eduardo moguillansky

limites
for one trumpet player (with two trumpets) and ensemble (clarinet, viola, cello, piano)

2005-2008

lmites
(limits / Grenzen) for solo trumpet and ensemble of
clarinet / viola / violoncello / piano
Que se ha perdido irreparablemente; Ni el blanco sol ni la amarilla luna. No te vern bajar a aquella fuente Hay, entre todas tus memorias, una

Jorge Luis Borges, El Otro, el mismo, 1964 a Valentn Garvie

Lmites,

Duration: 6 40 General remarks

The score is NOT written in C

Lmites is a piece for solo trumpet and ensemble. Soloist and ensemble are ruled by somewhat different processes. The trumpet experiences a constant zoom of its material. At the beginning of the piece each measure has a fixed duration of 5 seconds, divided in many different ways. With the course of the piece this length is shortened, which results in a written-out accelerando. At the end of the process the length of the measure is 310. As a consequence of this, each measure has also a specific tempo attached to it. In order to avoid overly complicated time signatures like 13/8 or so, these have been turned into two different measures divided by a dashed line. In this cases there is of course no change in tempo. All tempo changes are to be made sbito. The zoom-in is achieved by the following process: each measure takes a fraction of the preceding one and expands it into a full bar. The gain in resolution reveals new aspects of the material, at the same time leaving parts of each measure forgotten, since only the fragment in the middle of the bar is taken as model. This time window puts a limit to the material itself: the things that are left out in the trumpet part are then lost and unable to reappear in the same part. In measure 56 begins a second process simultaneously with that of the zoom in the trumpet part: the time window is gradually reduced from 5 to almost 3 seconds. This has as a result that the unfolding of the material turns little by little into a reducing of the material until nothing of the original is left. The task of the ensemble is different: it takes its material from the forgotten segments of the trumpet. That is why the trumpet plays alone as long as its material can be kept within the limits of the barlines. As soon as this is not longer the case, the remnants turn into memories taken over by the ensemble. The way in which this takes place responds to a separate process: the length of the original is expanded according to a descending time curve: at the beginning (measure 43) each memory lasts 3 times the length of the bar (15 seconds), which means that the material

is streched around 1600%. At the end of the time curve, the length of the memories match the length of the originals. This time curve is so calculated as to finish its process just after the trumpet has disappeared.

Dynamics
Two different type of dynamics have been used. normal dynamics (written in the traditional way) have been used as absolute dinamics. That means that two gestures having the same dynamic sign should sound at the same level of laudness, independent of the techniques used. Since textures are generally very dense, balance becomes of capital importance in order to render an understandable performance of the piece. The other relevant issue in relation to absolute dynamics is that certain techniques, like playing col legno, or molto flautando, sound naturally softer than the same gesture performed with normal bowing. These natural tendencies should be compensated as long as possible. effort dynamics: they are written between quotation marks, like f. They are always used in connection with one of the above mentioned techniques, like col legno or molto flautando. They are to be interpreted as playing with the effort normaly involved in playing forte even if the result does not reproduce this effort.

Microtones
Ordered from low to high, they represent intervals of 1/8 tone. The 1/8 tones are mostly used to indicate the exact position of a node for playing a harmonic multiphonic.

IJ b jBK n kL m l
Trumpet

The trumpet player uses TWO C-trumpets SIMULTANEOUSLY. The second trumpet (the one notated on the bottom) must be tuned DOWN a tone. The 1. Trumpet is hold with the right hand, the 2. Trumpet with the left. NB: by this it is NOT meant a two-bell trumpet.

Interaction between the trumpets

Since the lips cannot vibrate in two different speeds at the same time, the actions on one trumpet will have a direct effect on the other. In order to make these interactions clear, a third staf has been used. The solid line indicates which trumpet must be given priority in terms of which action defines which overtone should sound at each time. Where independent actions are asked for, often only the fingering is given for the secondary trumpet, the actual sounding pitch depending on the overtone played on the principal trumpet. This notation has no effect on the dynamic balance between the trumpets. When, however, a dashed line is used instead of the solid line in the third staf, not only overtone-priority but also dynamic balance is notated. A difference in balance between the trumpets (small but noticeable) can be achieved by controling the angle and the pressure of the trumpet against the lips. The solid line indicates which trumpet decides upon the overtone sounded. In this case, the 2. Trumpet is notated only through fingering, since the final sounding pitches will be a consecuence of the actions of the 1. Tr.

The third staf serves to clarify the interaction between both trumpets. In this case, the dashed line notates which trumpet decides upon the overtone content and the dynamic balance.

Multiphonics
Multiphonics in the trumpet allow to sound two adjacent overtones. To play multiphonics with two trumpets in the mouth at the same time and to be asked to play multiphonics on both trumpets makes the task of course not easier. NB: multiphonics are not expected to be either stable nor to last the exact length which is prescribed by the notation. By force a rather unstable and not totally reliable sound will be produced. This is expected but not desired and, in fact, every effort to develop a controled production of multifonics will be welcomed. It has been proved helpful to use a practice mute in order to let more air flow into the trumpets while at the same time being able to play at reduced dynamics.

Mutes
See score. NB: it is possible to consider the use of different mutes in the two trumpets (i.e. different to each other). This is left to the performer.

Special signs

m f c

: only air, no pitch

: air+pitch, unfocused sound (loose embouchure, not fully formed sound)

:sing (always as a colour of the trumpet)

: play+sing; approx. the same pitch to enrich the spectrum of the trumpet. Also notated as

5j

: press the trumpet against the lips to achieve a choaking sound. Try not to disturb the actions of the other trumpet. All indications in brackets are meant for both trumpets (indications about vibrato, mostly). Also dynamics are for both trumpets, the balance between them notated as indicated before (in the case there is a difference in balance wanted).

H.V.: Hand Vibrato. Vib.: air-pressure vibrato (diaphragm vibrato); NOT a variation in intonation. T.V.: Tongue Vibrato. The tongue touches the air-column, making variations in timbre possible. The sound gets brighter and a small sizzling appear. Its even possible to make the next overtone sound also (which makes Tongue Vibrato a very subtle form of multiphonic). Extra care must be put in avoiding getting too close to the air-stream since when this happens the sound is suddenly interrumpet.

*
!

: mute as closed as possible

j : mute fully open

: as short as possible (independent from the rythmic value above which it is written.

: flatterzunge

Glissandi
Three different types of glissando are used, in order to indicate which action is asked for.

________ : used when bending a note or when producing a gliss with the voice; no finger action is involved.

--------------: overtone gliss; no finger action; transition between one overtone (or multiphonic) to another

dddddddddddddd : valve gliss.; overtone and valve gliss. are often used together.
Strings
Scordatura - Both viola and cello must be more or less violently altered in the way their strings are tuned.
Viola: Cello: The three upper strings are to be replaced by C-strings and tuned as shown in the score The I string is tuned down a tone, the II string a higher, as indicated:

Playing on non-adjacent strings

A particularity of this work is a technique for playing on non-adjacent strings. This is achieved by pressing one of the two middle strings all the way down to the fingerboard and fingering the other strings with very little finger-pressure, only enough to make the note sound as a real note and not as a harmonic, but avoiding pressing down the strings. As a result, the different angles of the strings make it possible to play on two non-adjacent strings (C-D, G-A on the viola). More important, depending on the bow position, it is possible to make very smooth transitions between the two outter strings and the inner one (or the other way around), by shifting from tasto to ponticello. Of course it is also possible to play on three strings together and even on four (by depressing both inner strings). The finger pressure is notated by using different noteheads, as following:

f A i K

: press the string all the way down to the fingerboard : Mute sound. The same as above (press the string all the way down to the fingerboard) only to be able to play on the outter strings (play sul tasto). : press the string only slightly (its not a harmonic!). Avoid pressing the string down.

Other signs for finger pressure : harmonic.

: fawcett. Press the string as a harmonic. Always in used together with a crossed stem.

The part of the string between the fingered harmonic and the tuning peg must be muted to avoid it sounding as a harmonic. The indicated pitch for the harmonic turns into an unstable fundamental, thus making it possible to sound the different partials of this note depending on the position of bow. Two different notations have been used to indicate the bow position: approximate notation giving only the position of the bow in terms of ponticello, molto ponticello, etc.; and a precise notation which indicates the exact overtone over which the bow should play, rendering this pitch audible. Precision in this technique is very hard to achieve and a certain fragility in the sound is not only expected but also desired.

:put the finger at the side of the string (bend the string to have more space, compensate the change in intonation) :pull the string up

Fade in - fade out

To avoid an overly complex notation, in many cases only a rythmic guide has been given as to how the fade-in-fade-outs should be played. Since they are always achieved with a shifting of the bow position, the hand should be from the begining already fingering all pitches, the notation showing only which pitches (and thus, strings) are to be played by the bow at each time. Thus, when beginning a gesture with the inner string (for instance, the III string on the viola), it is expected to begin sul ponticello and to go in the direction of the fingerboard to make the other notes appear. For example, the extract appearing in Example 1 should be interpreted as shown in Example 2.

