Violin 1

Violin 2
p f
(breath)
sfzp
Vln. 1
Vln. 2
p
4
f sfzp
Vln. 1
Vln. 2
f p f
6
f sfzp f
Vln. 1
Vln. 2
p sfzp
8
p sfzp f p
Vln. 1
Vln. 2
f mf
10
sfz p sfz
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kevetal
(the contrary ability)
for Kev + Jon: b yianni 2009
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Vln. 1
Vln. 2
f p
12
sfz sfzp f p
Vln. 1
Vln. 2
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mf f
Vln. 1
Vln. 2
f pp
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Vln. 1
Vln. 2
f p
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pp f p f p
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Vln. 1
Vln. 2
pp
20
pp
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Vln. 1
Vln. 2
p
22
mf p mf p mf
Vln. 1
Vln. 2
ff
24
p ff
Vln. 1
Vln. 2
p
26
p
Vln. 1
Vln. 2
mf p
28
mf p f
Vln. 1
Vln. 2
f
30
p ff
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3

Vln. 1
Vln. 2
p mf
32
mp ff sfz
Vln. 1
Vln. 2
p pp
34
p pp
Vln. 1
Vln. 2
p
36
pp f
Vln. 1
Vln. 2
sfzp mf
38
p mf f
Vln. 1
Vln. 2
40
sfz mf f sfzp
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4

Vln. 1
Vln. 2
45
f mf f mf ff
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Instructions
Phrases are marked by double bar lines.
Each phrase consists of mostly notated bars and mostly empty bars.
Mostly empty bars have roughly the same duration as the mostly notated bar preceeding it.
Each pitch must be sustained until the next in part, unless marked with a rest.
This means (for example) that the final pitches for both parts in Bar 2 are sustained
through Bar 3, until Bar 4.
Violin 1: Play the pitches; the durations are to be chosen by you during the performance.
Violin 2: Play the pitches at their notated durations relative to Vln 1's performance.
This means that Vln 2 will be waiting for Vln 1,
although at times Vln 2 will have control.

The synchronisation of starts and stops - where part durations fall together - is vital;
what occurs inbetween is not.
Vibrato is only permitted during the mostly notated bar of each phrase.
Harmonics are permitted to achieve particularly high pitches.
Attempt to play any chords fully. Otherwise, 'break' the chord and sustain the uppermost
notes.
Try to represent the score fully;
be prepared to 'make do'.
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5