eduardo moguillansky: limites (score)
TRANSCRIPT
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 1/30
eduardo moguillansky
limites
for one trumpet player (with two trumpets)
and ensemble (clarinet, viola, cello, piano)
2005-2008
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 2/30
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 3/30
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 4/30
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 5/30
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.
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 6/30
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 7/30
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 8/30
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
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 9/30
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.
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 10/30
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
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 11/30
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.
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 12/30
&
&
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
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 13/30
&
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
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 14/30
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 15/30
&&
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 -
{
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 16/30
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 17/30
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 18/30
&&
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
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 19/30
&&
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 -
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 20/30
&&
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
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 21/30
&&
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 -
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 22/30
&
&
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 -
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 23/30
&&
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 -
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 24/30
&&
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.
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 25/30
&
&
?
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
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 26/30
&
&
&
›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 -
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 27/30
&
&
&&
?
›
&
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 -
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 28/30
&
&
&
&&
›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 -
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 29/30
&
&
&
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 -
8/6/2019 Eduardo Moguillansky: Limites (score)
http://slidepdf.com/reader/full/eduardo-moguillansky-limites-score 30/30
&
&
&
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