Example

Example 2

To make it again clear, you should place your fingers on the indicated positions even before the strings are sounding. These notes are renderd audible by the shifting of the bow position. In this example one begins by playing very near to the bridge (only the III string is played). As the bow moves to the ordinario, all three strings are reached by the bow without changing the bow pressure. As the bow moves even more in the direction of the fingerboard, the III string sinks and is not reached anymore, allowing the IV and II strings to sound alone. One thing should be said about fingering: unless otherwise indicated, the inner string is always to be fingered by the 1. Finger, allowing fingers 2 and 3 to play on the lower and upper strings respectively. Notation of fingerings In some cases where it turns obscure which finger is playing on which string, the following system has been used: For example, II, 3 III, 1 I, 0 IV, 2

means: the highest note written in the chord is to be played on the II string by the 3. finger. The note that follows is played on the III string by the 1. finger. Then the I string is made sound open (0), and the IV string is fingered by the 2. finger. The fingering, thus, corresponds to the written chord read from top to bottom and from left to right (in the case where there is an unisono). Important: To be able to differentiate between fingered and open strings when they are playing the same note, notice that fingered notes in this system will ALWAYS have one of the noteheads explained above, whereas the open string will have a normal notehead.

Bow position
MT: T: ORD: molto sul tasto. sul tasto ordinario. Normal position.

P: MP: SP:

al ponticello molto al ponticello. Play very near to the bridge, but not on the bridge. The tone must be very rich in upper partials, almost no fundamental. ON the bridge. No audible pitch.

Often they are used in connection with the technique of playing over non-adjacent strings, to clarify which movement the bow should make: in these cases they most important parameter are the sounding strings. Thus, T is used when the bow should play over the outter strings, ORD when all strings used should be made audible and P or MP when only the inner string/s are to be made to sound.

Bow pressure
molto flaut.: flaut.: NP : molto flautando. Very little bow pressure, the bow hardly touches the string. When used together with col legno, some extra pressure must be applyed in order to make any sound at all. flautando. normal bow pressure. Cancels all sings related to bow pressure.

Scratch:

extra bow pressure. If the notes are between brackets

then only noise should be audible (no pitch)

: transition from extra bow pressure (scratch) to normal pressure.

Bow angle
This signs do not modify the direction in which the bow moves, which is always perpendicular to the strings (if not otherwise indicated), but the angle in which the bow moves. The normal way is to move horizontally (0). By changing the angle, an extra element of noise is added to the sound.

< = ;

The horizantal (the one in the middle) defines the normal bowing angle. The two others are slight deviations of this angle in both directions.

Other signs regarding bow actions

tremolo, AS FAST AS POSSIBLE (almost like a texture). If it is indicated together with flaut. or molto flaut., perform always on the tip of the bow.

col legno. Play with the wood of the bow.

crini. With the hair of the bow, cancels the previous sign

r * v # 2 !
Clarinet

very slow circular bowing. a very slow and even movement, which makes always smooth transitions between the strings involved and creates no accents whatsoever -particular attention deserve the moments in which the bow changes from an horizontal to a vertical direction and viceversa. The movement doesn't even need to be circular; in fact, any pattern of movement should be avoided in order to prevent a pulsating effect of any kind. When performed over a chord using the technique described above of pressing down one string, circular bowing does not imply that all pitches are audible all the time. On the contrary, the slow shifting in bow position that comes together with circular bowing should result in a very smoothly changing sound. VERY SLOW bow, CONSTANT speed; down bow

VERY SLOW bow, CONSTANT speed; up bow. In these two cases, the bow moves ALWAYS at a constant speed (SLOW). All changes in dynamic are to be performed by changes in bow pressure (thats why in these cases the bow pressure is not notated The same technique as above but used in conection with tremolo

bow vibrato. Perform the indicated bow (up bow or down bow) with a trembling arm. Do not confuse with tremolo!

up and down-bow with extra bow pressure as short as possible, independent from the duration of the notes where it is placed.

The Clarinet is NOT notated in C, thus sounding a major second lower than written. All fingerings and multiphonics are given for the GERMAN SYSTEM. A scheme of the fingering system used can be downloaded as a PDF file at www.multiphonics.de. If a clarinet with french system is used, corresponding fingerings must be found. The function of the clarinet is always to be a shadow of the trumpet. But since the multiphonics used have a very narrow dynamic range, it would be advisable to use a slight amplification for the clarinet in order to achieve the desired balance.

: only air, no pitch

The bigger notehead is used to indicate the level of brightness or darkness of a multiphonic, as in the following example: The multiphonic begins with the lowest pitch and the other appear gradually. After that, without losing the upper part of the multiphonic completely, darken the colour of the chord as indicated and then make it bright again. The rythmic accuracy in such passages is secondary to the smoothness in the transition.

: air+pitch, unfocused sound (loose embouchure, not fully formed sound)

Piano
The piano has a rather limited role in the piece, puntctuating the actions of the strings and connecting them with the trumpet.

Scordatura
The lowest C must be tuned down to A flat.

dampers C-string keyboard

Right Hand

The Right Hand holds a light bulb in order to perform the actions inside the piano indicated below. With very few exceptions, the right hand plays always inside the piano. For that reason, the upper staf has an inside-the-piano clef. This upper staf indicates where, approximately, the actions of the right hand take place. The upper part of the staf denotes the part of the harp of the piano which is further away from the player; the lower part denotes the part of the harp nearer to the player up to the line of the dampers. All actions take place in this delimited space.

Actions

of

the

right

hand

Play INSIDE the piano, scratching the strings along its length with the NAILS (ALL movements of the R.H. inside the piano are glissandi along the strings and NOT between different strings, each finger staying always on the same string). If the pianist's nails are not long enough, and only as a last resource, a plastic card might be used. The pianist holds at his right hand also a light bulb with the glass pointing in the opposite direction of his thumb -the symmetry axis of the light bulb runs in perpendicular direction to the length of the arm. When used together with the Left Hand, the R.H. produces harmonics of the notes played by the L.H. -if not otherwise indicated. These harmonics are not notated accurately, the actual pitch resulting from the current position of the R.H. along the string. In this example the R.H. moves steadily from the middle of the string in direction of the dampers but not reaching them; since the speed remains the same (straight line) but there is an increase in dynamic, an increase in the intensity of the scratching (more pressure) is needed to perform the written crescendo.

* Accents are always pressure accents they have no effect in the speed of the movement. * Each hand has its own dynamic

:hit the string/s played by the left hand and mute at the same time.

:muted sound (mute with R.H., play with L.H.).

Left Hand
The left hand plays on the keyboard. Notice that it is written using contra-bass clef. When written on G-clef it might be more confortable to use the right hand.

The score is transposed, each clef indicates the transposition. Alterations last for the whole bar, if not otherwise indicated.

for solo trumpet and ensemble

a Valentn Garvie

lmites 6 q=69 4

eduardo moguillansky

(2005)

7 q=84 4
C-Trumpet 1

hand or plunger, as closed as possible

&

BOTH TRUMPETS: HARMON MUTE *)

slap
5

4 q=76 4

slap
5

5 *8
.
transition to pitch

4 q=66 4
non slap

3 8
air+pitch (very loose emouchure, unfocused sound)

5 4
.

+ .
mi < ppppp

Played by the same player

Tuned a 1/4 tone lower

C-Trumpet 2

& Tr. 2 sounds a 1/4 tone lower

mn " ppppp

**)

no pitch, only the tongue articulation

mn " ppppp

mn . ppppp

*) A different mute may be used insted of the harmon mute, depending on the accoustics of the hall. A practice mute (silent brass) makes it possible to have a very good control when playing with two trumpets. If the practice mute is used, amplification might be needed, since it diminishes too much the dynamic range. The hand can be used directly instead of the plunger if the Harmon mute is chosen. Again, all this depends on the control the player has on the trumpets, on the availability of amplification and on the accoustics of the hall.

**) Dynamics in this piece are absolute, if not indicated otherwise by means of quotation marks. The dynamic signs determine how the sound should be heard and not the effort. involved in its production.

NB: The Clarinet is NOT notated in C, thus sounding a major second lower than written. All fingerings and multiphonics are given for the GERMAN SYSTEM.

Bb-Clarinet

NB 2: The function of the clarinet is always to be a shadow of the trumpet. But since the multiphonics used have a very narrow dynamic range, it would be advisable to use a slight amplification for the clarinet in order to achieve the desired balance. scordatura: IV III

?
Viola

I5 b5 J5 b5
II

ALL four strings must be replaced by four C strings tuned down to microtonal variations of Ab as indicated, although the III string must be tuned to B flat

Cello

? m B5 [5 5 5

scordatura:

NB: the hair of the bow should not be very tight in order to perform the actions on multiple strings more easily.

7 4
Piano

inside-the-piano clef

indicates the line of the dampers. All activities inside the piano take place behind the line of the dampers, between them and the end of the strings (the end furthest away from the player).

