Davidson, Michael M. - An Annotated Database of 102 Selected Published Works for Trombone Requiring...

UNIVERSITY OF CINCINNATI Date:___________________

I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of:

in:

It is entitled:

This work and its defense approved by:

Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________

An Annotated Database of 102 Selected Published Works for

Trombone Requiring Multiphonics

By

Michael McKenney Davidson Bachelor of Music Education, University of Florida, 1986

Master of Education, Centenary College of Louisiana, 1994

A Research Document Presented in Partial Fulfillment of the Requirements for the Degree

Doctor of Musical Arts

University of Cincinnati College-Conservatory of Music David Vining, Committee Chair

August 2005

ii

ABSTRACT

The purpose of this document is to provide a resource from which trombone

instructors can obtain information about 102 published works for trombone that use the

avant-garde technique of multiphonics, as generated through a variety of means. This

annotated database will include general information about each published work that

includes composer, title, arranger/editor (if appropriate), publisher, copyright date,

commercial availability, range, trombone(s) required for performance, accompaniment

instrumentation required, other performance requirements (electronics, mutes, specific

venue, etc.), print quality, known misprints in the score or parts, level of difficulty, and a

synopsis of the work. It will also include specific information on the multiphonics

performance practice required such as the consonance or dissonance of the multiphonics

produced, specific intervals to be sung, resultant chords, and tessitura of played and sung

pitches. It will specify whether the performer must sing above or below the played pitch

and if multiphonics are generated in other ways besides the more traditional method of

simultaneous singing and playing, such as lip multiphonics, multiple sonorities produced

with mutes, by varying the oral cavity shape, by vowel sounds, etc. In addition to the

individual database record generated for each published composition, chapters will

include a brief explanation, history, and science of multiphonics performance practice

and an explanation of database categories. Compositions will be indexed by composer,

chapter entry, trombone(s) required, and specific multiphonic performance technique. It

is hoped that the information in this database will allow trombone professors and students

to make informed decisions about the personal performance viability of a particular work.

iv

ACKNOWLEDGMENTS

I would like to thank my supervisory committee for their input and guidance. I

would like to thank the many individuals and publishing houses that provided copies of

materials for review for this project, free of charge. I am especially grateful to Professor

David Vining, as I would not have finished this project without his support and

encouragement. I owe my mother, Yvonne Davidson, a great deal of thanks for giving me

my earliest musical training and for her prayers and financial assistance during this

educational adventure. I owe my children, Colin and Morgan, many years of attention for

the many hours, days, and even months I was away from home attending graduate school.

Finally, I owe a debt of gratitude to my wife, Amy, who moved far away from Louisiana

and supported our family while I attended graduate school full-time, played golf part-

time, and wrote this paper.

This work is dedicated to the memory of my father, Leonard F. Davidson.

Although he was not a musician, my father loved the sound of the trombone, most

especially those sounds made by one young trombonist in particular… Throughout his

life he taught me all about the significance of sacrifice, the value of patience, the

importance of perseverance, and the power of a father’s love.

v

Table of Contents

Page

Abstract ii

Acknowledgements iv

List of Musical Examples from Annotated Compositions vi

List of Figures vii

CHAPTERS

1 History and Explanation of Multiphonics Performance 1 Practice and Notation 2 Background, Significance, and Methods of Data Collection 8 3 Database Field Explanation 12

4 Database Entries: Trombone Alone 24

5 Database Entries: Trombone and Keyboard 106

6 Database Entries: Trombone in Chamber Music 136

7 Database Entries: Trombone and Recorded Sounds 195 8 Database Entries: Trombone and Orchestra 208

APPENDIX

A Works Indexed Alphabetically by Composer’s Last Name 221

B Works Indexed by Chapter and Page Number 225 C Works Indexed By Trombone Type(s) Necessary for Performance 228 D Works Indexed by Specific Multiphonic Performance Practice 232

E Publisher Contact Information 236

Bibliography 243

vi

List of Musical Examples from Annotated Compositions

Borden, Lawrence. The Conditions of a Solitary Bird, trombone and piano Example 5, page 109. Buss, Howard. Camel Music, trombone alone Example 1, page 37. Chave, George. Trombonics, trombone and piano Example 6, page 111. Dedrick, Christopher. Prelude and March, trombone alone Example 2, page 43. Frith, John. Ode to a Happy Bunny, trombone alone Example 3, page 56. Kenny, John. Sonata for Alto Trombone, trombone alone Example 4, page 71. Klein, Joseph. Goblin Market, trombone in chamber music Example 9, page 178. Krenek, Ernst. Five Pieces, op. 198, trombone and piano Example 7, page 125. White, John. Dialogues for Trombone and Piano, trombone and piano Example 8, page 133.

vii

List of Figures

Page

A. Harmonic Series for B Flat, partials one through eight 4

B. Multiphonic Combination Tone: Major Chord, Root Position 4

C. Multiphonic Combination Tone: Seventh Chord 5

D. System of Pitch Name Designation Used, From New Harvard Dictionary of Music 14

E. Notation Directions: Vinko Globokar, Discours II 21

F. Notation Directions: Howard Buss, Camel Music 22

1

Chapter One

History and Explanation of Multiphonics Performance Practice and Notation

The performance practice of creating simultaneous multiple pitches on a wind

instrument, specifically the aboriginal didjeridu,1 dates back perhaps several millennia.2

The technique is called “multiphonics,” defined in The Oxford Companion to Music, as

“sounds in which more than one distinct pitch is discernable, but produced on instruments

traditionally considered monophonic.”3 Multiphonics use in brass performance practice is

well-documented in solo and jazz literature and dates back to 1806, when Carl Maria von

Weber called for the technique in the cadenza of his Concertino for Horn, Op. 45.

Researchers note that some of the great concert band brass soloists of the late nineteenth

and early twentieth centuries employed multiphonics in their cadenzas.4

Multiphonics production is now an established extended technique for brass

instruments, used by many jazz trombonists and also employed in the standard solo

repertoire of alto, tenor, and bass trombones.

1 Jeremy Montagu, “Didjeridu” in The Oxford Companion to Music, ed. Alison Latham (New

York: Oxford University Press, 2002), 364. 2 Stuart Dempster, The Modern Trombone: A Definition of Its Idioms (Rochester, New York:

Accura Music, 1994), 95. 3 Stephen Muir, “Multiphonics” in the Oxford Companion to Music, ed. Alison Latham (New

York: Oxford University Press, 2002), 811. 4 Milton Stevens, “Vocalization - An Introduction to Avant-Garde Techniques,”Instrumentalist 28

(February, 1974), 44.

2

Nathaniel Shilkret’s trombone concerto, an unpublished work5 written for and performed

by Tommy Dorsey in 1945,6 may be the first twentieth century trombone concerto to

incorporate multiphonics as a performance practice. Luciano Berio’s Sequenza V (1966)

is cited as the first avant-garde composition to use multiphonics throughout the work.7

Different methods of multiphonics production are possible. For example, Benny

Sluchin,8 Giancarlo Schiaffini,9 and Stuart Dempster10 note the possibility of producing

multiphonics without singing, in effect “splitting” the tone between two neighboring

partials in the harmonic series; this is also called a lip multiphonic. Performing on a

double reed that is placed in the mouthpiece, substituting a woodwind mouthpiece in

place of the trombone mouthpiece, saying vowel sounds while performing, mute usage,

and changing the shape of the oral cavity have also been cited as ways of producing

multiphonics.11 It should be noted that with these techniques it is usually impossible to

execute specific, predictable intervals or chords (sometimes even specific pitches) due to

performance difficulty. In fact, Benny Sluchin states that the sounds derived from these

types of multiphonics-generating techniques differ according to each listener’s aural

5 On 15 May 2005 the author received an e-mail correspondence from James Pugh, trombone virtuoso and professor at SUNY Purchase, confirming the Shilkret estate’s wish to keep the work unpublished. At the time of this writing, Professor Pugh is the only person known to the author to actively perform this work.

6 Milken Archive of American Jewish Music; available from

http://www.milkenarchive.org/artists/artists.taf?artistid=190; Internet: accessed 16 May 2005. 7 Robin Gregory, The Trombone: The Instrument and its Music. (New York: Praeger Publishers,

1973), 144. 8 Benny Sluchin, Contemporary Trombone Excerpts - A Practical Introduction to Contemporary

Trombone Techniques (Paris: Éditions Musicales Européennes, 1995), 13-14. 9 Giancarlo Schiaffini, The Trombone - Increasing Its Technical and Expressive Capacities

(Zumikon, Switzerland: Editions Marc Reift, 1982), 20. 10 Stuart Dempster, The Modern Trombone, 9. 11 Ibid., 9-12.

3

discrimination.12

For ease and reliability of performance execution, most composers and

performers prefer multiphonics that are produced by simultaneous singing and playing.

With judicious selection of intervals, multiphonics created in this manner can reliably

produce audible chords. The exceptions to this manner of chord production are unisons,

octaves, or extreme dissonant intervals which do not produce audible chords, but produce

multiple sounds and/or change the tone color of the instrument and are also considered

multiphonics.

Dr. Hermann Helmholtz’s text, On the Sensations of Tone as a Physiological

Basis for the Theory of Music, shows mathematical formulas for the acoustical

phenomena of multiphonics.13 These formulas identify the two pitches sounded together

as “generating tones” and specify the generating tone’s intervallic relationship according

to mathematical ratios applicable to the harmonic series of brass instruments. By

applying these ratios, the listener can predict the “combination tones.” These tones, also

referred to by scholars as “resultant tones,” are created by the sum and difference of the

sounding wavelength frequencies, and are called summation tones (the sum of the two

frequencies added together) and difference tones (the difference between the two

frequencies). Other researchers caution that these combination tones occur only when

each generator pitch is sounded in a like, preferably loud, volume.14

One can also accurately predict combination tones by using harmonic series

12 Benny Sluchin, Contemporary Trombone Excerpts, 14. 13 Hermann Helmholtz, On the Sensations of Tone as a Physiological Basis for the Theory of

Music, 2ed. (1885; reprint New York: Dover Publications, 1954), 152-156. 14 T. F. Stuart Harris, Handbook of Acoustics, 9th ed. (London: J. Curwen and Sons, 1913), 131.

4

partial numbers instead of wavelength frequencies. The harmonic series of B flat, partials

one through eight, is listed as an aid for the combination tone figures that follow.

Figure A. Harmonic series for B flat, partials one through eight

For Multiphonic Combination Tone Figure B, if one sounds two pitches together,

B flat (normal note head, called p1) and f (square note head, called p2), the interval is a

perfect fifth. The place in the harmonic series where the interval of the perfect fifth

initially occurs is between partials two and three. Adding the two harmonic series partial

numbers together (p1 + p2) will give the summation tone, and subtracting the two

harmonic series partial numbers (p2 – p1) will give the difference tone. The summation

tone (x-shaped note head) will be 2+3, or the fifth partial in the harmonic series (in this

case, d'), and the difference tone (diamond-shaped note head) will be 3-2, or the first

partial in the harmonic series (in this case B flat1). Thus, the possible sounding pitches

would be B flat1, B flat, f, and d', a major chord in root position, as seen below. For most

listeners, the difference tone B flat1 would most likely be obscured by the played B flat.

