Tudor regarded his realization of No. 3 as a personal breakthrough. After all, in providing a score that is more of a drawing and provides little of any guidance to the performer, Bussotti effectively prompted Tudor to take a greater creative role in deciding what to play. This animation provides what we consider to be a reasonably accurate estimate as to how Tudor went about realizing the score for No. 3. On the left is Bussotti’s score, on the right is Tudor’s realization. We are fairly certain Tudor tried to play each element of Bussotti’s drawing, and loosely travelled from the left / top of the page to the bottom right, though with plenty of bouncing around the page in between. In many instances, Tudor’s penciled realization visually resembles various “events” or “objects” in Bussotti’s score (some of which Tudor circled in his own copy of Bussotti’s score). The wide variety of extended techniques Tudor used are largely a product of his own imagination as a performer; nothing in Bussotti’s score specifies that various kinds of sounds be made.
Used by permission of Hal Leonard. Animated score developed by Michael Gallope and produced by Greg Albers.