[5

scordatura: tune down the last C to A-flat

b 5]

5 q=60 4
7
Tr.1

9 q=54 8
*

mi < ppppp

*) H.V.: hand vibrato, produced by moving the instrument with the hand as to force changes in the embouchure.

4 q=48 4

amount of Hand Vibrato accompanying the dynamics

7q=84 4
HV

4 q=76 4
*
f *)
transition to play+sing

mute vibrato (open and close very lightly, never fully open)

HV *)

HV

*
.

HV

5 8
.

6 4

&

. mi ppppp

mi o - o

mi o

j o

*) play+sing: while playing the note indicated, sing approximately the same pitch; the voice and the beatings produced because of the innacuracy in intonation are to blend with the trumpet sound and enrich its spectrum: the voice should NEVER stand out and its timbre should always match that of the trumpet.

mi f o o

6 q=69 4
13
Tr.1
play+sing

4q=66 4
HV

3 8
HV

5 q=60 4
.

fully open (no H.V.)

9 q=54 8

when bracketed, indicates use of "half"-depressed valve [1] 2 (*) 2 3 3

4 q=48 4
.

2 3 5

&

* j mf
Lf

*
.
mf o

.
f

espressivo

m f Lf o o

*o *

* *
valve gliss. (the valve in brackets indicates which valve to use). *) indicates valves, as following: 1 = 1 tone 2 = 1/2 tone 3 = 1 1/2 tone

*o *

[1] 2 3

5 4

m f . f o o

m f . f o -o

5q=88 4
19
Tr.1

*) a smooth transition from playing-singing to a lip multiphonic lip multiphonic 2 3 5 [1] 2 3

5 8
.

7q=84 4

*o *

5 m f 5 o o

2 3

[1] 2 3

4q=76 4
*
5 3

5 8

6 4
o
3

&

*)

5 5 m f 5 5 o o

* j
mf o

cantabile, da lontano

. . 5 f f o

-3-

6 q=69 4
24
Tr.1

T.V.=Tongue Vibrato. Touch the air column with the tongue to produce perturbations and changes in the tone-colour. Do NOT interrupt the air column.

*
5

TV
5

4q=66 4 *

*
5

TV

3 8 o

only trumpet (no singing). not fully formed embouchure, airy sound

5 q=60 4

*) note above: sing (transposed!) note below: play (with air, not fully formed embouchure). The voice is always used to make the spectrum of the trumpet richer, and thus is never to be thought "melodic". The balance between played and sang note should be such that the first prevails and the voiced sounds blend with the trumpet.

TV

9 q=54 8
6

4 4
*
TV
5

*

diafragm accents, on the air column

o
5. 5 b j f f i .

&

mf.
o

5 5 f f f i o

. 5 5 mf - f f f i o o

5 m f - - f

5. bji ij f. f o o
*)

--- 5 m f f

drop plunger and take second trumpet

4 q=66 4
29
Tr.1
3

3 8
TV
5 3

5 q=60 4
B ij -

*) the upper notes are the next partials in the harmonic row, achieved through change in the embouchure and air pressure. The ryhtmic accuracy here (and in all similar passages) is of secundary importance in relation with the smoothness of the transition between the lower and the upper "multiphonics".

keep same fingering! (*)

TV
3 5 5 3

9 q=54 8
.
o
Trumpet II

*) the exact moment in which the 2. trumpet starts to sound is not so important. The priority here is to make the 2. trumpet "emerge" from the first. **) all indications within a square apply to both trumpets

legatissimo
like before, keep same fingering

diaphragm accents on the air column (the same as before but notated differently)

3+ 5 4 16
j
3

//

TV
**) 5

- -- -

&

bf .
o

f f 5 5 f f

b j5
o
12

--

I
E

5 5 5 5 5 5j 5j 5 f B ij ij

. .

- ---

12

5 5

29
Cl.

valve gliss with 1. valve

b5 5 b5 5 5 b5 5. 5 5 f bji ji o o & b5 5 n5 b5 5 5
3 [1] 3 5 *)

n
o o

n
o

only air, no pitch; use the given fingering

n. o

12

j n
E

n.

3 5 q=50 4+16
33
Tr.1

stop suddenly

Vib.//

- - ----

TV
5

[1]

valve vibrato

4q=48 4
.
o

*) notes in parenthesis: do not necessarily need to sound, but might sound in the course of the action. In this case, the player attempts play pedal notes on both trumpets. As it is extremely difficult to sustain two pedal notes, the notes have been set within parenthesis to indicate that these might be present at some moment. **) like before, abrupt stop (no influence in dynamics unless indicated)

dolcissimo

// [1] **)
5

Vib.

5 q=88 4

*) the amount of shaking (hand vib.) depends of the ability to perform it without making it completely impossible the production of lip-multiphonics. In the case where this are not stable enough to be heard, the shaking should be reduced or instead another type of vibrato used instead.

Vib.
dolcissimo

HV

(*) [1] [2]

5 8
3

**) the same as but with a very loose embouchure, barely touching the mouthpiece -airy, unstable sound.

7 4

& + &
33

Tr. 2

b 5 5 b b5 b 5 5 b5 5. 5 5 b f ji p o b5 5 b5 n5 b5 5 5
5
12

b5 o

5
n5

Cl.

legatissimo

sempre legatissimo

b 5 5 b b5 b 5 5 5 5 b f ji p b b5 5 5 b 5 5 b
5
12

2 3

//

n n
o

n .
o

n
o
E

n
-4-

n .
o

b 5 .. b 5 5 b 5 5 55 b5 5 b f j5 B ij o p b5 5 5 5 n5 b5 b 5 5 b3 b n n i n. same fingering o p
3 3 (1) 3

j 5 j
3 3

j j

[1] 3

2 3

**)

. ij o . 3
o

transition to air+pitch and back to air

7 q=84 4
37
Tr.1 Vib.

*) press the trumpet (in this case the second trumpet, in your left hand) against the lips to achieve a choaking sound. Try not to disturb the actions of the other trumpet. [1] [2]

4q=76 4
Vib.

5 8
HV
3

6 q=69 4
Vib.
5

*) the 2. Trumpet must be given priority in the actions, let the 1. Trumpet just react to the changes in embouchure needed to perform the actions in the 2. Trumpet. intensify at the end and stop abruptly [1] [2]
5

HV
3

&

Tr. 2

b5 5 o & n 5 b5 b
3 3

j jb 5
3

b 5 .. 5 5 5 5 5 5 f 55 B ij 5 j p b 5 5 g. 5 5 5 bi

ijo

. .

b5 o
3

j b5
3

[1] [2]

*)

This third staff has the function of indicating which trumpet must be given priority. If the line is solid, priority indicates which trumpet must be thought and therefore which trumpet decides the way the lips vibrate: since the lips can only vibrate in relation with one specific overtone, the changes in one trumpet will affect the note resulting in the other. Very often, then, the trumpet which is not given priority is only notated through a given fingering, the resulting pitch given by the lip position and air-pressure of the principal trumpet.

Trumpet 1 Trumpet 2

*) play the pedal note

n 5 b5 b5
3

b5 5 5 5

5 b5 5 5 p

HV

4 4
3

*)

5 5 b5 5 5 5 5 bf 5 b i nj j g. 5 bi

(1) 3

jio
1 2

i i

b5 5
o

*)

(*)

J
3 3

*) cross-fingering: press down 1. and 2. valve while lifting the 3. simultaneously (begin, as indicated, with the 1. valve half down to produce the Ab)

. n5 ni 5 bb5 5 b 5 .
5

2 3

b 5 5. b 5 5 5 b 5 55 5 . 5 5. P 5 f . g 5 g 5 p 5 .. 5 j b5 5
**)

55 f j5 ji ji
5

2 3

ji
3

. .
5

b i n5 n 5
3

3 keep same fingering

**) variate smoothly the pressure of the trumpet against the lips. very soft flatterzunge 3

37
Cl.

j n n
o

n p

ji

m
o

n
o

j n n

i p

n
o

n n p

n n

i p

n
o

-5-

4 q=66 4
41
Tr.1 Vib.
2 3

HV

&

Tr. 2

b5. o &

b5 5 55 b5 5 5. p b5 b5 5 5 b .
3 2 3

[1] [2]

1 2 3

3 8
j
3

5 q=60 4
Vib.

Increase the H.V. at the end so that the sound breaks very shortly. Never stop blowing. [1] [2]
5

5 5 5 5

b5 5 5 5 P

HV

9 q=54 8
3
1 2 3

HV

2 3

[1] [2]

3+5 8
3
3

5 m 5 55 5 5 5 m5 f j5
3

1 2 [3]

b j5
3

j 5

j
o

b5

poco

b5

b5 5 5 5

b5 5

5 5

g 5 g 5 g 5

b5 n5
3

J
n n p

1 2 keep same fingering

P b5 b5 n5 n5 b .
2 3

> >

P 5 g 5

j 5 5 5 mm 55 5 f 55 5 . 5 j P j j . b5
5 5
3 3

j b5 b5 5 >

b5 5 b5 5 5 b5 P

g5 g 5 g 5

b5.

n5

j
3

2 3

J
normal sound 3

.
3

gliss. with valves and embouchure-air pressure.