Figure B. Multiphonic Combination Tone: Major Chord, Root Position

In Multiphonic Combination Tone Figure C, a seventh chord can be sounded by

playing and singing the interval of a tenth. This illustration shows the played and sung

5

pitches, as well as the summation and difference tones, by using the same note shapes as

before.

Figure C. Multiphonic Combination Tone: Seventh Chord

The played and sung partials B flat and d' (two and five in the harmonic series of B flat,

respectively) will give the summation tone a flat' (seven in the harmonic series), and the

difference tone f (three in the harmonic series).

The summation and difference tones produced are called first order resultant

tones. These resultant tones themselves also produce other resultant tones which can be

figured mathematically past the first order, but scholars note that resultant tones beyond

the first order are difficult for most humans to discriminate.15

Twentieth century research, with the aid of previously unavailable technologies,

confirms earlier research on the acoustical phenomena that account for multiphonics.

Richard Bowles’s paper on multiphonics submits oscilloscope confirmation of the

“physical reality” of resultant tones.16 Sluchin’s research offers spectroscopic evidence of

the same.17

Multiphonics created by simultaneously singing above the played note are easier

15 Benny Sluchin, “Playing and Singing Simultaneously on Brass Instruments,” Brass Bulletin-

International Brass Chronicle 37 (1982) 21. 16 Richard W. Bowles, “Multiphonics on Low Brass Instruments,” The Instrumentalist 34

(October 1979), 56-57. 17 Benny Sluchin, “Playing and Singing Simultaneously on Brass Instruments,” 23-27.

6

to produce for most performers than those produced by singing below the played note.

They are also easier for most listeners to hear, no doubt because of inherent balance

issues. Indeed, Sluchin’s spectroscopic evidence shows weaker combination tone

intensity when inverting the sung/played pitches.18

Which combination tone is easiest to hear is open to scholarly debate. Some

researchers assert that the difference tone is easiest to hear,19 while others seem to imply

the reverse.20 Hector Berlioz wrote of a trombonist he met during his travels in Germany

who was able to produce a four-note seventh chord on the trombone,21 showing that it is

possible to discern both summation and difference tones equally well. Undoubtedly the

medium by which the combination tones are produced, the performer’s acumen, and the

ears of the individual listener are determining factors here, as in all types of multiphonics

production.

Despite the fact that multiphonics production is an established performance

practice, many pedagogical essays and texts provide incomplete, inaccurate, or even no

instructions for producing multiphonics, which can lead to misunderstandings and flaws

in performances and compositions. Denis Wick centers his description of the “somewhat

freakish effect” of multiphonics on the chordal spectrum, essentially neglecting dissonant

multiphonics.22 Robert Mueller’s chorales are inaccurate according to mathematical

18 Benny Sluchin, “Playing and Singing Simultaneously on Brass Instruments, 25. 19 Charles Culver, Musical Acoustic, 3d ed. (New York: The Blakiston Company, 1951), 52. 20 Richard W. Bowles, “Multiphonics on Low Brass Instruments,” 52-57. 21 Hector Berlioz, The Memoirs of Hector Berlioz, trans. and ed. David Cairns (New York: Alfred

A. Knopf, 2002), 276-277. 22 Denis Wick, Trombone Technique (London: Oxford University Press, 1980), 68.

7

formula,23 and Jerome Procter’s edition of Cornette’s Method for Trombone includes the

chapter “Simultaneous Chords” that makes no mention of summation tones.24 Donald

Appert’s “A Progressive Study on Multiphonics” gives inaccurate and incomplete

information on resultant tone possibilities with respect to both summation and difference

tones.25

There is no standard way of notating sung/played multiphonics and in most music

the summation and difference tones are not notated.26 The composer may simply notate

the pitches to be played and sung the same way with the instructions “sing” or “hum”

written in the music. In most instances, however, composers will employ different note

head shapes to notate the vocalized pitches, including diamonds, triangles, squares, by

placing a dot inside a white note head, with an “x,” or some other type of notation. For

performer assistance, there is a notation key provided with almost every work involving

avant-garde techniques like multiphonics to identify and explain notation.

23 Robert Mueller, Technical Studies for Trombone, vol. 2 (New York:

Carl Fischer, 1944), 58.

24 Jerome Procter, editor, V. Cornette’s Method for Trombone (New York: Carl Fischer, 1937), 119.

25 Donald L. Appert, A Progressive Study on Multiphonics (Newton, Iowa: TAP Music Sales, 1988). ii.

26 John Griffiths, Low Brass Guide, 2d ed. (Roswell, Georgia: E. Williams Music Publishing Company, 1991), 107-108.

8

Chapter Two

Background, Significance, and Methods of Data Collection

Many types of trombone literature bibliographies and databases exist, yet these

paint the literature in broad brush strokes insofar as multiphonics are concerned.

Examples of this type of database include brass pedagogy methods by Scott Whitener (A

Complete Guide to Brass, 2d ed.) and Norman Hunt and Dan Bachelder (Guide to

Teaching Brass, 5th ed.), or the more instrument-specific texts of Robin Gregory (The

Trombone: The Instrument and its Music), John Griffiths (Low Brass Guide, 2d ed.),

Buddy Baker (The Tenor Trombone Handbook), Marta Hofacre (Teaching Collegiate

Trombone Or, What I Did Anyway...) and Denis Wick (Trombone Technique). These

texts include lists, bibliographies and appendices which provide titles, composers and

publishers of trombone literature, and sometimes specific instrumentation (with regard to

chamber music). While helpful, these reference guides make little or no mention of any

specific performance techniques required.

Scholarly materials on multiphonics exist, but they most often advance

pedagogical aspects or focus on performance practices necessary for selected works. For

example, the pedagogical texts of Robert Mueller (Technical Studies, volume 2), Bill

Watrous and Alan Raph (Trombonisms), and Giancarlo Schiaffini (The Trombone:

Increasing its Technical and Expressive Capabilities) simply give readers instructions on

how to produce multiphonics. Marc LaChance’s thesis outlines a methodical, specific

pedagogical approach for developing multiphonics technique but includes only a

selective listing of solo literature and method books containing exercises to facilitate

9

multiphonics production.27 Milton Stevens illustrates only selected works in his research,

and, since his objective is cataloging and explaining avant-garde trombone performance

techniques, not all of the selected works require multiphonics.28 Similarly, Benny

Sluchin’s text on extended trombone techniques offers selective solo examples, not all of

which require multiphonics in performance practice.29

Other extant trombone literature-related databases address multiphonics only

peripherally. For example, French Music for Low Brass Instruments, by J. Mark

Thompson and Jeffrey Lemke, addresses multiphonics only in French pieces that “require

the performer to sing above the played note,”30 thus omitting any non-French literature,

or works incorporating multiphonics generated in other fashions. Cason Duke’s

document lists pieces that incorporate multiphonics in context with at least one other

theatrical element31 and does not detail specific multiphonics performance practices

requirements in the cited works. Bruce Tychinski lists non-specific multiphonics

performance practice techniques in his annotated guide of trombone choir literature.32

Robert Kehle’s text simply cites the non-specific “multiphonics” when annotating alto

27 Marc H. LaChance, “Trombone Multiphonics: A Method” (MM thesis, Bowling Green State

University, 1994), 10-19. 28 Milton Stevens, “New Techniques Required to Perform Recent Music for the Trombone” (DMA

doc., Boston University, 1976). 29 Benny Sluchin, Contemporary Trombone Excerpts: Practical Introduction to Contemporary

Trombone Techniques. (Paris: Éditions Musicales Européennes, 1995). 30 John Mark Thompson and Jeffrey John Lemke, French Music for Low Brass Instruments

(Bloomington, Indiana: Indiana University Press, 1994), 9. 31 Cason A. Duke, “A Performer’s Guide to Theatrical Elements in Selected Trombone Literature”

(DMA doc., Louisiana State University, 2001), 5. 32 Bruce Tychinski, “An Annotated Guide to Trombone Choir Literature” (DMA Doc., University

of Kansas, 2001), 9.

10

trombone literature.33

Even bibliographies which differentiate between methods of multiphonics

production omit tessitura and performance practice specifics. Willford Kimball’s

documentation of alto trombone literature, for example, is specific with regard to

performance practice requirements, but omits range parameters in both sung and lip

multiphonics, does not specify if the multiphonics are tonal, and omits mention of

specific resultant tones.34

Like its predecessors, this annotated database will include information listing the

following items: composer, title, arranger/editor (if appropriate), publisher, copyright

date, commercial availability, range, instrument(s) required, accompaniment

instrumentation required, other performance needs required (electronics, mutes, and so

forth), print quality, level of difficulty, and a synopsis of the work. It will differ from

other annotated databases in that it will include specifics on the multiphonics

performance practice required: multiphonic intervals to be sung, ranges of played and

sung pitches, if the multiphonics are consonant or not, resultant chords/dissonances, if

vocalization below the played pitch is required, use of lip multiphonics, and so forth.

Furthermore, this document will allow trombone professors and students to make

informed decision about the personal performance viability of a particular work with

regard to multiphonics method of production, and tessitura.

The collection of data has been multi-faceted. First, existing databases (both

previously cited works as well as others listed in the bibliography) were perused and

33 Robert Kehle. Alto Trombone Literature: An Annotated Guide. (Coventry, England: Warwick Music Limited, 2003).

34 Willford Kimball, “Alto Trombone Solo Literature: An Annotated Bibliography” (DMA doc.,

Arizona State University, 2001).

11

specific pieces that referenced multiphonics as a performance practice technique were

pulled for examination.35 On-line research, as well as visits to Hickey’s Music, Ithaca,

New York, and to the Eugene Grissom Trombone Library at the University of Florida for

on-site perusal of resources yielded works for inclusion.36 Finally, e-mail and personal

correspondence with trombone professors at national and regional institutions generated

pieces for inclusion.

35 There are 102 published works included in this database. Other published works that incorporate

multiphonics but are not listed in this annotation are: Holmboe, Vagn. Concerto; Maros, Miklos. Concerto; Másson, Áskell. Kadenza. At the time this document was submitted the author was unable to secure copies of these works, either through Ohio-Link inter-library loan or by retail purchase.

36 These places were chosen by the author due to volume of available materials. Hickey’s Music

Center has well-established real and virtual store-fronts. Indeed, it may be argued that Hickey’s has the largest retail selection of trombone literature available in the United States. Similarly, the Eugene Grissom Trombone Library at the University of Florida, Gainesville, Florida, has, over a span of more than twenty years, collected and catalogued over four hundred published works.

12

Chapter Three

Database Field Explanation

Each piece listed in the database has eighteen fields used to detail various aspects

of the included work. These fields are explained below. Following the field explanations,

an explanation of various extended techniques and notation is provided.

Composer: This field lists the name of the composer, beginning with last name.

Title: This field gives the complete title of the work, including any applicable

opus numbers.

Publisher: This field includes the name, city, and country of the publishing house

that publishes the work. If the publishing house is in the United States of America, the

city and state will be listed. If one publishing house sells the copyrights to another, this

will be shown in this database field as well.

Copyright Date: This field lists the copyright date as stated on the music being

reviewed.

Copy Quality: This field shows the copy quality of the work being reviewed. A

field listing of “manuscript” signifies a score and parts written out by hand. A field listing

of “computer quality” denotes a score and parts produced on a personal computer system

using a commercially-available music notation program such as Finale® or Sibelius®. A

field listing of “offset” indicates a score and parts produced from a large scale publishing

house.

Availability: This field specifies whether or not a work is currently available

from the publisher or is listed in the publisher’s catalog as permanently out of print.

13

Difficulty: This is certainly a subjective field as no universally-accepted grading

standards exist. The following factors were considered in establishing difficulty ratings:

overall range, notation, number of extended techniques required, number of clefs used,

amount of multiple tonguing required, multiphonics demands, etc. The levels listed are as

follows:

Medium - playable by a competent high school trombonist

Medium-advanced - playable by a competent first or second year undergraduate

trombonist

Advanced - playable by a competent upper level undergraduate student or

master’s level graduate student

Professional - extremely difficult, playable by only the most advanced performers

Trombone(s) used: This field indicates, according to range or special technique

required, what type of trombone, or combination thereof, is required for performance.

Fields listed shall be “alto,” “tenor,” “tenor-bass” (for pieces requiring tenor trombone

fitted with an F-attachment), and “bass.”

Instrumentation: This field states “trombone alone” for all unaccompanied

works. Accompanied pieces are listed according to accompaniment instrument type, for

example “trombone and piano,” or “trombone and organ.” Required accompaniment

instrumentation is listed here as well, including all necessary electronic equipment.

14

Overall Range: This field lists the lowest and highest played notes required in

the work. They are listed according to the first system of pitch name designation in the

New Harvard Dictionary of Music, as seen below.37

C2 — B2 C1 — B1 C — B c — b c' — b' c" — b"

Figure D. System of Pitch Name Designation Used, From New Harvard Dictionary of Music

Clefs: This field lists all clefs incorporated in the trombone part, including bass,

tenor, alto, treble, etc.

Mutes: This field lists all trombone mutes or muting techniques required for

performance, including straight mute, cup mute, harmon mute, bucket mute, plunger

mute, whisper mute, derby mute (otherwise known as a “hat”), and hand-muting.

Multiphonic Type: This field lists the multiphonics types required in the

catalogued work. Multiphonics can create consonant sounds or dissonant sounds. As

mentioned in a previous chapter, these are most often produced by simultaneous singing

and playing into the trombone, creating two generating pitches which then produce

combination tones (referred to individually as summation and difference tones). In this

paper a “consonant” designation refers to any multiphonic that will produce recognizable

chords according to mathematical formula. “Dissonant” designates any multiphonic that

will produce beats, rather than recognizable chords. Where simultaneous singing and

37 Don Michael Randel, ed., The New Harvard Dictionary of Music, (Cambridge, MA: The

Belknap Press of the Harvard University Press, 1986), 640.

15

playing is done at the unison or octave no audible combination tones are created, yet the

intervals are noted in the database. Multiphonics created through simultaneous singing

and playing will be listed in the database as follows:

1. Consonant, sung notes written above played notes

2. Consonant, sung notes written in unison or above played notes

3. Consonant, sung notes written above and below played notes

4. Dissonant, sung notes written above played notes

5. Dissonant, sung notes written in unison or above played notes

6. Dissonant, sung notes written in unison or below played notes

7. Dissonant, sung notes written above and below played notes

8. Dissonant, sung notes written in unison, above, and below played notes

9. Combination consonant and dissonant, sung notes written above played notes

10. Combination consonant and dissonant, sung notes written in unison or above

played notes

11. Combination consonant and dissonant, sung notes written above and below

played notes

12. Combination consonant and dissonant, sung notes written in unison, above,

and below played notes

13. Indeterminate, sung notes written above and below played notes

14. Indeterminate, sung notes written in unison or below played notes

15. Indeterminate, consonant and/or dissonant, sung notes written in unison,

above, and below played notes

16

16. Indeterminate and dissonant, sung notes written in unison, above, and below

played notes

17. Indeterminate, sung notes written in unison, above, and below played notes

The designation “consonant” or “dissonant” is determined by the sounding multiphonic

alone. Thus, a multiphonic may be consonant by mathematical formula, yet not sound

consonant within the overall musical framework.

Multiphonics can be created by forcing the embouchure to buzz two different

pitch frequencies at the same time. To accomplish this, the performer must buzz between

two neighboring partials in the harmonic series. Stuart Dempster asserts that successful

execution of this technique allows “elements of both partials” to sound, and labels this

kind of multiphonic a “split tone” multiphonic.38 Scholars also refer to this type of

multiphonic as a “lip multiphonic,”39 and the database lists “lip” for any multiphonic of

this type.

Dempster writes that multiphonics can be achieved through the insertion of a

mute into the trombone bell, by change of oral cavity shape, or by use of vowel sounds.40

If a composer requires any of these techniques, the database will list these as “sound

alteration via mute,” “sound alteration via oral cavity shape,” or “sound alteration via

vowel sounds.”

Multiphonic Range: This field lists the lowest and highest pitches used in

38 Stuart Dempster, The Modern Trombone: A Definition of Its Idioms, (Rochester, New York:

Accura Music, Inc., 1994), 9. 39 Benny Sluchin, Contemporary Trombone Techniques, (Paris: Éditions Musicales Européennes,

1995), 13-17. 40 Demspter, The Modern Trombone, 12.

17

multiphonic performance, listed in two categories: played pitches (“played range”), and

vocalized pitches (“vocal range”). Where only lip multiphonics are required for

performance, the vocal range has been omitted.

Intervals: This field lists the intervals required in the multiphonic portion of the

work, expressed as the number of scale degrees between the two pitches in accordance

with the New Harvard Dictionary of Music.41 The words “second,” “third,” and so forth

will be used without regard to interval quality.

Chords listed: This field notes the chords produced via use of summation tones

and difference tones, as a consequence of simultaneous singing and playing certain

intervals listed in the “interval” field. It will list major, minor, diminished, and seventh

chords, as well as the type of inversion in which the chord occurs (root position, first

inversion, second inversion). Multiphonics which produce dissonances will be listed as

such and the use of multiphonic microtonal intervals or multiphonics employed in

aleatoric scoring will be listed as “indeterminate intervals.” Although lip multiphonics are

notated by showing specific intervals, “indeterminate chords” are listed on the database

entry, as according to Sluchin, the listener’s perception determines what is actually heard

- an interval, low pitches, or a “sensation” of indeterminate sounds.42

Dedication: Where known, this field lists the person, persons, or entities who

commissioned the work, and/or to whom the work is dedicated.

Overview: This field provides a brief overview of the work, including a

discussion of other extended techniques required for performance, a description of the

41 Don Michael Randel, ed., The New Harvard Dictionary of Music, 399. 42 Benny Sluchin, Contemporary Trombone Excerpts, 14.

18

formal structure of the piece (where necessary), compositional techniques employed,

unusual notation, etc. Techniques unique to a single specific work in the database will be

defined in that work’s overview section. A definition of extended techniques and notation

used in more than one database entry is listed below.

Circular breathing - As defined by the Harvard Dictionary of Music: “a technique

employed in the playing of wind instruments, especially Western and non-

Western woodwinds. The mouth is used to maintain a continuous stream of air

through the instrument in such a way as to permit the player to draw breath

through the nose.”43 In practice, the cheeks are filled with air and act as the

muscles usually used during exhalation, thus allowing the performer to take quick

and usually shallow breaths through the nose.

Continuous Slap Tongue - A technique defined by Stuart Dempster as being louder and

different from regular flutter tonguing as the tongue will flutter while placed

between the performer’s lips.44

Cross-harmonic glissando - A glissando effect that involves motion of the slide while

ascending or descending over different partials in several harmonic series.

Cross-harmonic note repetition - A technique whereby the performer is

required to play the same pitch while rapidly moving the slide back and forth

between two or more positions. Scholars also refer to this technique as a

“harmonic glissando.”45

43 Don Michael Randel, ed., Harvard Dictionary of Music, 170. 44 Dempster, The Modern Trombone, 38. 45 Thomas Senff, “An Annotated Bibliography of the Unaccompanied Solo Repertoire for

Trombone” (DMA doc. University of Illinois at Urbana-Champaign, 1976), 8.

19

Doodle tonguing - A tonguing technique for fast legato tonguing and

jazz articulation used by jazz trombonists such as Bill Watrous and

Carl Fontana, where the articulation is “doo-dl-oodl-oo-dle.” The

technique is also articulated as “da-dle-a-dle,” as shown in the

Watrous/Raph method Trombonisms.46 This database refers to all

variations of this type of articulation as “doodle tonguing.”

Flutter tonguing - A type of articulation where, according to the New

Harvard Dictionary of Music, “the tongue is fluttered or trilled against

the roof of the mouth, just behind the front teeth.”47

Glissando - A technique defined by the New Harvard Dictionary of Music as “a

continuous or sliding movement from one pitch to another.”48 The trombone can

produce glissandi in a continuous motion by incorporating notes in the same

partial of the harmonic series that occur chromatically from positions 1 to 7, and

the reverse. In some trombone literature, this effect is also referred to as a

portamento. Although scholars indicate portamento is the more correct definition

of the technique, is not seen as frequently in the literature.49

Graphic notation - Notation defined in the New Harvard Dictionary of Music as “visual

materials other than conventional music notation (though sometimes combined

with conventional notation) by means of which a composer instructs, guides, or

46 Bill Watrous and Alan Raph, Trombonisms, (New York: Carl Fischer, 1983), 23. 47 Don Michael Randel, ed., The New Harvard Dictionary of Music, 863-864. 48 Ibid., 342. 49 Senff, “An Annotated Bibliography of the Unaccompanied Solo Repertoire for Trombone,” 8.

20

merely hopes to inspire or motivate the activities of performers.”50 Usually the

composer requires some sort of aleatoric or otherwise improvisatory performance

aspect when using this notation. For example, a shape can be drawn showing the

melodic contour of the pitches to be played without actually notating the specific

pitches. Non-traditional note heads may also be employed to indicate different

sounds, such as singing or speaking through the instrument. Expanded beaming,

also called “feathered beaming,”51 can indicate an increase or decrease in

articulation speed or tempo accelerando or ritardando. A line after a note can

indicate a timed (proportional) event. Graphic notation is non-standard, leaving

the composer the freedom to use virtually any symbols he/she wishes. If this type

of notation is used, there will invariably be a key of performance instructions

explaining in detail what the notation indicates. While inclusion of the actual

performance keys for each individual piece is not within the scope of this

database, each technique required will be listed in the overview section. For

reference, two representative examples of composer’s notation keys are reprinted

on the following pages.

50 Don Michael Randel, ed., The New Harvard Dictionary of Music, 346. 51 John Mark Thompson and Jeffrey Jon Lemke, French Music for Low Brass Instruments,

(Bloomington, Indiana: Indiana University Press, 1994), 8.

