Eduardo Moguillansky: Limites (score)

8/6/2019 Eduardo Moguillansky: Limites (score)

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eduardo moguillansky

limites

for one trumpet player (with two trumpets)

and ensemble (clarinet, viola, cello, piano)

2005-2008



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 unstableand 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 : only air, no pitch i : air+pitch, unfocused sound (loose embouchure, not fully formed sound) j :sing (always as a colour of the trumpet)

f : play+sing; approx. the same pitch to enrich the spectrum of the trumpet. Also notated as 5j

c : 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 thesound 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. æ: 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.



P: al ponticello

MP: 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.

SP: 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.: 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.

flaut.: flautando.

NP : normal bow pressure. Cancels all sings related to bow pressure.

Scratch: extra bow pressure. If the notes are between brackets e 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

æ 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.

b col legno. Play with the wood of the bow.

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



r 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 themoments 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 (that’s why in these casesthe bow pressure is not notated

∂ The same technique as above but used in conection with tremolo

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

# 2

up and down-bow with extra bow pressure

! as short as possible, independent from the duration of the notes where it is placed.

Clarinet

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 inorder to achieve the desired balance.

m : only air, no pitch i : air+pitch, unfocused sound (loose embouchure, not fully formed sound)

The bigger notehead is used to indicate the level of brightness or darkness of a multiphonic, as inthe 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 smoothnessin the transition.



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.

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, theactions 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 harmonicsare 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

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

C-string

dampers

keyboard



c :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.



&

&

ˆ

B

?

›t

4

7

47

4

4

8

5

4

6

4

4

8

3

4

5

C-Trumpet 1C-Trumpet 1C-Trumpet 1

C-Trumpet 2

Bb-Clarinet

Viola

CelloCello

Piano

slap

q=84

Œ Œ Œ5

‰.

ppppp n m"

*

≈ Œ Œ Œ

Played by the same player

BOTH TRUMPETS:HARMON MUTE *)

*) A different mute may be used insted of the harmon mute, depending onthe accoustics of the hall. A practice mute (silent brass) makes it possible tohave a very good control when playing with two trumpets. If the practicemute is used, amplification might be needed, since it diminishes too muchthe 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 accousticsof the hall.

**)

**) Dynamics in this piece are absolute, if notindicated otherwise by means of quotation marks.The dynamic signs determine how the sound shouldbe heard and not the eff ort. i nvolved in itsproduction.

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

no pitch, only the tongue articulation

hand or plunger, as closed as possible

Tuned a 1/4 tone lower

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.

NB 2: The function of the clarinet is always to be a shadow of thetrumpet. But since the multiphonics used have a very narrow dynamicrange, it would be advisable to use a slight amplification for the clarinetin order to achieve the desired balance.

5 I 5b 5 J 5b?scordatura:

IV III II I

ALL four strings must be replaced byfour C strings tuned down tomicrotonal variations of Ab asindicated, although the III string mustbe tuned to B flat

5

5

5

5

Bm ][

NB: the hair of the bow should not bevery tight in order to perform the actionson multiple strings more easily.

scordatura:

∑

5 5bscordatura: tune down the last C to A-flat

slap

q=76

Œ Œ Œ5

‰

ppppp n m"

*

‰ Œ Œ .

transition to pitch

q=69

Œ Œ Œ

ppppp n m .

+

‰. Œ Œ

non slap

q=66

Œ Œ ‰.

ppppp im<

+Œ

air+pitch (very loose emouchure, unfocused sound)

Œ.

límites eduardo moguillansky

(2005)for solo trumpet and ensemble

inside-the-piano clef

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

Tr. 2 sounds a 1/4 tone lower

[ ]

a Valentín Garvie



&

45

89

44

47

44

85

46

Tr.1Tr.1Tr.1

±±±±±±±±±±

q=60

7

Œ Œ ‰

ppppp im<

*

≈ Œ Œ

q=54

HV

ppppp

Œ Œ ≈

im-

*

‰ Œ .*)

*) H.V.: hand vibrato, produced bymoving the instrument with the hand asto force changes in the embouchure.

q=48

HV

o o

Œ Œ

Ø

im-

*

‰. Œ

amount of Hand Vibrato accompanying the dynamics

q=84

HV

o o

Œ Œ Œ ‰

Ø

im

*

j

f

Œ Œ Œ

*)

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

q=76

HV

o o

Œ Œ Œ5

≈

Ø

im

*

f

≈

mute vibrato (open and closevery lightly, never fully open)

Œ Œ .

&

46

44

83

45

89

44

45

Tr.1Tr.1Tr.1

± ±± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ±

±±±±±±± ±±±±±±±±±±±

q=69

o o

13

Œ Œ Œ

Ø

HV

j fm

*

f L

‰ Œ Œ

play+sing

q=66

o o

Œ Œ ‰.

∏

HV

espressivo

fm

*

fL

‰. Œ .

q=60

o o

Œ Œ ‰

∏ fm

*o

fL

Œ*

Œ

(no H.V.)

fully open

q=54

Œ Œ

oo

. fm

*

∏ fµ

*

o

‰ Œ .

2 (*)3

[1]23

valve gliss. (the valve in bracketsindicates which valve to use).

when bracketed, indicates useof "half"-depressed valve

*) indicates valves, as following:1 = 1 tone2 = 1/2 tone3 = 1 1/2 tone

q=48

Œ

5

‰.

o

∏ . fm

* o

o

fµ

*

-

Œ Œ

23

[1]23

&

45

85

47

44

85

46

Tr.1Tr.1Tr.1

± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ±

q=8819

Œ Œ Œ5

‰

o

∏

fm

*o

o

5

5

µµ-

*

Œ

23

[1]23

lip multiphonic

*)

*) a smooth transition from playing-singingto a lip multiphonic

Œ Œ.

q=84

Œ Œ Œ5

‰

o ∏ fm

*

o

5

5

µµ

o

5

i55

*

Œ Œ Œ

23

[1]23

q=76

Œ Œ Œ3

Œ

o

j fm

*3

∏

5

f

µµ

o

o

f

*

≈. Œ.

cantabile, da lontano

± ± ± ±± ±± ±±± ±± ± ± ± ±± ±± ±±

- 3 -

transition to play+sing



&&

ˆ

47

44

85

46

44

Tr.1

Tr. 2

Cl.Cl.Cl.

± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ±

±± ± ± ±± ± ±

± ±±± ±± ±± ± ± ±±± ±±± ±± ±±±

± ±±± ±±± ±± ±±± ±± ±±±± ±±

± ± ± ± ± ± ±

± ± ± ± ± ± ±

± ± ± ± ±±

±± ± ± ± ± ± ± ± ±± ±

± ± ± ± ±

±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±± ±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±±

± ± ± ± ± ± ± ± ± ± ± ± ±

±±±±±±± ±±±±±±±±±±±±±±±± ±±±±

± ± ± ± ± ± ±

± ± ± ± ± ±

q=84

Vib. HV 37

‰

o

5b π

3

5j

˜

˜

3

j

5

5

b 5

5

p

..55b5

55 5

f

π

5

5j jiBo

jiµ‰.

[1][2]

‰3

‰5n

3

5b ˜

˜ b3

5

5

b 5

5

. g 5 I5 Œib i

‰.*)

*) press the trumpet (in this case the second trumpet,in your left hand) against the lips to achieve a choakingsound. Try not to disturb the actions of the other trumpet.

This third staff has the function of indicating which trumpet must be given priority. If theline is solid, priority indicates which trumpet must be thought and therefore which trumpetdecides 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

37

Œ3

Œo

jn n

p n

3j π i

o

m≈ Œ

q=76

‰

o

5b

3

5

j ˜

˜

3

j

π 5

5

b 5

5

p

55

b5

55

*) play the pedal note

[1][2]

‰

Vib.

