Stoge iedle cymbols a conbells QA AO Tunis BE OOO = Bll sere [SE acer \ Tom Tome Tene, stove Lett," INTERTEUR I for solo percussion 1966 for Stegfried Fink Instrumentation 3 different high triangles & 3 different, nigh cymbals (2nd and 3rd with long echo) suspended cymbals (as Targe as possible) jkat T'Sizzte cymbal = 1 ssal Tentam 8 1 Targe Tantay ° A conbelis (P-A -0-8P) O 4 Tenple blocks eo a o 2 Bongos 2 tomtons (medium and Jow) {Tinpano with pedals (8° f) Vibraphone Nerinbe 6 Cymbales Antiques: hard sticks (of wood end leather) $— soft sticks (aifferent types) 2 Jog neta es sdles (ideally a thick Sang metal needles (Ideally 2° thick —= Initeing needie thet extends evertly Bt toth ends) Mire Brush > ‘snaredrun sticks Slazta Cymbot Helmut Lachenmann See the, iagran for the arrngenent She tontons, temple Blocks, cowbell, ane QUENT ae Toested above one anocherein steps, the triangles rather Tose together, and the cywaTs so thot ne ean trenolo between feo cymbals th one. dromstiee She double cymbals should tang sonechat Tianting toxord One another. The pedals St the double cymbals ang the timant fnust be within easy reach. Because of {he particularly smooth nature of its fntericizy no seratehing-edge effects Sre possible on the tinpant (2s for exemple on page 9): the player ts Sherefore advises sinply to place a Yooden tusie stand beside 1t and to ferfora on this the scraping actfons fn question. ANT drumsticks changes as unnoticeable as possible Thetpractice of drunstick changes 1s © part of learning the piece. tach page of the score always has in the upper left and right corner an indieation on which muste stand ~ left, middle or right ~ st is to be Mlayee, Every change of position and of music stand during the reading re Yecignated by ¢ horizontal arrow with corresponding indication and sample OF the Continuation of the score. Several continuation texts are combined Gh afew pages for reason of simplicity. Such pages must repeatedly be inter- polated: ‘The notation corresponds fron above to below to the arrangenent of instruments Troa left to Fight, That means. thet with the tontons and the pongos, the notes Of the deeper instrument are written above those of the lover one. With 217 ther instruments theres no contradiction, Hotes with the stem upward should be played with the right hand, notes with the Stee doumard with the left hand, In the case of recapitulates phrases, they Shute be begun in a sinilar fashion. White- and black-headed notes do not Spress duresion or rhytim, tut indicate the nature of the drunstick: f =hard, Gir soft, P socumseick " sneette Finger playing” (narinba) means allowing a fast turn of the fingers ad Libitum con the Keyboard within the stated tonal renge. ~ Fors over notes atvays mean: stop beet J) neans: the end of © sound, if necessary by damping a= (with suspended cymbals) means: to Tet both cymbals touch ne another very Tightly, so that a grating is produced. means: stroke, alutys according to circunstence, circular, Or figureveight, or simply vertical At the sane’tine the Grunstick aust not be clasped too firmly, but should slide Sooselys the volune 1s determined by the speed of s1iding (analogous to the "flautato" of stringly-instrunents) rneans: a trenolo scraping, also here no pressure. Phrases with an oblique dashare free, mostly rapidly executed passages, oF 8s rapidly es possible. JET 7 For the rest, the thick crossbars indicate the successive sinflarsty of recentries ‘The rhythmic configuration of the actions is expressed on the one hand by the Graphis orrengenent within the approximately stated lengths in seconds of the Scettons, and-on the other hand ty the instrunents" tine property whieh the Player exploits. In the Tong run this tine property plays an essential and Gomeeines unforeseeable role in the resulting iusical relationships First performance in USA by Michael W. Ranta, Santa Fe, August 19673 First performance in Europe ty Christoph caskel, Darmstadter Ferienkurse, Septenber 1967, PAR OOP OOP a eee m n Ble, ve 7)