

≈ . ≈ ‰ ≈ . ≈ ‰ ≈ .
hp
V
d
1 3

– t–
œ œ œ œ œ œ œ œ œ
F ƒ P f p F
A

pœ
G
wire
– –
. .
str
pizz.

∑
C1
ped. B fn Bn

4 9 6 M
4 8 8 (U)
3
198 tratto tratto
br. plate
at bridge
str length
– – – – –
– – –
–
‰. ‰ – ≈.
p F P f
at soundb.
soundb.
g4
5

b2
(EA) gut pizzicato

≈.
str alla tavola

‰ ≈
hp
V
5 3 5

œ. œ. œ œ
d1

– t–
œ
P f
A

pœ
G
wire
– –
. . .
str
C1 pizz.
ped. B fn Bn

7 5 7 M
8 4 8 (U)
M
201 tratto tratto tratto

‰ –
‰. –
Œ ‰ – ‰
br. plate

– –
∑
at bridge
str length

F ƒ
at soundb. 3
soundb.
g4 5 3

2
b
(EA) gut pizzicato pizzicato

∑‰ ∑ ≈ 3
str alla tavola alla tavola

‰ ‰ ‰ ‰ ‰
hp
V
5 3 3 3 3

œ.
d1

œ œ œ œ œ œ œ œ œ œ
t–
F ƒ f ƒ
A

pœ
G
wire
–
. .
str
C1 pizz.
ped. B fn Bn

*18 Hold the pedal halfway between B♭ and B in order to produce a pedal buzz (i.e. letting the string vibrate against the metal of the tuning disc).
On the rest after the pedal buzz, give the ear some time to realize what has happened (fermata), before continuing the development a tempo.
 Dialogues Rêvants (2014-17)
16 L
98 tratto 16 * 85
M 38 45 tratto

–.
204 tratto

– –
∑ ∑ . . ‰ –
‰ – . ≈Œ
br. plate
at bridge
str length

p P
at soundb.
soundb. 3
g4

2
b
(EA) gut pizzicato

‰.
str alla tavola

‰ ‰ . ‰
hp
V
d1 7 7 3

– œ œ œ œ œ œ œ
F ƒ
t
≈ –œ .
A
G

–
wire
–
p .
str
C1 pizz.
ped. B fn

3 M tratto 3 11 3
4 (U) 8 8 4
M
tratto tratto

‰ –. –.
208
‰ –.
–
‰
br. plate

∑
at bridge
str length

F
at soundb.
soundb. 3
g4

b2
(EA) gut pizzicato pizzicato

≈ ≈. ≈. ≈
str alla tavola alla tavola

‰ ‰ ‰ ≈ ≈
hp
V
d1

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ
P f – p
A
G

–
wire
str
C1
ped. Bn

42 46 44
(U)
tratto M
212 19 tratto
*
‰ –
‰ –. ‰ .. ‰. –
≈Œ
toccato 20
*
.
br. plate
at bridge

–
str length

f
at soundb.
soundb.
g4

b2
(EA) gut pizzicato

‰. ≈Œ
str alla tavola

‰
hp
V
1
d

œ œ œ œ œœ œ œ œ œ œ œ œœ
F t–
P
A

– œ
‰
G
wire

p
str
C1 pizz.
ped. B fn Bn

215 43 M 74 tratto 44
Œ –. ‰ .
toccato
br. plate
at bridge

–
str length

ƒ
at soundb.
soundb.
g4

≈‰
3

œœ
pizzicato 3

œœœœ
b2
pizzicato alla tavola

‰. œœœ
(EA) gut alla tavola 3 3

œœ
str

œ œ ≈
hp
œ œ œœœœ
3 3

œ
œ œ œ œ œ œœœ
1
d

F t
œ– f
A

f
G
wire
str
C1 pizz.
ped. Gn B fn Bn An Af

7 5 11
8 4 8
-–
tratto tratto
218
. -– -– .. -– >œ. Œ
*21
-– ‰ –. ‰ Œ
pizz.

-–
toccato

-–.
br. plate

-–
at bridge
str length

P œœœ F
at soundb.

œ œ ‰
soundb.

œ œ œ
g4 5

œ œ œ
œœ œœ
œœ œ œ
2

œœ
b

œœ
(EA) gut pizzicato

œœœœ
str ord.

® œœ œ œ œ œœ
hp 1
d

œ
ƒ t
A

– –
G
wire

.
str

.
C1
ped. Bf G fn

*19 "Toccato": Touch the given string very shortly with the (edge of the) metal finger cymbal, thus slightly interrupting (but not stopping) the pedal buzz.
20 Silently remove the tuning key.
*21 Play a normal pizz. on the given string with the (edge of the) metal finger cymbal, thus enabling a clear pedal buzz in the following pedal position.
*
 Dialogues Rêvants (2014-17)
17
221 98 N 118 tratto

>œ. Ó
.. -–
pizz.

-– Ó
br. plate
at bridge
str length

f
at soundb.
soundb.
g4

. Œ.
2
b d o
san
(EA) gut pizzicato glis
str ord.
hp
d1

œ.
f t
A
G

–
wire

. .
str

.
C1

∑
ped. Gn Es F fn

4 11 7
223 4 8 pizz.
8
br. plate
at bridge >œ. Œ Ó Ó
*22
∑
str length pizzicato

œ
ord.

ƒ
at soundb.
soundb.
g4

F
pizz.
ord.

Ó Œ Œ.
2
b
(EA) gut
str
hp 1
d

œ
t
P
A
G

–
wire

. .
str
C1
ped. Fn Cs Ens Es Gs

4 O 5 3
226 4 8 > *24 4
g4
P P
pizz. pizzicato

>
ord. ord.

∑ Œ Œ
b2

∑
gut

∑
str
(EA) 3
d1

>3
hp
œ œ
23
*
π
pizzicato pizzicato

fœ Ó. Ó π p
A

f
G sul cucchiaio per miele sul cucchiaio per miele 3
wire
œ
str

∑
C1

∑
ped. ( DfCsBf l EsFnGsAf ) Gn En

230 43 78 42 44 3
> ∑> 3 3
>∑
Œ œ
>∑
g4

œ
P P

>3 >
pizz.

‰‰
ord. 3

> ‰
b2

œ >
P P
gut

œ > > >

str 3

∑ . >∑ Œ
(EA) d1
3
hp pizzicato pizz.

∑
ord.

f P F
pizzicato

>3
3

>
sul cucchiaio per miele

Ó
A

‰ f Œ ‰ Œ
G sul cucchiaio per miele

p P3
wire 3 3

œ œ œ
str

∑
C1
ped. Bn Ef

235 42 28 45 81 38
>3
> ‰
g4

> >
gut
b
2

P P >>
3

str

œ . ‰
(EA) d1

>
pizz. pizzicato
hp pizzicato
œ
>3 > ∑ 3 > > >
ord.
sul cucchiaio per miele sul cucchiaio per miele

∑
A

‰ fœ Œ ‰ F f fœ ≈ œ ‰ ‰ ‰
G
wire 3 3 3

œ œ œ
3 3
str

∑
C1 3
ped. An ( DfCsBn l EfFnGnAn )

22 Silently remove the metal finger cymbal. Silently take the two narrow serrated plastic knives, one in each hand, and keep them until bar 254.
*23 Pluck the handle of the honey spoon by pulling and releasing it with the fingers.
*24 Always play the changes of glissando direction (accents) as legato & with as little caesura as possible.
*
 Dialogues Rêvants (2014-17)
18
44 P > 3
> 42 85 > > >3
>
3
242
œ
‰
P

>ord.
g4
pizz.
œ
3

gut
b2
œœ PP
pizz.

> œ
str

‰
ord.
(EA) d 1

>
hp
œ
P 3 pizzicato
pizz.

> > > > >3

ord. sul cucchiaio per miele

Œ.
A

f ≈œ ‰ Œ ≈œ ‰
G

f F F
wire 3 3
str 3 3
C1
ped.

246 85 >3 78 42
>
P

‰ ‰
3
œ
3

œ >∑ Œ3
g4 pizz.
œ œ ‰
ord.

b2
œ
œ
>∑ 3Œ
PP
gut pizz.
œ
‰ ‰
str
œ
ord.
œ
‰ œ
(EA) d 1

>
hp
pizzicato P

>3
pizz.