3

‰

HV

π

5n

3

5b ˜

5b

3

5

5

b 5

5

. g

*)

‰

3

3

J

Œ3

‰o

n

3

n

p

jn

π n

5

55 5

f

bb

π 5

5jn ijbo

iijµ

≈

5 i5 Œib i

in≈

(1)3

12

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

(*)

I ≈

5

. p i

o

n‰

q=69

5

≈

o

5b 5

5

.

.

˜

˜ π

3

5

5

b ..55 P

55

b

5

55

5

55 5

f

b

5

5

f

5

5j ij

3

ij ij µ≈

*)

*) the 2. Trumpet must be given priority in theactions, let the 1. Trumpet just react to the changesin embouchure needed to perform the actions in the2. Trumpet.

intensify at the end and stop abruptly

[1][2]Vib.

5

‰.

HV

π

5n

5

5

j

5b

p

.5b3

5

5

bb

.

.5

5

5

g

5

5 g 5

5

≈5

‰.

π

ib

3

5n5n

≈

3

23

23 3

keep same fingering

**)

**) variate smoothly the pressure of the trumpet against the lips.

5

≈

5

. 3

≈

‰.

∏ p n

3

n

∏ n æ

n

5

p ii

o

n‰

very soft flatterzunge

- 5 -

{



&&

ˆ

?

›

4 6

4 6

44

44

83

83

45

45

8 9

8 9

Tr.1

Tr. 2

Cl.

Vc. Vc. Vc.

Pf.

± ± ± ± ± ±

± ± ± ± ± ±

±±±±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ±

±±±±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ±

± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ±

± ± ±

±±±±± ±±±±±±

± ± ± ± ± ± ± ± ±

± ± ± ±

± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

√

q=69

H.V.

F

E

12

493

5b ˜ b

æ‰

HV

≈

f ˜ π

dolcissimo

5

5

bb

TV

55

b

cantabile

5

>

c æ

j5

5

>

3

55 5

5

5

j55

>

F

Vib.

55

bb5

5 5

>

5

-

f f ƒ

5

j5

j

j

5

æ

>

poco [1]0

23

3

5m5b

æ ‰ ≈5

5

5

bb

55

))n

æ

)_

c5c5c5c

3

)_

j)

p ‰ 5b

j)

5

>

æ

*)

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

3

‰ ≈

J

493

‰

o

i

æ

p i

æ

i

π

3ji i

F

E

12

.iP 55

3

55

π

j55

3

55

5B

F

E

12

.

.55 ≈

indicates the key with which to trill

5

5

5

n

m?

3

T

J AK 5bµ .. A

5.K

ORD

π

J fi5n3

K

fi

mMP

JK 5no

3

K

5

‰ Œ

Œ Œ Œ3

Œo

J Ø

3 J

t

q=66

E

12

j

˜ b

æ

3

≈

HV

˜ b

æ

>

≈ ≈

f}

TV

.

.5

5

b

b

j5

5

b

-

3

≈ 5

>

c æ

j5

5

>

c æ 5

5

>

5b5

5

*)

*) indicates aproximate pitchfor the beginning of the cresc.(always 2+3)

molto[1]

J ˜ b

æ

3

≈5b

æ

>

≈ ≈ f

.

.55b

b

j5

5

-

3

≈)

>

)

.)_

c

_

5c5c5c *)

3

≈

≈ ≈ J

3

≈

3

≈

∏ i

æ

i

æ

i 5

3j5

55

55

p

5

5

B

I< J . SP

MP

P

ORD

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

É

‰.

flaut. molto

o

DDb

A

b

JDD

A

PN

∏

..DD A

`

Ø

DDbµ A

bow-position clef

p

>

®‰ Œ Œ Œ

Ø i5!

‰.

quasi inaudibile

Left Hand, on the keys

H.V.

F

E

12Gis

Vib.

5b

55

5

5

n5

5

5b

dolcissimo

3

5

)

b

>

5

)

5

) p f

π F

3

5

j5

bjj

5

>

f

≈

)_

‰

3

5b J)

5

>

≈

3

J≈

5

555 5

F

E

12

55

3

55

∏ i

5

5

b

?

J=(MP)

DD

A

∏ JK k≤

IV

transition to normal playing

Œ.

q=60

H.V.

E

1212

HB

j

˜ b

æ

HV

ƒ dolcissimo

3

5b

æ

>

‰ ≈

f f

TV

π ..5

5

bb

j5

5

b

-

3

≈ 5

>

c

æ j5

3

5

>

c

æ j5b5

>

55 5

5 5

5

5

5

5

5b

55

>

55

n5

5

bb

5b>

Vib.

p f

5

)

>

5

)

b

>

molto [1]

come

sopra

j

˜ b

æ

3

˜ b æ

‰ ≈

f }

.

.5

5

bb

j5

5

-

3

≈

)

>

3

)

>)

>

_

_

c5c5c5c

)__

5

__

)_

‰

3

‰ ≈

3

≈

o

.i‰

3

Œ

o

J5 π

3j55

5

5

B5

5

5

p

..55n J

o5

.K

b

‰ Œ ≈

MP

o

f≤

flaut. molto

ORD

Ø

f

5K m

b

3

JK

K fmµK

K f

T

K

K

II, 3I, 0

III, T

II, 3III, TIV, 2

whole hand gliss.

Œ Œ ≈

o

π

> Œ Œlet resonate, hold with pedal

pedal

≥≥≥≥≥≥≥≥

≥≥≥≥≥≥≥≥

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

≥≥≥≥≥≥≥≥≥≥

±±±±±±±±±±±±±±±±

- 8 -

viola



&&

ˆ

B

?

›

t

89

89

87

87

86

86

45

45

Tr.1

Tr. 2

Cl.

VlaVla

Vc.Vc.Vc.

Pf.

± ± ± ± ± ±

± ± ± ± ±

± ±

lllllllllllllllll

± ±±± ±±±±± ±±±± ±±± ±±± ±±±± ±±±±± ±±± ±±±± ±±± ±±± ±±±±± ±±±± ±±± ±±±± ±±± ±±±±

± ± ± ±

± ± ±

llllllllllllllllll

± ± ± ±± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

q=54

H.V.

B

12

HB

53

ƒ

HV

3

fb

æ

>

‰3

≈

fb

æ

f

TV

..55bb

j5

5

b

3

≈

Vib.

5b>

c æ

5

)

5

) b

3

5

)

>

c

)

b

b

æ

555

>

5

5 5

5

3

)> π p f

55

)

m

f

5

)b

K

I 5b>

molto

‰

3

≈ fb

æ

} f}

.

.5

5

bb

J

5

5

3

≈

)

)

3

) ) n

) )

3

)5

mm

ƒ ˜ m ≈

3

‰

3

≈

3

53

3

55

o

55 ≈ ≈

∏ .5

j5

p

55

k

π

55 J

55 Jµ?

Œ Œ Œ Œ

T

o

Ji

Ai

-

sounding:

very slow bow

55m

˜

55 5

m

nBm?

ORD

i

fibµ

MT

PN

f5 fibµ

3

f5 fi

o π

... f5 in ≈ Œ ‰

MP

o

flaut.

.. f fm ≤

b ORD

∏

5 ff

Km

II, 3I, 0

III, TIV, 2

III, TII, 0

IV, 2

IIIII

I, 0II

IIIIV

Œ Œ3

Œ

π o

J ‰. ‰

very slow

Œ Œ

3

Œ Ø i5

!

≈ Œ.t

e=84

H.V.

F

E

12

Halternate H

Gis

Cis

3

‰ fb

>

æ

}

5

5bb

5

i55

b

-

≈

Vib.

f

55

)

bb>

c

)

æ 5

)

n

>

5

)b

5

)

5

)

m

n>

c

)m

55

)

bn

b

æ

>

5

5

5b

5

)

5

)m

K > ®

variate irregularly

f

3

‰i fb

æ

π

TV

55

bb

P

5

I55- ≈ ˜ ˜

)

˜

)b

˜

)

m

n

˜

)

n

b )

)m

®

3

‰

5

≈ . .. ®

J55 55

∏ p

.

.55555

Bµ

π

..55 ≈ ≈

∏

5µ5

5

m

555bµ J 555b˜K ?