5 >

3 5 b 5 5 g 5 g5 g 5 g 5 g 5 g b 5
2 3 0 1 3 gliss. with valves and embouchure-air pressure.

b 5 5 5 5 5 5 m 5 55 5 5 5 5 5 m5 5 f n j5 n5 m 5j j P -p

> >

b5 n5 -

41
Cl.

j n n
o

i ii

j 5

5
o

j n n .
o

i i.

n p

j n

n. p

i .

n. p

5 5 5 n p

j n

Right Hand only. Play INSIDE the piano, scratching the strings along its length with the NAILS (ALL movements of the R.H. inside the piano are glissandi along the strings and NOT between different strings, each finger staying always on the same string). If the pianist's nails are not long enough, and only as a last resource, a plastic card might be used. The pianist holds at his right hand also a light bulb with the glass pointing in the opposite direction of his thumb -the simetry axis of the light bulb runs in perpendicular direction to the length of the arm. When used together with the Left Hand, the R.H. produces harmonics of the notes played by the L.H. -if not otherwise indicated. These harmonics are not notated accurately, the actual pitch resulting from the current position of the R.H. along the string. Indicates the strings on which the actions of the Right Hand take place. The fingers 2 to 4 scratch the strings with the black squares; the light bulb presses the C-string, indicated with a white square. The C string is tuned down to A-flat, sounding a Major Third lower than written.

b
3

? m m 5

playing over non-adjacent strings : the III string is pressed down to the fingerboard but not made to sound (crossed notehead). The II string sounds open in this case, the IV string is played as if playing a flageolet (because this is not a position of a natural harmonic and the bow is not playing near the bridge, a flageolet is not expected to be heard). Depending on the position of the bow the II and IV strings can be sound to sound together without touching the III string; this is accomplished by playing near the tasto, where thanks to the pressing down of the III string, the bow cannot reach this string. As the bow moves toward the normal position, the bow begins to be able to reach the III string, coming to a point where all three strings can be played simultaneously. This can be nearer or further away from the bridge and depends on the hight and curvature of the bridge, thus being different in each instrument. When the pressed down string is expected to sound the notehead changes to a normal one with a circle around it. This means that the hand position doesn't change at all, but only the bow position. As the bow moves further away to the ponticello, the II and IV strings disappear and the III string stays alone. All this movements must be very slow and smooth in order to result in a continuous transition of fade in-fade out of the strings.

only shows the sounding pitch of the strings with scordatura.

flaut. molto T

ORD

P
3

cello

IV, 2 III, T II, 0

m KA KA 5 5 o

. . ppppp

m Kf Kf 5 5

f f

Kf 5

f 5

b 5f K

III, T IV, 2 II, 0

flaut. molto

& b5

II, 3 III, T

n f bf
o

MP

5 4
t 0 b0 n0 )

dynamics in the upper staf of the piano part are NOT to be produced by the speed of the movement (which is given) but result from increasing or decreasing the intensity (pressure on the string) of the scratching.

9 8

3+5 8
J J J
o

o
piano

ppppp
o
-6-

ppppp

3+5 e=96 8
45
Tr.1

HV

as smooth as possible

& &

Tr. 2

j b5 b5 5 b5 b5 5 > b5P j n 5 5 5 bb 5 5 J > b 5

5

[1] [2] H.V.

3 3

7 e=84 8
HV

b5 5
5 5
0

dolcissimo

5 5 5 bb55b 55 5 b5 > 5 j5 c > nj > F b5 b b 5 P F g 5 b5 c5c5c 5 c 5 c 5 c b5 5 m5 b ) ) m b5 5

55 5 5
3

dolcissimo

1 3

5 5

dolcissimo

j 5

[1] [2]

b5 5

the white squared notehead indicates the fingering; NOT a multiphonic.

>

5 b5 5 5 > 5 5 > b 5 5 55 c c > 5 5 j _ _ nj P p 5c ) _ ) _ bc ) >c 5_c 5 c 5 c 5_c 5 c )

5 5 5 5

12

> j
3

4q=76 4
HV
5

transition between valve-gliss to vib.

[1] 3 3

5 8

*) perform a valve-gliss from 2+3 to 0 and at the same time a lip.gliss to be able to play the written note (down) with the fingering given (up).

6 4

Vib.
3

b5 5 b5 b5 j b5 5 f f bb 5 5 5
3

m5 b

> b 5 5 5 5 bb5 5 5 55 5 bb 55 55 5 5 5 >) ) ) 5 b 5 5 b 5 b) ) ) 5j j > F > b5 p -f 5 j 5 ) _ ) ) ) b5 5 > > c5c5c5c5c5c )

i i

H.V.

*)

indicates only the fingering

5
12

3 multiphonic (let the upper note appear from the lower)

bisbigliando (colour-trill) 3 5 E 5 3 F

12

3 E 3 3 3

45
Cl.

~~~~~~~~~~~~~

m
o

i.
p

5 5

5 m p o o

m .

i.

5 5 5 5 5

.
o

m
sempre legatissimo

j
i

i 5 5

i i i

5 5 p

j 5

~~~~~~~~~~~~~~
3

i i o P

jj

try to produce as smooth transition from one octave to the other

by "circular bowing" it is NOT meant the traditional circular bowing (which consists of a pulsating movement around the strings), but a very slow and even movement, which makes always smooth transitions between the strings involved and creates no accents whatsoever -particular attention deserve the moments in which the bow changes from an horizontal to a vertical direction and viceversa. The movement doesn't even need to be circular; in fact, any pattern of movement should be avoided in order to prevent a pulsating effect of any kind. II, 3 III, T I, 0 IV, 2

*) cello: fawcetts. This notehead with the cross across the stemt indicate that the specified notes should be played with the finger-pressure necessary to play harmonics while at the same time the part of the string between the fingers and the capo-tasto is muted with another part of the left hand (other fingers). Sometimes this is not possible and a bit more finger-pressure is needed over the string which is not being muted. By this procedure, the fingered note is turned into an unstable fundamental, whose overtones can be made to sound depending on the position of the bow accross the string and on the bow-pressure used. In the cases where no specific pitch is being asked for, a bow-position staf is used to notate the bow actions. In this case the action is notated but not the result. Where a specific pitch or pitch region is asked for, this is written on a separate staf. These pitches are obtained by bowing on the hamonic node corresponding to the written pitch. sounding:

Vc.

nf f

ppppp

nf f

nf b n fK 5

ORD

If5 K

rK

? b m B 55 5
3

circular bowing, VERY slow and even

flaut. molto MP

? mb 55 5

&

II, 3 III, T I, 0

f5 5K

bf
o

Kf 5

ORD

BK Kf

55

III, T IV, 2 II, 0

II, 3 III, T IV, 2

K Bf Kf nb 5K

MT

A n5 . K

SP MP P ORD

J
. b DD
5 *)

` b J
flaut.
3

flaut. molto

III IV

A
o

DD A

DD A

DD A

3+5 8
Pf.

7 8

4 4

all accents are pressure accents, meaning an intensification of the scratching -not to be confused with a faster movement.

5 8
.

6 4

.
o

.
-7-

.
5

>
o

6 q=69 4
49
Tr.1

*) indicates only fingering (the sounding pitch will be determined by the actions of the 1. Trumpet and eventually by the hand vibrato).

HV

poco TV

[1]

4q=66 4
Vib.

*) indicates aproximate pitch for the beginning of the cresc. (always 2+3) [1]

& &

Tr. 2

b5 b5 b f fp b b5 5 m5 b 5 5

b5

dolcissimo

b 5 5 c 55 5 5 > >5 cantabile F

j

5 5
3

5 b5 5 5 > b5

2 3

molto HV
3

TV

Vib.

3 8
3 3

5 q=60 4
molto

HV

TV

[1] 3

Vib.
come sopra

9 8
b5

5 5

55 >-

5j 5

j
j 5
*)

j
} f

5 5

f 3 j 5 b5 . ) n ) _ _ )j*) b 5 5) ) ) ) _ b 5 . - ) ) _. _ > b c 5 c5c5c H.V. > c)5c5c5c H.V. b5 f *) J > J J

j 5

f b >
>

b5. b 5.

b5

j j 5 c 55 c 5 5 5

b5

dolcissimo

pF
3

> > >

b5

5 5

n5

>
5 55

55 5

j b5 b5 b ) ) ) 5j jj 5 b > > b5 f f f j ) b5 > 5 J

dolcissimo

b5. b 5.

b5

j 5 j 5 c 55 c b 5j 5 5 5
-

p f
3

> > >

>

5 5 5 55 5

5 n 5 bb 55 5 5 5 5 b5

>

> )b )

>>

f }

5 b5. b 5 . ) ) _ _ __ _ ) ) > __ )

j 5

> c5c5c5c

H.V.

12

12

12

J
12

49
Cl.

indicates the key with which to trill 3

i i i o p

i i

i.