Œ. Œ.
A

fœ ≈œ ‰ Œ P
G 3 ord. 3

P
sul cucchiaio per miele 3
wire
str
C1
ped.

250 43 >3
œ
42 28 > 3
œ. >
∑
44
‰ ‰ ‰
3

> >
œ ‰ ‰ ‰ ≈ œ. ‰ ≈ ‰ ≈ ∑
3

‰
g4 3 3
3

œ
œ œœ .
‰. œ ≈ .
2
b

‰.
PP

. > ‰ œ ‰ ≈ ≈ œ
gut
œ
pizz.

‰ ‰
str ord.

≈ œ
(EA)
‰ œ.
d1
hp
œ
>- 3 > fsul cucchiaio perÓ . miele
3 25
pizzicato *

>3 3 >
A 3 3 3
G

p œ
wire
str 3
C1
ped.

Q5
42
L

4
≈ >.œ ≈
255 tratto pizz. 26 *
–
Ó Ó
br. plate
at bridge
str length
pizz.
ord.

ƒ
at soundb. 5 3
soundb. 3
g4
5 3 3

œœ
2
b
(EA) gut
str
hp
d1

3 3
t
3 5
A 3

p f
G pizz.
–
wire ord.

.
str

∑ ∑
C1
ped. Efn Ef Af En Bf

43 98 45
5 3 3
L 28
*
≈ ≈ – >œ. ‰ .
pizz.

–.
259 tratto
br. plate
at bridge
. ‰. ‰
‰ –toccato pizz.ord.

Œ
str length
5

f ƒ œ œ œ“œœ œ
27

“œœ
at soundb.
soundb. pizz. *
“œœ
g4 ord.
(D.) *29
“œœ œ “œœ
“œœ “œœ “œœ
“œœ f “œœ
œ“
œ “œœ
2

“œœ “œœ
b

“œœ
(EA) gut ndo
lissa

“œœ
str g
hp

f
d1

Ó.
(D.) pizz.
t
A
ord.

–
G

–
wire

.
str

∑ . . ∑
C1

∑ ∑
ped. Es Gs Ens Es En Gn

3 3 ( DfCsBf l EsFnGsAf ) 3 3
25 Silently remove the plastic knives. Silently take the fluted wooden stick with the left hand and keep it until bar 298.
*26 Always move the fluted wooden stick (with the left hand) back and forth across the given string and pull it out of the strings at the end of every
* down- or up-bow movement followed by a rest. "Pizz." stands for a plucking attack by the outermost wrapping of the fluted stick, just before pulling
it out of the strings. Whenever possible, keep the fluted stick in the left hand, while plucking "ordinario" with both hands.

*27 Rub the strings with the palm of the hand (flat fingers, R.H. with stick in hand) regularly up and down, while gradually moving the hand upwards.
28 Changes of strings: Pull the fluted wooden stick out of the strings with the right hand at the end of every up-bow movement followed by a rest.
* Return the fluted stick back to the left hand (via the next string) during the rest, right before the subsequent down-bow movement.
"Toccato": Touch the given string very shortly with the (end of the) fluted wooden stick, thus slightly interrupting (but not stopping) the pedal buzz.
29 Always perform the changes of hands within a tremolo glissando as smoothly as possible (b. 261 / 263 / 265 / 268).
*
 Dialogues Rêvants (2014-17)
19
44 98 L

U)
L

>œ. . >œ.
pizz. pizz.
262
≈‰
tratto tratto
(
br. plate
at bridge
str length
– ‰ – ‰ Œ –
–
≈ ‰ –. ‰toccato

F P
at soundb. 5

“œœ
soundb. 3 3 3
g4

“œœ
pizz.

“œœ “œœ
ord.

“œœ “œœ
2
b

“œœ
(EA) gut

f
str
œ“
hp
S. œ œ
1

D. œ œ œ œ Ó .
d

ƒ
D.
A
G t– –
– –
wire 5

. . .
str pizz.