Ø

.

..i

Ai

ORD

π Ji

fi

∏ 3

i

fi

MP

f

ORD

o

i

f5

mŒ

55 ˜ 5

Bnm

3

5 f f

K

m

π J

5 f fKn

`

5 f fK

MP

∏

f5

b

o

5K

`

‰.

3

‰

T

Ø

A

5 AK

Bnµb

≥

b

IIIII

IIIIV

Œ Œ ‰ ≈

o π

>

‰

Œ Œ ‰ ≈

Ø

5! ‰

e=69

whole hand gliss.

H

F

B

H

F

Baltern.

ƒ fb

>

æ

π

TV

..55bb P

5

5

b-

®

3

≈

f

Vib.

55

)

bb>

c

)

æ 55

)

n

>

5

)

5

)b

5

)

5

)

m

n>

c

)m

..

.

55

)

bn

b

æ

>

5

5 5

5

5b>

5

)

j5

5

)m

K >

come sopra

fb æ

.

.5

5

bb

5

5

)

®

3

≈)

)b )n )n)b .)

)m

. ®3

≈ . .

35

5

P

J5

5

5

5

π

5 J 55 k 55

∏

555 55 k

5b 555bµ J?

Œ

3

‰

o

MP

. f

b

π

ORD

i fi

-

5

i fi

o

T

i Ai

`

≈

55

553

ORD

π

J f5 fi

˜nbµ

≤

`

Ø p

3

fi 5µn

b

‰ Œ

I

II

III

IV

IIIIVII, 0

∑

°°°°°°°°°

± ± ±± ± ± ± ±± ± ± ± ± ± ± ± ±± ± ± ± ± ± ± ±± ± ± ± ± ± ± ± ±± ± ± ± ±± ± ±± ± ± ± ±± ± ± ± ± ± ±

± ± ± ±

± ± ± ±

±± ± ± ± ±

± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ±

- 9 -



&&

ˆ

B

?

›

t

45

45

44

44

87

87

85

+

163

85

+

163

Tr.1

Tr. 2

Cl.Cl.Cl.

VlaVla

Vc.

Pf.

± ±± ±±± ±± ±± ±± ± ±±± ±± ±± ±± ±±± ± ±± ±± ±±± ±± ±± ± ± ±± ±± ±± ±± ±±± ± ± ± ±±

≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤

± ± ± ± ± ± ± ± ±

± ± ± ±

± ± ± ±

±

± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ±

≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤

≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤

bbbbbbbbbbbbbbbbbbbbbbbbbb

q=63

F

E

12

H

56

Ï fb

>

æ

TV

π

.

.55bb

P espressivo

55

π

55 ‰

Vib.

3

))

æ

)m

55

)

>

5

)n

5

)m

K 5

)

Vib.

3

5

)m>

ƒ

.. c

æ

) )

® 5

Ÿm j

)

5

bb>

Beginning in this bar there is a very slow accelerando written out in the tempiof each measure. A very precise realisation of each individual tempo is hererecommended.

molto

*) indicates fingering involvinghalf-depressed velves

*)

[1]

fb>

.

.55bb

55)

)

‰

f

3

55

)

>

5

)

bb æ

5

)n

>

)

3

) .)b ®Ÿ

[1]3

æ ‰

3

56

55b 5 55 k 55

p

55

∏

55 ‰. ‰o

55B

continue trem.

Œ Œ Œ Œ ≈

MP

o

..KK

* ooth transition

6m 66

66

mm

IVIIIIV

&

5

‰

P

o

..

.

f5Lbm

b

L

*

∏

MT

p

5 f

L

nb

`

35 f

L

∏ JDm A

DD A

IIIII, 0IV

*) :put the finger at the side of the string, avoidingthat it touches the III string (bend the string to havemore space, compensate the change in intonation)

*)

BOW POSITION **)

**) the notes indicate the place (node) where the bow shouldbe in contact with the string. With the appropriate bow-pressureand bow-speed these pitches should be made audible.

VERY SLOW bow

o p

>

. Œ Œ Œ Œ

Ø i55! ‰.

q=50

H

F

BFis

≈

π

TV

.

.55b

b

5

5

)

b

)

≈

3

‰

f

Vib.

55

)bb>

c

)

æ5

)m>

K 5 ˜

)

m

5

55

)n>

5

)b

5

)

5

)n

5

)m

K

HV

3:2

5

)m>

ƒ

c

)

æ

≈ 5

Ÿm

molto

[1]

≈ ..55

bb

P 55)

π

55

)

≈

3

‰)

)b )n )

5

)

3

))

≈ ˜

)

m2

. . ≈ 3

‰

p

3

55

π J55 5 55m

p o

3

55 ‰5

Œ

∏

I55B

˜

5

5

b

b

55

5

bI

J

& ?

π

KK

∏

KK

3KK

L

p

JKKo

3

JK

5 Œ ‰.T

∏

i A

i

-`

II, 3

III, 2IV, 1

66m

66

mm

oP

3

DD A

‰ ‰

flaut.

T

∏

A

A5Lm

b

≥

3J5L

ORD

p

f

f5L

MT

PN

π

f5L5

≤ bow-pressure vibrato

Œ

o

.

o

π

>

Œ Œ

e=88

Ÿ fm>

®

π

TV

55

bb

F

55)

b)

π

55

)

‰

f

Vib.

molto

3

55

)bb>

5

)

æ5

)m

æ

>

55

)mn

55

)>

)

5

bb

5

)n

5

)

HV

5

5

)m

5

)m>

5

)

æ

ƒ

5

)>

j5

)

K

®

) fmm

®55

bb

55)

55

)

b)

‰

33

))b )

)n)m )b

5

n) )

®

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

® ‰

5

®

*)

p

.

.55

π

5

3

5 55m

p

55

o

55 ‰ ‰

55

5

bI

5

55

5

bb

b

..

.

i A

i

ORD

p

i f

i

l

b

3

Ji f

i

π

f5 f

K

P o

3 f5 f

f

`

‰ ‰

II, 3I, 0

III, 2IV, 1

f5L5

ORD

p

fL5

`

o

3

J fL5 Œ

5

‰

MT

Ø

.

.

i

i

b

b

b

*

Ji

i

`

IIIIV

Œ

o5

.

π

>≈ Œ.

lift the pedal suddently

± ± ± ± ± ± ±

± ±±± ±±± ±±±±± ±±± ±±±± ±±± ±±± ±±± ±± ±±± ±±± ±±± ±±±± ±±± ± ±±±± ±±± ±±± ±±± ±±± ±± ±±± ±

± ± ± ± ± ± ±

± ± ± ± ± ± ±

±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ±

- 10 -

Piano



&&

ˆ

?

B

?

›

85

+

163

85

+

163

45

45

44

44

87

87

Tr.1

Tr. 2

Cl.Cl.Cl.

Vla

Vc.Vc.Vc.

Pf.

≤≤≤≤≤≤≤≤≤≤≤≤ ≤≤≤≤≤≤≤≤

≤≤≤≤≤≤≤≤≤≤≤≤

±±±±±±±±±±

e=80

B

Gis

59

π

TV

j55bb

π

+

5:4

F

55)

b 55

)

π )

≈

3

‰

f

Vib.

molto

5:4

55

)

b

b>

5

)

æ

>

55

)

5

)n

æ

>

5 ˜

)

K

5:3

..

.

5 ˜

)>

)

5

bb

æ

5

5

)b

5

)m

K

HV

ƒ

.

) )n

®

j55

bb

π

5:4

55) )b

55

)

b ≈

3

‰

5

) )b ) )n

5:3

.)m

3

5

)

m>5

) æ

5

)

>

j

5

)

µ

*)

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

J 5:4

≈ 3‰

5:3

.

59

®o

.5 555

55

B

p

55n Jo

355 ‰ ≈ ∏

5m55

m

555

bµ J

55

5

J

n

µ55

5

J

m

µ 5

5

bµ

? &

3

‰

MP

o

fm

`

*

ORD

∏

i fi

p

K fK

3

K fK

∏

K fKb

MP

KK

b

KK

`

MP

p

5Kb

o

T

∏

55b

b

‰3

‰

P

flaut.