21

Figure E. Notation Key: Vinko Globokar, Discours II.52 © Copyright 1969 by C.F. Peters Corporation. On behalf of Henry Litolff’s Verlag. All Rights Reserved.

52 Vinko Globokar, Discours II, (Glendale, NY: C. F. Peters Corporation, 1969), “Explanation of Symbols” page. © Copyright 1969 by C.F. Peters Corporation. On behalf of Henry Litolff’s Verlag. All rights reserved. Used by permission of C. F. Peters Corporation.

22

Figure F. Notation Key: Howard Buss, Camel Music.53

Howard J. Buss, Camel Music, (Baltimore, Maryland: Smith Publications, 1976), 3. © Copyright 1976 by Smith Publications. Harmonic series glissando - A technique that involves no slide motion while rapidly

ascending or descending through partials in the same harmonic series. This is in effect a very rapid lip slur.

Multiple tonguing - As defined by the Oxford Companion to Music, a type

of brass articulation done to “permit the non-legato execution of more rapid

passages of music and facilitate the repetition of notes far more rapidly than is

possible with single tonguing.”54 A variety of syllables beginning with “t-k” or

53 Howard J. Buss, Camel Music, (Baltimore, Maryland: Smith Publications, 1976), 3. ©

Copyright 1976 by Smith Publications. All rights reserved. Used by permission of Smith Publications, 2617 Gwynndale Ave., Baltimore, MD 21207.

54 Stephen Muir, “Tonguing” in The Oxford Companion to Music, ed. Alison Latham (New York:

Oxford University Press, 2002), 1281.

23

“d-g” constitute the technique needed for double tonguing. A variety of syllables

beginning with “t-t-k,” “t-k-t,” “d-d-g,” or “d-g-d” constitute the

technique needed for triple tonguing.

Slap-tongue - A technique that is defined by the Irish trombonist, composer, and

pedagogue John Kenny as being “produced by sending a percussive shock of air

through the instrument without allowing the embouchure to vibrate.

The resultant pitch is always the fundamental of any given position.”55

Theatrical instructions - Instructions of any type normally associated with the stage

including any extra-musical gesture specified by the composer, or optional to the

performer. Examples of theatrical instructions include role playing, staging

instructions, keeping time with one’s feet, spoken dialogue, gestures, lighting,

costume, and extra-musical props.

Tongue-Stop - A performance requirement whereby the performer must stop the air

stream by placing the tongue between the teeth and into the embouchure, thereby

stifling all air flow and embouchure vibrations and producing a percussive effect.

In each annotation in the following chapters, all text in quotation marks indicates quotes

as taken from the performance score of that annotated work.

55 John Kenny, Sonata for Alto Trombone, (Warwick, England: Warwick Music, 1994),

performance notes page.

24

Chapter Four

Database Entries: Trombone Alone

Composer: Alsina, Carlos Roqué

Title: Consecuenza

Publisher: Bote and Bock, Berlin, Germany

Copyright Date: 1969

Availability: currently in publication

Copy Quality: offset

Difficulty: professional

Trombone(s): tenor-bass

Instrumentation: trombone alone

Overall Range: F sharp1 - f"

Clefs: bass, treble

Mutes: metal plunger

Multiphonic Type: combination consonant and dissonant, sung notes written above


Multiphonic Range: vocal range: c - d': played range: F - g flat'

Intervals: seconds, thirds, fourths, fifths, sevenths

Chords: major chords, root position; diminished chords; dissonances

Dedication: N/A

Overview: This work is atonal and through-composed. In addition to multiphonics, the

performer must sing specific syllables, sing and modulate (high and low) consonant

sounds to mimic electronic white noise, and perform slide vibrato, glissandi, trills, and

flutter tonguing. Absolute control of a wide range of dynamics throughout the range of

25

the trombone is required for performance. A metal plunger is required for percussive

effects. The performer must also perform foot taps, and the piece specifically

recommends that sand be placed under the performer’s feet in order to make a specific

sound when grinding the sole of the shoe into the ground. Percussive effects performed

on the mute or executed with the foot are written (using graphic and traditional notation)

in combination with pitch indications on a two or three line score, depending on what is

required. Meter signatures are not used, but metronome markings are indicated, and the

performance notes indicate that each measure should be roughly divided into three

“beats,” according to the notation given.

The multiphonics are usually combined with another technique, either flutter

tonguing (possibly),56 glissandi (in both parallel and contrary motion), or both. Specific

resultant intervals/chords are difficult to predict because of the use of glissandi, and

because the sung/played notes do not always precisely coincide in the measure. The

multi-tasking required, as well as the range, wide intervals, and extended techniques

make this a piece suitable for the professional soloist.

56 Milton Stevens, in his DMA dissertation “New Techniques Required to Perform Recent Music for the Trombone,” (pp. 95-96) asserts that Alsina did not mean to require flutter tonguing while performing multiphonics, citing Vinko Globokar’s Deutsche Grammophone recording #137005 as aural proof. Nevertheless, he concedes that the conventional symbol for flutter tonguing is used on both sung and played note stems, and not explained by Alsina. He cites the “curious interference or beat effect of both frequencies traveling through the trombone simultaneously” as a possible reason one may hear flutter tonguing/flutter tonguing effect in these passages. This assertion would validate other scholarly assertions that multiphonics were used by some performers to augment growls and flutter tongues.

26

Composer: Appert, Donald

Title: Query

Publisher: TAP Music Sales, Newton, Iowa



Copy Quality: manuscript

Difficulty: advanced



Overall Range: A flat1 - e"

Clefs: bass, tenor, alto

Mutes: straight

Multiphonic Type: combination consonant and dissonant, sung notes written in unison or

above played notes

Multiphonic Range: vocal range: c sharp - f'; played range: F - c'

Intervals: unisons, seconds, thirds, fourths, fifths, sevenths, octaves, tenths

Chords: seventh chords; diminished chords; dissonances

Dedication: written for Ronald Barron

Overview: This very difficult piece requires a tenor-bass trombone and incorporates

many and varied meter signatures, clef changes, and wide intervallic leaps. The work is

rhythmically complex, uses extreme and sudden dynamic contrasts, and the multiphonics

are employed in both chordal and melodic (polyphonic) ways. Some measures employ

alternating patterns of sung and played pitches, a demanding technique. Manuscript is

readable, but differentiating between round and square note heads is often problematic.

Square note heads indicate sung pitches.

27

Composer: Asia, Daniel

Title: Dream Sequence 1

Publisher: Merion Music, distributed by Theodore Presser Company, King of Prussia,

Pennsylvania







Overall Range: B flat1 - c"

Clefs: bass, treble

Mutes: plunger

Multiphonic Type: combination consonant and dissonant, sung notes written in unison,


Multiphonic Range: vocal range: B - f sharp'; played range: F - f sharp'

Intervals: unisons, seconds, fourths, fifths, sevenths, ninths

Chords: dissonances; major chords, root position

Dedication: William Cross

Overview: This work, a through-composed piece for amplified trombone, incorporates

many theatrical elements, some of which are required and some of which are left to the

performer’s discretion (e.g. lighting, costume). The two pages of explanations include

notation, performance venue preparation instructions and performance and program

28

notes. The performer communicates with the audience (in both intelligible and quasi-

intelligible manners) by using both words and nonsense/jazz scat syllables. The phrase

“But did the piece really have any...?” is heard several times throughout the work.

In addition to multiphonics, the piece requires flutter tonguing, glissandi, multiple

tonguing, quarter-tone pitch gradations, cross-harmonic note repetition, plunger work,

valve trills, and pinpoint accuracy in trigger technique. Wide leaps occur throughout this

work. The F-attachment tuning slide is left out throughout the work, resulting in “echo”

effect sounds.57 Asia notates pitches to be played through the open F-attachment by

placing a “+” symbol above them. There are aleatoric aspects involved in this piece, as

found in sections using random note selections and in improvised sections. These

aleatoric aspects are performed under the composer’s fairly specific instructions and

controls, especially in the improvisatory sections. Graphic and traditional notations are

used, with additional three-line staves used to indicate tessitura of spoken/sung words or

syllables. Percussive effects are made by striking the bell, smacking the lips, stomps, etc.,

and quick alternation between played, vocalized and percussive sounds is often required.

Time is notated proportionally, in seconds, or in metronome markings. Time signatures

are not used. Plunger mute degree of openness is notated graphically.

The multiphonics appear to be mostly for dissonant effect and frequently occur in

conjunction with glissandi. In one instance the performer must sing while inhaling. The

overall techniques and coordination of the same as required make this a formidable piece.

57 There is one written E flat that must be played via false harmonics since the F-attachment tubing

is removed. Benny Sluchin appears to do this during a recorded performance of this work, which can be heard on the 2005 Summit Records compact disc recording Solos: Solo Works of Daniel Asia, DCD 422.

29

Composer: Baxley, Wayne

Title: Ronald McDifficult

Publisher: Clark-Baxley Productions, Sacramento, California; sold by TAP Music Sales,

Newton, Iowa



Copy Quality: computer

Difficulty: medium-advanced



Overall Range: Gl - b'

Clefs: bass

Mutes: none

Multiphonic Type: consonant, sung notes written above played notes

Multiphonic Range: vocal range: a - e flat'; played range: F - e

Intervals: sixths, tenths, elevenths

Chords: major chords, second inversion; seventh chords

Dedication: N/A

Overview: This work is presented in three sections and is fairly easy to negotiate.

Multiphonics are all consonant in nature. Range and rhythms are not extreme, although

notes in the pedal register are required. The multiphonic notation used is the same for

both the played and sung pitches, but written instructions convey the composer’s intent

very well. In addition to multiphonics, the composer employs mixed meter signatures,

sudden dynamic changes, a glissando, and a lip trill in the work.

30

Composer: Berio, Luciano

Title: Sequenza V

Publisher: Universal Edition Ltd., London





Trombone(s): tenor


Overall Range: Al - f"

Clefs: bass, treble

Mutes: metal plunger



Multiphonic Range: vocal range: d flat - a flat'; played range: E - a flat'

Intervals: unisons, seconds, thirds, fourths, sixths, sevenths, ninths, twelfths,

indeterminate intervals

Chords: major chords, root position; major chords, second inversion; augmented chords;

incomplete seventh chords; dissonances

Dedication: “to the memory of Grock (Adrien Wettach)” Overview: Berio conceived this work as a musical essay on the different public and

private personas of Adrien Wettach (Grock the clown). It uses proportional and graphic

notation throughout; measures are indicated, but refer to amount of musical material that

one must perform in one breath. Graphic notation is used to indicate melodic contour as

well as degree of openness of the plunger mute, which is employed throughout the work.

31

Percussive sounds are required, and the soloist often must hit the bell of the instrument

with the metal plunger mute. Numbers indicate dynamic levels. Through-composed, it

permits optional theatrical elements in performance in terms of lighting, staging, facial

expressions, and wardrobe. Vocalization, both speaking and singing through the

instrument (sometimes in conjunction with vowel inflections, and sometimes performed

while inhaling) are required. In addition to multiple tonguing, vocalization, and virtuosic

plunger technique, the work requires glissandi, flutter tonguing, and cross-harmonic note

repetition. The work is extremely difficult due to the writing of the sung pitches of the

multiphonics often below the played notes, as well as the use of unusual notation and

constant plunger work.

A notation key is provided in both German and English. Stuart Dempster, who

commissioned the work and for whom it was written, has written performance notes that

provide theatrical, sartorial, and musical alternatives as well.

The multiphonics are usually performed with some other technique, either flutter

tonguing or glissandi, and often the glissandi are required on the vocalized pitches. Sung

notes are indicated by a dot inside a white note. A slash through this multiphonic notation

configuration indicates that the sung pitch is to approximate the written note on the staff.

32

Composer: Bon, André

Title: Canzone

Publisher: Amphion Editions Musicales, Paris





Trombone(s): tenor


Overall Range: G sharp1 - d flat"

Clefs: bass, tenor, treble

Mutes: plunger


above played notes

Multiphonic Range: vocal range: a flat - e flat'; played range: d - e flat'

Intervals: unisons, seconds, thirds, fourths, fifths

Chords: major chords; seventh chords; diminished chords; dissonances

Dedication: none; the soloist for the premiere performance was Camille Verdier

Overview: This through-composed work is divided into thirteen sections. Measures are

not indicated, but tempo markings are given. Note stem positions indicate which notes in the

multiphonic passages are to be sung. Bon provides a notation key in both French and English.

There is a translation error in the English portion dealing with the making of percussive effects

with the plunger mute (it incorrectly says “with the slide”). Three degrees of mute openness are

indicated by markings, and there are graphic depictions of mute openness indicated underneath

several phrases.

33

In addition to range and plunger work, slide vibrato, jazz articulations, trills,

flutter tonguing, glissandi, harmonic glissandi, and aleatoric aspects are called for in

performance. The aleatoric aspects include “a mixture of all possible articulations,” note

durations, staccato note groupings, and a technique requiring percussive air articulations

that finally become recognizable pitches.

34

Composer: Brink, Philip

Title: Exegesis

Publisher: Editions Bim, Vuarmarens, Switzerland





Trombone(s): bass (double valve bass trombone configured with F/D valves

recommended)


Overall Range: Dl - d flat"


Mutes: none


above, and below played pitches

Multiphonic Range: vocal range: d - “highest possible pitch” (b' written);

played range: C - b flat'

Intervals: unisons, seconds, thirds, fourths, fifths, sixths, sevenths, ninths, tenths,

elevenths

Chords: major chords, root position; seventh chords; dissonances

Dedication: N/A

Overview: This challenging work is through-composed. The title is defined in the

program notes as “a critical explanation of a portion of Scripture.” The first three-note

35

motive is a unifying figure, recurring in different guises throughout the work.

Performance requirements include multiple tonguing, rhythmic accuracy, wide leaps,

glissandi, cross-harmonic glissandi, cross-harmonic note repetition, flutter tonguing,

beamed accelerandi/ritardandi, harmonic series trills, use of vowel inflections while

singing, rapid alternation between sung/played pitches, and multiphonics. Some aleatoric

aspects are used, specifically pitch selection in a section of sung/played note alternation.

The program notes also give the performer freedom to perform (or not) any theatrical

effects which may or may not be suggested in the score.

Multiphonics are used vertically (chords) and melodically. They are also used in

conjunction with other effects, including glissandi in contrary motion. Square note heads

indicate pitches to be sung. Unfortunately, it is often difficult to differentiate between

sung/played note heads in this manuscript.

36

Composer: Buss, Howard

Title: Camel Music

Publisher: Smith Publications, Baltimore, Maryland







Overall Range: Gl - “highest available note” (c" written)

Clefs: bass

Mutes: plunger


played notes

Multiphonic Range: vocal range: A flat - b flat; played range: G - a

Intervals: seconds, fifths

Chords: major chords, root position; dissonances

Dedication: N/A

Overview: The work is through-composed, beginning and ending with a consonant

multiphonic. The piece has metered and non-metered sections, some controlled aleatoric

aspects, timed events, and spoken dialogue, the text of which is “based on an Aesop

fable” according to the included program notes. Directions for reading the notation are

included as well. The use of plunger mute in conjunction with multiphonics (in varying

degrees of openness) makes for widely varying sound quality.

37

An example of writing that combines multiphonics with plunger mute technique is shown

below. This is the opening timed musical event in Buss’s Camel Music.

Annotated Composition Example 1

From “Camel Music” by Howard Buss. Copyright by Smith Publications. Used by permission of Smith Publications, 2617 Gwynndale Ave., Baltimore, MD 21207.

Glissandi, F-attachment trills, vibrato (specifically, diaphragm vibrato is called for),

multiple tonguing, use of singing and spoken dialogue (performed both in the instrument

and away from the instrument), and wide dynamic range make this a challenging piece,

but one well-suited to the undergraduate student.

38

Composer: Carter, Elliott (transcribed for trombone by Benny Sluchin)

Title: Gra

Publisher: Hendon Music, Inc., owned by Boosey and Hawkes, London







Overall Range: C - g flat"

Clefs: bass, tenor

Mutes: none


Multiphonic Range: vocal range: a'; played range: d

Intervals: twelfth

Chords: major chord, root position

Dedication: Witold Lutoslawski

Overview: According to the program notes, Gra is Polish for “game;” the work is

“frequently-changing and playful in character (yet based on the same material

throughout),” and evokes Carter's memories of times spent with Lutoslawski.58 Premiered

in 1993 for clarinet, Benny Sluchin transcribed Gra for trombone, and then performed it

for the “delighted” composer. The work uses changing base-four meter signatures, and

requires rapid multiple tonguing, command of the entire tonal and dynamic range of the

instrument, and a knack for executing complex rhythmic subdivisions and performing

58 From the printed program notes, as provided by Elliott Carter.

39

wide intervals.

There is only one multiphonic used, although it is repeated four times. Falsetto is

required of male performers, as the sung pitch is an octave and a perfect fifth above the

played pitch. Diamond-shaped note heads are used to indicate sung pitches. This is a very

demanding five-minute work.

40

Composer: Celona, John Anthony

Title: Multiphony III (Gradients)






Trombone(s): bass


Overall Range: “lowest-highest available pitch”

Clefs: bass, alto, treble

Mutes: hand-muting

Multiphonic Type: indeterminate, consonant and/or dissonant, sung notes written in

unison, above, and below played notes

Multiphonic Range: vocal range: A flat - “highest available pitch”; played range:

“lowest available pitch”- “highest available pitch”

Intervals: seconds, fourths, fifths, sixths, sevenths, octaves, ninths, tenths, thirteenths,


Chords: major chords, root position; incomplete seventh chords; indeterminate intervals;

dissonances

Dedication: N/A

Overview: This work is full of technical difficulties including, but not limited to, playing

while inhaling, employment of vowel sounds, flutter tonguing, vocal trills, performing

“extremely fast double tongue slightly out of phase with pitch execution,”

41

random/approximate pitch, use of glissandi, range extremes, multiple tonguing (used in

executing “excited bursts” of notes), and changing from producing air sounds with

whistles or squeaks to normal pitched trombone sounds. A page of notation symbols is

included and proportional and graphic notation is used. Measures are not used, but

elapsed time, in seconds, is notated above each staff line. The manuscript is small but

very legible and familiarizing oneself with the many notational symbols may take time to

accomplish. The entire program notes quote attributed to the composer is included here:

“Multiphony III (Gradients) is generated from considering the partitioning of articulatory

mechanisms (the range from non-tone to tone production) as discreet structural

propositions and, therefore, capable of permutational orderings.”

The multiphonics are often performed in conjunction with vowel sounds or

glissandi. Singing below the played pitch is required and may be a performance challenge

for some performers. Often, the vocalized pitches are more than an octave above the

played notes. The tessitura may be problematic for both female and male performers.

42

Composer: Dedrick, Christopher

Title: Prelude and March

Publisher: Almitra Music Co., Inc. (held by Kendor Music, Delevan, New York)


Availability: permanently out of print59


Difficulty: medium

Trombone(s): bass


Overall Range: Fl - c"

Clefs: bass

Mutes: none

Multiphonic Type: consonant, sung notes written in unison or above played notes

Multiphonic Range: vocal range: B flat - c sharp; played range: D - a

Intervals: unisons, thirds, fifths, twelfths

Chords: major chords, root position

Dedication: N/A

Overview: This piece is through-composed and begins with a quasi-cadenza. After the

cadenza, a section in andante begins with a three-measure melodic motive. This motive is

heard in rhythmic variation throughout the A section of the work. The B section begins in

measure 33, and employs some mixed meter signatures after which the A theme returns.

The work uses traditional notation and multiphonics are heard at the beginning and end of

the work.

59 Out-of-print status confirmed through electronic mail message (received 24 September 2004) from

Craig Cornwall, president, Kendor Music, Inc, in response to author’s query.

43

In addition to multiphonics, trills, quarter tones, glissandi, harmonic glissandi (or

cross-harmonic glissandi, depending on one’s interpretation), and multiple tonguing are

required. Ossia notes are included for range considerations.

Multiphonics are written mostly in chordal style. Two multiphonics are performed

in conjunction with glissandi. Both diamond and x-shaped note heads are used to indicate

the sung pitches in the multiphonics.60 This would be a fine piece for the undergraduate

student bass trombonist. An example of Dedrick’s use of multiphonics is shown below.


Christopher Dedrick, Prelude and March (Delevan, New York: Almitra Music, 1972), 1. © Copyright 1972 by Almitra Music. Used by Permission.

60 The part includes a “Notes to Performer” statement immediately below the title which indicates that

the upper notes as shown are “hummed,” and the lower notes played. It appears that the two different types of note heads used to indicate vocalized pitches are used only to indicate differences in duration, as diamond-shaped note heads are used in conjunction with played quarter notes and whole notes, x-shaped note heads are used in conjunction with played eighth notes.

44

Composer: Du Bois, Rob

Title: Music for a Sliding Trombone

Publisher: Donemus, Amsterdam



Copy Quality: manuscript (good quality)


Trombone(s): tenor


Overall Range: F sharp1 - f sharp"


Mutes: straight (one metal, one non-metallic)

Multiphonic Type: combination consonant and dissonant, sung notes written above and

below played notes

Multiphonic Range: vocal range: f - d flat'; played range: F - e flat'

Intervals: thirds, fourths, fifths, sixths, sevenths, ninths

Chords: major chords, root position; major chords, second inversion; dissonances

Dedication: Stuart Dempster

Overview: This work is through-composed, with proportional and graphic notation used.

The range is extreme, with wide, irregular intervals throughout. Although a tenor-bass

trombone might aid in performance, it is not required. In addition to multiphonics and

glissandi, flutter tonguing is required. Although both consonant and dissonant intervals

are written, it seems that dissonance is the usual goal with the multiphonics, with most of

the intervals used producing beats rather than consonant sounds. Singing below the

played note happens often in this work, adding to the overall difficulty level.

