Toying (2012) by Eric Nathan

PERUSAL SCORE NOT FOR PERFORMANCE

ERIC NATHAN

TOYING For Solo Trumpet

P U B L I S H E D B Y N A T H A N A R T S (ASCAP) WWW.ERICNATHANMUSIC.COM | Larchmont, NY USA | (914) 391-8394

PERUSAL SCORE NOT FOR PERFORMANCE

Dedicated to Hugo Moreno Commissioned by Le Train Bleu (Ransom Wilson, director)

PERUSAL SCORE NOT FOR PERFORMANCE

In three movements:

I. Wind-Up ………………………...…....…...…..……………...….. p. 1 II. Elegy for a Toy Soldier ………..……...…………………….. p. 7 III. Ventriloquizing …………..……..……..……..….…………... p. 9

Total Duration: c. 8 minutes

Performance Note: Movement I: For this movement, microphone amplification is recommended (but not required). The remaining movements do not need to be amplified, but may be performed with light amplification for continuity. In this movement, the top of first piston/valve (not to be confused with the valve cap) should be slightly unscrewed (one or two rotations) so that it produces a loud metallic "click" each time the piston moves upward, back to its normal resting position. The player should adjust the unscrewed top of the piston so that it makes the loudest sound possible. The bottom staff is only for the player's reference and contains the rhythms that will be created by the "valve-clicks" as the player performs the written part in the top staff. It is important to use the specific fingering given so that the correct rhythms result. The performance should create the allusion of a dialogue between the sounding trumpet notes and valve-clicks. Other notation: x Δ∆

x-shaped noteheads indicate that the player should finger the notated pitches but not blow any air through the trumpet (NB: x-shaped noteheads serve a different function in the third movement) Triangle-shaped noteheads indicate that the player should blow air through the trumpet while fingering the notated pitches, but this should not produce any pitch

Movement II: The 1st valve slide should be removed for the duration of the movement. ‚

Diamond-shaped noteheads indicate microtonal pitches that sound from the open 1st valve slide, when the first valve is depressed (the closest tempered pitch is notated; fingerings are provided)

PERUSAL SCORE NOT FOR PERFORMANCE

Performance Note (continued): Movement III: Muting: A large plunger mute should be used, one that a similar diameter to the trumpet bell, not bigger or smaller. The following markings refer only to the notes to which they are assigned: + : with Plunger Mute, closed o : with Plunger Mute, open Pitches without any of the above markings should be played "Open" with Plunger Mute removed entirely. Other notation: â&#x20AC;&#x161;

x ÂŹ "hrmpf"

"laugh"

"tremble"

"3rd. slide gliss."

Diamond-shaped noteheads indicate microtonal pitches that sound from the open 2nd valve slide (the closest tempered pitch is notated; fingerings are provided) x-shaped noteheads indicate approximate pitch (NB: x-shaped noteheads serve a different function in the first movement) Square-shaped noteheads indicate to tap the mouthpiece with a cupped palm to create a resonant "popping" sound,while fingering the pitch indicated. It may be helpful to keep plunger mute under right arm when tapping the mouthpiece. This technique produces a "hrmpf" sound. To produce, close and open the plunger mute as indicated with an extremely fast lip slur ("hiccup") between the grace-note and the lower final note of the slur so that there is not much pitch on these final two notes â&#x20AC;&#x201C; the performer may touch the intervening partials in the slur. This technique imitates a laughing sound. To produce, begin with all three valves in a 1/4th-valve position then quickly glissando/fall away from a higher note to a lower note while moving the three valves into a 3/4th- valve (or neutral) position and moving the plunger mute from "+" to "o". These passages may be performed ad lib. approximating the notated gestures. shake the trumpet quickly to create a trembling/quivering sound (similar to an extremely fast vibrato). This should not be confused with a jazz "shake" because the resulting pitches should not change. extend the third valve slide in a quick motion imitating a trombone glissando. A lip glissando may substitute for a slide glissando for ease of performing if the performer can achieve a similar effect. Conventional fingering should be used throughout the movement unless otherwise specified.

