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Original tekst

9.28.85. Drake Mabry. Trombone sheet music. Advanced.

Oversættelse

9.28.85. Drake Mabry. Trombone noder. Avanceret.

Original tekst

9.28.85 composed by Drake Mabry. For Trombone. 20th Century. Advanced. Score. Published by Drake Mabry Productions. S0.10699. 9.28.85 was written in 1985 and the date refers to the date of completion, September 28, 1985. Excerpts of this piece are included in Benny Sluchinâs book on contemporary trombone excerpts. This work includes my invention of the idea of playing lip multiphonics. Here's the story. During the Spring of 1985 I participated in the âœl'atelier de recherche instrumentalâ department for acoustic instrument exploration at IRCAM working with Pierre-Yves Artaud. flute. , Daniel Kientzy. saxophone. and Benny Sluchin. trombone. Most of the research was based on looking at new ways to produce sound with acoustic instruments and the department was open to performers and composers. A few months after the IRCAM workshops Benny Sluchin and I decided to work on a piece for him. We worked together to explore various contemporary techniques which I might select for the piece. After a while I narrowed down my choices to a movement with air, one with lip multiphonics, and one using the spatial characteristics of the bell, singing, and sending sound out the back by an alternate F tube. Benny is great to work with as heâs a wonderful musician, anything is possible, heâs open to trying out new ideas and heâs a great human being. The perfect combination for a composer. First, about the lip multiphonics in the second movement. During one of our work sessions we looked at singing and playing multiphonics but I wanted something different. So I asked Benny what would happen if he placed his embouchure between two partials of the overtone series. The result was amazing. A number of partials sounded at the same time and the textural colors were varied and beautiful. The only problem with this was the âœwindowâ for placing the embouchure was very narrow. Slightly too high or slightly too low would result in a terribly out of tune and uncentered partial. Reminded me of what a sick cow might sound like. This difficulty was less pronounced between partials of a fifth but became more difficult when the partials were closer together. Fourths were okay but major and minor third partials were extremely difficult and risky. We decided what the heck and I wrote the second movement knowing the risks. But when the embouchure is well placed it produces such a beautiful sound. Benny mentioned that the idea had a pedagogical side benefit. He said from being able to focus on placing the embouchure in such a limited âwindowâ it made placing the embouchure for normal note much easier. My invention has been used by other composers since including Xenakis in 1986 and an Icelandic composer a couple of years later. The alternate movement come about after Benny had played the piece for a couple of years. Heâs able to get these multiphonics but realized that maybe there would not be many other players able to do so. To avoid the problem that this movement might scare players away from the piece we decided that it would be good to have an alternate movement which would use the same ideas but in a less stressful way for the performer. I thought this was a good idea and wrote, what for me, is a more meditative piece based on the same material. I also imagined that it could be played by itself if the player wished. There is a misprint in the score at the end of the first line where there appears a multiphonic based on placing the embouchure between an Eb and an A natural. The A should be an Ab. The first movement explores the subtleties of various vowel and consonant formations in the mouth while playing. Since the trombone is such a perfect amplifier these small details can be heard. For instance the difference between âtsâ and âtshâ comes off well. I think of this movement as a vocal conversation or discourse which becomes highly animated at the end. The dynamics play an important role in providing additional colors. The player should really âspeakâ without speaking for this movement to work. The third movement is my circus piece. I know it is complicated to play but the overall feeling should be one of a circus clown. With the âFâ tube replaced by a straight tube going back. keeping the tuning equal however. I could get three possible spatial dimensions. the sound out the bell, singing from the mouthpiece placement. but not into the trombone for part of the movement. , and sounds coming out the âFâ tube at the back. For the singing youâll notice that at the beginning the player never sings at the same time as he or she plays. Beginning at measure 27 when the singing and playing occur together the player will, of course, have to sing into the mouthpiece. For the recapitulation beginning at measure 69 to end the player will revert to singing as in the beginning by backing off a fraction of an inch from the mouthpiece to use the voice. But I know the piece can been done by always singing into the mouthpiece. The overall mood here should one of fun, jubilation and humor despite the hard work it takes to play this movement. Not to mention singing quarter-tones. Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play. View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. Use our iPad app to view your digital sheet music on the go. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application.