45

Composer: Dusapin, Pascal

Title: Indeed

Publisher: Éditions Durand-Salabert-Eschig, Paris





Trombone(s): tenor


Overall Range: B flat1 (B written) - b flat'61

Clefs: bass, tenor

Mutes: narrow cone straight mute, plunger

Multiphonic Type: indeterminate and dissonant, sung notes written in unison, above and

below played notes

Multiphonic Range: indeterminate (written vocal range: e + 1/4 tone - g'; written played

range: d sharp - g')

Intervals: unisons, seconds, indeterminate, microtonal, or aleatoric intervals62

Chords: indeterminate due to microtonal intervals and non-specified vocal pitches

Dedication: N/A

61 The B flat1 is the last note of the piece, but it is a slap-tongue. The performance notes indicate that

the composer does not wish the audience to be able to discern a clear pitch. Thus, the B is the lowest identifiable pitch written.

62 The composer wishes that the multiphonics be intervallically close, and that sound alteration rather

than “polyphonic effect” is the goal in the multiphonics in mm. 114-136. In mm. 126-138, a different style of notation is used to indicate a “multiphonic sound.” No particular technique is specified here. In response to the author’s question, the composer stated he took the advice of trombone virtuosi Benny Sluchin and Alain Trudel and left the specific multiphonic technique in mm. 126-138 to the performer’s discretion, although he writes, “Generally, I prefer the ones made by the voice as they give the feeling of an ‘animal’ trombone!” Information was received via electronic mail, 07 March 2005.

46

Overview: This is a one-movement, through-composed work for solo trombone that uses

traditional measures, meter signatures, and tempo markings. In addition to multiphonics,

it employs microtones, glissandi, flutter tonguing, trills,63 mixed meter signatures,

multiple tonguing, quarter tones, slap tongue, and rudimentary theatrical instructions

pertaining to instrument and/or performer movement. The performer must be able to

circular breathe and possess a keen ability to read complex rhythmic subdivisions and

negotiate abrupt dynamic changes. The work is performed in its entirety with a small

cone-shaped straight mute inserted in the bell. In various portions of the work, the sound

is further augmented via the use of a plunger. The biggest challenges would seem to be

reading the complex rhythmic subdivisions (sixty-fourth notes are often seen in measures

written in common time) and the microtonal intervals, as the accidentals, while very

legible, tend to be small. The work includes a notation instruction/performance notes

page, with instructions written in both French and English.

The multiphonic section occurs in the last twenty-six measures of the work. Sung

pitches as specified are in unison, or a small interval apart from the played pitches.

According to the composer’s notes, sound alteration, rather than overall consonant effect,

is the goal of these multiphonics. Indeed, the multiphonic intervals written here are very

close, and should produce dissonance, or beats, rather than recognizable separate tones.

Circular breathing is required in this section. Both sung and played pitch lines have

separate dynamic markings, which may prove challenging for some performers. In

addition, there are multiphonics written that do not specify a precise interval. The

notation for this simply specifies a “multiphonic sound” to be performed at the soloist’s

63 The work calls for “rapid and intense trills with the slide.” This is often performed in conjunction with flutter tonguing.

47

discretion, and in such a way as to “obtain as rich [a] sound as possible.” Multiphonics

produced by singing/playing are written using two notes, with the vocalized pitches

identified by placing broken circles around them. The notation for a “multiphonic sound”

is shown by placing a distinctive graphic above the pitches. This graphic is identified in

the program notes.

48

Composer: Edwards, Brad

Title: Blue Wolf

Publisher: International Trombone Association Press, Austin, Texas







Overall Range: E - e"


Mutes: none


Multiphonic Range: vocal range: B flat - d'; played range: A flat - B flat

Intervals: unisons, fifths, octaves, tenths

Chords: major chords, root position; seventh chords

Dedication: N/A

Overview: This work is through-composed, in three sections. The piece is motivically

based, the principal motive for the first and last (slow) sections heard in the first two

measures. The fast section employs an expanding chromatic motive (inverted later on),

and driving rhythms for cohesion. Mixed meter signatures are seen throughout the work.

The F-attachment tuning slide is removed throughout the work, and specific spots

throughout the piece are required to be performed through the F-attachment, creating a

distant, nasal effect. The composer cautions that new positions must be utilized during

the passages requiring horn disassembly. Glissandi are used throughout the work,

49

sometimes to indefinite pitch. Fast cross-harmonic note repetition in the extreme high

register is required. Edwards calls for a Doppler glissando effect,64 to be created with the

slide and approximating the pitches indicated while directing the sound through the open

F-attachment tubing. Also, he uses grace notes played through the assembled instrument,

with the note after the grace note played through the open F-attachment, creating a bell-

tone effect. Aleatoric aspects are confined to indefinite pitch selection, and the number of

times one is to repeat measure 160. The score is well marked, and performance

suggestions are included.

Perhaps the most difficult technique required is the use and deployment of the

echo-effect trigger, as used in sometimes extended passages throughout the work.

Optional techniques include circular breathing and a dramatic pause. Multiphonics usage

is optional in a fall to indeterminate pitch.

Notated multiphonics are all consonant. In the opening slow section, Edwards

requires the voice to merge in unison with the played tone, which then tapers off, leaving

only the voice sounding the pitch through the horn. The parallel fifths are performed

through the open F-attachment tubing. Parallel octaves and parallel tenths are sounded

normally; the octaves resolve via vocal glissando to a perfect fifth. Diamond-shaped note

heads indicate sung pitches.

64 In the work’s program notes, Edwards details the technique required for the Doppler Effect:

“Through the trigger, continue repeating the approximate interval of the first beat while moving the slide in the manner of a glissando. The effect will be similar to that of a European police car siren changing pitch due to the Doppler Effect (the rising and falling of pitch caused by moving objects).”

50

Composer: Elias, Joel

Title: Preludes

Publisher: TAP Music, Newton, Iowa







Overall Range: El - d"

Clefs: bass, tenor

Mutes: cup, harmon


played notes

Multiphonic Range: vocal range: c - d'; played range: A flat - f

Intervals: thirds, fourths, fifths, sevenths, octaves, ninths

Chords: incomplete seventh chords; major chords, root position; dissonances

Dedication: N/A

Overview: This is a seven-movement work for unaccompanied trombone, with

multiphonics occurring in movements five, six, and seven. The atonal work employs

mixed meter signatures, wide leaps, and quarter tones. It requires knowledge of a number

of jazz styles, flutter tonguing, glissandi, multiple tonguing, and a good sense of rhythmic

pulse. No performance instructions are given. This work is appropriate for the graduate

student performer with a reliable high range and fine endurance.

51

Composer: Erickson, Robert

Title: General Speech

Publisher: Smith Publications, Baltimore Maryland

Copyright Date: 1967 (Smith Publications acquired rights from Seesaw Music, New

York, in 1984)






Overall Range: Fl - g' (implied)

Clefs: bass

Mutes: none

Multiphonic Type: lip; sound alteration via vowel sounds

Multiphonic Range: G - d

Intervals: fifth

Chords: N/A

Dedication: commissioned, edited, and annotated by Stuart Dempster

Overview: The work is based on General of the Army Douglas Macarthur’s farewell

speech given at West Point. The theatrical instructions call for a podium adorned with

flags, military style dress resplendent with medals, a glass of water from which the

performer drinks, posture instructions, facial expressions, lighting instructions and

entrance and exit instructions. Stuart Dempster refers to this work as a “speech, parody,

52

or both, and nearly every vowel is used, as well as consonants.”65 The tenor-bass

trombone is called for because of the necessity for half-valve effect, where the trigger is

depressed halfway between open and closed. The notes traditionally played via the F-

attachment have the annotation “fake” above, below, or next to them. Performance

instructions specifically proscribe use of the F-attachment in playing these pitches,

indicating one should perform these pitches via false harmonics. Diaphragm, or air

pulsation, vibrato and glissandi are specifically called for. The speech is written in small

letters and the “word abstractions” (what one is actually to syllabize into the instrument)

are written in large print above the pitches. X-shaped note heads indicate spoken pitches.

Precise prediction of multiphonic generation is impossible as the change

generated by the employment of vowel inflections on single pitches is a timbral one for

most listeners. Nevertheless, the possibility of multiple sonorities generated from single

pitches by incorporation of vowel inflections can be neither discounted nor quantified, as

these will be determined in the ear of the individual listener. There is one lip multiphonic

(called a “split tone” in the music) at the beginning of the piece, but even this complex

technique may generate two separate articulations rather than simultaneous pitches. This

is a seminal work for theatrical and avant-garde elements in trombone solo performance.

65 Stuart Dempster, The Modern Trombone - A Definition of Its idioms (Rochester, New York: Accura Music, Inc., 1994), 14.

53

Composer: Felder, David

Title: Nexus

Publisher: Seesaw Music, New York





Trombone(s): bass (requests F and D attachments: E attachment “possible”)66


Overall Range: “lowest note - highest note” (Dl - c' written)

Clefs: bass

Mutes: straight, bucket, whisper, plunger

Multiphonic Type: dissonant, sung notes written in unison, above, and below played notes

Multiphonic Range: vocal range: indeterminate (a - f' written); played range: indeterminate

(f - f' written)

Intervals: unisons, thirds, indeterminate dissonances

Chords: dissonances

Dedication: Jim Daniels

Overview: This five-movement work includes performance notes and a notation key.

Multiphonics occur only in the first and last movement and are used essentially for color,

rather than for any tonal implication. The work also employs theatrical and staging

elements, for instance, in the fourth movement, the trombonist is directed to dance across

the stage while performing quotes from Bernstein’s “I Feel Pretty.”

66 From performance instructions page, “II. Equipment.”

54

The piece uses a combination of traditional and graphic notation and requires

multiple tonguing, flutter tonguing, glissandi, lip bends, sound alteration via vowel

sounds, percussive effects (created by slapping the mouthpiece), cross-harmonic note

repetition, quarter tones, and timed events. Perhaps the major performance challenge is

the interpretation and execution of the graphic notation. In some movements, the graphic

notation is combined with instructions for no articulation, adding articulation later in the

phrase. Tone quality requirements include instructions to crack and pinch the tone.

Multiphonics are written on both one (last movement) and two (first movement)

staves. In the first movement “the unison multiphonics should produce subtle timbral

shadings.” In the last movement, multiphonics begin on the interval of a major third, and

then are combined with aleatoric aspects (either contrary motion glissandi or graphic

notation indicating random pitches and crossed voices). The instance in which the

composer requires crossing of voices is the most significant multiphonic performance

challenge.

55

Composer: Frith, John

Title: Ode to a Happy Bunny

Publisher: Warwick Music, Coventry, England





Trombone(s): bass


Overall Range: El - b'

Clefs: bass

Mutes: none



Multiphonic Range: vocal range: B flat - b; played range: B flat1 - f'

Intervals: unisons, seconds, thirds, fourths, fifths, octaves

Chords: seventh chords; diminished chords; dissonances

Dedication: Jonathan Warburton

Overview: Humorous in title and in nature, this one-movement work is unified by the

use of glissandi, as well as rhythmic and melodic sequences. Pitches to be sung are

notated using diamond-shaped note heads and aside from the half-step glissandi that

pervade the work, special effects are few. In addition to multiphonics, multiple tonguing,

harmonic glissandi and tremolo are required. The technical sequence patterns are very

idiomatic for the instrument and alternate positions are marked where appropriate. This

would be a fine piece for an undergraduate student who possesses the required double-

56

valve instrument.

