Mari contains two parts, both labeled with a Roman numeral. As for most of his scores from his joyous period, Donatoni looks at the different parts as two pieces, both using similar materials, panels and filters. The score is in traditional music notation, but lacks bar lines completely. Both parts have one tempo throughout their entirety. Dynamic evolution is used to indicate structural sections:
The score puts the codes in the background and thus shifts the attention to the flow of the musical material.
The original scores are a good presentation from a compositional point of view. They show the result of putting the process in the background of the composition and having an organic feel at the surface. But when preparing for performance, the scores are less practical because of the handwritten style - which is often difficult to read - and the absence of timing indications (bars and meters) while having very detailed rhythmic notation. The results of the analysis have been used to create practice scores, providing different approaches to practice for a performance. In combination with different click track files, the practice process can be much more efficient compared to using the original score.
For Mari, two different re-edits resulted: