Rastos de uma Resposta

Rastos de uma Resposta (The main purpose in Rastos de uma Resposta is to bring to our perception specific traits of the Trumpet. Moreover, the piece calls for two particular techniques of the Trumpet: the natural Trumpet technique (which uses different partial tones of a common fundamental tone) and the valve-system technique (which provides the Trumpet with different fundamental notes, easily accessible). Using both techniques, the aim is to enrich the gamut of pitches of the instrument, underlining the microtonal discrepancies between them. Therefore, it is recommendable to resort to the given positions along the piece, in order to fulfil the desired effect. Furthermore, the player should restrain himself from correcting the intonation shifts, which are a direct consequence of the diverse combinations of valve positions and the overblown harmonics. [E.g.: in the first two beats of the first measure of I. Leggero, there are three different positions for the E: E (3); E (0) and E (123), the last of them already shows, as notated, the deviation it makes to the usually accepted pitch. However, every one of these pitches are different in intonation and so they should continue to be. The same is valid for all other pitches in the course of the piece]. The work is divided in four moments: I. Leggero; II. Lento, misterioso; III. Leggero, non staccato and IV. Cantabile. All the transitions between these moments are to be made at once, exception made between the second and third moments, clearly revealing the AB - A’B’ structure that underlies the piece. The first moment should always be articulated, though remaining light and flowing, only to be disturbed by the occasional punctuations. The last phrase is almost like a comeback of the begining. The second moment allows the player some freedom regarding tempo. The small respirations between the punctuated fast notes and the sustained ones should be enough to give the contrast and just enough as not to lose the sense of a cause and effect, i.e., so that they should not be perceived as separate entities. The suggested durations of the sustained notes possess a proportionality that should be regarded, even when the player should decide to opt for other amount of durations. The third moment requires a focus on the subleties of intonation of the pitches. The expression non staccato is likewise a quasi tenuto. Although the third moment comes like some kind of reminiscence of the first one, its character should be more introspective. The glissandi are to be executed by lip pressure, simultaneously assisted by a midway-pressed valve position (one that the player feels comfortable with). Also in this third moment, the player has to make use of the fundamental note – this is intended more as a contrast effect than as pitch intonation. The fourth moment is intended for the lyricism of the instrument. The sense of duration is to be infered by the player, for which should be taken into account the three previous moments. Rhythmical stiffness is to be avoided. Note: the use of a Trumpet other than the C Trumpet is reasonable. The score should be read in the same way as if it were a C Trumpet, hence the work will sound transposed.)