As written, the multiphonics require the performer to sing the lower notes in most

instances. The multiphonics are seen as individual chords, as octaves, and as melodic

figures played against a drone pitch. An example of the latter is shown below. (Music is

written in bass clef.)


John Frith, Ode to a Happy Bunny (Warwick, England: Warwick Music, 2000), 4. Copyright © 2000, Warwick Music. Used by permission.

57

Composer: Globokar, Vinko

Title: Res/As/Ex/Ins-pirer

Publisher: Henry Litolff’s Verlag/C. F. Peters, New York






Instrumentation: trombone alone (“brass instrument” is notated on the score)

Overall Range: indeterminate, established by performer67

Clefs: bass

Mutes: none

Multiphonic Type: lip, or sound alteration via oral cavity shape; also, combination

consonant and dissonant, sung notes written above and below played notes

Multiphonic Range: indeterminate range, established by performer inclinations

Intervals: unisons, seconds, thirds, fourths, fifths, sixths, sevenths, octaves, ninths (these

intervals may be inverted at the performer’s discretion)68

67 The music is written in bass clef, but the work requires the performer to transpose written pitches to different octaves throughout the range of the instrument.

68 Trombone virtuoso and pedagogue Benny Sluchin discusses this work in his text Contemporary

Trombone Excerpts (Paris: Éditions Musicales Européenes, 1995, pp. 74-77). He shows a portion of the piece as printed, and then his realization of the same, with the following comment: “We chose to include the opening section of this piece twice, first as printed and then annotated for a particular way of interpretation. This is by no means obligatory, and intends to give a particular version obtained when fixing the various factors.” In this example, he inverts multiphonic intervals, incorporates octave displacement, and so forth. Thus, it seems clear that, due to the aleatoric nature of the work, this is permitted, even necessary.

58

Chords: indeterminate, depending on the intervals sung69

Dedication: N/A

Overview: This work is undoubtedly one of the most difficult works ever written for

trombone, due to the requirement that the performer must perform actions while inhaling

as well as while exhaling. Thus the work never really has a pause until the end. The

notation is exclusively graphic, with musical events shown in squares set apart from one

another in diagonal fashion. The lower squares contain the musical events that must occur

while the performer inhales, the upper squares contain the musical events that occur

while the performer exhales. Notes are read in bass clef, but the tessitura is determined in

part by the performer and in part by the range indications (low, middle and high) as seen

in different sections of the music. Consequently, octave transposition is necessary.

Numbers in a particular square show the number of articulations (for example, number of

syllables spoken when required to speak) that one is to perform in conjunction with that

musical event. Other performance requirements include, but are note limited to, singing

through the instrument, tongue slaps in the mouthpiece, flutter tonguing, trills, glissandi,

lip vibrations with the mouthpiece on the lips only lightly, consonant sounds produced

via air noise, and speaking into the instrument. Dynamics are varied and wide (pppp- fffff)

for each event, and are notated at the bottom left comer in each square.

69 Due to octave displacement and inversion, specific intervals are difficult to predict.

59

Multiphonics are to be produced by simultaneous singing and playing, via lip

(split tone multiphonics) or by changing the oral cavity shape as well (this seems to be at

the performer’s discretion).70 Globokar notates his desire for a “multiple sonority” based

on a particular single pitch by showing that pitch followed by a colon. In multiphonics

produced via simultaneous singing and playing, sung pitches are indicated by a dot within

a white note head.

70 Globokar requests that the performer play a chord from a single written pitch. This appears to

indicate his preference for lip multiphonics or sound alteration via oral cavity shape, since he uses different symbols for multiphonics produced by playing and singing simultaneously.

60

Composer: Grahn, Ulf

Title: Trombone Unaccompanied?!

Publisher: Seesaw Music Corporation, New York





Trombone(s): bass


Overall Range: F sharp1 - c"71

Clefs: bass, tenor

Mutes: plunger

Multiphonic Type: combination consonant and dissonant, sung notes written in unison

or above played notes

Multiphonic Range: vocal range: f sharp - “highest possible vocal random pitches”

(b written); played range: F sharp - g

Intervals: unisons, thirds, fourths, fifths, sixths, sevenths, octaves, ninths, tenths,


Chords: major chords, root position; seventh chords; indeterminate intervals;

dissonances

Dedication: N/A

Overview: This through-composed work is written without bar lines but includes

metronome markings. The technical demands include speaking consonant sounds through

the instrument, singing alone, producing air sounds through the instrument, multiple

71 The last note of the work is an F sharp1, with an indication to perform a slow glissando slightly below this written pitch.

61

tonguing, plunger work, flutter tonguing, slide vibrato, and multiphonics. The

multiphonics fall well within male vocal range capabilities and generally present no

performance difficulties. They are sometimes performed in conjunction with glissandi or

vibrato. The composer provides minimal notation instructions which consist of

performance notes handwritten in very small script throughout the performer’s part.

Indeed, the overall small print of the manuscript may present the most difficult

performance challenge of the work.

62

Composer: Heider, Werner

Title: D. E. Memorial

Publisher: Henry Litolff’s Verlag/C. F. Peters, New York







Overall Range: indeterminate low and high pitches (C - d flat" written)

Clefs: bass

Mutes: harmon, plunger

Multiphonic Type: indeterminate, consonant and/or dissonant, sung notes written in unison,

above, or below played notes

Multiphonic Range: vocal range: indeterminate range

played range: B flat - e flat'

Chords: dissonances; indeterminate consonances

Dedication: Armin Rosin

Overview: This work, in five sections, was commissioned by the International Trombone

Association and written in memory of Duke Ellington. The pitches D and E serve as

Ellington’s musical initials, and figure prominently in the work. At the end of the work,

they are sounded together via multiphonics. The notation included in the “Explanation of

Signs” does not always coincide with the notation seen in the score, nor does it include

every symbol used in the work. The score uses both proportional and graphic notation

and indeterminate pitches, both low and high, are at the performer’s discretion.

63

The piece requires flutter tonguing, glissandi, multiple tonguing, vibrato, shakes,

trills, plunger mute work, and percussive effects generated through foot stomping.

Rudimentary staging instructions are also included, specifically directing the performer’s

facing on stage. Three music stands are required for staging and performance. A tenor-

bass trombone is required, both for range, and because of an extended mid-register figure

required to be performed through the use of the trigger. The end of the work requires the

performer to sing into the bell of the instrument, as if the bell were a mask covering the

face. Multiphonics are performed at the unison, using indeterminate intervals, or in

seconds.

64

Composer: Heussenstamm, George

Title: TrombOnly, Op. 59

Publisher: Dorn Publications, Medfield, Massachusetts



Copy Quality: computer quality


Trombone(s): tenor


Overall Range: “lowest note possible” - f sharp"

Clefs: bass, tenor

Mutes: straight, cup, harmon


Multiphonic Range: vocal range: c - b flat; played range: G - f

Intervals: fourths

Chords: seventh chords

Dedication: Tom Ervin

Overview: This work has many extended techniques. The composer employs mixed

meter signatures and requires four different types of vibrato, notated V1 through V4, in

ever-increasing intensities. The piece also requires shouting of vowel sounds, whistling,

lip trills, quarter tones, flutter tonguing, harmonic glissandi, random pitch selection,

multiphonics, hemiola, a cadenza, and a specific technique called “spit tonguing,” where

the performer makes a spitting sound through the mouthpiece without producing tones.

Finally, basic performance and stage directions are noted throughout the piece, such as

“hum stupidly, thoughtlessly as you remove your mute,” “remove mute slowly with

65

exaggerated gestures, while humming Beethoven's Eroica theme,” and “rotate 180

degrees to your right until your back is to the audience, while you spit-tongue in fairly

rapid, free staccato.”

66

Composer: Huber, Nicolaus

Title: presente

Publisher: Breitkopf & Härtel, Wiesbaden, Germany, for Musikverlage Hans Gerig

Copyright Date: 1979 (assigned to Breitkopf & Härtel in 1980)






Overall Range: E1 - c"

Clefs: bass, tenor

Mutes: plunger



Multiphonic Range: vocal range: d - f'; played range: A flat - d'

Intervals: unisons, seconds, thirds, fourths, fifths, sixths, sevenths, octaves, ninths


Dedication: N/A

Overview: This work includes performance instructions written in German. It is divided

into measures, albeit measures without meter signatures. Metronome markings are

indicated throughout and plunger mute position is notated graphically below the staff.

Near the end of the work, the trombonist is required to face different directions. In

addition, the performer must remove the F-attachment tubing and diamond-shaped note

heads are then used to indicate the pitches played through the open F-attachment. The

timbral difference between the open F-attachment and the regular trombone sound is

67

striking. Other techniques required include flutter tonguing, glissandi, timed events, and

multiple tonguing. Several passages are notated with specific positions marked.

Multiphonics are notated in two different ways. The first time the performer

encounters multiphonics, the vocalized notes serve a contrapuntal function, and are

written on a separate staff from the played notes. The second time multiphonics are

required they are consonant in nature, with the vocalized note being indicated by a dot in

the middle of a white note head. Singing below the played note in the multiphonic will

pose some challenges. Performing multiphonics in counterpoint with played notes

performed through the open F-attachment while simultaneously performing glissandi and

flutter tonguing will present another challenge.

68

Composer: Kavanaugh, Patrick

Title: Debussy Variations (No. 13)

Publisher: Carl Fischer, Inc., New York





Trombone(s): tenor-bass or bass72


Overall Range: E flat1 - a flat"

Clefs: bass, treble

Mutes: none



Multiphonic Range: vocal range: e' - e" (e''' optional); played range: El - a'

Intervals: unisons, octaves, ninths, tenths, octave plus tri-tone, indeterminate intervals

Chords: seventh chords; diminished chords; indeterminate dissonances

Dedication: Jim Kraft

Overview: This one-movement work employs motivic effects as a unifying factor. The

composer includes two pages of program notes and performance instructions and the

piece is written mostly in graphic and proportional notation. Measures and tempo

72 Kavanaugh writes in the performance directions: “Though this work is written out for the tenor

trombone, its performance on the bass trombone can be easily accomplished by the tasteful lowering by one octave, of the passages in the piece which go up beyond high E (one tenth above middle C), as octave transpositions are quite possible within the frame of the composition.”

69

markings are not indicated and Kavanaugh uses at times up to three different staves to

indicate played/sung/buzzed sounds happening simultaneously. In addition to

multiphonics, it uses timed events, beamed accelerandi/ritardandi, glissandi, harmonic

glissandi, trills, F-attachment trills, water key trills, flutter tonguing, percussive effects

generated by slapping the mouthpiece and by quickly pulling out the F-attachment slide,

and air sounds through the instrument. Alternation between humming in and out of the

horn, and use of a half-valve effect is required as well. At the end of the piece the

trombonist is to allow the slide to come completely off in the execution of a combination

glissando/hum/flutter tongue.