5 5 5 5 P

5 5

j 5 5 B5 5.
3

12

12

Gis E

3 E 3

12

12

E 3

H B

5.

i i i 5

j5 5 5

5 5

B5 5 p

5 5 5 5 5 5 5 5 5

i.

5 5 5 o

j 5 B5

5 J n 5 .. 5 5 p

indicates angle of the bow: an horizontal line denotes a normal angle. In this case, the angle notated would requiere that the tip of the bow is nearer to the player than the frog

viola
transition to normal playing

mn 55
? 5
Vc.

bow-position clef 3

flaut. molto

PN

b5 5

A. b KA 5K . 5 .

ORD

n 5f i

mK f i

MP

K K n5 5

SP MP P ORD

bI J `
< .
bD D AD AD o

flaut. molto

(MP)

=
k K

J J

b
K.
5

b
MP

ORD

J ADD ..

A b DD

A DD

IV

f m 5K
II, 3 I, 0 III, T

K K m fK fK

K K
whole hand gliss.

II, 3 III, T IV, 2

6 4
Pf.

4 4
J
o
3

3 8
>
.

5 4

o
pedal

let resonate, hold with pedal

9 8

>

Left Hand, on the keys

p t ! . 5

quasi inaudibile

-8-

9 q=54 8
molto

53
Tr.1

HV

TV
3

Vib.

7 e=84 8
3 3

b5 5

& &

bf

Tr. 2

>

b5. b 5. bf f f

j b5 c 5 b c 5 5 5 > > b) > ) f p

55
)
b)

TV

variate irregularly llllllllllllllllll

Vib.
5

6 e=69 8
c n 5

5 5 5 5

H.V.

5 ) ) b )Ib>

m5 K5 5

>
f
b} f

>
m m) 5

b b5 5

b5 5 -

b} } f f
3

5 J b5. b 5. 5

)
3

) n )
3

m
3

bf

ibb55

55 b5 5 ) b ) ) n ) b) b ) ) > m) > > P > f - m n 5 5 )

m5 cbn5 5
H.V.

TV

come sopra lllllllllllllllll

Vib.
3

5 4

5 5
b5

K5 5 ) m)

>

>

I
12 alternate

b) n) b)

) m)

bf .
bf

b b 5 .. 5

5 5 b5 ) b) n) b 5 . )
3

n 5 b 5. 5 b 5 b 5 c 5 5 5 5 m5 c n 5 . 5 ) b ) ) > )b ) ) n ) m) b) . > > > P f

n) b) ).

5 5 5 5

b5 m ) >

5 )

K5

>j
5

m)

3 3 B
12

.
E 5

..
H Cis
Gis

.
H
B

m5 5
3

..
altern.

53
Cl.

H B

H F

H
B F

5 5

5 5 5. o

k5 5 p

J5 5

5 5

5 5

5 .. B 5 5 5 p

5 .. 5

5
K b 55 5

5 5

5 5

5 J 5 k 55 5
F

55

55 k 5 5

sounding:

? J 55

? J b 55 5

? b5

J b 555
ORD

T
Vla

very slow bow

PN ORD MT

? m 55

i A i

Jo
flaut. MP

m m B n 55 5
ORD

i. A .. i
m n B 55 5
3

ORD

MP

ORD

i f i

i f i

f
3

mi f 5

b
MP

-. f

`
T

i i f f i i

i A i
5

o3

Vc.

i f ? b if b i5 f
II, 3 I, 0 III, T IV, 2

f f i5 n 5fi..
3 III, T II, 0 IV, 2

m ff ..
o
II III

ff5 m f5f mK K
I, 0 II III IV

`
f5 f5 f f nK K

b `
MP

5f
II III

5 K
III IV

.
o

B A b n AK 5
3

b
T

whole hand gliss.

5 5 5 5 f n5 f b if n i 5

` b
ORD
I II III IV

III IV II, 0

9 8
Pf.

t3

very slow

7 8

-9-

6 8

5 4

.
o

>
o

! .

!
5

5 q=63 4
56
Tr.1

Beginning in this bar there is a very slow accelerando written out in the tempi of each measure. A very precise realisation of each individual tempo is here recommended.
*) indicates fingering involving half-depressed velves

TV

Vib.
3

molto

Vib.

4 q=50 4
TV

molto

Vib.

& &

>

Tr. 2

bf b5. b 5. > bf

5 bb 5 ..

5 5 5 5 P espressivo 5 5 ) )

m5 c m 5 j .. ) ) m ) > n)m ) ) ) ) ) bb 5) > f > > > 5 b5 5 5 ) b) n) ) ) b).

HV

7 e=88 8
3:2 [1] 2

*) dashed line in the lower system: not only indicates which trumpet must be given priority in terms of lip position, but also notates which trumpet should be played in foreground and which should be in background in terms of dynamic. This can be achieved by changing the angle and the pressure of the instrument against the lips. molto

5 5 )

5 K5 5

[1]

*)

b5. b 5. b5. b 5.

b5 5 )

3
12 H

[1] 3

) P 5 5 5 5 ) )

. 5 B5
o
F E 3

.
H
B F Fis

m5 5

K 5 5 5 5 K 5 b 5 c m n 5 5 5 m5 c m5 5 ) b5 b > ) m ) ) > b ) )n ) m ) > ) m f b 5 ) ) > f > m b ) b) n) ) ) ) ) ) m) b 5 5 mf

TV

Vib.

HV

53 8 16
5

b5 5 ) ) F 5 b5 5 5 ) )

5 5 ) )

5 5 5 5 b5 5 m5 5 ) b) ) m) n) > > > f

j 5 m5 55 K5 + ) b)n) ) )) b5 m ) > ) >

55

) b ) ) n ) b) m)
3 3

n)
5

*) 3

56
Cl.

b 55

k5 5

continue trem.

55

55 p

55 .

5 5 p

5 5

5
b 5 & b5

5 5 p

5 5. B5 5.

5 5
b 5 I 55

m5 5
b5 b 55 b5
3

5 5 p

5 5
o

? J I b 55 5
3

mooth transition

MP

Vla

III IV

*KK..
o
mm 6 6

K K

K K

LK

K K

*) :put the finger at the side of the string, avoiding that it touches the III string (bend the string to have more space, compensate the change in intonation)

**) the notes indicate the place (node) where the bow should be in contact with the string. With the appropriate bow-pressure and bow-speed these pitches should be made audible. IV BOW POSITION **)

J J
o

K 5

II, 3 III, 2 IV, 1

i A i

`
T

i. A. i.

bi i
l
ORD

f f i i p

J
3

MT

Vc.

VERY SLOW bow

m b 5f ... L
5

b *
*)

o
III II, 0 IV

L b n f5 p

`
f5 L

&
3

m6

6 6

mD D D

m6 m m6 6 6
3

b
flaut. T

PN ORD MT

AJ A

D AD P

A m 5LA

5L

f 5Lf
3

bbbbbbbbbbbbbbbbbbbbbbbbbb 5f 5L L L 5L 5f 5f 5f o p
bow-pressure vibrato

`
ORD

II, 3 I, 0 III, 2 IV, 1

f 5 f K

` f
5 f f P

o
III IV

b `
MT

b i.

* bi .

i i

Pf.

p
t

5 4>
i

4 4

o o

7 8
.

53 8 16

Piano

>

.
5

>

. +
lift the pedal suddently

! .

5 5

- 10 -

5 +3 e=80 8 16
59
Tr.1

*) it can be eventually played with a different fingering. molto

Vib.
3 5:4

TV

5:3

5 q=64 4
TV
5
3

molto

Vib.

4q=48 4
5

molto 3 [1]

Vib.

& &

b5 b5 b5 b5

j j

Tr. 2

b5 5 5 5 ) ) ) F 5 b5 5 5 ) b) )

5:4

b5 ) b ) ) ) n ) ) >. >> > f

5 5 5 5 5 5 5 K ..
) b) ) n) m) .
3 5

HV K5 5 5 b) b) b5 m )

.
) n) j

5:4

>> m5 5 5 b5 )))) b5

b5 b5

*)

b5 5 ) F 5 5 )

3 [1] 3

5 b5 5 b) ) )
3

5 5 )

j 5 J J J

b5 b > > n ) m ) ) bb 5 ) ) ) > > pi f

5 5 5 m5 5

TV

K5n 5

5 ) )n )

K5 b b5 5 b) m) >> "

improvisando

J
59
Cl.

5:4

.
B

5:3

) b) ) n) ) m ) ) . )
5 5 6:4

m5 5 5 5 ) ) F b5 5 5 ) 5 b) ) ) )

7:4

..
Es Gis

7:4

7:4 5

K5 5 5 5 ) b ) ) > n ) ) m ) bb 5 ) ) n )" ) > > >5 pi f quasi trillo )b ) ) ) ) ) )m ) . b)

5 5 b 5 m 5 mn 5 5 5 5

7 8

5:3 3

3 3

? B

5.
o
? J b 55 5
MP

B5 n5 5 5 5 5 J5 5 5 p
J 55 n 5
ORD

Gis

o
b5 5

m5 m5 5

m5 5 5 5 k5 m 5 5 5 5 J5 5 5 P o p
3

5 5
5

.
o

appear grad.

