-Freitag es el da de la tentacin en donde lucifer intenta convencer a Eva de que se una en su revolucin contra el

cielo.
-El inicio de la obra est dividida en dos actos, FREITAGS-GRUSs y FREITAGS-ABSCHIED
Est obra es usada como una de las tres capas de Freitag
12 sound scenes
10 real scenes
weltraum
para su estreno se utilizaron 8 canales de grabacin en cinta, y fue presentada en un planetario a oscuras,

FREITAGS-GRUSS
The Friday Greeting introduces stacked layers of sound and harmony. The first half hour is slow, but contains a lot of
timbral modulation. The 2nd half is enlivened by extreme flanging of octave chords, as well as concrete sounds, such
as kissing noises, water drops, laughing, counting, etc...
Time M

EVE formula

LUCIFER formula

MICHAEL & LUCIFER Friday segments

Time

0:07 M

EVE formula opening

LUCIFER formula low bass

Begins with a rapid falling "wind" timbre,

0:07

arpeggiated phrase on Bb

notes on A,

but afterwards remains at a held pitch,

using
high register timbre tone,
10 secs each note
varying dynamics.

held Bb with oscillations

1:11 M

Additional layers:

(speeding up/slowing

high frequency vibrato with timbre

down)
every 23 secs
2:20
2:46
3:19 M
6:31 M
7:37

rising to D

intermittent low "moans",

(speeding up/slowing

9:46

This combination of timbres continues

throughout FREITAGS-GRUSS and

rest

fade in of slow trilled

chord (audible at 9:57)

2:46
3:19

down)

high whine)

2:20

scattered "wind chimes" (5:59), etc...

continues for the first 15 minutes of

(actually replaced by a
8:39

modulation
(high frog sounds),

held D with oscillations

1:11

FREITAGS-ABSCHIED.

6:31
7:37
8:39

held crescendo on last note

with rising overtones

9:46

10:3
1
10:4
7

rest

rise to high flanging tone

10:31

Tone returns on Bb

tremolo octave chord with

10:47

overtone modulation
11:52

gliss up to D, followed by

11:52

grace notes, short

15:0

glissandi, ends with a

15:03

short rest
rising bass triplets,

16:0
7

very slow descending

43 secs each note, some

filtered noise (chord)

with grace notes

21:2

21:27

7
22:1

held Db with high

frequency pulsed filtering

22:3
1

16:07

22:10
drone on G with some
swells

22:31

24:1
8
25:4
3
26:2
6

on Db with overtones

24:18

rest

25:43

Ab drone

26:26

26:47

rest

27:11

high chord - oscillating

26:4
7
27:11
27:5

high chord - oscillating

leaping, scalar phrase from

(down to Db)

Ab,

28:5
5
29:5 M
9

27:51

23 secs each note

to C

28:55

to Db

29:59

31:0

to C

32:0
7

36:1
9

31:04

kissing noises (tones fade

M

out, replaced by high

32:07

whine)

tones phrase returns with

surfacing

36:2

36:19

high whine sometimes

rest

36:24

4
37:2
7
38:3
1
39:1
4

37:27

38:31

low falling gliss from C#

39:14

39:3

rest

39:35

40:3

40:35

5
rushing, windy sound element
40:4

40:45

5
40:5

tones phrase reprise

(echo)

41:4
3
41:5
9
43:5

40:55

counting ("eins") w

41:43

vocoder and pulsed filtering

41:59

water drops

43:51

1
44:5

"eins" again

low falling gliss from C#

44:55

47:0
3

"angelic" chords, high

M noise band element fades
in (48:12)

49:11
50:1
5
50:5

3
52:0
7
52:5
5

octaves with overtone

modulation (D#)

49:11

laughing with processed

M

echo (ring modulation?),

50:15

"angelic" chords, high

whine

8
51:0

47:03

octave modulation (down to

B)

