Sergey Zhukov








honored art worker of Russian Federation

















"Sheet Music""

cycle of graphic games for a piano 


It is difficult to name the ideas incorporated in Sheet music only musical. These are those spheres where musical images are crossed with images diagrams, with ideas of theatre, with game and even with complex mathematical designs, which in the end results always adjoin to images of art. It is original game with beads. And to perceive it only from the point of view of musical lines there is obviously not enough, as it, as a minimum only half of that exists in Sheet music. The perception of each composition should be necessarily complex.


B-A-C-H variations


Visually it is a circle formed from two musical staffs and divided into four sectors. The musical material of each sector represents a variation on one of the named notes (B-A-C-H). In the center of a circle on crossing of lines-staff is the note which in four different keys is read differently: or as B, or A, or C, or H - an original key to game which is carried out by rotation of a circle and performance serially top and /or/ the bottom sectors. Thus the author supposes any sequence and any direction of movement during performance of the composition.


Trills restoration 


Externally it really reminds restoration - pasted on a musical paper scrappy old notes, somewhere writing by hand, somewhere the manuscript stop suddenly And as the sound space this is a space of vibrating the sonorities, having its own reality, its own extent, and its own condition. And movement of this space: from the average register of a sounding piano - to high, and is farther - to imagined ultrahigh frequencies of a sound; and is even farther - in Space, and through really heard to parameter of a sound, through infrasonic, to the register of a piano perceived to anybody, and further - to average, whence all began. It is the way of such sound matter.




This is a game. This is a real labyrinth, where instead of abstract roads there are staffs. In total there are seven. Six of them come toward to impasses.  The seventh is going to the entrance. Realization of sound space occurs by passage of everything, or in part everything, or one of all sound tracks. At hit it is necessary to return to the next impasse to the beginning and to try to pass once again. In such recurrences the form and duration of the composition is realized. It may be very short or have infinite number of recurrences. At performance Labyrinth the right hand of the pianist is on the keyboard, left rotates the leaf.


D-S-C-H variations


The graphic form of variations is the square, shared to two crossed musical staffs on four sectors, each of which represents a variation on one of notes of theme D-S-C-H. The sequence of performance of sectors is defined by the note located in the center of crossing which in different keys is read differently: either as D, or as S, either as C, or as . A musical basis of variations were fragments various on a genre of compositions of D.Shostakovich in which   piano is prevail - first prelude from a cycle 24 preludes for Piano, the Waltz - joke and also solo piano from the first part of the I Symphony.


C-A-G-E variations


You can play this piece as you want. But the same time you can find (or treat) your own system.

For example:

Instead of notes in the score you can see the letters which are the symbols of the notes. All of them are grouped in the pairs. You can play them in any octave, with any dynamic, as across, as by verticals, as both from the top downward, and from below upwards, both from right to left, and from left to right, both by one group, and by two,  or three, and even by four, which are taking place in one cell (cage).