Und so weiter, 1965-1966, composition for electric piano and tape, re-uses by refining them, the ideas formulated in Hétérozygote. Flashes for orchestra, Hétérozygote and Und so weiter are thus bound by a will to suggest to the listener an if possible active listening. The sound sources employed in this work are ambiguous: on the one hand, they are prone to various anecdotes; in addition, it is difficult to know who plays, or the piano or the tape.

The experiments on the amplified traditional instruments predict of a future rich in musical discoveries, as well from the point of view of spatialization as from the technical point of view of the play, the contact-microphones allowing the listening and the enlargement of a great number of non audible sounds directly.

This encounter of an electrified piano and a tape is exploited on the level of game of chess against the anecdote. The multiplicity of the recorded piano, through which the direct piano comes to take its place, but transfigured by electroacoustics, pulverizes any concept of origin. Then, the sounds become different and the game of chess wants that the piano completely loses its realism to mix with that of the magnetic tape.

It is an encounter between the piano living and the dead piano. The anecdote of the piano is pushed until its last limits. The extreme degrees are reached when it is not more possible to add in the accumulation of the maximum, nor to rarefy the sound minima.

The intern musical dynamics of the work is established on a balance of these two poles.