50:58

laughing event

51:03

laughing event

52:07

laughing event

52:55

53:2

laughing event

7
53:4

laughing event (with

"seagull" sounds)

55:0

53:43

laughing event ("Kaino")

3
55:3

55:03

octave modulation (up to D)

5
56:3
9
57:11
57:4

53:27

55:35

laughing event

56:39

"Freia...Kaino...",

57:11

"glockenspiel" sounds
M

57:43

58:4 M

58:47

59:3

octave modulation (down to

B)

60:5

59:30

low falling gliss with "crumbling" noise

60:55

rest
61:5

panning on low subsonic G# (crumbling

cont'd)

61:59

high whine modulates

63:0

G# fades out

63:03

octave modulation (D#)

64:0
7

64:07

65:4

octave modulation (B)

3
66:1
5

grace note down to G#

irregularly falling male voice

G# returns

65:43

66:15

FREITAGS-ABSCHIED
The Friday Farewell begins slowly, reprising a few minutes from the Friday Greeting. After about 10 minutes of
variously articulated male vocal vowel sounds, the rest of the farewell is dominated by an irregular bass pattern,
which undergoes constant tempo and timbre changes, as well as changing "satellite" effects. In the last section
of the Farewell, the male voice returns and counts in different timbres and attacks.
Tim
e

EVE formula (and

segment)

LUCIFER formula

MICHAEL & LUCIFER Friday segments

0:39 M

grace note down to G#

(repr.)

descending male voice

(repr.)

2:47

irregularly falling triplets,

Multiple layers:
wind timbre, high frequency vibrato with
timbre modulation (high frog sounds),
intermittent low "moans", scattered "wind

Tim
e
0:39
2:47

3:51 M

chimes", etc... (as above)

This combination of timbres continues
from FREITAGS-GRUSS and continues for
2nd falling male vocal buzz the first 15 minutes of FREITAGSABSCHIED.

4:55

1st falling male vocal buzz

6:20
7:45

29 secs each note

3:51
4:55
6:20
7:45

3rd falling male vocal buzz

8:07 M

8:07

9:11

9:11

10:1
M
5

11:1
Brief ornament, then
M
9
isolated pulses on G#

12:2 M A held
3

falling male vowel sounds

("V")

Bass attacks form a slowly

rising, and then falling,
interval, always returning
to A#
(roughly A#, B, A#, C, A#,
C#, A#, D, A#, C#, A#, C,
etc)
Rising/falling bass interval
begins again, adds high
echo element to upper
tones

10:1
5

11:1
9

12:2
3

13:2
M
7
13:5
6

13:2
7

Rising/falling bass interval

begins again

13:5
6

vocal swoop

14:3 M bright chord

1

(G# bass pulse pattern

takes over, see column at
right)

Tempos and timbres for the remainder of

this layer change for each box below (ie empty boxes below still contain a
tempo/timbre change, but I only describe
some of the more <obvious> ones.
For example, this section has a <metallic
overtone element>.).
In general, each tempo/timbre lasts 68
seconds each, and sometimes a high
chord or brief falling gliss in the bass
marks a new tempo/timbre section.
Additionally a different set of
"atmospheric effects" is used in each
section (intermittent swooping tones,
"falling stars", high "ring tones", bell
sounds, ring-modulated vocal tones,
etc..), beginning from 14:48. These stop
when the counting at 54:31 begins.
Melodically, bass attacks form a rising
interval, always returning to G# (picking
up from the A# pattern at left). This cycle

14:3
1

increases until a full octave higher is

reached.
15:3
8

fast gliss to A falling

from above

16:4
6

""

17:5
4
19:0
3
20:1
1
21:1
9
22:2
7
23:3
5

The following
descriptions in this
column in parenthesis
are indicated in the form
scheme, but seem to be
mostly inaudible here in
WELTRAUM.
(descending phrase,
34 secs each beat.)

Rising interval continues to increase to

towards the octave, timbre changes, etc.