PERUSAL SCORE NOT FOR PERFORMANCE

PROGRAM NOTE: “Toying” for unaccompanied trumpet was commissioned by the New York-based ensemble Le Train Bleu, to be premiered on a concert focused on the themes of play and playthings. In composing the piece, I approached the concept of “toys” by taking to heart both a sense of playfulness but also the vivid worlds toys inspire in the minds of those who play with them. In my piece, I treat the solo trumpet as a puppet, and think of the work as a series of duets for trumpet and performer (between puppet and puppet master), but also as duets between the trumpet and its own mechanics. The first movement, “Wind-Up,” imagines a wind-up toy scurrying about a room. I imagined someone winding up the toy, setting it on the floor and watching it gleefully totter around on its own until it runs into a wall. The person then winds up the toy again, and sets it off on its own as it has its own adventures around the room, occasionally bumping into other walls, and finally unwinding itself. In this movement, the performer is asked to unscrew the trumpet’s first valve-cap so that a metallic clicking sound occurs when the valve is pressed. Here there is a duet between the rhythms of the valve clicks and the quiet sounds of the trumpeter playing through a practice mute. The second movement, “Elegy for a Toy Soldier,” is a memorial ode to a fallen toy soldier. As a child, I had a number of small, metal toy soldiers, each less than an inch tall, that I sent heroically into battle. To my young self, these soldiers had rich lives and distinctive character, and so I have composed an elegy of deserving solemnity to the memory of these tiny souls. In this movement, the trumpeter removes the first valve slide entirely, so that when the first valve is pressed, the trumpet sounds out of the open valve-slide hole with a tiny, slightly detuned sound. I compose a duet that alternates these sounds with the normal sounds of the trumpet, to create the allusion of a toy trumpet saluting a toy soldier. The final movement, “Ventriloquizing,” treats the trumpet as a puppet and the performer as its ventriloquist. The trumpet takes on many guises in the movement acting as different characters in a sort of theatrical skit. The movement is filled with vocal effects using the plunger mute, and other effects that coax various sounds of the instrument. “Toying” is written for, and dedicated to, trumpeter Hugo Moreno.

PERUSAL SCORE NOT FOR PERFORMANCE

Commissioned by Le Train Bleu Dedicated to Hugo Moreno

Toying I. Wind-Up Senza misura

Eric Nathan (b. 1983)

With practice mute First piston is slightly unscrewed throughout*

UŸ~~~~~~~

Finger notes (no air) Fingering: 1 0 1 0 (simile)

Trumpet in C

Rhythm of "valve-clicks"

b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ (¿ ) p Slowly, gradually accel.

U Ÿ

with intensity ("winding up")

œœœœœœœœœœœœœœ˙

UŒ

Presto (as fast as possible) q = c 160-192+ 0 1 1 1 0 1 1 1 0 (simile) 3 2 2 3

44 œœœœœœœœœœœœœœœœ f playfully march-like, mechanical

Play:

(a warm "forte" - not harsh)

44 Œ

œ (lift 1st finger silently)

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42 œ œ œ œ œ œ œ œ 44

ã œ

Senza misura 7

Perc.

& ã

Finger notes (no air)

b¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ p Slowly, gradually accel. f with intensity ("winding up")

œ œ œ œ œ œ œ œ œ œ œ œ œ œ UŒ

42 œ

∑

U ∑

Presto (as fast as possible) q = c 160-192+

Play:

0 3 2 3 0 1 0 3

r œ

(simile)

œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœ

œ. f

playfully march-like, mechanical

œ.

*Performance Note: For this movement, microphone amplification is recommended (but not required). e remaining movements do not need to be amplified, but may be performed with light amplification for continuity. In this movement, the top of first piston/valve (not to be confused with the valve cap) should be slightly unscrewed (one or two rotations) so that it produces a loud metallic "click" each time the piston moves upward, back to its normal resting position. e player should adjust the unscrewed top of the piston so that it makes the loudest sound possible. e bottom staff is only for the player's reference and contains the rhythms that will be created by the "valve-clicks" as the player performs the written part in the top staff. It is important to use the specific fingering given so that the correct rhythms result. e performance should create the allusion of a dialogue between the sounding trumpet notes and valve-clicks. Copyright 2012 – Eric Nathan. All rights reserved.

PERUSAL SCORE NOT FOR PERFORMANCE

- I. Wind-Up -

&œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœ‰

ã œ.

œ.

& 44

œ.

