Blue Sky Catastrophe (2010) by Paul Hembree

Trumpet in C or Bb (Do not transpose)

Paul Hembree

Blue Sky Catastrophe 2010-11, Revised 2013

Take your time q.88

 1,2,3. 





  





    





  

 







 

     



  

  

 /  0      



 

Faster, in time q.96 9



    ppp





  

   

  



   

 / 

     

     0       6.

Faster yet q.112

 

        

 



mp 5.





 

ppp





 



 



sfp

 sfp

     

   



sim.

("ringing" tones)

       

  pp

  

   

  mf

     

  

     p

    sf

1. Fingerings are provided throughout for consisteny. The three circles from the top indicate valves 1, 2, & 3. A filled circle indicates a depressed valve, half filled indicates half depressed (seek out the amount of partial depression that provides maximum timbral contrast with regular tones), an open circle indicates an open valve. Lines between valves indicate gradual changes in depression. 2. Downward pointing triangular noteheads indicate pedal tones. 3. Square noteheads indicate double-buzz multiphonics (after Bruno Bartolozzi's New Sounds for Woodwind, 1967; "broken" sounds in woodwind multiphonics are indicated with square noteheads, and most often, double-buzz multiphonics on brass instruments sound "broken" as well). The top note can usually be thought of as the main pitch in double-buzz multiphonics; both notes may be considerably out of tune, which is acceptable. 4. Diamond noteheads indicate a half-valve sound with a stable pitch. 5. Trill with gradually increasing depth of valve depression on auxilliary tone. 6. The boxed "3's" with an arrow and accidental indicate adjustment of the 3rd valve slide; with a natural sign, it indicates normal position (in), with a quarter-flat sign, it indicates adjustment down (out) by a quarter-flat (after Robert Erickson's Kryl (1977)).

 25    

  

sf fp



 

 



      





    

   

 



 



      



   48                p

    

  

  





      

(e=e) q..74

      





    f



              

    

 R O  insert harmon mute with stem 35              

  

         



 

        

 

sim.



          pp

   

  

                   mf pp

          

      

sffp

sff ffp

sffp

7. Plus-signs below the staff indicate covering the stem of the harmon mute, circles below the staff indicate uncovering the stem of the harmon mute. Small noteheads serve as an extra visual cue for the adjustment of dynamics and hand-muting with the goal of producing tones that sound "distant."



  

           

sffp

sff ffp

 





 





 

 





  



    

sffp sff

sff ffp

ffp

   

          

      

  



 



 

fff



  





   

 



 

 /  0   

 /  0   

    

 



    

tongue cutoff

 

fff

Same tempo q.112

( harmon mute with stem)

 

sff ffp

  

sff ffp

sffp

         

     



(e=e) q.112

   61        

    

     





   







           





     

 

 /  0

   p

  

 f



  ff







       



     



    fff





A little slower q.96

                            

  

                

   

 

       85                            pp

fff

                  

 

   

  

remove mute

       

 



      







                  mf



  



           

   p

  



   





      

                         

 

 /  

 0



 



    

 





    

p f p

 



                       



    



fff





 

    mf

 

Faster, in time q.96 accel.

  

  

102

 /  0  





    

 

    



Faster yet q.112

                     



  107            

    fltz.

 /  0 

 



 

 /  0 112           

      

      

fltz.       118                                   fltz.

fff

sffp

   fltz.         



125



   mf



   pp



     p





       sff ffp

fff

 Take your time q.88                                         fff ppp



 

Fast q.112

     



     

 

 





   

fff

riten.



    f

    



ppp

 

  



Faster, in time q.96

  /  130           f

136



     mf

  0  

  mp



 



  

/  



     



  

     0

 



 



          





 

 