∏

5 fb ≥

`

ORD

....J5 f fKb

II, 0III

IIIIV

I, 0II, T (or 1)

I, 0IIIIIIV

‰ ‰ ‰o

3

.

p o

>

‰ ‰ .

3

‰

∏

5

!≈ ‰ ‰ .

muted sound

t

q=64

Gis

Es

3

‰

π

TV

55bb F

3

55)

b 55

) Ÿ

π

3j55

Ÿ

Œ

5

≈

Vib.

molto

f più

55

)

b

b>

5

)

æ

>

5 ˜

)

m

n

5 ˜

)m>

5

)

µ

)5bb>

æ

5

)

5

)

K

>

5

)

n

n>

ƒ

5

)m

K

"

®[1]3

3

‰55

bb

3

55) )b

55

)

b3

J)Œ

5

≈

6:4

))b )

)n)m )

.))

®

improvisando

3‰

3

3J Œ 5 ≈ . . ®

3

55

mm

55

P

55

π

3

55

‰o

5 J3J5 p

55 k

o5

55 ‰.

o

5

5

π

I5 5

5

5

m J appear grad.

variate the colour of the chord

555

5

bb

b 555

bµ J ?

KKKK

m r

p o

.

...

KKKK

‰. Œ ≈

T

o

...i fi

b

p

i fi

`

MP

∏

f

É

P J

5 f fK

b

π

5 f fK

æ

b

PN

JDD A

`

P

3DD A

‰ 5 Œ

ORD

∏

i f5mK5

≤

b

IIIII

SP

MP

P

ORD

*)

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

change VERY slowly from legno tocrini, with all the intermediate states

Œ Œ3

Œ

P o

>

. i

‰. Œ

Œ Œ 3Œ

p I5!

≈ Œ Œ

q=48

più

quasi trillo

( )

12

HB

H

F

Fis

A

7:4

‰

TV

π

55)

b

bb )

F

55

) Ÿ

π

55

Ÿ

m ‰

3

Œ

f

Vib.

molto

3

55

)b>

55

)

b 5

)

m æ

>

3

55

)

nm

n

5

)

æ 5

)

µ

m>

)5bb

æ

>5

5

)

5

)

K

ƒ

5

)n "

®[1]

7:4

‰)

55) )b

55

)

b

)

‰

3

Œ) )b ) )

33

) ) ) .)m )b®

7:4

‰ ‰ 3Œ J

5 5

5

5

55

5

5

5 5

5

5

7

‰.

∏

5

5 k J 55mm

bright

dark

variate the colour of the chords by br ingingout the extremes according to the line.

dolcissimo, cantabile

5

5

5

I J

K 5

55

5

nn J µ

&

3

J fORD

K

fK

K

fK

P

K

fK

K

fK

∏

.

.

..

K f

fK

mb

T

3K A

AK

MP

J f

f

3

II, 4III, 3IV, 1

66

b6b 6

6b

6

6

bb*)?

3

p

555b

π

D5

A

≥

`

3

JD5

ADb

A

5

D A

.

.DD

A

≤K

MT

flaut.

55KKb

b

r

5

≤

MP

Kb5

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

IIIII, 0

IVIII

, but always distinct

Œ Œ3

Œ

f o

> .

‰

Œ Œ3

Œ

p I c !

≈ Œt

± ± ± ± ±± ± ±± ± ± ± ±± ± ± ±± ± ± ± ±± ± ±± ± ± ± ±± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ±

± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ±

±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ±

- 11 -



&

&

ˆ

B

?

›t

87

87

45

45

89

89

87

87

Tr.1Tr.1Tr.1

Tr. 2Tr. 2Tr. 2

Cl.Cl.Cl.

VlaVlaVla

Vc.

Pf.

e=88

o

espressivo

62

p

7:4

Ÿb55

Ÿ

b

F cantabile)

55

)

b

π Ÿ

‰ ‰

3

≈

Vib.

molto

)b )

5

)

m

>

æ55

)

m 5

)m

L

>

æ5 ˜

)

nnb

5

)n

Û

5

)

b

b

5

)

n

n

HV

5

)

µ

m>)

f

bb >

æ

f

>

5

[1]3

[1]

7:4

55) )b

55

)

b)

55

)

m ‰ ‰

3

≈ ƒ 55

)

> 55

)

b)

)m )m )nj)

7:4

‰ ‰

3

≈ J

62

5 5 k J 55mm 55 k J55 mm

p

55 k J 55mm 5 5 k J 55mm 55 k J

∏

55 mm ‰

∏

J5 5

5

5

m J

æ

55

55

b

b

µ

J ?

π

ORD

J

K f f

K

m

Ø

3K f f

K æ

P J

K f f

K

b

æ

o

J

K f f

K æ

b

‰

3

‰

ORD

∏

i f f

K

n

b

` *

I, 4II, 3

III, 2IV, 1

legatissimo , change bow freely (always very slow bow)

jK

ORD

P

f5

π

3

f5 f

imm

`

F

.... f5 f

i

æ

b

≈ ‰ .

MP

∏

flaut.

I f

fb

≤

`

Kb5

K5

II, 3III, T

II

I, 0III

II, 3I, 4

III, TIV, 2

Œ.

6

Œ ≈

ƒ

>

>

∏ o

j ‰

Œ.6

Œ ≈

p i5

! Œ

q=64

H

F

B H

F

Fis

A

F

12

5

5

)

K

!

≈.

p

55

)

b

F )

55

Ÿ

m

p Ÿ

≈ Œ

5

‰

ƒ

Vib.

molto

5

)

m æ

>

55

)

55

)

mm>

6

5

)

m

æ

>

55

)

m 5

)n

K æ

>

5 ˜

)

n55

)

n

HV

5

)

K æ

>

5

‰Ÿb

55

Ÿ

b

)

55

)

m ≈ Œ

5

‰

)) )

3

ŸŸb

)

[1][2]3

5

≈. ≈Œ

5

‰.

F 3

5

5

5

5

∏

variate colours

55 km 55mm3

55 km

p espressivo

55mm 55 km3

55mm

o

55 km ‰ Œ3

‰

∏

5m

the same as in the previousbar, always very smoothly.

5

5 55

bb J µ

?

p

i f f

K

∏

i f f

K

p

i f f

K

.

.

.

.

i f f

K

MT

Ø

PN

j55 f

5

{

3 f

f

ORD

p

fK fK

mµ

T

∏

AK AK

.

MT

PN

p

f5

fi

bbµ

b

f5

fi

∏

.

...55 fi

æ

ORD5

I fi5bb≤

`

fim

K f

5n5

III, 0

III, TIV, 3 or 2

II, TI, 0

III, 1

II, 4+T(I, 0)

III, 0

III, TIV, 1II, 0

∑

q=56

12

Gis

5

)

b

b

æ5

)

n æ

5

)b

æ5

)

æ

7:4

5

)

µ

m"

≈.

p )b

F

55

)

b

)n p

55

)

mm ‰ ‰

5

Œ

ƒ

Vib.

molto

i5

)

m æ

>

5

55

)

m 55

)

mm

5

)

m

K æ

>

55

)

n j5

5n

K 5

Ÿ

µ

µ

æ

>

HV

5

Ÿ

k

˜ >)

5

æ

>

7:4

)

≈. 55

)

bb Ÿ

55

Ÿ

mm)

‰ ‰5 Œ I) m )

)

)

))

)n)

J n ) Ÿm

[1]3

[3] 2

rubato

7:4

≈.

‰ ‰ 5

Œ I J

f

5

I555

55

B

n

B k>

π

5B

∏

5b 3

J5 5

5n

.

.

5

5≈ ‰

5

5

J b&

3j55 f

5

F

55 f

5

∏

j5 f

5

MP

p

KK

bo

.

.KK

≈ Œ

IIIIV

..