∑

U ∑

Finger notes (no air)

¿ P

j b¿

j œ

Play: (fing. ord.)

j ¿

j œ

44 44

5 œ œ 8 œœœœœœ œ œœœœœœœœœ œ œœœœœœœœœ œ œœœœœœœœœ œ œ œ œ œ r œ œœ œ œ œ œ œ œ œ œ œ œ b¿ F 14 ã 44 œ œ œ œ 85 œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ f 14

& œ œœœœœœœœœ œ œœœœœœœœœ œ œœœœœœœœœ œ œœœœœœœœœ f 19 œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ ã œ & 44

∑

ã 44

U ∑

œ œ œ œ b œ œ Œ 44 > più f ‰ œ œ Œ 44

∑ ∑

3 œ bœ œ b œ œ œ 4 œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ r œ œ bœ œ œ p (fing. ord.)

‰

43 œ

‰

1 (2 )

& œ b œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ 38 œ N œ œ œ œ œ œ œ œ œ œ bœ bœ bœ bœ

ã œ

‰ œ J

œ ‰ œ J

‰ œ J

œ ‰ œ J

‰ œ J

F œ ‰ 38 œ J

œ ‰

PERUSAL SCORE 3

- I. Wind-Up -

NOT FOR PERFORMANCE 1 ( 2 ) (simile)

& œ N œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ ≈ œ 44 bœ bœ bœ

œ ‰

ã œ

œ ‰

œ œ ‰

œ ‰

œ œ ‰

œ ‰

œ œ ‰

œ bœ bœ nœ bœ œ œ œ #œ œ œ bœ œ #œ œ #œ nœ nœ #œ aœ nœ bœ Nœ 4 œ # œ b œ n œ œ œ œ & 4 œ #œ 1 2

(fing. ord.)

ã 44 œ

‰

1 2

(5/8 pattern)

1 2

‰

#œ Nœ aœ nœ #œ œ bœ œ œ Aœ nœ Nœ Œ & ƒ 1 2

œ J

‰

&Ó

ã Ó

j œ

œ.

1 2

∑

∑ 2

(simile)

(keep valve pressed)

‰

œ J

≈ œ . J

‰

œ J

1 2

2 1

≈ œ

œ ≈ œ œ ≈ œ

1 2

2 œ œ œ # œ n œ œ œ œ œ œ œ œ b œ n œ b œ 44 œ f

44 œ œ 0

Nœ œ bœ bœ œ bœ œ œ œ #œ #œ œ #œ œ #œ aœ Ó œ

43 Œ 43 Œ

Blow air (let air escape from lips around mouthpiece) 1 0 (simile)

b Δ∆ Δ∆ Δ∆ Δ∆ Δ∆ Δ∆ Δ∆ Δ∆ 44 f ƒ œ œ œ œ œ œ œ œ 44

PERUSAL SCORE 4

NOT FOR PERFORMANCE

- I. Wind-Up -

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

& 44 Ó

b ˙ (œ)

ã 44 Ó

& 44 ã 44

A Δ∆ . (Δ∆ )

ƒ Ï f exasperated Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 2 ˙ w 4 ƒ f

(Blow air only - allow to escape from lips around mouthpiece)

1 0 1 1 1 0 2

2 0 1 1 1 0 1 0 (simile) 2 3

1 2

∑

U ∑

1 1 1 0 2

2 0 1 1 1 3 2

1 2

>œ œ œ >œ œ œ >œ œ œ >œ œ œ b b b œ œ œ œ > œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œœœœœ œ œ bœ œ œ œ œ bœ œ bœ nœ œœ S S S S p S

j bœ

œ.

œ œ J

œ.

œ œ J

œ œ œ.

œ œ œ ,

0 1 1 1 0 1 1 1 (simile) 2 2 (if needed)

b >œ œ œ œ œ b œ > 7 b œ n œ œ œ œ b >œ œ œ œ œ b >œ œ > >œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ b œ n œ 4 œ œ œ œ œ œ 8 bœ 4 & bœ S S S S S S S F 55 œ œ œ. œ 78 œ œ œ œ. œ 44 œ œ œ œ ã œJ œ J J (simile)

0 1 0 1 0 1 0 1 0 1 0 1

0 1 0 1 0 1 0 1 2 (fing. ord.)