16:4
6
17:5
4
19:0
3

counting 1-5 ("eins")

(3x each number, various
effects, articulations)

20:1
1
21:1
9

(slow falling gliss)

(microtonal bends as
glisses)

15:3
8

(rhythmic ornamentation
on F#)

rising interval reaches F#,

continues up and hits octave G#
<more glissandi tails on notes>

22:2
7

fast gliss down to original G#,

Rising/falling bass interval pattern begins

23:3
5

24:4
3

24:4
3

25:5
1

Rising/falling bass interval pattern begins

again

26:5
9

25:5
1
26:5
9

28:0
7

Rising/falling bass interval begins again

<add "vocal" timbre>

28:0
7

29:1
5

29:1
5

30:2
3

30:2
3

30:4
5
31:3
1

(gliss down to B)

(held D)

expansion reaches D, continues up

30:4
5

Rising/falling bass interval pattern begins 31:3

again
1
<added high pitch harmonic timbre and
as well as scattered electronic drum rolls>
A high bandwidth noise (chord) begins a
slow rising/falling arc
(this from the MICHAEL layer).

32:3
9

32:3
9

32:4
8

32:4
8
<high harmonic removed from timbre>

33:2
4
33:4
7

33:2
4
<beat groups are separated by high
glissandi>

(gliss up to B)

33:4
7

34:5
5

34:5
5

35:4
0

35:4
0
(gliss down to B)

36:0
3

End of MICHAEL chord arc.

36:0
3

37:1
1

rest

rushing noise w slow high chords

(attacks becomes very quiet, but
expansion cycle continues)

37:1
1

38:1
9

(held 2nd F above

middle C )

(repeated held notes on C,

slowing down)

Rising/falling bass interval pattern begins

again (reaches C quickly)
<high echo element in timbre>

38:1
9

39:2
7

G# octave reached, decreasing intervals

begin

39:2
7

40:0
1

fast rising gliss to B, then held

(MICHAEL layer, NO TEMPO/TIMBRE
CHANGE)

40:0
1

Rising/falling bass interval pattern begins

again
<added "jaw harp" harmonic, oscillating
high pulses swirl around>

40:3
5

40:3
5

(microtonal bends on
2nd F above middle C)

41:4
3

41:4
3

42:5
1

Rising/falling bass interval pattern begins

again
42:5
<added hollow metallic harmonic, swirling
1
"cicada" timbre, intermittent high bell
tones>

43:5
9

43:5
9

44:0
1

<sparse high frequency scalar pitches>

44:0
1

45:0
7

<high overtone added, subtle "bee"

buzzing>

45:0
7

46:1
5

<sparse high chords begin>

46:1
5

47:2
3

<tinkly harmonic added>

47:2
3

48:3
1

fast falling gliss to held B

(MICHAEL layer)

48:3
1

49:3
9

49:3
9

50:4
7

50:4
7

51:5
5

held on 2nd F#

cross-glissandi rushing noise begins (ends

54:30)

51:5
5

53:0
3

53:0
3

54:1
1

54:1
1

54:3
1
55:1
9

male vocal counting 1-11,

filter modulated

54:3
1
<parallel "bending" tones>

55:1
9

56:2
7
57:3
5

phrase centered on 2nd

F# begins

58:4
3
59:0
6
59:5
1

triplets on 3rd F above

middle C

63:1

fast falling gliss to held B (echo of

previous)
(MICHAEL layer)

57:3
5

Rising/falling bass interval pattern begins

again
<add sub-harmonic percussion harmonic> 59:0
6
59:5
1
60:3
6

back to 2nd F#

62:0
7
62:2
9

56:2
7

58:4
3

60:3
6
60:5
9

<crotale-like element added>

60:5
9
62:0
7

held F#

62:2
9
63:1

5
64:2
3

5
Bass notes begin decelerating

65:3
1
68:4
5

64:2
3
65:3
1

Final bass note

68:4
5