These four pieces were composed between 2012 and 2015 on the Cavaillé-Coll/Beuchet-Debierre organ in the Eglise de la Trinité in Paris. For The Fifth Hammer and Etude de transparence, two swell boxes are essential. For Quilisma, a single swell box is needed. In the case of a complete performance of this second notebook, Quilisma can be divided between the two performers: one then taking the place of the other in measure 62.
To avoid overloading the score, only one combination number is notated on the score for each change of registration. It refers to the separately printed table of combinations which is included for each piece.

The Fifth hammer
The score is proposed in two versions.
The first, conceived for the organ at La Trinité, uses an extended range (notably Quinte 22/3 on the Great organ, Tierce and Piccolo on the Positive, Tierce on the Swell, 16' reed selection on each manual).
The second is an adaptation for an organ of more limited dimensions (no Quinte 22/3 on the Great organ, no Tierce on the Swell, no 16' reed selection on the Positive) fashioned on the Rieger organ at the Paris Conservatory (CNSMDP).
In measures 1 to 23, regardless of the manual being played, the performer seated on the left manipulates the swell box for the Positive, and the performer on the right that of the Swell, according to the normal placement. During this section, be careful to open and close the swell boxes very progressively, with maximum amplitude and precision.

Quilisma
In this piece, the passages notated with great rhythmic precision serving primarily to achieve the effectiveness of a global sonic phenomenon: they should thus be performed, as for the rest of the piece, with basic flexibility.
m. 37: to avoid overloading the score, the slurs are not written. Tie all common notes between the chords.
m. 63: each sound, initially played on the Swell (no circle) or on the Positive (with circle), is held, until it moves to the other manual or a cross. No pitches are played simultaneously on both manuals at the same time. During this passage, strive for maximum legato and continuity in the exchange between the two manuals.

Etude de transparence
During the whole piece, be careful to open and close the boxes very progressively, with maximum amplitude and precision.

Audio sample

Vidit Jacob scalam extract from CD The Fifth Hammer