œ œ œ œ œ œ

œ œ œ œ

0 0 0 > >œ n œ b œ œ œ b œ b œ œ > > b œ > > > œ œ œ b œ œ œ œ œ b œ œ b œ œ œ bœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & S cresc. S S S S S S f

ã œ

‰ œ ≈ œ . J J

≈ œ . J

≈ œ

œ‰

œ ‰. J

œ R

PERUSAL SCORE NOT FOR PERFORMANCE 61

> œ bœ œ bœ œ nœ bœ ƒ

ã Œ

(brief)

≈ Ó

U Ó

1 2

bœ œ #œ œ œ œ nœ œ œ nœ œ œ bœ œ œ œ Ó f 2

œ #œ œ œ bœ œ œ œ œ œ ‰ Œ & p Œ

& b˙ > fÍ

&¿¿¿¿¿¿¿¿Œ f ã œœœ œœœœœŒ

& 43

ã 43

U ∑

Ÿ~~~~~ ˙æ (bœ) Ï U Ÿ ˙

˙æ ˙æ > S intense, wild Ó

∑

flz.

ã ≈ œJ .

j œ

U ∑

œ œ nœ #œ nœ œ œ bœ Œ p œ ≈ œ . J

≈ œ

1 (2 )

lunga

∑

œ œ œ œ

1 (2 )

bœ œ œ œ œ bœ œ bœ > F S

(fing. ord.)

œ.

1 (2 )

43 œj œ œ œ œ œ œ œ œ œ œ œ œ p playfully mechanical

∑

43 œ

U ∑ 1 (2 )

∑

œ œ œ œ bœ œ nœ bœ œ bœ ‰ Œ Ó

1 0

œ ≈ œ œ ≈ œ œ ‰ . œ Ó J R

‰

1 2

- I. Wind-Up -

1 (2 )

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ P p

œ U

œ œ œ œ œ œ œ ‰ UÓ

∑ ∑

3 ¿¿¿¿¿¿‰ 4 P œ œ œ œ œ œ ‰ 43

accel.

85 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ F (fing. ord.)

85 Œ

œ œ ‰

PERUSAL SCORE 6

NOT FOR PERFORMANCE

- I. Wind-Up -

accel. (toy unwinds out of control) Finger notes 83 (no air)

& œ œ œ œ œ œ œ œ œ œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 44 ∏ π 83 ã œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ 44 a tempo

& 44

∑

ã 44

∑

j & Ó ‰ ¿j¿ Œ p

j ã Ó ‰ œ œJ Œ

100

j ¿

j œ

œ Œ

j œ

¿ F

∑

U ∑

winding down to a halt

b¿.

j ¿ ¿.

‰ œ Œ J

∑

œœ‰ Œ P

∑

‰ ¿j¿j Œ P

(winding down)

Blow air (no pitch) - allow air to escape from around mouthpiece Forcefully, with dramatic gesture rall. ("winding-down") 3 3

Ÿ~~~~~~~

‰ œjœ Œ J

∑ 3

Œ Ó

‰ œ œ p

(finger notes keep mouth on mouthpiece, but don't blow air)

b ± ( ±) b ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± ± b ± ± ± ± ± ± ± ± ± ± ± ¿ b ¿ ¿ ¿ ¿ ¿ f F wŸ œœœœœœœœœœœœœœœ œ œœœœœœœœœœœ œ œœœœ Œ 3

j ¿ ¿ ‰ œ J

¿ œ

b¿ Œ

a tempo

‰ œœœœœ Ó > œ F playfully, with humor œ ‰ Ó J

PERUSAL SCORE NOT FOR PERFORMANCE

II. Elegy for a Toy Soldier Performance Note: 1st valve slide is removed for duration of movement; diamond-shaped noteheads indicate microtonal pitches that sound from the open 1st valve slide when the ﬁrst valve is depressed (the closest tempered pitch is notated; ﬁngerings are provided) Solemn q = 60 1 2

Trumpet in B-ﬂat

rit.

1 3

1 2

a tempo

#·

#œ œ. # œ œ & Œ #œ œ œ p cantabile 2 3

rit.

#‚ Œ N ‚ # ‚ ‚ # ‚ ‚J 3 p π 1 2

& 44 N ‚ ‚ # ‚ # ‚ π lontano

With more movement q = 66

Eric Nathan (b. 1983)

2 3

1 1 2 3

1 2

# ‚ ‚ . # ‚J # œ Œ & ‰ #œ ‚ N‚ œ F f p

2 1 3 3

q = 72 3 0

1 2 2

1 2

espr.

sub.

Solemn q = 60

rit.