5im f

K f

5

∏

35 finb æ

o f " "

5 fi

æ

b

Œ ‰

MP

π

PN

J f

fb

`

≤.5

Œ Œ3

Œ

>

F

o

3j Œ ‰

Œ Œ3

Œ

π i55

! ≈ Œ .t

± ± ± ± ± ± ± ± ± ± ± ± ±

± ± ± ± ± ± ±

± ± ± ± ± ± ± ± ± ± ± ± ±

- 12 -



&&

ˆ

B

?

›

87

87

45

45

44

44

87

87

86

86

Tr.1Tr.1Tr.1

Tr. 2Tr. 2Tr. 2

Cl.Cl.Cl.

VlaVla

Vc.Vc.Vc.

Pf.

± ± ± ± ± ± ± ± ± ± ± ± ±

e=92

HB

12

HB

65

5

≈

p

55

)

b

b F Ÿ

55

Ÿ

mm

p )

®Œ

3

‰j

5

5bb

æ

Vib.

molto

ƒ

5:4

5

Ÿ

mæ

>

55

Ÿ

m 5

)m

L æ

>

5 ˜

)

nn

b

5

)n

K æ

>

HV

5

Ÿn

æ

>

˜ ˜

)

m

m

55

)

n

ƒ

)5>

5

≈Ÿb

55

Ÿ

b

)

55

)

mm ®Œ

3

‰

)m ) )b ŸnJ ) Ÿm

5

≈ ®Œ3

‰ J

65

7

‰

∏

variate colours

55 km 55mm 55 km

p

55mm

∏

55 km ‰ ‰

5

‰.

∏

variate colours

55 k 55n J

5b

55

5

µ

b

&

Œ Œ ‰

MP

∏

. f

* ORD

p

K

fK

III, 2

55

5b&

fK fi

m

b

T

AK Ai

≥ORD

3

f5

fi

bbµ

o p

5 fi

`

‰ ‰5

≈

T

p

i Ai

µb

P

f

I, TII, 3III, 2 or 1

∑

q=66

IIIIIIIV

H

F

B

F

55

)

b

b )

55

)

mm

p Ÿb

‰. Œ

3

Œ j

)

5bb

æ

ƒ

Vib.

molto

5

)

m

>

æ55

)

m≈

HV

5

)m

L

>

æ5

)

µ

B

≈

J)

5n

5

)

K

>

æ5

)n

) )b55) )b

55

)

m ‰. Œ

3

Œ)

)

≈

3

)m)m )

≈

)n)m ))

I ‰. Œ

3

Œ

7

55 km 55

nn 55n J

p

55 km 55n

o

55 ‰ Œ ‰ ≈ . ≈.

∏

variate colours

..55 J ..55 k

55

55

5

K

fK

T

K

AK

>

P

f

>

T

K

AK

>

P

f

>

T

5

K

AK

nb

>

P

f

>

T

K

AK

n>

‰ ‰ ‰.

∏

P

KK

fK

mn

≥

&T

7:4

i Ai

µb

P

f

H

T

Aii

˜m

‰ Œ 3‰

o

MT

˜ ˜ b

` ( )

≥flaut.

π

55

IVIII, 0

Overpressure. if the noteheads are between brackets, as in this case, only noiseshould 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 thesame time there should be a transition from overpressure to flautando.

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

*)BOW

POSITION

Œ Œ ‰

o

3J

F o

Œ

q=52

5

≈

F

55

)

b

b )

55

)

m

p )

Œ Œ

3

‰)

fnn>

æ5

)

µ

m

ƒ

HV

3

5

)

m

>

æ55

)

m ˜ 5

)m

3

≈55

)

nn

b-

5

)n

K

>

æj

)

5

æ

5

≈)b

55

)

b)

55

)

mm Œ Œ

3

‰

3

)

))

3

≈

))b

5

≈

35

55 km - 55 k-

p

55 J- 55 k-

o

55 km - Œ Œ Œ

55

55

555

5µm&

3

KK

fK

mn

p

> >

3

>

o

K f

K5

m

b

>

‰ Œ3

Œ

flaut.

o

J

i f

f

i

mmb -

sounding:

&

55

555

5

m

B

&

6b

66b

PN

.D A

p J

DD

n A

3

DD

A

DD A

P

KK5b

KK5

π

K5KK5b

r

IIIIV

sounding:

III, 2IV, 1+T

I, 0II, 3

III, 2IV, 1+T

always smoothly, avoid a pulsating effect

∑

e=92

/

3

‰

F

55

)

b

b ) p

55

)

mm ≈ Œ.

5

‰

)

)

5

m

n

æ5

)

5

)

µ

m

HV

molto

ƒ

4:3

5

)

m

>

æ55

)

m

m

5

)m>

K 5

)

>

5

Ÿ

µ

B>

æ5

)n

K

>

3

‰)b

55

)

b)

≈ Œ..)m .) .)n .)b

5

‰.m .n

3

‰ ≈

3

‰

∏

..55 km - ..55n k -

p

55 J-

o

IJ55 ‰. . ‰ Œ

∏ p

.

.

..

i f

f

i

i f

f

i

`

i f

f

i

æ

i f

f

i J

i f

f

i

b

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

5 J

&

p

K5KK5b

o

3

J

K5KK5b Œ ≈

T

o

˜ n

`

≥

MP

PN

π

K

f

b

JK

f

II, 3III, T

Œ.

o

p

o

Œ

± ± ± ± ±

± ±± ± ±± ±± ±± ± ±± ± ±± ±± ±± ±± ±

± ± ± ±

±± ± ± ± ±

± ± ±

± ± ±

±±±±±

- 13 -



&&

ˆ

&

?

›

86

86

45

45

44

44

43

43

44

44

Tr.1Tr.1Tr.1

Tr. 2Tr. 2Tr. 2

Cl.Cl.

VlaVlaVla

Vc.Vc.Vc.

Pf.

e=80

69 3

≈

F )b

55

)

b

p )

≈. Œ

3

‰)

5

n

>

æ5

)

K 5

)

µ

m>

ƒ

HV

3

5

)

m

m>

æ

molto

˜ 5

)

m

-

≈5

)m>

5

)m>

5

)

n

3

5

)

µ

B>

æ5

)n>

æ

≈

3

≈ 55

)

bb )

5

)

m 5

)m

5

)

≈. Œ)m )

)n )b

3

‰

3

≈

3

≈

only play if able to performthe figure in the 1. trumpetundisturbed.

3

≈ ≈.

69

5

≈

π

55B- 5

5- 5

5-

≈ Œ Œ

J

i f

fi J

i f

fi

æ

o

i f

fi

`

5

Œ

∏

T

F i55 *

`

III

NB: since the bow speed MUST remainconstant, all dynamic changes and accents areto be performed with bow pressure.

[ ]

B

5

5

55

J

&ORD

P J

f5

fim

flaut.

∏ J

f5

fi

æ

≤

p 3J

5 fib æ

MP

KKKK

r

I

KKKK

‰.

II, 3I, 0

III, TIV

IIIIIIIV

very slow and even, legatissimo

∑

q=69

≈

P

55

)

b

b )

5

)m

K 5

Ÿ

˜

µ

5

)

m

m

5

)

π

3j55

)-

Œ Œ Œ

5

≈)

5

n

æ

>

5

)

m

ƒ

HV

molto

5

)

µ

m_

__

_

____

_

>

æ

≈

3

5

)

m æ

>

55

)m

L,

5

)

m

m>

5

)

>

≈

tranquillo

≈)b

55

)

b

)

)m)

3

J)Œ Œ Œ

5

≈j

)

)n≈

3

m) )

≈

≈ 3J Œ

7

‰

π

55B-

55 J- 5

5B-

55 J-

‰ ‰ Œ ŒTACET

55

5

5

bb

J m 555

bµ J 55

5bm J

5

55

J bµ?