∑
ord.

∑ ∑ ∑
C1
ped. Efn En Bn Ef Efn

43
5 L 3 3 3

>œ. (U)
pizz.
265 tratto
br. plate
at bridge pizz.ord. –
‰ ‰
5 ‰ ‰
œ œœ œ œ œ œ œ ‰ Œ
–
str length

p
5 5 pizz.ord.

ƒœ f
at soundb. 5
pizz.

œ œ œœ ≈ Œ
soundb.
5
g4 ord.
“œ “œœ “œœ “œœ D.œ “œœ
F “œœ “œœ
“œ
F
2

“œœ œ “œœ œ
b

S. “œ D. “œ
(EA) gut

f œœœœ
str
hp
V D. œ
d1
(D.)
–
pizz.
t
ord.
A 5 pizz.
G ord.

–
wire pizz.
str ord.

∑
C1
ped. Ef An ( DfCsBn l EfFnGnAn ) Efn Ef

78 R 4
5

*30 4 U)
L

≈ –.
269 tratto (
‰ ‰.
br. plate
at bridge

–
str length

p
at soundb.
soundb.
g4
pizzicato
ord. 5

œœœœœ
5
œ œ
5
† œ œ œ
5
œ œ œ œ
œœœ œœ œ
b2

f
(EA) gut
str
hp (D.)
V
d1

A – t
G

–
wire

.
str
C1
ped. Efn Ef

3 trattoL 4 3
272 4 4- 4
br. plate
at bridge
‰ ‰ –
– ‰ ‰ Œ
5

–
str length

P
at soundb. 5
soundb. pizzicato
g4 ord.
3 3 3 3 5

† œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5 5 5
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ. œ œ œ œ œ œ
b2

‰
(EA) gut
hp str
œ Œ
V – V
d1
5
pizzicato 5 5

t
F
ord.
A

–
G
wire
str
C1
ped. A fn An Cn

44 trattoL 78 trattoL 5
276
-– -– (U)
- U) 4
‰ ‰ D. -– -– – ≈ ‰ S. –
(
– ‰ ‰ – ‰ ‰ ‰
-–
br. plate 3
–
∑
at bridge
str length

F f
at soundb.
soundb. 3 3

>
g4 5 pizzicato
ord. 5
5 5 5 5
† œ œ œ œ œ œ
œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
b2

– >
(EA) gut
œ œ
œ œ œ œ œ œ œ
str

V –
hp
œ
V
>œ œ œ œ
1
d

A
t– – pizz.

P f P
G ord. 3
wire 3

. .
str
C1
ped. Dfn Df G fn Gn Fs

5
30 Right hand is taking over the fluted wooden stick while pulling it out of the strings, then performing the string change during the rests and finally
* reinserting the stick into the strings while handing it over to the left hand again.
 Dialogues Rêvants (2014-17)
20
42 45 42 U≈ )
L

– ‰.
279
-– – ‰ ‰
tratto 31
* (

> >
br. plate
at bridge
7
str length 7 S.
œœœ ƒ
at soundb. 3

>3 œœœœ œœœœ

soundb. 3

œ œ
>
3 3 3 3
œ
g4

œ œ
pizzicato
œ œ œ œ œ œœ
ord. 3 5

œ œ œ œœ œ œ œ œ œœ œ œœ œ œ œ œ
5 5

† œ œ
5

œ œ œ œ
œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œœ –
2
b

Ó
(EA) gut

>5 > >5

str
hp
V
d1
5 5 5 5

–
5
A pizzicato

P) ƒ F
G ord.
wire
str (
C1
ped. Dn Ds A fn

5 4 3
3

8 S *- 33- 4 4
– – -– -– -– -– -– –
283
br. plate
at bridge
str length
≈‰
F ƒ
at soundb.
soundb. 5

> > > >5

g4 pizzicato
L 32
* ord. 5 5

‰.
5

P ƒ ‰ ≈
5 5 5
tratto alla tavola
œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœ
2
b

∑ œœ
(EA)
‰ œ œ œ ≈
gut

œ
œ œ œ œ œ œ œ
str 3 3
hp
œ œ
“– iss. V
>œ ‰ œ œ œ
œ
d1

S.“““ gl
““ ‰ ‰ – pizzicato > >
5

““
A

F ƒ
G 3
““
ord.
wire
“–
3

.
str
C1
ped. An Gf

3 5 3
287 4 8 -– . 4
br. plate
at bridge
str length
-– -– – ≈ ‰
> 3 >3
pizzicato

F ƒ >
at soundb.