1 2

1 1 2 3

Œ N‚ π

2 1 3 3

2 1 3 2

2 3

1 2

1 3

P espr. F 1 2

# ‚ ‚ ‚ ‚ # ‚1 J J

#‚. 1 3

rit.

accel. restlessly 1 2

2 1

œ œ nœ œ. œ # ‚ J 46 ‰ J‰ J JŒ 2

# ¯‚ # ‚ ‚J ‚ œ¯ ‚ . UŒ J 3 sub. p 1 2

lontano

1 2

#· # ‚ # ‚ ‚ 5

#‚ ‚. 44 ‰ 3 # œ # œ ‚ œ #œ #œ f 5 2

54 # ¯‚ # ‚ . ‚ . # ‚. UŒ J J

1 2

1 3

With more movement q = 66

# ¯‚ # ‚ ‚ 1

-‚ -‚ -‚ ‚ ‚ # ‚ ‚ # J 44 Œ 3 p F espr. 1 3

œ œ œ- . # ‚ œ- œ # ‚ œ ‚ U # ‚ ‰ J‰Œ & 43 ‰ 45 ‰ 3 p3 F p F p P p 1 2

rit.

2 0 0 2 0 0 > >œ ‚ ‚ . œ œ ‚ ‚ ‚ >œ ‚ ‚ ‚ # >œ ‚ ‚ œ3 ‚ 16 œ œ œ . # # N œ œ œ œ œ J ≈ 46 œ # œ œ # œ œ J J 45 & 44 # œ n œ # œ 45 œ œ 5 5 S più f f 5 S P f S fanfare 0

0 2

2 0

3 0

2 1 3 2

1 2

2 1 3

2 1

PERUSAL SCORE NOT FOR PERFORMANCE

- II. Elegy for a Toy Soldier Broadening 0 0

>œ . 5 &4

>œ œ #˙ J >

1 2

& 43

1 2

# >‚ ‚ ‚ f

espr. (con vib.)

‚.

# >·

# >‚ ‚ . J ç

& 45 œ π

& 44 œ . p

1 2

1 3

#œ

‚ # ‚. U Œ

# ‚1 · J

0 2

2 3

1 2

N >œ œ N ‚ J ç 0

‚

2 3

# >˙

1 2

#‚ p

Œ π

#·

œ π

#‚

1 # ‚ Nœ œ

lunga

œ ‚. U 5 Œ 4

‚ #˙ 2 3

F 3

1 # · 44

molto espr.

#œ

œ #˙ 0

‚

>‚1

Solemnly, slowly q = 50 0

2 1 3

#‚ ‚ J f

#‚ · #œ ‚. Œ ‚ # ‚ ‚j # ‚ J J p F p 1 3

rit.

‚ # ‚. U Œ ∏

44 ‰ N œ œ œ # œ # œ 5 p F

34 # ˙ .

#œ

q = 72

2 3

più

64 ‰ # œ N œ œ # œ # œ œ . #œ 5 F espr.

‚.

‚ J 1

j # ‚ # ‚J · # ‚ Œ & ‚ ‚ π lontano

espr.

1 3

·.

#· p

2 3

1 2

With more movement q = 66

˙.

#œ J p

1 3

q = 60

∑

‚ J ‰ p

#‚ # ‚ ‚ # ‚ ‚ ‚ π lontano 1

w > ƒ

#‚ ‚. # ‚ ‰ œ & N‚ N‚ p P

Solemn q = 60

#˙ 2 3

PERUSAL SCORE NOT FOR PERFORMANCE

III. Ventriloquizing Eric Nathan (b. 1983) Performance Note: Muting: A large plunger mute should be used, one that a similar diameter to the trumpet bell, not bigger or smaller. e following markings refer only to the notes to which they are assigned: + : with Plunger Mute, closed o : with Plunger Mute, open Pitches without any of the above markings should be played "Open" with Plunger Mute removed entirely.