J 5 5

m5 5 5 5

variate the colour of the chord

variate the colour of the chords by bringing out the extremes according to the line.
bright

5 5 5

5 5 5
5

dark

5
o

I
5

5
dolcissimo, cantabile

5
K & I5 5

J k5 m m5 5 5
7

12

J 55 m5

* `
mf
3

Vla

II, 0 III

i f i
III IV

K K f f K K p

K bf K
flaut.
3

b
MP

K K

K K

`r K K
m

& b bb 55 5 5

? J b 55 5

II, 4 III, 3 IV, 1

H B

H
F

A Fis

K K

K. K. K .. K p
o

b `
T

MP

J5

ORD

.
PN

i. f .. i
o

i f i p

change VERY slowly from legno to crini, with all the intermediate states

J
f

K f K

K f K

K f K P
b6
3

. K bm K .. f f f K K.
*)

n5 n 55 J5

K A A K

MP

f f
flaut.

MP
Vc.

K b5 p

b 55

b f5
3

`
P
I, 0 II, T (or 1)

ORD

f5f.. b K ..

53 8 16
Pf.

I, 0 II III IV

b f5 f5 f f K K P

b `
SP MP P ORD

D D
3

b
ORD

`
IV III

b 66

*)

II III

AJ A

D D

m f5 K

6 b6

b6 b6

b
( MT )

MP

b 55 5D 5D 5 A A bD
3

J A

AD
5

A
3

D. D.

K b5 K K

r 5

b K5

III II, 0

. t

5 4

*) try to make an even transition to tremolo and back to normal bow.

4 4
>
.
3

, but always distinct

*) variate irregularly between this two nodal positions, trying to make both pitches audible simultaneously.

7 8

>
3

. .

i .
o

t
3

5
3

>.

- 11 -

5 p

muted sound

c p

I!

7 e=88 8
62
Tr.1

molto [1] 3

Vib.

HV

& &

[1] 3

Tr. 2

b5 5 b5 5 b ) ) p F cantabile m5 5 5 b5 5 5 ) b) ) ) )
7:4

7:4

) b ) ) > ) m ) b ) n )b ) n ) m ) bb f ) > > > f> 5 5 > b5 5 ) ) ) m) m) n) )

5 m 5 m 5 L5 n n 5

5b 5 n 5

5 4q=64 !

molto 5 5

Vib.

HV

9 q=56 8
b 55 5 5 5 n
b ) )b ) )

molto 7:4 5

Vib.

K5 . 5 b5

m5 5 ) ) ) p F p b5 m5 5 5 b ) )
5

K5 m 5 5 m 5 5 m 5 K 5 n 5 n 5 5 5 5
5 ) ) ) ) ) > ) m>m> ) n > ) ) >
) ) )
5

[1] [2] 3

m" )

. .

b )
3

) .

b5 m m5 5 5 b) ) n) ) p F m5 p m5 b5 5 ) b)

i 5 5 j m 5 m 5 m 5 K 5 n 5 5 k 5 5 )
) > ) m) m)
rubato

HV K5

7 8

n5

>

) > > 5>

[3]

) m)

7:4

J
J 5 5

.
5

.
5

7:4

b5

I I

) ) ) ) n) ) n ) m

J
5. 5.

[1] 3

62
Cl.

J k5 m m5 J k5 m m5 J k5 m m5 J k5 m m5 J k5 m m5 5 5 5 5 5 5 5 5 5 5
espressivo

m5

5 5 5

I, 4 II, 3 III, 2 IV, 1

b 55 ? J b 55
3

J
5

m k5 m m5 m k5 m m5 m k5 m m5 m k5 5 5 5 5 5 5 5
3 3 3 H
B F

variate colours

the same as in the previous bar, always very smoothly. 3

12 F

F
H
F

A Fis

p espressivo

m5
? b 5
{

k n5 5 5

> B B5 B5 5
5

7:4

5 5

J
& b5
J5

f
12

Gis

n5

ORD

ORD

Vla

mK f f K

J b5 55

J j K

K f f K
ORD
II I, 0 III

K bf f K

J J
o

K f f K

b

3

` *if

f bK
flaut.
II, 3 I, 4 III, T IV, 2

legatissimo, change bow freely (always very slow bow)

i f f K p

i f f K
ORD
3

i f f K p
PN T

i. f. f. K.
III, T IV, 1 II, 0

PN MT

II, 3 III, T

` b
5 f5 mm f i f.. f5 .. i F
6

II, T I, 0 III, 1 5

f5 5

5j

f5 5

j 5

II, 4+T (I, 0) III, 0

5 f5 5 F

j f5

III IV

MP

b KK

KK .. p

o
PN

`
MP

Vc.

bK

f 5 K P

.
o

f bf

f f

mf K Kf

b
MT

`
ORD

A K KA

i K b 5f 5f 5 . b f m f5 f 5 b 5i b if if if ... n5

b
f. 5 m i5 .. K f 5
bn f5 i

`
f bf

MP

7 8
Pf.

5 4
! 5 p

II I, 0 III, T IV, 3 or 2

f5 i

"f "

9 8

. .

>> j

> j

7 8

F t ! . 55
3

- 12 -

7 e=92 8
65
Tr.1

molto

Vib.

& &

Tr. 2

m5 b 5 m 5 5 b) ) p F p 5 m5 b 5 m 5 b ) )

5 m 5 m 5 L 5nn 5 K 5 5 m n 5 5 j b5 m )b ) n ) n ) b 5> >m ) ) 5> > >

m) ) b) n )
3

5:4

HV

5 4 q=66

molto

Vib.

m5 b5 m 5 . 5 b ) ) ) b F p 5 m5 . 5 5 ) b) ) b) )

m5 mj55L5 5 K55 b 5 m 5 5 5 ) b) ) ) ) b ) ) ) m ) B ) n 5 )n ) b5 > > J> F p b5 m m5 5 5 b) ) ) ) ) ) m )m ) ) n )m )))

3

HV

4 q=52 4
5

HV

variate colours

m 5 n5K j m5 m5 5 5 n 5 5 b 5 m 5 . 5 ) ) )m ) b-) n ) 5 b) ) ) n) nf m ) > > F p > 5 b5 . ) ) ) b) b) ) ) )

5
3 3 3

3 3

7e=92 8
3 3

molto

HV

4:3

6 8

m)

m 5 m 5K5 5 5K5 5 ) ) B n n) ) 5 m ) > m )m ) > > ) > >

5 5

J
H B

12

H B

H
B F

I
7

65
Cl.

m k5 m m5 m k5 m m5 m k5 5 5 5 5 5
7

.
5

k5 J n5 5 5

variate colours

m k 5 n n 5 J n 5m k 5 n 5 5 5 5 5 5 55

- - - - 5 5 . . J 5 .. k 5 .. m k 5 k 5 J 5 k 5m k 5 5 5 5 5 5
I II III IV 5

variate colours

- - m k 5 .. kn 5 .. J 5 5 .. 5 5 55
5 5 &m 5 5
sounding: 3

&

55 b5

p
5 55 5 5 5
P

o
5 5

p o

I J

b5

MP

ORD

Vla

III, 2

*. f

Ai bi
T

K f K p
& b5
55
P

K > > > > n> > n> f K f K f K f K . A A A A K K K bK K

5 5
*) place the bow already in the position of the fawcett in the next bar (3 overtone of Ab on the IV string)

P T P T

m m K K nK nK f f K K

> > > m> K

p
3 3

f K b5
o
III IV sounding:

&5

mi flaut. m f f i
3

- bi .
f. f .. i

` i f
f i
3

&

J
o

i f f i

i f f i
J5

m). ). n). b).

b i f
f i

Vc.

f ? m iK f

A bf K 5 iA b if i5 f
3

ORD

I, T II, 3 III, 2 or 1

Ai b i
T

f iA mi
7:4

`) (
b
3

MT *)

BOW POSITION

flaut.

&

b6

6 b6
nD D

5
P

m 55 5 B5

small variations in dynamic between the two given extremes; avoid a pulsating effect

/ p

J
&
II, 3 III, T

PN

Overpressure. if the noteheads are between brackets, as in this case, only noise should be audible. Notice that the dynamic indicated is a cresc. from nothing to p, which requires a great control of the bow-speed and bow position since at the same time there should be a transition from overpressure to flautando.

o
IV III, 0

55

D.

AJ
p

D D bK K AD AD K5 K5
3 III, 2 IV, 1+T

bK 5

5r K K

always smoothly, avoid a pulsating effect

7 8
Pf.

