These are the sketches of the third incubation period.<\/p>\n\n\n\n
comment: This excerpt shows in the first bar a complex sound created by all instruments. This initial sound results in two lines: one consisting of a glissando of half pressure in violin and contrabass. The second line is a complex sound created by the synthesis of the sound of the superball on Tam-tam and the oscillation between multiphonic and harmonics in cello. The excerpt could be at any part of the piece. Each section can be developed further.<\/em><\/p>\n\n\n\n comment: Linear morphing and transformation is an attempt to realize, notationally and sonically wise the sense of linear fragility, fluidity, and glissando-like motion. I am interested in the morphing of the sense of glissando by applying a meticulously notated interaction among instruments.<\/em><\/p>\n\n\n\n comment: This could be the beginning of the piece or also somewhere in the middle of a section. Playing around with the \u201cbreath\u201d color and and building texture. This could be also very well be mixed, with percussion, brush on the bass drum, that someone else in another context also suggested. Overlapping these materials could actually be very nice, as a progression of a morphing process.<\/em><\/p>\n\n\n\n