Ian Mikyska

Thoughts; Time
for solo violin and tape

Instructions for setup

Two music stands are placed next to each other. The text score (page 3) is placed on the one stage
left, the notated score (pages 4 to 10) on the one to the right. There should be enough space for the
violinist to move one more position to the right; there is no music stand at the third position.
The speakers with the playback are ideally placed behind the audience or in another position
around the hall, although they can be played through a PA as well.
The volume of the playback should be low enough that the breathing of the violinist is heard, but
loud enough that everyone in the hall can hear it clearly if they try.
The audio track should be played as the player walks over to the second music stand and takes his
place. It can be faded out earlier if the player plays through the piece faster. The player should
give the track no notice while he plays.
Structure and notation
Accidentals apply only to the notes they immediately precede or direct repetitions.
The piece is split into two main sections: one at the first stand, one at the second there is a coda
in the space next to the third stand.
The first section is notated entirely via a text score. The violinist is asked to read the text that is
printed in italics and to follow the instructions printed in normal text.
The first part of the second section is in time-space/raster notation: every vertical line represents
0.5 seconds (the space between two lines is one second). The dynamics and method of playing
(arco, pizzicato, col legno, left hand pizzicato) are left up to the discretion of the player, but all
notes should be staccato, except for the ones followed by a straight line, which should be
sustained (bowed) for the prescribed length of time.
The cross (x) noteheads represent breathing; a line up means breathe in, a line down means
breathe out. The gradient of the line indicates the intensity of the breath a steep line up will be a
sharp intake of breath. During the first part of the second section, breathe as necessary
throughout, but as quietly as possible only make the breath audible when it is written in
(breathing slowly through the mouth is the quietest way; sharp intakes are possible through the
nose or the mouth).
The final part of the second section includes time signatures and two staves: the top stave
represents bow pressure; for the rest of the piece, only the open G string is played: the lower on
the stave the line is, the lighter the bow pressure; the higher up the stronger it is. When the line
reaches the space usually occupied by the second ledger line above the stave, the bow pressure
should be extremely harsh; a scraping noise. It is important that the only breathing in this section
is the breathing that is notated.

Section I
(General note: all of the text should be spoken in a calm and measured way and at a constant, audible
volume. There should be as little emphasis and colouring of the text as possible, but attention should be
given to the pauses indicated by the formatting of the text.)
For the duration of the first spoken text, improvise according to the instructions which you are speaking.
Ensure that there is enough variation in what you are playing so as to sound continuous and constantly
changing; do not strive for patterns the music can sound atonal, random; dont be afraid of larger leaps
and longer pauses. Try to separate the spoken text from the progress of the improvisation as much as
possible.
Play tones as they come to mind.
Dont think about them as notes.
Actually, just play bowings.
Or snaps, clicks and pizzes,
But not too long.
And dont emphasise major thirds
Too much
Or too little.
Try not to think at all.
Except about single events
Without tying them together
But dont isolate them
Perhaps only to be aware
Of each individual
- in the audience.
After you have finished, continue improvising in this manner for about 20 to 30 seconds. Then, speak the
following text.
Give each individual more freedom
Allow them to fluctuate in intensity
Bow harder and ignore the audience,
Before letting the bow slip from attention on a quiet note
Disregard the pizzicato and staccato
The audience and the moment
Concentrate on the passage
From one insignificance to another
Continue improvising for another 15 seconds or so, retaining large dynamic variety but getting constantly
quieter. Then, speak the following text.
Start breathing.
Synchronise your breathing to your playing.
Notice the audience.
Continue breathing.
Synchronise playing with breathing.
Let the audience notice you.
Synchronise with the audience.
Stop playing when they feel like it,
Even if they dont.
After this, continue playing as long as necessary, then finish somewhat abruptly. Then, say
Play all the written music.
and move to the second music stand.

Repeat ad lib;
move to the space
next to the second stand;
slow down imperceptibly;
finish abruptly.