Other notation: ‚ : diamond-shaped noteheads indicate microtonal pitches that sound from the open 2nd valve slide (the closest tempered pitch is notated; fingerings are provided) x : x-shaped noteheads indicate approximate pitch ¬ : square-shaped noteheads indicate to tap the mouthpiece with a cupped palm to create a resonant "popping" sound, while fingering the pitch indicated. It may be helpful to keep plunger mute under right arm when tapping mouthpiece. "hrmpf " : this technique produces a "hrmpf " sound. To produce, close and open the plunger mute as indicated with an extremely fast lip slur ("hiccup") between the grace-note and the lower final note of the slur so that there is not much pitch on these final two notes – the performer may touch the intervening partials in the slur. "laugh" : this technique imitates a laughing sound. To produce, begin with all three valves in a 1/4th-valve position then quickly glissando/fall away from a higher note to a lower note while moving the three valves into a 3/4th-valve (or neutral) position and moving the plunger mute from "+" to "o". ese passages may be performed ad lib. approximating the notated gestures. "tremble" : shake the trumpet quickly to create a trembling/quivering sound (similar to an extremely fast vibrato). is should not be confused with a jazz "shake" because the resulting pitches should not change. "3rd. slide gliss." : extend the third valve slide in a quick motion imitating a trombone glissando. A lip glissando may substitute for a slide gliss. for ease of performing if the performer can achieve a similar effect Conventional fingering should be used throughout the movement unless otherwise specified. e second valve slide should be removed for the duration of the movement. [Music begins on the following page]

PERUSAL SCORE NOT FOR PERFORMANCE

10 Fervently q = c 132 2nd valve slide removed for duration of movement With Plunger Mute where notated "+" or "o" above note, otherwise "Open" (Open) Fingering: 1

Trumpet in C

> 4 b & 4 œJ ƒ

œ œ

feroce

2 2 2 1 + + o o (Open) 12 12 12 12 12 3 3 3 o > > > > > > œ œ œ œ œ œ ‚ ‚ ‚ ‚ ‚ ‰ ‚ b ‚ ≈ ‚ ‚ . ‚J ‰ A œ J J æ æJ 5 5 f f ç Í ç p ƒ p

o >. & bœ f

> ‰ b & œJ ƒ

(w/plunger)

o "wa" > + o œ b œ ≈ œ ‰ œ J æ 5 p f

o3 + +1 +- + > ‰ ‚ ‰ œ œ œ ‰ ‚ 43 b œ œ J J 5 as fast as possible F p f Í double-tongue ad lib.

"wa" growl

>. 4 b &4 œ

1 +1 o (Open) 12 > > > >> > >> > ‰ ‚ œ ≈ œ ‰ œ ‰ ‚. ‰ b œ . œ ‰ ‚ œ œ ≈ œ ‰ ‚J b ‚ ‰ œ œ ≈ œ ‰ J J æ J J 5 5 f ç f f ç p f p ß5 :4 f p 1 2

3rd slide gliss. 2 2 3 3

(w/plunger)

o+ 11 & 44 b œ œ

1 2

(Open)

1 2

‚ ‰

œ J f

‰

2 3

as fast as possible Í double-tongue ad lib.

lip gliss. 2 3

‚. A‚ ‰ p

2 3

+7 ‚ 8 ‰ bœ J f f

lip gliss. 2 3

‚.

(w/plunger)

‰

o œ J f

++ + >> > œ œ ≈ œ

>o. ≈ œ J f

f +

o .

1 2

"wa"

++ + >> > œ œ ≈ œ ‰

(w/plunger)

+ ≈ ‚ ‰ œ J R π F 1 2

+ o + o + o +o ^^^^^^ ^^^^^^ b œ œ. œ. œ. œ. œ. œ œ œ œ œ œ 42 b œ œ œ œ œ œ 46 molto rit.

PERUSAL SCORE NOT FOR PERFORMANCE a tempo

& 46 Œ

- III. Ventriloquizing -

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ (1+-- 12 ) o + o 44 œ. œ. 43 œ . ( b‚ ) œ . fÍ

o+ o o+ o o+ o o+ o j j j j j j j j bœ œ ¿ ≈ ‰ œ œ ¿ ≈ ‰ œ œ ¿ ≈ ‰ œ œ¿ ‰. ¿ ¿ ¿ ¿ > > > > > 5 > > > pitch f (approx. ƒ "hiccup") ("hrmphf" sounds)

increasing excitement

1 1 1 1 (Open) o> 12 2 2 + o o > > . & 44 b œ . ‚ ‰ œJ ≈ œ œ ‰ . ‚R ‰ b œJ ≈ ‚J . f f F p f

3 +3 r oj ≈ œ ‰ œ ‰ > > ƒ

+3 j œ ‰ Œ > ç

o1 43 ‰ b œJ f

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ push in 3rd 1 3 0 3 0 3 0 3 0 3 0 3 0 slide 20 o + + o o o o + ı U o + o + o ı+ Open U ı ı & 44 N œR n œJ . ( œ ) ˙ . œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œœœ N œ œœœ œ œ œ œ n œ œ œ œ œ œ œ œ 42 œ œ œ œ Œ 48 F ƒ fÍp 3rd slide fully extended

oj + ¿j o oj + ¿j o oj + 8 & 4 œ œ . ¿j ‰ œ œ . ¿j ‰ œ œ . > > > > > f ("hrmphf" sounds)

