eduardo moguillansky

lmites III
fr einen trompetenspieler








2006-2009
lmites III
fr einen trompetenspieler
a Valentn Garvie
Duration: 8 30
General remarks
Limites is contructed upon an (almost) constant zoom. By measure 51, 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
2 seconds. 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
these cases there is of course no change in tempo. There are also some short passages where the zooming in
is stopped: in such cases, there is neither tempo change nor type signature change. 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 a fragment of the previous measure is
expanded in the following one. This time window puts a limit to the material itself: the things that are
left out of it are simply lost of sight. However, there are other changes from iteration to iteration which are
not solely the consequence of the gain in resolution. Just like one does not stare at a picture constantly
contemplating the whole but rather wonder about the different shapes and forms, here also there is a
parallel process of filtering given by a subjective look at the material.
The trumpet player uses TWO C-trumpets SIMULTANEOUSLY. The second trumpet (the
one notated on the bottom) must be tuned DOWN approx. 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. The score is not in C:
the part of the second trumpet sounds lower than written.
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, for some actions a
third staff has been used, a line indicating which trumpet is to be given preference. The upper line
corresponds to the first trumpet, the lower for the second.

In other cases it suffices to indicate which trumpet is the main trumpet. This is done by means of a
H(auptstimme) sign. In the following example, the first trumpet is the hauptstimme and should be given
preference even at the cost of loosing the second trumpet.

A third means of notating the interaction between the trumpets is near the end of the piece, where there
should be a transition from one trumpet to the other. This is indicated by a thin line going from one
trumpet to the other as indicated in the following example. The focus of the player should smoothly be
shifted so that the different intonation and timbral characteristics of the trumpets come to the foreground.

Multiphonics (Spaltklnge)

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 indicated 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
controlled production of multiphonics will be welcomed.
Very often one of the two notes of a multiphonic has been written between brackets.
This is the case in rather fast passages or with multiphonics which are very hard to achieve (4
th
-5
th
, 5
th
-6
th
,
6
th
-7
th
partial). In such cases, the bracketed note may be left aside, thus playing only the note which is not
between brackets, although the tone-quality should not resemble that of a normally played note.

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.


no pitch. At the beginning (ppppp), no air at all, only tongue action.
blow into the instrument to create a pitched resonance (the note
indicates the fingering, not the resulting pitch)
slap (as pronouncing hut)

unfocused or chocked sound. In the low register and at soft dynamic,
use a very loose embouchure. In higher register and at louder dynamic
level, different techniques can be used, such as pressing the
embouchure tightly against the lips, using false fingerings or half valves,
etc.
valve
lip glissando (bend). The fingering remains the same, the lower pitch is
approximate.

play + sing. the voice should always be a colour of the trumpet and its
function is to enrich the spectrum of the trumpet via beatings and
interferences, not to be a truly polyphonic independent voice.
play + sing, the voice produces a gliss. while the trumpet stays steady.
growl
play unfocused + sing, concentrate on the (slow) beatings.
vibrato.
hand vibrato, increase at the end.
colour (valve) mordent.

colour (valve) trill

flatterzunge

tremolo (double or triple tonguing)

transition from normal playing to multiphonic (spaltklang)


overtone gliss.: try to maintain the multiphonic quality while shifting
overtones



two different types of glissando: normal (valve) glissando (in this case,
from 2+3 to 1+2+3) and then harmonic gliss. (fingering stays the same)



mute as closed as possible


very strong, fast accent, as if the sound had been artificially
(electronically) cut.

&
4
5
Trumpet 1
.
A
t
q=96
,,,,,

/t(i)/
sord.: CUP - Denis Wick
J
pitchless
measures 1-51 can be left out ad libitum

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do not fix it to the bell: use as a plunger
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[1/10]
lmites III eduardo moguillansky (2006-9)
[fr einen trompetenspieler]
a valentin garvie
&
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transition to pitch
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amount of Hand Vibrato accompanying the dynamics
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fix mute to bell and
take second trumpet
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Tr. 2
(tuned approx. one quarter-tone lower)
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In the pauses of the following 4-5 bars take out
the mute very slowly, only a little bit at a time.
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).
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