>
soundb. pizzicato 5 ord.

‰ ≈ œœœœœœœœœœœœ≈
g4 ord. 3

≈
3 L 3 3

‰
3 3

œ
3 3

† œ œ œ œ œœœ œ œœœ œ œ œ œ F ƒ ‰ . œœ œ œ œ œ œ œ œ œ œ œ ≈
tratto alla tavola
b2

œ œ œ > >5
(EA) gut

‰ Œ
str
hp
V “““– –
d1 5
5

‰ ‰
pizzicato
““
F
ord.
““
A

““
F
G pizzicato
““–
∑
wire ord.

∑
str
C1
ped. 3 3

291 43 42 43 -–
-– . ‰ ‰
br. plate

> >
5

>7 –
at bridge

> >
str length 7
pizz. ord.

f ƒ
7

‰ . ‰ œ œ œ œ œ œ œœ œ œ œ œœ œœ ‰ ‰ ‰ . œ œœœ œœ œœ œœ œ≈œ ‰œ œ œ trattoL alla tavola

at soundb.
soundb. 7
g4 7

† ‰ ‰ œ œ œ œ œ œ ‰ ‰ œ f
>3 F
>
b2

> 5 >
(EA) gut

–
str

‰ ‰V
hp 5 3

“““–
d1
3
pizzicato
““
ƒ
ord.
““
A

““ ∑
G

““–
wire
str
C1 5
ped. Bs ( DsCnBs l EfFsGfAn ) 3

3 4
295 4 4 *34 (U)
–
> > > > > ‰ ‰
br. plate
at bridge pizz.ord. 5

® œ œ œœ œœœ ®‰ ‰ ®œ œœœ œœœ œ ≈ .

str length

ƒ
at soundb.

œ œ œ
soundb.

≈ œœ œ œ œ œ œ œ œ œ ‰ ‰ ‰ ‰ œ œ œ œ œ œ ‰ . Œ
g4

† Œ †
> >7 > >7 –
2
b
(EA) gut L
str

‰‰
hp 7 7 tratto alla tavola

“–
1
d

D. “““
pizzicato
ord.
““
ƒ ““
A

f
G

““
3
wire
str
C1 “–
ped.
31 Right hand is taking over the fluted wooden stick while pulling it out of the strings, immediately returning it to the left hand during the rests.
*32 Hold the wooden fluted stick vertically to the strings (i.e. not parallel to the soundboard), while moving it across the strings.
*33 Move the wooden fluted stick four times back and forth across the A string.
* *34 Silently remove the wooden fluted stick.
 Dialogues Rêvants (2014-17)
21
42 T 43 2
U) 4
P
299 ( tratto pizz.

‰ ‰
br. plate pizzicato
–
5

œ.
at bridge
ord.

‰ ≈ œ ‰ ‰ ‰
F>
str length
3 3 3 3 3 3 3
œ œ œ
œ œœ œœ œ œœ œœ œ œ œœ œ œ œœ œœ œ œ œ œ p
at soundb.

œ œ œ œœœ œ œ
soundb.

œ œ ‰. ‰ ‰
g4

b
2
† 7
ΠΠ7
Œ
(EA) gut
pizzicato
7 7
str
*35
ƒ
hp 1
ord.
d

A
G t –
wire
str

∑
C1
ped. Fn G fn

303 44 43
5

br. plate
at bridge
pizzicato ord.

Œ ‰œ œœœ œ œ œ œ ‰ Œ ‰œ ‰ Œ ‰ ≈ œ œ‰
str length

œœœœœ
3 3 3 3 3 3 3

œœœœœœœ œ œ œ œ
at soundb.

œ
soundb.