5 4

o
3

4 4
J

I, 0 II, 3 III, 2 IV, 1+T

5K K bK 5 p

5K K bK 5

n
o

bK K f f

MP PN

7 8
.
o

6 8

p
o

- 13 -

6 e=80 8
69
Tr.1

molto

HV

& &

Tr. 2

5 b5 . b) ) ) F p b 5 m 55 5 . 5 b ) ) m) ) )

5 q=69 4

molto

HV

tranquillo

only play if able to perform the figure in the 1. trumpet undisturbed.

m 5 5 5 5 m 5 5 n5 ) ) n ) ) m ) - m ) B )n ) ) 5 m> > > m >) > > >

K 5 5

m) )
3 3

n ) b)
3

5 b 5 K5 5m 5 5 5 5 b ) )m ) m ) ) -) P 5 b5 b) ) ) m) ) )
3

n__ ) _) _ 5 >
)j

5 m

5 5 _ L

4 q=54 4
tranquillo

J J

, m5 5 m 5 5 m 5 5 5 5 . _ ) _ m__ >m )m >)> )m ) ) ) ) > ) p . ) ) ) n) m) m)

5 3

In the pauses of the following 4-5 bars take out the mute very slowly, only a little bit at a time. There should be no mute by the measure 78 at the latest. The dynamics should be compensated in order to achieve a smooth transition (the taking out of the mute could even begin before, in which case the 2nd. trumpet should also be put aside before).

molto

HV

5:3

3 q=42 4

) f >

m5 J 5 n5 b 5 n5

4 4

> >

m)

m5 m 5 ) b) )b) ) ) > n) m ) n>m ) > f

K5

j b5 n 5 5 5 5

>
)

5 5 K 5m5 )b ) )b ) n) ) ) ) > > > )m ) n ) > m )

>
6

5n55

5:3

m) )

) )

69
Cl.

- - B5 5 5 5 5 5
5

- - - TACET B5 J5 B5 J5 5 5 5 5

NB: since the bow speed MUST remain constant, all dynamic changes and accents are to be performed with bow pressure.

5 ? m 55
b5 J b 55 5
3

5 m 55

Vla

&

i f f i

J
II, 3 I, 0 III, T IV

J
flaut.

i f f i

` i f
f i
&
J5 5 55
MP

`
T
5 I II

? m J b 55 5
ORD

J m b 55 5

b J 55 5
3

m Ln 555

& 55

*
5 5 F

iB
I II III IV

i f f 5

ORD

Vc.

5f m fi

5f 5 fi b fi p

J J

r K K
K K
3 I II III IV

very slow and even, legatissimo

K K K K

I V.S.

`
5

flaut.

b 55
o

5 5

legatissimo

5 5 5 5

i f f 5 > p

ORD

i f i f f. 5 5 i > 5

f i

j i
5

b i
if

bi i i i. f f if if .. b i i

I II III IV

` i. f.
i.
o
ORD flaut.
II, 2 I, T III, 3

J
i f i

F
I II III

.> > >b i i > > i m f .. if if i

5

5 5

5 5

m5

K Kf
III II III II IV

F
II, 0

i f bi . 5if ... 5 n 5& f . mi .

5 5
5

slow transition

punta

`
J
F

i m m fi A i i
3

b `
i i m if if
II, 2 I, T III, 1 3

MP

MT

p
II, 0 III IV

I, T III, T IV, 2 trem 0 II, 2 III, 1 trem 0 II, 0

J J o p
o f ! ! 55 5 F

b 55
o

55

> 55 5 b b 5f ... & b55 n m > > > m 5 i 5 5 b5

r
3

?5

6 8
Pf.

5 4

4 4
.

3 4
c c f

b 55 555 f

& ?

4 4
.
o

. .

>
p

o F t! c P

! .

!
5 f

- 14 -

4 q=56 4
73
Tr.1

& &

i 5 5
)
6

HV
3

molto

3 q=46 4
m5

molto

HV

4 q=60 4
.
5 J5 b 5 n5 5
b) ) ) ) n)

molto

HV

molto 3

HV

7 8

Tr. 2

) f >

J5 n5

b5 n 5

> n 5 5> 5 m 5 5 n 5> 5

n) n) ) ) b) b)

) 5.. >

m5m5 L5

> > > >> 5

m> )

5 b > 5 n 5 5 K5 ) b) n) ) m)

! > n5
b)

..
n f.. )

>> m5 5 5

) b) ) b) ) >> >

>m )

! ! B5 ! J5 5 5 5
b ) ) ) b) n)

> 5
m)

) m) > ) m) m5 >

I J

>

) m ) )m) mfnf >

n b5 5 5
I II III

&
MP

b5

*) very slow bow tremolo: the combination of a very slow bow with a very fast repetition product of the tremolo results in a sort of horizontal bow vibrato; best performed in the lower half of the bow. The dynamics and accents should be perform with bow pressure: do not change the speed nor the amplitude of the movement.

? b 55
P

5 & b 55

J 55 & b5

II, 3 III, 1 IV, 2

Vla

i bf f K bi f
I, 4 or 3 II, T III, 1 IV, 0 5 sounding:

f
5 b5 5 b5
P
I, 3 II, T III, 2

r
K. f .. i
flaut.

& b b 55 5

5 b 5 b5
II, 2 I, T III, 3 bow pressure accents

bK . b f .. i
extremely short

II III IV

p
o

&

mi f i

i f i F
[

i if 5

i if

J
p

bi>
*)

legatissimo

iA

> f

> i iA
F
ORD

&

B5

in ONE VERY SLOW bow. Since the bow-speed remains constant, the bow pressure must be adjusted to match the dynamics written.

legatissimo

PN T

Vc.

&

4 4
Pf.

i A mA 5

bi if

bi i f bf

`
ORD
*)

*) Try to go from one position to the other as smoothly as possible. A continuous gliss. is not possible since all three fingers must change string and position.

! m if m n if i i f nb 555 5
hit and mute the four lowest strings

PN

`
MP

b
T

&

ric.

f mf
5

i A A 5 p

ORD

j bi

`
i i if b f

MP

I, T II, 2 III, 1

ORD

K K
3

i f mi p

i fi i

if i

i i b b if if .
3

MP

3 4
! ! !! ! c bc n cc c

4 4

Since the bow-speed remains always constant, the increase in dynamic must be accomplished by an increase in bow-pressure, leading to overpressure. The notation here of the overpressure is to make the process clear. on the keys

A b bi i A 5 5
II, T III, 1 IV I, 0

f f
3

f f i 5

5!
3

!
5 5 . .

7 8

&

. ! ! !

b 5n 5 5

- 15 -

7 q=52 8
76
Tr.1

molto

HV

5 4 q=80

! ! m5 5
molto

3 4 q=50
HV

4 4
HV HV

&

B5 n 5! 5! j > ) ) ) b) ) ) ) n) b ) ) b) ) f m mf nf m) >

> >> > m5 L 5 5 K 5

K 5b5

> m > > 5 m 5 5 B 5 55 m 5L >n >K 5 55

n>5 n5 5

m m) f
3

>
nf

) b) ) m)

m) )

) n ) b)

b)

) n

) n)

m > 5 5n 5 K 5 5

!! ! !

> 5 m)

) )b ) ) )

& b m b55 55

I, 4 II, 3 III, 2 IV, 1

I II III IV

ORD

& 5
III, 1+4 IV, 3

5
I, 3 II, 1 III, 2

5 5

5 5
3

5 5

5 5

5 5
3

5 5

5 5 5 5
3

Vla

&

> > b ii f f

i f f f bi i f
P

> i f

i f f i
ORD

i .. f f. i.
I, 3 II, T III, 2

PN MP

3 3

K f f bK
I II III IV

K f f K
T

mK bf f K p
P
ORD

5 5 K K K K o
bow-pressure accents

K 5 K F

b ni f nf bi

rj

p i f f i 5
5 5

i f f i
MP

&

J5 5 b5

flaut.

sound.:

Vc.

A & b iA n5

f f

A iA 5

> > f > bi b f ii f f i > i i 5 5

5 5

if .
3

7 8
Pf.

..

f ! 5

f A b bf A i 5
5:4

5 5

come sopra

5 5
7

5 5

5 5

b bf A f A i 5

7:4

m if n ii . f n bif n i 5 F ? 5 P o

5 5 5 5

b f
3

I II III IV

5 5

5 5

5 5

- - 5 5 5 5 5 5

B5 m5 & 5 5
5

5 5

I J

f i bf 5

f f i 5

i nf nf i
*) 5 I, T II, T III, 2 IV, 3

5 5 5 5

` b `
m i mfi f f i b i
i >
6

I, T II, 2 III, 3

*) barely touch the A string with the thumb as to make the octave sound
4:3

nf

K A K

MP etc.

K A K

5 4
J

o

II, T III IV I, 0

p o
III, T II, 0 IV

3 4

f ?5 5 Sp

>

f . ! 5 5 p

mi >

b n f .. f. i 5.

5 5 -

5 5 -

5 5 -

mi f bf i

5 5 -

4:3

4 4
..
&

! !!
5b5 5

- 16 -

4 q=69 4
Tr.1

molto

5 e=92 8
L 5 >m 5 K 5 5

molto

79 B 5m 5 B 5 5

&)

! n5
)

HV

b) ) b)

..