Oversættelse

9.28.85 komponeret af Drake Mabry. For Trombone. 20th Century. Avanceret. Score. Udgivet af Drake Mabry Productions. S0.10699. 9.28.85 blev skrevet i 1985 og datoen refererer til datoen for afslutningen, 28 September, 1985. Uddrag af dette stykke er medtaget i Benny Sluchinâs bog om moderne trombone uddrag. Dette arbejde inkluderer min opfindelse af tanken om at spille læbe multiphonics. Her er historien. I løbet af foråret 1985 deltog jeg i âœl'atelier de recherche instrumentalâ afdeling for akustisk instrument udforskning på IRCAM arbejder med Pierre-Yves Artaud. fløjte. Daniel Kientzy. saxofon. og Benny Sluchin. trombone. Det meste af forskningen var baseret på at se på nye måder at producere lyd med akustiske instrumenter og afdelingen var åben for udøvende kunstnere og komponister. Et par måneder efter, at IRCAM workshops Benny Sluchin og jeg besluttede at arbejde på et stykke for ham. Vi arbejdede sammen om at udforske forskellige nutidige teknikker, som jeg kunne vælge til stykket. Efter et stykke tid jeg indsnævret mit valg til en bevægelse med luft, den ene med læbe multiphonics, og én ved hjælp af de rumlige karakteristika klokke, sang og sende lyd ud på bagsiden af ​​en suppleant F rør. Benny er fantastisk at arbejde med som HEAS en vidunderlig musiker, er alt muligt, HEAS åben for at prøve nye ideer og HEAS en stor menneske. Den perfekte kombination for en komponist. Først om læben multiphonics i anden sats. Under en af ​​vores arbejde sessioner vi kiggede på at synge og spille multiphonics men jeg ønskede noget andet. Så jeg spurgte Benny, hvad der ville ske, hvis han lagde sin embouchure mellem to deltoner af overtonerækken. Resultatet var forbløffende. En række partialtoner lød på samme tid og stoflige farver blev varieret og smuk. Det eneste problem med dette var âœwindowâ for at placere embouchure var meget snæver. Lidt for høj eller lidt for lav vil resultere i en forfærdelig falsk og uncentered delvis. Mindede mig om, hvad en syg ko kan lyde som. Denne vanskelighed var mindre udtalt mellem deltoner af en femte, men blev sværere, når deltonerne var tættere sammen. Fjerdedele var okay, men større og mindre tredje deltoner var yderst vanskeligt og risikabelt. Vi besluttede, hvad dælen, og jeg skrev den anden bevægelse at kende de risici,. Men når embouchure er godt placeret den producerer sådan en smuk lyd. Benny nævnes, at ideen havde en pædagogisk sidegevinst. Han sagde, at være i stand til at fokusere på at placere embouchure i sådan en begrænset âwindowâ det gjorde placere embouchure for normal notat meget lettere. Min opfindelse er blevet brugt af andre komponister siden herunder Xenakis i 1986 og en islandsk komponist et par år senere. Den alternative bevægelse ske efter Benny havde spillet stykke for et par år. HEAS stand til at få disse multiphonics men indså, at der måske ikke ville være mange andre spillere er i stand til at gøre det. For at undgå det problem, at denne bevægelse kunne skræmme spillere væk fra det stykke besluttede vi, at det ville være godt at have en alternativ bevægelse, som ville bruge de samme ideer, men i en mindre stressende måde for den udøvende kunstner. Jeg troede, det var en god idé og skrev, hvad for mig er en mere meditativ stykke baseret på det samme materiale. Jeg har også troet, at det kunne være spillet af sig selv, hvis spilleren ønskede. Der er en trykfejl i den score i slutningen af ​​den første linje, hvor der vises en multiphonic baseret på at placere embouchure mellem en Eb og en A naturlig. A skal være en Ab. Den første bevægelse udforsker nuancerne i forskellige vokal og konsonant formationer i munden, mens du spiller. Da trombone er sådan en perfekt forstærker disse små detaljer kan høres. For eksempel er forskellen mellem ATSA og âtshâ kommer fra godt. Jeg tænker på denne bevægelse som en vokal samtale eller diskurs, som bliver meget animeret i slutningen. Dynamikken spiller en vigtig rolle i at yde ekstra farver. Spilleren skal virkelig âspeakâ uden at tale for denne bevægelse til at arbejde. Den tredje bevægelse er mit cirkus stykke. Jeg ved, det er kompliceret at spille, men den overordnede følelse bør være en af ​​en cirkus klovn. Med AFA rør erstattes med et lige rør går tilbage. holde tuning lige dog. Jeg kunne få tre mulige rumlige dimensioner. lyden ud klokken, sang fra mundstykket placering. men ikke i trombone del af bevægelsen. Og lyde kommer ud af AFA røret på bagsiden. For sang youâll bemærke, at i begyndelsen spilleren aldrig synger på samme tid som han eller hun spiller. Begyndende ved foranstaltning 27, da sang og spil optræder sammen spilleren vil naturligvis nødt til at synge ind i mundstykket. For reprisen begynder ved foranstaltning 69 at afslutte afspilleren vil vende tilbage til at synge som i begyndelsen ved at bakke væk fra en brøkdel af en tomme fra mundstykket til at bruge stemmen. Men jeg ved det stykke kan blevet gjort ved altid at synge i mundstykket. Den overordnede stemning her bør man af sjov, jubel og humor trods det hårde arbejde, det tager at spille denne bevægelse. Ikke at nævne sang kvarttoner. Digital Print er printbare noder rådighed når som helst, hvor som helst. Bare køb, print og leg. Se din online noder derhjemme, skole, arbejde eller hvor som helst du har en computer tilsluttet til internettet. Brug vores iPad app til at se dine digitale noder på farten. Med Digital Print kan du udskrive din digitale noder umiddelbart efter købet, eller vente, indtil dets bekvemme. Og vores installation software er let - vi vil guide dig gennem de enkle trin til at sikre, at du har Adobe Flash Player, Adobe AIR og Noder Plus AIR-program.