ORD 3

i

f f

5

p

i

f f

5>

i

f f

5>

. f

∏

ii

5

5

ji

f i

5

æ3

æ

J

i

fi

b

-

5

≈5

55

5 55

55 ∫ ≥∫ ≤∫ ≥ ∫ ≤ ∫ ≥

5 ≈

o

T

55bµ

`

≥

flaut.

p

ORD

5

...5 fi˜

∏

f

5

æ

b

≤

ib5n

..

.i f mi

5

æ

F J

i fi

µµ

` I

II

III

IV

II, 0

III

IV

III, T

IV, 2 trem 0

II, 0

I, T

II, 2

III, 1 trem 0

punta

legatissimo

slow transition

&

Œ Œ Œ Œ .

F o3

ıı

ı

Œ.

P i c ! ≈t

q=54

5

)

m 5

)m

5

)

p π

5

)

‰. Œ Œ ≈

HV

molto

ƒ

5:3

) f

æ

>

5

)

K

>

5

)

b

b

5

)

n 5

)b

5

)

µ

n

≈j

5

)

µ

m>

5

)

m

n>

æ5 ˜

)

m

m

tranquillo

In the pauses of the following 4-5 barstake out the mute very slowly, only alittle bit at a time. There should be nomute by the measure 78 at the latest.The dynamics should be compensatedin order to achieve a smooth transition(the taking out of the mute could evenbegin before, in which case the 2nd.trumpet should also be put asidebefore).

)

)m)

‰. Œ Œ ≈

5:3

)

≈

m ) )

‰ .

55 5

nm L

3

i

fi

F

.

..

i

fi

π

i fi

b

b

i fi

`

F o

.

.

.i fi

≈ Œ

I

II

III

3i Ai

µ

∏ J

i fi

mm

æ

≤

æ

p

fiim æ

b

o

3

J fii æ Œ ≈55bµ≥

MP

o

55

`

II, 2

I, T

III, 1

?

‰.

o

f

Œ Œ

Œ ≈

F

5

!

55

!‰ Œ Œ

q=42

IIIIIIIV

Œ Œ

6

≈

ƒ ) f

æ

>

5

)

m

æ

5

)

J

b>

5

)

n

>

5

)

b

b>

5

)

n

>

5

)

µ

m>

æ5

)

n

n

æ5

)n>

≈ 5

)

)m

5

)

5

)m

K 5

)

m æ

>

Œ Œ6

Œ ≈

I ) )

55

5˜m

55

5

µm5

5

5

µ

m

? & ?

55

55

Œ5

≈

π

.

..

i

fim

>>>>

≤

F

i

fi

b> *

π

i

fi

K

fK

3

ORD

π

flaut.

.

.. fi5

bb r

555

bb

5

F

555

nm> > > 55

5m>

≤

π 5 55b

f

MT

555

Æ® ‰

II, 2

I, T

III, 3 II, 0

III

II

IV

& &

III

II

? ?

Œ Œ ≈ .

ƒ p

>

o

. ®

f i c c

! ‰. Œ ≈

f

5

!‰

± ± ± ± ±

± ± ± ± ±

± ± ± ±

± ± ±

±±±±±±±

- 14 -

( )V.S.



&

&

?

B

&

?

›t

44

44

43

43

44

44

87

87

Tr.1Tr.1Tr.1

Tr. 2Tr. 2

VlaVlaVla

Vc.Vc.

Pf.

√

q=56

73 6i55)

≈ Œ Œ3

Œ

HV

molto

ƒ

j) f

æ

>

5

)

m æ

5

)

J

b>

5

)

n

>

5

)

b

b>

5

)

n

>

5

)

µ

m

>

æ

5

)

n

n æ

5

)n

> 5

)

µ 5

)

m 5

)

˜

b

5

)

n

b

>

≈

6

I ≈ Œ

555

bn

&5

55

b

bµ?

5

f

K

b

f

i fib

MP

π

f

≈ Œ Œ ≈ ∏

P

.

..

K

fi

b

b

r

5B 5

5

5

µ

b 5b

5

5

5

µ

bb&

¬ ¬ ¬ ¬ ¬

3

‰TPN

∏

i

A A

5

m

b

≥

3

i

fi

bP

f

ORD

p

i fi

bb

`

π

fi

nm

≤

i

5

fiim

f 5 55n b

!

≥

Æ5

‰

I, 4 or 3II, T

III, 1IV, 0

sounding:

extremely short

bow pressure accents

I, 3II, TIII, 2

II, 2I, T

III, 3

*)

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

ric.

&

Œ Œ Œ ≈ Æ ‰

Œ Œ Œ

p ƒ

≈5b

!

5n

!

5

!

‰.

hit and mute thefour lowest strings

q=46

Œ Œ

6

≈

HV

molto

ƒ ..)5>

æ

)

5mm

æ 5

)

m

>

æ

5

)

m

>

5

)

m

L≈.

5

)

J

b

> 5

)

b> 5

)

n> 5

)

n

>5

)

> 5

)

µ

m>

æ

555

µb&

p o

.

..

K

fi ‰ ‰ .

∏

i

fi

m -IIIIIIV

&

5 ≈

MP

flaut.

∏

f fm

`

≤T

PN

p

3

i

A A

5

æ

b

ORDji

fi

b

-

∏ 3

i fib

`

MP

K

K

ORD

p

i fim

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

I, TII, 2III, 1

?

∑

≈ c

!

c b

!

c n

!

c

!

∏

c

!‰ Œ Œ

q=60

5

)

5

)

b

b

> 5

)

µ

n

5

)m

K 5

)

n>

æ IJ

5

)

n

b

!

‰. . Œ

3

Œ

HV

molto

Ï ..) fn>

æ

)

fmm

æ

fn>

5

)

m 5

)

m

>

5

)

>

≈ ≈5

)

J

b

5

)

5

)

! 5

)

B

b

!

5

)

n

!

HV

molto

5

)

µ

m

>

æ

‰

55

5

J bµ

55

5

bb& &

F

i

fi

3

J

i

fi

π

5

p

J

i

fi

‰7

≈

π

i

Ai

b

æ

> ∂

f

æ

>

F

i

Ai

æ

>

II, 3III, 1IV, 2

legatissimo

*)

*) very slow bow tremolo: the combination of a very slow bow with a very fast repetitionproduct of the tremolo results in a sort of horizontal bow vibrato; best performed in thelower half of the bow. The dynamics and accents should be perform with bow pressure: donot change the speed nor the amplitude of the movement.

i i fi

fii

3

f

fiibb

π

fii ≈ ‰.T

∏

A Ai5

bb

æ

3

i5

æ

MP

F

f f

æ

ORD

f fi5

æ

II, TIII, 1IVI, 0

legatissimo

Since the bow-speed remains always constant, theincrease in dynamic must be accomplished by anincrease in bow-pressure, leading to overpressure.The notation here of the overpressure is to make theprocess clear.

Œ

3

‰

π

5!

≈. ‰ Œ ‰ Î

5

!

≈.on the keys

&

Œ Œ Œ ‰

ƒ 5

!

≈.

- 15 -

I

II

III

[ ]

7 5 3 4q

q

q



&

&

&

›t

87

87

45

45

43

43

44

44

Tr.1Tr.1

VlaVlaVla

Vc.Vc.Vc.

Pf.

q=52

76

Œ Œ ‰j

)

f

æ

HV

molto

Ï

3

) fm

m

æ

>

fn æ

>

5

)

m

æ

>

5

)m

L>5

)

>

5

)

K >

‰5

)

K !

5

)

b

b

!

5

)

m 5

)n

5

)

B

b

æ5

)

n!

5

)b

!

≈

5555

bmb&

f

æ

>

π

i

fi

b

æ

>

f

i f fib æ

> i f fi

æ

∏

i f fi

.

.

.

.

i f fi ≈ ‰

I, 4II, 3

III, 2IV, 1

T

π 5

A Ai

5

bn æ

P

F

f f

æ

T

A Ai

5

-

π

ORD

fi

5

b> i fi

> fi

5

>

3

i

fi

b> ˜ m

fi

5:4

‰.