Tap mouthpiece with cupped palm of hand fingering notated pitch

& 44 ¬ . ¬ Œ F

&Œ

‰ ‰ 42 ¬. ¬

‰

Tap mouthpiece

¬. ¬ F

j Œ ¬

(Open) 1/2 valve

1 1 1 1 1 1 o o o 3 "tremble" 3 2 2 3 3 j U + ~~~~~~~~~~~ U > > ¿ j Œ 45 b œ . ‚ ‰ œJ ‰ ‚J ≈ œJ . Œ Œ 44 œ . œJ. Œ œ 43 œ œJ. ‰ Œ 44 ¿ 5 :4 > p timidly f ƒ œ œ

1/2 valve

∑

3 4 ¬. ¬ Œ

44 œ~~~~~~~ œ. ≈ # œ œ. œ œ. ‰ œ . J J "tremble" p 1 3

1 3

11 3j3

1 3 vib.

~~~~~~~ œ œ # œ œ. œ œ. ‰ J 1 3

1 11 11 3 3j3 3j3

"tremble"

(w/plunger) Ÿ~~~~~~~~~~~~~~~~~~ o + o + o 1 1 1 1 1 1 > 2 >2 > >2 > œ (b‚ ) ‚ œ ‚ b œ ‰ Œ J 4 Í ƒ

4 4

PERUSAL SCORE NOT FOR PERFORMANCE

- III. Ventriloquizing -

13 (Open) 1/2 valve

#œ . œ . 4 œ œ œ ‰ œ. ≈ œ œ . . &4 J J p timidly

1 3

simile

œ. œ œ. ‰ Œ J J

j #œ

45 ¬ . ¬ ‰ ¬j ‰ ¬ . ¬ ‰ Œ F

Tap mouthpiece

1/2 valve

œ. œ œ. ‰ œ. ≈ œ 45 œ . J J

j #œ

1/2 valve

. œ- œ. œ- œ. 2 # œ 4 &4 ‰ J J J 4 π 1 3 simile

œ. œ. ‰ œ œ. œ œ. Œ J J

simile

1 3

& 44 œ . p

j j #œ œ

‚. ‚. ‚- -‚ ˘‚ JŒ Œ 46 ‰ J J π 2 2 2

∑

molto rall.

& 43

Slowly, raunchily q = 80

44 b œ . œ œ f growl

∑

"wa" "wa"

Fervently q = c 132 (Open)

> >U œ œ Œ

"wa" "wa"

1 2

‰ j j‰ j‰ Œ ¬ b¬. ¬ ¬ ¬ > F 3

("hrmphf" sounds) (w/plunger)

o+ o o + o o+ o 44 œj œ . ¿j ‰ œj œ . ¿j ‰ œj œ . ¿j 43 ¿ ¿ ¿ > > > f ƒ

+j o +o +o j +o ¿ ¿ j +o 54 ¿ ‰ . ¿ ‰ . ¿ ¿r ‰ . ¿j r ‰ . ¿j r ‰ . UŒ R R ¿ ¿ 5 :4 f p "Laugh" ad lib.

œ œ

1 1 1 + o 50 2 > > > . > 2 4 . œ ‰ ‚ & 4 b œJ ‰ ‚ œ ≈ œ ‰ œJ ‰ ‚J ‰ b œ J æ 5 f ç p ƒ p ß5 :4 f p 1

Tap mouthpiece 1 1 3

(w/plunger) 1 (Open)

œ œ

feroce

3rd slide gliss. 2 2 3 3

>> œ œ ≈ œ ‰ ‚J f f

2 2 2 1 o + + o o (Open) 12 12 12 12 12 3 53 3 3 o >. > > > > > > ‚ ‚ ‚ ‚ . b œ œ œ œ œ œ œ ‚ ‚ ‚ ‚ ‚ ‰ b ‚ ≈ ‰ A œ & J æJ J J æ 5 f f f ç Í 5 ç p ƒ p

++ + > >> > >> > b ‚ ‰ œ œ ≈ œ ‰ œ œ ≈ œ ‰ J 5 ƒ ç f

(w/plunger)

o "wa" > + o œ b œ ≈ œ ‰ œ J æ 5 p f

(w/plunger)

>o. ≈ œ J f

++ + >> > œ œ ≈ œ

PERUSAL SCORE NOT FOR PERFORMANCE

> ‰ b & œJ ƒ

o3 + +1 +- + > ‰ ‚ ‰ œ œ œ ‰ ‚ 43 b œ œ J J 5 as fast as possible F p f Í double-tongue ad lib.

"wa" growl

1 2

"wa" growl

>. 4 b &4 œ

- III. Ventriloquizing -

(Open) 1

1 2

‚ ‰

œ J f

o+ 60 & 44 b œ œ

‰

2 3

lip gliss. 2 3

‚. A‚ ‰ p

2 3

+7 ‚ 8 ‰ bœ J f f

lip gliss. 2 3

‚.

& 46 Œ

increasing excitement

o > & 44 b œ . f

+ o > ‚ ‰ œ ≈ œ œ ‰ . ‚ Œ J R f F

(Open)

1 2

1/2 valve 1 2 3

& bœ. p

1 2 3

œ. ‰ œ . J

1 2 3

œ. ‰ 42 J

∑

3rd slide gliss. 2 2 3 3

b‚ f

molto rit.

o+ o o+ o o+ o o+ o j j j j j j j j bœ œ ¿ ≈ ‰ œ œ ¿ ≈ ‰ œ œ ¿ ≈ ‰ œ œ¿ ‰. ¿ ¿ ¿ ¿ > > > > > 5 > > > pitch f (approx. ƒ "hiccup") 1

1 2

+ o + o + o +o ^^^^^^ ^^^^^^ b œ œ. œ. œ. œ. œ. œ œ œ œ œ œ 42 b œ œ œ œ œ œ 46

("hrmphf" sounds)

1 2

‰

+ ≈ ‚ ‰ œ J R π F

o œ J f

(w/plunger)

as fast as possible Í double-tongue ad lib.

a tempo

o .

1 2

"wa"

>‚ J ‰ ‚ ß f

2 3

j ¿

¿ >

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ ( 1+-- 12) o + o 44 œ. œ. 43 œ . ( b‚ ) œ . fÍ

3rd slide gliss. 2 3

54 >‚ ‰ b · J æ f ß

2 3

("hrmphf" sounds) (w/plunger)

o+ 54 œj œ .

o+ ‰ œj œ .

j ¿

¿ >

3rd slide 2 gliss. 3

o+ ‰ œj œ .

U >‚ ‰ Œ J ç

j ¿

¿ > ƒ

PERUSAL SCORE NOT FOR PERFORMANCE

- III. Ventriloquizing -

1/2 valve 1/2 valve