‰. ‰ œ œ œ œ ‰ Œ
œ
‰‰ œ œ
œ œ œ œ ‰. ‰‰ ‰. Œ
g4

b
2

36
† 7 7 7 7
Π7 7
P
(EA) *
‰ ‰
gut
str pizzicato

ƒ
hp tratto alla tavola ord.
d1
poco

P
sord. 3
A
G
wire do
–
str an
ss
C1 gli
ped. Gf Bn

85 78 43
P
307 tratto pizz.

-– . ≈‰
-– . œ.
5

-–
br. plate
at bridge

Œ
pizzicato ord.

>f ‰ Œ ‰ ≈œ œ œ œ œ œ ‰
str length
3 3 3

œœœœœ
3 3

P
at soundb.

œœœœœœœ œ
soundb.

‰ ‰ œœœ œœ≈ Œ
g4

b2 † Œ 3 3
Œ.
(EA) P

‰ ‰
gut 3 3 3
str pizzicato

ƒ
hp tratto alla tavola ord.
d1
poco

F
sord.
A
G t– 3
3
wire
–
.
str
C1

∑
ped. Dns Ds En

43
P
311 tratto pizz.

-– -– -– ≈.
-– -– -– -– –! –@
br. plate 5

œ.
‰ ƒ≈
at bridge
pizzicato ord. pizzicato ord.

‰ > ‰ œœœœœœ‰
str length
3 3 3 3 3

œœœœ
— “œ “œ “œ “œ “œ “œœ F ƒ Œ ƒ
at soundb.

œœ œœœ Œ
soundb. 3

F gœœœœœœ œ
g4

† Œ Œ
‰.
b2
3 3 P 3 3
(EA) gut simile
tratto pizzicato
hp str pizzicato ord.
ord. alla tavola
d1
poco

f
sord.
A
t
– ≈ –.
G
wire

.. .
str
C1
ped. Afn An

315 85 44 trattoP
-– -– -– -– –
pizz.
42
F 3 3 ! æ– –æ –! œ ‰ .
br. plate 5 P

≈ >.
at bridge
pizzicato ord.

‰ œ œ œ œ œœ œ œ ‰ ‰ ‡g “œœ “œœ “œœ “œœ “œœ “œœ

str length simile simile

f —‡g ““““œœ ““““œœ ““““œœ ““““œœ ““““œœ ““““œœ

3 3 tratto
œœœœœœ
3 3 3

(ƒ) f ƒ
at soundb.
alla tavola

‰ ‰ œ ≈ ‰ ‰ ‰ œ œ ≈‰
soundb. 5
œ œœ œœ œ
‰ g
g4

Œ
poco sord.

‰.
†
ƒ
2
b
3 3 3 3 3 3 3 3
(EA) gut
pizzicato simile
str
hp ord.
d1

A
t
ƒ–
G

–
wire

.
str

∑
C1
ped. As ( DsCnBn l EnFnGfAs ) Efn En

5
35 Silently take one plastic knife with the left hand. Whenever possible, keep it in the left hand (until the end of the piece), while plucking "ordinario"
* with both hands (single notes, chords).
36 Playing and muting should be performed by the same (left) hand. On higher strings though, muting can additionally be controlled by the right hand.
*
 Dialogues Rêvants (2014-17)
22 U
78 pizzicato ord. 42 44
œ.
320
“œ “œ “œ “œ “œ œ œ œœ œœ œ
‡g œ ‡g œ ‡g œ ‡g œ ‡g œ œœœ œœœ œœ œœ œœ .. œœ ‰ ‰
œ.
g4
P
œ ‰
P
tratto pizzicato
†
‰ ‰
alla tavola alla tavola
œ
π P
2
b 3 3 3

-œ
3

∑
gut

-
3 poco sord. sord.

-œ -œ -œ œ
str
(EA) 3
d1
5 3
hp

.
i ss
gl
A

ƒ f P
G
wire
–
str
C1
ped.

78 pizzicato ord. 85 78
3

œœ .
323
œ“ “œ “œ “œ œ œ œœ œ œ
‡g œ ‡g œ ‡g œ ‡g œ œœœ œœœ œœ œœ ... œœ œœ
g4
P
œ
‰
P

œ
‰ ‰
tratto pizzicato
†
alla tavola alle caviglie

p F
2
b
gut 3 3 3 senza sord.