π

f fbb

- A Ai5

I, 3II, TIII, 2

I

II

III

IV

Œ Œ ‰

f

Æ .

ƒ o

J

Œ Œ ≈. .

π

5

!Œ

q=80

IIIIIIIV

Œ Œ Œ

3

‰HV

molto

Ï

) fm

m æ

>

fn æ

5

)

m

æ

5

)m

L> 5

)

n

b

>

5

)

K >

‰5

)

m

m

> 5

)

µ>5

)

5

)

m

n

5

)b

5

5

)

B

b

!

≈5

)

n>

æ

5

)

µ

n

æ

5

)

n

n æ

‰.

5

5µ&P

3

55

-T

5

5

P

55

T

3

5

5

P

55

T

5

5

ORD

5555

∏

K f

fKb

3

K f

fK

p o

K f

fK

mb ‰

∏

MP

PN

jK

5K

≤ 3

K

5K

oF

K

5K

‰

3

Œ

∏

ji f f

nn

b

b i

5

rIII, 1+4IV, 3

P

7

55

T

5

5

P

55

T5

5

P

55

ORD

5555

‰ı ı ııı

5

5

-55

-5

5

-55

-5

5

-55

-

7:4

f fbb A Ai5

oP

f fi

5

bn ‰3

fi

mn

∏

i

5

≥

F

IJ fiinb

≈. ‰

π

f fi5

b

-`

J f fi5

bow-pressure accents

II, TIIIIV

I, 0

I

II

III

IV

come sopra

?

J ‰ Œ

3

Œ f

ƒ . π

3

F o

‰ Œ

Œ Œ3

Œ

p i5

5

!

≈ Œ Œ

q=50

S

Œ Œ

5

≈HV

Ï f æ

5

)

m

æ

>

5

)

!

5

)

!

5

)

n

b

!

5

)

K !

HV

5

)

µ

m

>

æ

≈

5

5

5

J

b

& p

i f fi

∏

i f fi

≈

MP

∏

fn

-TK

A

K

- MP

f-K

A

K

- f-

I, 3II, 1

III, 2

etc.

5

5

5

5

Bm&

5

5

5

-55

-5555

-‰ ≈

4:3

55 -

-

5

5-

55 -

5

5-

5

p o

i f fi

nn

‰

p

6

f

5

5

≥b

i fi

m æ

>

i fi

m æ

>

∏

flaut.

i f

i

bm

æ

>

`

‰ ≈

`

π 4:3

...

. f fi5

nbi f fi

mb

sound.:

I, TII, T

III, 2IV, 3

*) barely touch the A string with the thumb as tomake the octave sound

*)

III, TII, 0IV

I, TII, 2III, 3

?

Œ

ƒ

Æ

‰. . Œ

p

Œ5

!

5b

!

5

!

f

Œ Œ &

±±±±±±±±

- 16 -



&

&

&&

?

›

&

44

44

85

85

83

83

45

45

Tr.1Tr.1Tr.1

VlaVlaVla

Vc.

Pf.

q=69

79

5

)

5

)

B

b

5

)

m 5

)

B

b IJ

5

)

n!

‰. . Œ Œ

HV

molto

Ï

) f

>

æ

5

)m

L>

æ

5

)

n

>5

)

m

n

>

5

)n

>

K 5

)

5

)

µ

m

>

æ

5

)

K

æ

5

)

B

b

!

≈

5

5

n

b

5

5b&

p 3

K

AK

- f-

∏

K

AK

-

≈5

‰

∏

5

5

m>` ≤

> >

5

>

F

5

5

n>b

‰. ≈

∏

i f f

i

b>

r`

>

p

> whole hand gliss.

55 -

5

5-

5555-

5

‰ 55 >

-

5

5>

55 >

5

5

5>

55 >

5555>

‰

3

i f fin

F

f

5

5

≥

b

i fib

> > > >

flaut.

> >

π

fii

>

`

≈

5

‰

π

...

. f fi5

p

5

i f fi

m

π

i f fin

≈

F

5 f5im

b

≥

IIIIIIV

?

∑

ƒ

5!

c

‰. Œ Œ Œ t

e=92

IIIIIIIV

IIIIIIIV

‰ ‰ ‰ ‰5

)

m

m

!

5

)m

L!

5

)

!

5

)n

K >

5

)

HV

molto

Ï 5

5

)

µ,

æ

> 5

)

n

æ

>

®5

)

5

)m

5

)

5

)

µ

n

3

55

>

55

>

55

>

3

> i

f f

i

bb

>

∏

5

5

m>≥

5

>

≤

5

˜

>

5

>

˜ b

>

5

>

f

5

5

>

b

3

‰

∏ 5:4

i f f

i

nb>

r

`

>

p

> b> i f f

i

bb

>

j5m

∏

5

b

5

IIIIV

IIIII

alternate

3

≈ 55

>

-

5

5>

3

55

>

5

5

>

5555

>

j

f

f

5im

flaut.

π 3

i fib

`

> > >

F 6

> > ˜

>

π

55

5

>

≈

3

≈

π

i f fi

m

p 3

i f fi

π

i f fi

mmm

MP

P 3

5

5

m

MT

PN

π

i f

bm

≥

i

5

II, TIII, 2I, 0

IV, 1

I, TII, 1III, 3IV, 2

as near to the L.H. as possible

∑

‰ ≈

5

!

5

!

f c

!

‰ ‰ ‰

e=56

‰ ‰

5

≈5

)

K >

5

)

µ>

5

)

!

5

)

n

b

!

HV

molto

Î

5

)

µ

m

>-®

5

5 55

bbµ J

555

5

bb

b J ?

5

55

>

55

>

55

>

55

>

55

>

3

‰

6

5555

>

55

>

5555

>

55

>

5555

>

55

>

j5

5

`

f 5

3

‰

π

55 f

5

*

i

f f

5

I, 0

II, 0

III, 1

IV, 0

I, 3

II, 2

III, 1

IV, 0

5

55

>

5

5

>

55

>

5

5

>

55

>

5

5555

>

5 5 5 ®5

5

5

5 5

5

5

5

5

5

o f

5

i f

b

im

5

≈.

π

i f fi

mb

b

-

P

i f fi

5

i f fib

`

*

π

5

5

55

5

n

o f

55

5

5

m ®

I, TIIIIIIV I, T

II, 0I, T

III, 3

I, 1

II, 0

∑

5

≈

c

!

c

!

f c

!≈ ‰

3

‰

f 5

!

Æ®

R.H.

maintain pedal until the end

± ± ± ± ± ± ± ± ± ±

±

- 17 -



&

&

&

&&

›t

45

45

43

43

45

45

43

Tr.1Tr.1

Vla

Vc.

Pf.

q=96

82

Œ Œ Œ Œ5

)

m>

5

)

µ

b

>

5

)

>

HV

molto

Î 3

5

)

µ

m

>

5

)

n

n

!

5

)

!

‰ ‰

825

5B

555

5

n

b

µm5

5

5

5

J m

b

˜

& B

5:4

555

>

5

>

555

>

555

> 555

3

555

> 555

555

> 555

555

>

5

. f

f

K

K

π

5

5

‰

MP

oo

K5Kmm

b

P

...K5K

`

≈3

Œ

π

J

i

fi5

m -

3

5

f55

P

J

5

f5

5

m

III

IV

3

Œ

j5

5

>

3

55

>

5

5

>

5

555

>

5 5 5

5

‰ . 55

>

5

5

5

>

55

>

5

555

>

5

5

5

5 5

5

5

5

5

5

3

Œ

∏

J

i f f

i

mb

-b

3

i f f

i

p

J

i

f f

ib

`

π

5

5

-55

5

m-

55

5

-

o f

55

5

5

n

-

5

‰.

π

i f f

i

m

-

b

p 5

i f f

i

`

π

I

i

f f

i

mmm

∑

Œ Œ ‰.

ƒ c

!

‰. . c

Æ5

Œ&

q=58

Œ Œ ‰

J

5

)

!