~~~~~~~~~~~~~~~~ 3 œ œ. ‰ Œ œ. Œ œ 4 J J

1 3

& œ. p

1 3

& 45 œ

~~~~~~~ œ . œj. bœ. œ œ ‰ Œ J J "tremble" j

("hrmphf" sounds) (w/plunger)

oj + 4 &4 œœ

j ¿

o oj + j ‰œ œ ¿ >

Slightly slower q = c 96

& 44 Œ

j ¿

o j ‰ ¿ >

œ œ

o+ 34 œj œ

+oj +j o +j o +j o ¿ ¿ ‰. ¿¿ ‰. ¿ r‰. ¿ r‰. ¿ R R ¿ 5 :4 f

"Laugh" ad lib.

1 3

"tremble"

¬ ¬

Tap mouthpiece 1

b¬. F

j ¿

‰

j ¬ ¬ ‰ ¬ ¬ >

o U j ‰ Œ ¿ > ƒ

1 2 3j

simile

œ. ≈ œ œ. œ œ. ‰ œ 45 J J 42

Ÿ~~~~~~~~~~~~~~~~~~~~ (1 - 12 ) b >œ . ( b‚ ) >œ œ >œ >œ >œ

+o +o +o j 54 ‰ ¿ r ‰ . ¿j r ‰ . ¿j r ‰ . Œ . ¿ ¿ ¿ 5 :4 p œ œ

1 2 3

44 b œ . p

Tap mouthpiece

b¬. ¬ F

1 2 3

∑

b >œ U 42 J ‰ Œ ç

U 44 Œ Œ ¬ b¬ > > f Tap mouthpiece