Throughout the piece, the performer should not be overly concerned with exact syncronization with the tape part. In sections where the same part is notated for both performer and tape, the performer should not strive to match the tape part perfectly. A slighty “out of sync” character is desirable. However, where a vertical dotted line connects two events, care should be taken to match these points as carefully as possible.

Small grace-note patterns should be played as such, except for the pizzicato sections at (approx.) 0’50” and 5’56”. They should be played ad lib with, their approximate durations represented by their spacing on the page.

There are metered section and non-metered sections. Metered sections start with a time signature indication and end with a double barline. In non-metered sections, the rules of proportional notation apply.

Throughout the work, there are a lot of sliding pitches, usually indicated with a line drawn between noteheads. Other notated slides include:

 [img]- the pitch should be established, then slide up approximately a whole tone.

[img]  - the pitch should be established, then slide down a approximately a whole tone.

[img]- start approximately a whole tone below, and slide up to the pitch.

Certain notated sounds of the tape part should be familiar:

a pizz sound that “ping-pongs”  back and forth between left and right channels
a saw-like sound
a reversed pizz bend. This sound swells and slides down into an attack, which is often used as a cue.
a number of “ricochet” effects different from the “ping-pong” pizz above.
a reversed pizz either without pitch bend or slight bend up.
an echoing pipe-like sound
at the end of the piece, this symbol represents a metallic inhale and exhale sound.

These sounds, in the above order, are played individually in Track 1 of the CD.