HV

molto

Î

5

)

µ

m

>

≈

5

5

5

n

I

J

5

5

5I

5

5

5

bI

7

‰ . 55

>

55 5

5

>

55

>

7

55

>

55

π

5

f

i5

m

>

æ

b

fi

5>

æ

f

f

i

i

m

>

æ

p

>

æ

≈7

‰.

i

f f5

m

* `

7

i

f f

5

m≈

ƒ

i

f

i

mn

æ

>

`

fi

5

n

æ

>

III, 4

IV, 1

II, 0

III, 4

II, 2

IV, 0

II, 4

III, 2

IV, 1

5

5 55

5

555

55

>

5

5 55

>

5

555

>

5

5 55

>

5

5

6

55

5

m> 55

5

m>

ƒ

555

5

µb>

‰

π

i A Ai

nm>

-b

6

i A Ai

p

Vib.

f f

>

π

i A Ai

mmm

>

`

55

5

*

55

5

5

555

5

µb

ƒ

55

5

m ‰

p

f fb>

b

*

?

∑

5

Œ

Ï I c c

!Œ

3

Œ

Î

I5! Æ≈t &

q=96

f

f

Œ Œ Œ Œ

3

Œ

HV

molto

Î

J

5

)

µ

m

!

cresc.

π

5

f

i5

m>

æ

b

‰

p

i

Ai

m>

`

-

P

f>

p

.

.

.

i

Aim

>

®

f 5

f

i5

!# f

i

i

mn

>

æ

ƒ p

Vib.

fii

b

>

æ≈

p

f> - i

Ai

m>

F 5

i

fim

>

π

f>

`

f

i5

m>

æ

f

i

i

n

!#

!2

ƒ

f fi5

>

æ

NB: as short as possible

sùb.

55

5

5 55

5

5

5

555

5

5

5

555

5

5 55

Vib.

3

i A Ai

m>

P

f f

>

3

i A Aib

>

`

π

55

5

>

-

55

5

µµ

>

3

555

5

nm

!≥

p

5

5

n

>

-

ƒ

555

5

b

>

≈

p

f fb>

-

b

5

f f

F

i A Ai

m> i f fi

n

b

>

`

π

5

5

5

>

f

3

55

5

bb>

æ555

5

nm

>

ƒ

555

5

bnn

>

≈

forte sub.

?

- 18 -



&

&

&

43

47

46

44

Tr.1Tr.1

Vla

Vc.

q=58

85

Œ Œ

3

Œ ≈

HV

molto

5

)

µ

m

!

5

5B

5

5 k

& &

≈

p

i

Ai

m> -

b

F

f>

i

Aim

>

`

p 5

5

55

m>

æ

∂ 5555

!#

ƒ

!2

≈

MP

f

K5K

mm->≥

K5K

mb

->≤

7

‰

p

i

Ai

m> - i

fim f> f

i5

m

n

>

æ

∂

ƒ

f fi5

!

IIIIV

ric.

&5

4:3

55

>

*

5

5

>

55

>

-

5

5

>

p

5

i AiBb>

-

b

f>

i A5>

F

i fiB>

*

`

p

i fib>

6

ii

5

>

æ

∂

ii

5

mn>

æ

ƒ

fi f

5

!#

!2 fi f

immm

>

æ

‰

p 5

i f

iBm

i

fi

b

f

5

55nn

!#

!2

ƒ

i

f fi

n

b æ

∂ I, T

II, 3III, 2

?

q=132

Œ Œ Œ Œ Œ Œ ‰. .

HV

molto

5

)

µ

m

!

5B

5

5 k

3

K>

≤

K5

mm>

≥

Kb>

≤

3

Œ

ƒ

J

f

i5

m

n

æ ∂

3

i

f

i

m f fi5

K>

≥K5

mm>

≈K5mn>

≈ ‰. f

i5

m

nn æ

∂

5

f

i5

æ

≈ fii

n

æ

i

f

i

m

æ

≈

4:3

K

!

Kb

!

K5b

!

K

!

IV IIIIV

IV IIIIV

IV III

5

5

Bb

5

5

µb

MP

K5K

≥äK5K

m≤ä ‰ Œ ≈

f

i f

f5b

∂

ƒ

i f

f

5

b

!

MP

3

K5K

n

≥

>

K5K

m

≤

>‰ Œ

6

≈

∂

i f

f5b

æ

≈

≈

ƒ

i f

f

5

!

5

K5K

n≥! K5K

m≤!

K5

! K5

! ≈

I, T+3II, 2 ric.

very irregular and dense tremolo,almost an uncontrolated bow vibrato(use very little bow) exactly like before, but with pauses

? ?

q=90

Œ Œ Œ Œ Œ ‰ . .

HV

molto

Ï Ï

5

)

µ

m

!

6

≈5

5

m ∂

æ

≈

i

f

i

m

æ

6

≈K

5

b!

K5b!K

5

!

K

5

n!

K

5

!

6

‰

Ï

5

5

m

n

∂

æ

≈

i

f

i

m

æ

!

7

≈K

5

b!

K5

!K

5

!

K

5

n!

K

5

!≈

6

‰.5

5

∂

æ

≈

i

f

i

æ

!

7

≈K

5

b!

K5

!K

5

!

K

5

n!

K

5

!≈

7

≈i f

fib

æ ∂

‰

≈

ƒ

i f

f

5

b

!

5

K5K

n≥!K

≤!K5

! K5

! ≈

7

‰i f

fib

æ ∂

≈

≈

ƒ

i f

f

!

6

K5K

n≥!K

≤!K5

! K5

! ‰

7

‰.

Ï

i f

fib

∂

æ

‰

i f

fb

!

æ

7

K5

n≥!K

≤! K5

!

K5

!K5

‰

- 19 -



&

&

&

44

42

..

..

.. ..

..

..

.. ..

Tr.1

Vla

Vc.

H=4588

∑

6

Œ ≈

Vib.

Î

I

i

f

i

m

æ

∂!

5

≈i

≥

‰.6

Œ ≈

Vib.

I

i

f

i

m ∂

æ

!

≈≈K

5

!

≥i

‰

K

5

!

≤

K

5

!

K

5

!K 5

m!

K

5

!

K 5

bb!

≤

K

5

!

K

5

n!

K

5

!

K

5

!

molto

as fast as possible

molto

( )

7

Œi f

f

∂

æ

>

≈i f

f

!

æK

5

!

K

!

K 5

!K

5

!

K

5

K

5

7

Œ .

Vib.

Î

I

i f

f

m!

}

∂

æK

5

!

K

!

K 5

!K

5

!

K

5

K

5

i

i

‰.‰ .}

as fast as possible

∑

6

Œ ≈

Vib.

I

i

f

i

m

æ

∂!

5

≈i

≥‰ .

Œ K

!

i

K 5

bb! K

5

!

K

5

n!

K

5

!

K

5

!K 5

m!

K

5

!

K 5

bb!

≤

K

5

n!K

5

!

K

5

!K 5

m!

K

5

!

molto

‰. .

Vib.

IJ

i f

f

m!

æ

∂

K

5

!

K

!

K 5

!K

5

!

K

5

!K

5

!

‰. .

Vib.

IJ

i f

f

m!

æ

∂

K

5

!

K

!

K 5

!K

5

!

K

5

!

K

5

!K

5

!

i

i

‰.

molto

?

x 20 times

H=45

sempre accel.

H=180

∑

at least

Œ K

!

i

K 5

bb! K

5

!

K

5

n!

K

5

!

K

5

!

K

5

!

K

! K 5

!K

5

!

K

5

!K

5

!

K

5

!K

5

!

Œ

i

NB: as the tempo accelerates, it turnsimpossible to make all harmonicssound; try anyway to play always as

many as you can, even if they do notsound as harmonics. The group mustNOT exceed its duration, shorteningthe duration of the pause at thebeginning of the bar.

- 20 -

( )

( )

( )

sempre

sempre

buenos aires, XII. 2005

Eduardo Moguillansky: Limites (score)

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Transcript of Eduardo Moguillansky: Limites (score)