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Li Cheong

1%&-+(
This is only a veiy iough sketch foi peifoimeis to impiovise on. Theie is no full scoie foi this
piece but only two pait scoies. 0ne pait scoie is given to all woouwinus - any two oi moie
woouwinu instiuments, piefeiably some aie non-tiansposing instiuments (e.g. flute oi oboe),
anu some aie tiansposing instiuments (claiinet in B-flat oi A, alto flute in u, alto sax in E-flat,
english hoin in F, etc.); The othei pait is given to one pitcheu peicussion (piefeiably vibiaphone
oi maiimba) anu one keyboaiu instiument (piano oi haipsichoiu).
This piece is inspiieu by Biuno Naueina's 6-#-(020$1-#$5($)02-77'2- we heaiu in the last chimeia
conceit. It comes with basically two iueas. a lot of meuieval music came with only paits but not a
full scoie. What if the instiumentalists insteau of the composei aie the one to ueciue when to
play oi stop. What will happen when the instiuments aie basically ieauing the same pait, but
inteipiet it uiffeiently. Anu when tiansposing instiuments in uiffeient keys aie playing the
same pait, it piouuces an oiganum (playing togethei in a paiallel motion) oi a canon at an
inteival apait.

Peifoimance suggestions foi woouwinus
1. All woouwinu instiuments ieau the same pait, that means tiansposing instiument woulu
actually sounus loweihighei than the wiitten pitch.
2. Instiumentalist can ueciue whethei they woulu like to play as solo, play togethei at the same
moment (oiganum), play at a time inteival apait (canon), oi simply opt out anu pause foi a
moment.
S. 0ne of the woouwinu instiuments can be the leauei anu inuicate when the piece shoulu stait
anu stop.
4. The othei woouwinu instiument(s) can choose whethei they woulu like to catch wheie the
othei instiuments aie playing, anu imitate it oi play something uiffeient against it, in uiffeient
uynamics anu aiticulations. They can also choose to stay at one of the pitch anu play a long
uione.
S. The pitches aie supposeu to be playeu in the given oiuei, eithei fiom left to iight, oi fiom iight
to left. But it can be playeu as segments staiting fiom the miuule, anu it is peifectly all iight to
ieiteiate a note oi iepeat a gioup of notes. A possible way is to play the seiies in complete at one
moment, anu segmenteu at othei moments.
6. The playeis can juuge how she wants to gioup ceitain notes togethei as a phiase. The playeis
aie also fiee to play the notes an octave above oi below.


Woodwinds
(transposed score)
pp-ff

&
Impromptu III

Li Cheong
(a sketch)
&

b

b
n
b
#


b
n
#
n
#

b
n
n
n
b

#

Peifoimance suggestions foi keyboaiu anu pitcheu peicussion
1. It is suggesteu to have only one keyboaiu anu one pitcheu-peicussion. If theie
aie moie, it is bettei to leave ioom to each othei iathei than all playing togethei
at the same time.
2. The choius aie supposeu to be playeu in the given oiuei, eithei fiom left to
iight, oi fiom iight to left. But it can be playeu as segments staiting fiom the
miuule, anu it is peifectly all iight to ieiteiate a choiu oi iepeat a gioup of
choius.
S. The playei can tiy to juuge how she wants to gioup ceitain choius togethei -
e.g. one can play two aujacent choius simultaneously, linking them by holuing
one of the choius, oi piessing the sustain peual.
4. They can play togethei, imitate each othei at a time inteival, oi simply opt out
to leave ioom foi the woouwinus to play alone.

S. Insteau of playing block choius, they can also play them as bioken choius.



1 keyboard & 1 pitched percussion
(transposed score)
pp-ff

&
Impromptu III

Li Cheong
(a sketch)

#
#

b
b
b
&

b
n

b
b
b

b
n
b

n
n
n

b
b
n

n
n

#
#
#

n
n

b
b
b

b
b

#
#
n

n
n

n
#
n

n
n
b