On the use of graphic notation Certain graphic notation is used simply to create a visual suggestion of the desired texture or sound mass. Symbols used are taken from traditional notation: mainly note heads arranged in an irregular, granulated manner, in order to suggest an irregular and granulated sound mass. Graphics are more suggestive than instructive: performers should not concern themselves with patterns, distance between note heads, distance from the unigram, etc. Although occasional patterns concerning density will appear, these will always be accompanied by text indicators. Take the following example:

In this passage the performer will irregularly play sounds of choked cymbals during approximately 5 seconds at a sustained forte dynamic. The specific visual design is merely a suggestion of the expected texture, not an instructive pattern. On the interpretation of rehearsal number 5 to end of piece From rehearsal number 5 on, each performer must play his part independently of the other performers; there is no appropriate “togetherness”, parts are not to coincide rhythmically or in any other way; they have been written in order to allow each performer to play as if it were a solo in which rhythmic figures and tempo are approximate, and interpretative flexibility is allowed. Each performer is free to use rubato, ritardando, accelerando, pauses and tempo as they please. At the end of each section, one of the performers is required to signal the others so that they can continue to the next section. These signals are musical (a particular figure which can stand out), but performers should also physically signal the others. Each new section is marked by a new rehearsal number. There should be no pause when changing from one section to another. Gradually, the previously described blocks of sound will reappear. All the previous explanations regarding these blocks apply.