We have already linked the predominant preparation, weather-stripping with the drums. Now we will focus on the other preparations: small bolt in F pitch and double preparation, weather-stripping + screw with nuts in high B-flat pitch. We will start with the second: in chapter 2.2. "Compilation of alterations and effects" we have explained that, with this double preparation, we listen to both mutes at the same time, and only the screw with nuts preparation when the una corda pedal is depressed. Both preparations sound together only in bars 1, 2, 15 and 16. In our score for percussion quartet, these few occasions are always in second player´s part, without any combination with other sounds in the same part, and written in simple and not too fast rhythms. This allows the player to play two instruments at the same time: one related to weather-stripping preparation and the other, to screw with nuts. According to this decision, B'-flat would be composed of a single sound during most of the piece (indicated in the score with triangular heads). It would be formed by both sound components only in bars 1, 2, 15 and 16. And, in between bar 132 and bar 138, where the una corda pedal is released progressively, the second component would maintain a stable dynamic while the first one would make a crescendo from niente to fortissimo.
It is obvious that the first of these sounds, linked to weather-stripping, must again be a Chinese tom (or tambora). Now we must look for the second component, the one linked to screw with nuts. According to Vaes classification, screw with nuts falls in "mostly noise-like" sounds group. With this preparation, there is still an identifiable pitch, although it is almost hidden behind a metallic sound formed by an attack and between one and three rebounds (depending on the dynamic). A metallic percussion instrument with some small metal fragments on its surface (to work as a small rattle activated by the main instrument´s vibration) would be the ideal choice. We have already discussed the options within Cage´s collection that meet these characteristics: tin cans, brake drums and cowbells. Both brake drums and tin cans do not have a long enough resonance in soft dynamics to activate the rattle. Cowbells are the best solution for this case. We can add to them some small coins (like the pence that Cage´s inserted in the piano), screws, nuts, thin chains, etc. to find the desired sound. The necessary material and its placement must be searched by experimentation once again, because they will depend directly on the kind of cowbell used. We will never use latin cowbells or campanas, much drier and without defined pitch, for this purpose.
Finally, we have to look for the sound that replaces F pitch with small bolt between second and third string. According to Vaes, this preparation falls again in the group of "mostly noise-like" sounds. Its sound is clearly metallic with defined pitch but short, without any rattle, just a slight buzz together with the attack. Perhaps the cowbell option, in this case without the rattle, would be again a good solution. By hitting with the hand, we will get this noisy attack that characterizes the piano preparation.
Once all the sounds are ready, there is only one more question to solve. We know the importance of long notes in Bacchanale, especially when they are at the end of a section, with the question then being: how to coordinate music and choreography? Piano resonance, even with mutes inserted between strings, is longer than drums resonance. For this reason, we have to simulate this effect with a new performative technique, the finger roll used by Cage in his percussion pieces. Cage´s proposal was to roll on a drum with one hand by alternating thumb with the remaining four fingers. However, this kind of roll makes it difficult to hit exactly the same spot, get an even sound and reach the fundamental pitch of the drum. A roll alternating both hands and using one or two fingers of each hand would solve these issues. The notes that can be rolled are indicated in the score with the symbol tr. We must never forget that this techniques have the purpose of simulating the longer piano resonance. That is to say, it is not a matter of keeping a tenuto sound but simulating the progressive decay of piano in the most natural way. This results in small diminuendi during the drums rolls.
The other sound that needs a longer sustain is the F cowbell of the slow section (bars 86, 107 to 119). Taking advantage of the cowbells natural resonance, it is better to look for a beating technique that gets longer resonance instead of using the roll technique. If we use a soft rubber mallet (similar timbre to our hands) but quite heavy and we hit very close to the edge, we will get a longer sound and a slower decay.
In case of very slow tempi performance, in which we need more sustain in the slow section, we can use felt mallets on the drums and F cowbell (excluding the spots where we use rubber mallet). In order to keep the noisy sound in B-flat cowbell, we will continue beating it with the hand.
To conclude the reconstruction process, it is necessary to verify that all the elements and techniques were used in the first pieces for percussion of John Cage. Our set-up has Chinese toms (or substitutes) and cowbells, both instruments widely used by the composer. About the techniques: hands hitting center and edge, fingers rolls and rubber mallet, Cage also used all these techniques. In Annexe IV. "Recordings" we can find recordings of each part where the instruments, tunings and techniques are showed.