> > > 5 5

)

>

B5

K5

I J

> ) f

m )n ) n ) n )

m)

b)

! ! ! >5 m5 L 5 5 K 5
) m) m) n ) )

> 5

HV

3 e=56 8
,> n 5 5 5 5 5 ) ) m) ) n)
5

molto

K> 5

! >! n5 5
5

> 5
m)

HV

5 4

) ) )b)
5

? b5
n5 & b5

*
3

5 b5

` r
f i

alternate III III IV II whole hand gliss.

` b
f
I II III IV

Vla

&

K A K p

f
3

K A K
5 5 5 5 i

` 5> > > > b > 5

m

5
5

5 .

> > > bi f

p
5

> b> i f
3

5 5 b f m> > > > > > > i 5 b 5 5 5 5

5

b ni f f i

r > > b> bif> j > b f m5

3 5:4

I II III IV

b
5 5
PN MP

5 5

> > >

5 5

5 5

`
5

J b 555

J b b 555 b 5
6

> > > > >

5 5

5 5

5 5

5 5

5 5

j
5 f
I, 0 I, 3 II, 0 II, 2 III, 1 III, 1 IV, 0 IV, 0

5 5 5 5 > > > > > >

5 5 5 5

5 5

5 5 5 5

5 5

&
Vc.

&

5 5 -

5 5 -

b
3

`
flaut.

III II IV

p
3

i 5 5
MT

5 f5 5

i f f 5

as near to the L.H. as possible

b > mi bf f i
5 5 5 5 >
I, T II III IV

`
i f f i
5 5 > 5 5 5 5 5 5 >

4 4
Pf.

f f nf bi i f 5 5 F

> > > > > >i> f i

5 5 5 5 5 5 5 5 5 5 5 > 5 > 5 > 5 > > >

5

f ... f i 5.

mi f f i p

b
f f
m i5

`
flaut.

5 5

i f nf i ? mf 5 5 i
5

> > j i > > > > >55 f

bi

mi f f i
I, T II, 1 III, 3 IV, 2 3

>

5 5 >

5 5

>
i f f i

5 5 >

5
II, T III, 2 I, 0 IV, 1

F 5 8

f mi m 5 b fi m i mi m ff mi 5 5 f P
3

5 5 5 5 >

b i
5

5 5

>

. 5 o

> i 5 n 55 55 f f m5 bi 5 5 5
I, T II, 0 5

5 5 5 5 5 5 5 5 5 5

3 8

I, T III, 3 I, 1 II, 0

f o

&

f
5

!c 5

!

!!
55

c f
- 17 -

!!
cc

!
c

!
f 5
maintain pedal until the end

5 4

R.H.

5 4 q=96
82
Tr.1

molto

&

> m > 5 > 5

5

> 5 m)

HV

3 4 q=58
n5 5

molto

5 4q=96
3

molto

!!

!
5

) b) )

n) )
3

> 5 m)

HV

HV

3 4

! 5
m)

cresc.

82

5:4

&

5 B5

m n 55 5 B b5

J5 m5 5
3

n5 I5

5 5 5 I b5 5

III, 4 IV, 1 II, 0

III, 4 II, 2 IV, 0

II, 4 III, 2 IV, 1

&
Vla

5 5 5 > > >

5 5 5

>5 > 5 5 5 5 i f 5 5 5

MP

III IV

5 > 5 > 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

b5

J5 I5
5

* `
7

&

K. f K 5 5

bK
3

K m m 5 5 ... K K o P

`
o

-mif
3
5

J
5 5

5 m 5f 5

m f m f if
i 5

b
>
p

P
5

>
5 5 5 5 >

b3

`
i 5 5 5 5 - f m 5- 5 5 . f bi n5 5 5 5 5

5 >

i i > f

> mi f f 5

5 5 5 5 5 5 5 5 5 5 > 5 5 >

NB: as short as possible

> i m ff 5

m nf i
7

` > i

f n i>

b ` > i > f
m

Vib.

5
Vib.

A i i 5 p
Vib.

> f
5

m iA ..

>. i
p

i i i 5 f !
5

# mf > ! > f n i if

> f

!! m> > m> f > i i > f ni ff A m if f i i i i 5 5

`
5 5

#2

b > i mf f i
5 5 > 5 5

`
mi m ff mi

&
Vc.

&

mi bf f i

5 5 5 5 5 5 5 5 5 . 5 5 5 55 5 5 > 5 5 > > 5 5 >

*> >

> >

-> -> > >

p p

F f

i f f i

>
5

i f f i

>5 5 m 5 > 5> m5

5 5
?

5 5 5 5

5 55 5

b n> i mA A i

5 4
Pf.

f o

b5 5 5
6

i > A f A f i p

`5 > i
6

m 5 55 m AA 5 5 b 5 m 55 mi 5 5 5 5

5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

b *

> bf f
p

> mi A A i

> f
f P

`>i 5
3 3

t .

!
.. c

c5 &

3 4

3 5

! cc

- 18 -

&

5!

5 4

A 5 5 n m 5 n 5 b 55 5 55 5 A bi fp ? 5 5 5 5 5
forte sub. 3

5 5 55 5 5555 5 5 5 55 5 5 5 5

-> bf f

` >
5 5

sb.

>> > b b 5 n 5 bn5 5 5 n5 f A f f m5 5 bi i p f F 5 5 5 5

5 3

> > mi ni 5 A f5

3 q=58 4
85
Tr.1
3

molto

HV

7q=132 4
..

molto

6 q=90 4
! 5
m)

&

5! m)

HV

molto

4 4
! 5
m)

HV

..

b> ` # 2 - > !! i
Vla

&
III IV

5 B5
MP

5 k5

&

mi A i

> > m iA m 5 f 5 5 F p

55 > 5 m > K K 5 m - m5 5 KbK

5

-i> m
4:3

b Vc.

> > >b i> ni B iA f A f b f n i f mf B fi f n n 5 ff i 5 bi 5 & bi > > i i i mi mi > >

p F
?

* #! 2! > i i f i B i i > m > if mi>

5

f
I, T II, 3 III, 2

*
5 5 5 5

i > ! A m if > m f ff f i i ni 5 5 p
7

ric.

&

B5
IV

5
III 3

k5
IV

5 5

5 5

&

B5 b 5 5 b5
MP

> >

K m5 Km > bK

very irregular and dense tremolo, almost an uncontrolated bow vibrato (use very little bow)

f i m K . m f f n if i ni i 5 > m 5 m K n ni i K > n5 5 55 >

IV IV

mi m f ff
J
3

III

mi ! ! ! ! f i K bK b5 K K
IV 4:3

III

! mi mi m5 m5 !! !! 5 f b K K K n K K n 5 f b K K Kn K K . ! ! ! ! i ! b5 i !5 5 5 5 5

! 5 i f ! 5 i bK
5

!! !K ! K n K K 55 5
5
7

#!5 2!
f

MP
3

p 5 5 5
6

I, T+3 II, 2

m K5 5K KK

fi f bf b f n > > 5 K K 5 m5 K K
?
ric.

! i

! i f f ! bf n K ! ! K ! 5 5 mK K 5 K 55 K
?

fi

exactly like before, but with pauses

bf i
7

fi

5
6

! i fi bf f! n K ! K bf ! ! i 5K K5 K 5 5
5 7

! i f f ! . fi f nK ! K !! bi 5KK5 K 5
6

! i f bf ! ! ! nK ! K K K 5K555
7

- 19 -

4 H=45 4
88
Tr.1

2 x 20 times H=180 4 H=45

sempre accel.
..

at least

&

..

molto

Vib.

molto

molto

Vib.

Vib.

Vla

&
6

f i

! mi
I

i
5

( . ) ! ! !K b!K K n K! K K! b5

5 5

f i

! mi
I
Vib.

( ) ! K! ! K ! ! mK K K 5
5 5 5

! mi f i ( .) ! i !K bb!K n K! K !Km K! 5 555 5

5

NB: as the tempo accelerates, it turns impossible to make all harmonics sound; try anyway to play always as many as you can, even if they do not sound as harmonics. The group must NOT exceed its duration, shortening the duration of the pause at the beginning of the bar.

K! 5

molto

! ! ! b ! K n K! K K! m K! .. K bK 5 5
5 5 5 5

! ! ! b K K n K K K! ! K !
b5 5
5 5 5

..

5
as fast as possible

5
Vib.

sempre
7

Vc.

&

i>

f f i }. f f ! ! ! ! K K K

! i

5 K 5 5 K K 5 5

. } mf i f ! ! ! ! K5 K K5 K5 K K5

! i
I

Vib.

..

! mi i f
I J

( )

f ! !! ! ! K K K K! K 5

..

K 5 55 5

mf ? . f ! !! ! K K K K! ! K! . 5K55 K5

i ! i
I J

i
!K
K ! ! ! ! ! 5 5 ! 5 5 K K K K K K! 5 5 5

..

55

as fast as possible

sempre

buenos aires, XII. 2005

- 20 -