œ
3 poco sord.

≈‰
str

∑
3

-œ
(EA) d1
hp
3

–.
A

f F -œ p
G 5
wire
str
C1
ped. 5

78 pizzicato ord. 43
œ.
326
“œ “œ “œ œ œ œœ œœ œ
‡g œ ‡g œ ‡g œ œœœ œœœ œ. ‰.
≈ œœ ..
g4
œœ œœ œœ P

†
œ ‰ tratto
.
‰
alla tavola

P f
b2 3
3 P
gut 3 poco sord. pizzicato
str sulle caviglie

.
(EA) d1
5
hp
œ
F –. f
A

≈ œ.
G
wire

-
str
C1
ped.

7 pizzicato ord. 4 2 7 pizzicato ord.

329 8œ œ œ œ œ œ 4 4 8œ œ œ œ œ. œ œ
‰ ‰ ‡g œ ‡g œ œœ œœ ≈ œœ ... œœœ œœœ
œ œ
‡g œ ‡g œ œœœ œœœ œœœ œœœ ‰.
“ “ œœ ““ œ œ œ
≈ œœœ
g4
P
œ ‰ ‰ ‰
P pizz.
tratto sulle

†
alla tavola caviglie

F P f
2
b
3 3 5 3 3 3
gut 3 poco 3
3
str sord.
(EA) d1
hp
A –
P Fœ
G
wire

. .
str

.
C1
ped. Ds Dn Ds Dn

45 V 78 pizzicato ord. 98
“œ “œ œ œ . œ ‰ œ. œ. œ. œ. ≈ œ.
333
‡g œ ‡g œ œœœ œœœ .. œœœ
œœ
.
. .œ ‰ . .
œ œœ
‰ œ. œ œ
œ
g4 alle caviglie
3 pizzicato

‰‰
P

Œ
P
senza sord. alla tavola
pizzicato
†
alla tavola 5

f p ƒ
b2

P œ.
3 3 5
gut sord. 3 3 alle caviglie

ƒ
str

F
senza sord.
(EA) d1

F
hp
A œ sord.

P
G
wire
str
C1

∑
ped. Ds Dn Df

78 44 78 pizzicato ord.
3

. œ. œ.
≈ ≈ œ. œ
336
œœœœ œœœ œœ œœ œœ “œ “œ œ œœ œœ
pizzicato ord.

≈ ‡g œ ‡g œ œœœ
5

œ œœ œœ œœ œœ œœ
≈
g4

‰ ‰ ∑ ‰ ‰
P

Œ Œ
pizzicato
alle caviglie
†
P ƒ ƒ f F ƒ
b2 3
senza 5 3
gut 3 3 3 5 3
sord.
str
(EA) d1
hp
A

F
G
wire
œ
.
str

∑
C1
ped. Dn Df Dn Df Dn
 Dialogues Rêvants (2014-17)
23
44 78
. œ. ≈ œ. ‰ œœ .. œ. œ. .
339
œœœœ œœœ œ
pizzicato ord.
g 4
pizzicato
≈‰ œ œ œœœ œœ .. pizzicato ‰
∑ 3
P P
alle caviglie sulle caviglie

†
ƒ
3

f ƒ
2
b

ƒ
3 3
gut
œ
sulle caviglie
str
(EA) d1

f
hp
A

f
G
wire
œ
str

∑
C1
ped. Df ( DfCnBn l EnFnGfAs )

78 43 78
œ. œ. . œœœ U*
342
œœœ ..
37
œ œ œ œœœœ
pizzicato ord. pizzicato ord. pizzicato ord.
œœœ
g4
œœœ pizzicato ‰ œ œœœ
‰ ‰ Œ. Œ.
P

Œ Œ
sulle
caviglie
†
ƒ
5

ƒ ƒ
b2
gut 3

œ
3
str
(EA) d1

f
hp
A
G
wire
str
C1
ped.

*37 At the end of the last bar, all strings are supposed to be dampened. Keep the tension for some seconds (fermata).