Multiphonics are required to be produced both inside and outside the horn.

Outside-the-horn multiphonics are produced by singing and buzzing the lips at the same

time. Kavanaugh specifically calls for combinations of flutter tonguing and multiphonics.

Notably, Kavanaugh plans for the performance of this piece by either male or female

performer by judicious use of octave displacement in the multiphonics sung pitches.73

73 In the program notes, Kavanaugh writes: “All humming indicated by exact pitches is subject to octave transposition to account for the different ‘vocal’ range of different performers.”

70

Composer: Kenny, John

Title: Sonata for Alto Trombone






Trombone(s): alto


Overall Range: E flat1 - f"

Clefs: bass, alto, treble

Mutes: straight, or harmon with stem removed

Multiphonic Type: lip; combination consonant and dissonant, sung notes written in

unison or above played notes

Multiphonic Range: vocal range: B flat - d"; played range: D flat - e flat74

Intervals: fifths, sevenths, octaves, tenths; intervals of the octave plus a seventh, ninth,

tenth; two octaves

Chords: major chords, root position; seventh chords; dissonances

Dedication: “Dedicated to my mother”

Overview: This three-movement work uses mixed meter signatures, frequent clef

changes, difficult rhythms, and many extended techniques. In addition to multiphonics,

the work incorporates flutter tonguing, multiple tonguing, vibrato (including, slide and

“diaphragm pulse”), tone color shades created by varying the shape of the oral cavity,

glissandi, cross-harmonic glissandi, quarter tones and microtones, slap tongue, and

74 Range of lip multiphonics is not included here.

71

aleatoric elements in terms of pitch selection. The performer must be able to circular

breathe, inhale through the instrument, and produce “embouchure vibration” while

inhaling.

Some theatrical elements are called for as well: the performer may walk off the

stage while playing and repeating the penultimate measure of the third movement,

creating a kind of live “fade-out” effect. In the first movement, the performer is required

to perform a glissando that removes the outer slide from the inner slide, then improvise

fast rhythms played on the inner slide tube only. This work is for the professional

trombonist with command of every facet of performance.

Kenny uses lip multiphonics as well as multiphonics produced by simultaneously

singing and playing. Many times, the writing places the vocalizations two octaves or

more above the played pitches. Note heads with dots in the center of them indicate

vocalized pitches. Intervals enclosed by brackets indicate lip multiphonics. The following

excerpt shows Kenny’s use of multiphonics produced by simultaneous singing and

playing, and lip multiphonics.


John Kenny, Sonata for Alto Trombone (Coventry, England: Warwick Music, 1994), 5, mm. 66-78. Used

by permission.

72

Composer: Kenny, John Title: Sonata for Tenor Trombone








Overall Range: B flat2 - “top of range” (f" notated)


Mutes: plunger


Multiphonic Range: vocal range: e - b'; played range: D flat - e

Intervals: octaves, tenths, various intervals in counterpoint with pedal tone

Chords: seventh chords, root position; various consonant intervals with pedal point

Dedication: “to Paul and Jane”

Overview: John Kenny often includes extended techniques in his compositions, and this

virtuosic piece is no exception. The three-movement work employs both traditional and

non-traditional notation. In addition to multiphonics, it requires many other extended

techniques, including lip trills, F-attachment trills, flutter tonguing, glissandi, changing

the shape of the oral cavity to produce vowel sounds (once while performing

multiphonics), cross- harmonic glissandi, microtones, performing lip trills and/or

73

screeching while inhaling through the instrument, plunger mute work, multiple tonguing,

and doodle tonguing. The second movement includes a cadenza and the third movement

is entirely non-measured, with aleatoric aspects. The last movement requires circular

breathing while holding an F sharp pedal and simultaneously performing any number of

the following techniques: rhythmic diaphragm pulse, grunts, screams, animal sounds

(bird sounds and monkey calls), tongue stops, and multiphonics. There is no notation key

provided, although performance suggestions in the music aid the performer. The vocal

range is extreme, requiring falsetto, and sung pitches are at least an octave (sometimes

more than two octaves) above the played pitches.

74

Composer: Kühnl, Claus

Title: 5 Episoden

Publisher: Musikverlag Zimmermann, Frankfurt am Main, Germany







Overall Range: A flat1 - c flat"

Clefs: bass, tenor

Mutes: plunger, harmon

Multiphonic Type: dissonant, sung notes written in unison or below played notes

Multiphonic Range: vocal range: d - c'; played range: e - c'

Intervals: unisons, seconds, quarter tone intervals

Chords: dissonances

Dedication: Chistian Bohny

Overview: As the title suggests, this work consists of five movements (“Quasi

Recitative,” “Allegro ritmico,” “Notturno,” “Valse noble,” “Tokkata”). Glissandi, flutter

tonguing (sometimes used in combination), and multiple tonguing are used throughout

the work, as are mixed meter signatures. A unique notational feature occurs in the fourth

movement, in which a five-line staff (written below the regular staff) is used to indicate

degrees of rubato. The third line of the staff indicates the movement’s starting tempo, the

top line the “relative maximum tempo,” and the bottom line the “relative minimum

tempo.” In the first and last movements, graphic notation is used to indicate degrees of

75

mute openness. A notation key is provided in both German and English and performance

instructions are provided in German throughout the work

Multiphonics are used only in the third movement. They are written by placing

the sung pitches on a second staff, with diamond-shaped note heads indicating the pitches

to be sung. The multiphonics always begin at the unison after the performer plays a

sustained pitch, descend below the sustained played pitch via glissandi, and finally

ascend back to the unison, again via glissandi. Quarter tones and microtones are

emphasized in the ascending multiphonics, creating dissonances.

76

Composer: Lynn, Brian

Title: Doolallynastics: A Brief Torture for Unaccompanied Trombone








Overall Range: Gl - f"


Mutes: none


Multiphonic Range: vocal range; d flat - e flat; played range: G flat - A flat

Intervals: fifths

Chords: major chords, root position

Dedication: John Kenny

Overview: This piece is through-composed and includes mixed meter signatures,

frequent clef changes, wide intervallic leaps, and syncopations. Glissandi (both standard

and fast cross-harmonic glissandi), flutter tonguing, shakes, multiple tonguing, and

multiphonics are required, as is knowledge of jazz articulations and style. The composer

writes for a fifteen-second sustained Gl in measure 29, and requests that circular

breathing be employed. There is a theatrical element required — a scream—“followed by

hysterical laughter, calming down slowly.” Perhaps the most difficult performance aspect

is negotiating the multiple tonguing passages and wide intervals at the tempos required.

77

The composer’s description of the piece as subtitled, and admonishment/advice to

performers after the last note is played (“Now drink seven pints”) may render this a

challenging yet appealing performance vehicle for many trombonists.75

There are only two multiphonics written in the work and both are relatively easy

to perform for male trombonists, although they may be unplayable as written for female

trombonists. The sung/played/summation tones are all written out using diamond-shaped

note heads, although difference tones are not notated.

75 From title page and page 7 notes; listed to allow readers an insight into the composer’s compositional thought processes, assessment of difficulty level, and personality.

78

Composer: Mabry, Drake

Title: 9.28.85

Publisher: Éditions Musicales Européennes, Paris





Trombone(s): tenor-bass or bass


Overall Range: C - f'

Clefs: bass, tenor

Mutes: none

Multiphonic Type: lip; dissonant, sung notes written in unison, above, and below played

notes

Multiphonic Range: vocal range: d - g flat: played range: c sharp - f

Intervals: unisons, seconds, microtonal intervals, indeterminate intervals

Chords: indeterminate dissonances

Dedication: N/A

Overview: This is a three-movement work, with each movement devoted to a specific

avant-garde technique. The notation instructions page explains the procedure for

producing lip multiphonics, and also shows the symbols for quarter tones, slap tonguing,

multiple tonguing, flutter tonguing, and the symbol for playing through clenched teeth. In

addition to these techniques, glissandi are used in all three movements, and sung/played

multiphonics are required in the third movement.

The first movement is performed without the trombone mouthpiece in place.

79

Instead of making sounds by traditional methods, the performer blows air through the

lead pipe and uses specified articulations (“tut,” “kut,” “tst,” etc.) in conjunction with the

forced air sounds and slide positions. Only seven pitches are notated in the first

movement, corresponding to all seven slide positions. Pitches are notated in strict rhythm,

are circled, and include dynamics, glissandi, and slap tongue. The proper articulation to

use for each pitch is noted above that pitch. In addition, some pitches are blown through

clenched teeth, and some are played through the F-attachment.

The second movement is composed almost entirely of lip multiphonics. The

composer writes the reminder that one must play these lip multiphonics in the position

where both notes can be performed. The directions for producing lip multiphonics

conclude with the observation that “the actual sound is more complex than the notation

indicates.”

The third movement is printed on three staves, with one staff notating rhythms

and pitches indicated for singing, one staff reserved for sounds produced through the F-

attachment (the F-attachment tuning slide is to be removed), and one staff for pitches

made in normal fashion. These sounds often happen simultaneously, and glissandi are

required in both trombone and vocal lines. Multiphonics produce dissonances due to the

quarter-tone scoring. The quick alternation between the open F-attachment and the

trombone will create striking timbral and spatial differences. This movement demands

continuous multi-tasking from the performer. This is an extremely difficult, complex

work involving avant-garde techniques.

80

Composer: Nicholson, George

Title: Slide Show








Overall Range: E1 - e flat"


Mutes: cup, two different harmon mutes (one with stem removed)76, bucket



Multiphonic Range: vocal range: f sharp - e flat'; played range: e - c'

Intervals: unisons, seconds, thirds, fourths, indeterminate intervals

Chords: incomplete seventh chords; dissonances

Dedication: John Kenny; commissioned by the Park Lane Group

Overview: This atonal work employs mixed meter signatures, proportional notation,

timed events, difficult rhythmic subdivisions, microtones, and wide intervallic leaps. The

trombonist is required to perform flutter tonguing, valve trills, cross-harmonic note

repetition, glissandi, abrupt dynamic changes, and multiple tonguing. The composer

76 Although Nicholson thoughtfully writes rests or otherwise indicates breaks before each mute

removal and insertion, there would not be time to remove a stem from a single harmon mute during the performance. This requirement for two harmon mutes is good planning on the part of the composer.

81

requires “lip harmonics,” defining it thus: “beginning and ending on clearly defined

harmonics change embouchure very gradually so that an indeterminate band of pitches is

heard en route.” Because the composer desires to show the “visual aspect of trombone-

playing” (thus the title), the performer is required to demonstrate both fluid and non-fluid

slide movement as depicted graphically underneath the staff. Other rudimentary theatrical

instructions are included in the form of staging commands (“freeze”), and in the

instructions on some passages to perform “extremely stiff, deliberate slide movements—

marionette-like.” The last measures of the work deliver the composer’s humor in fine

fashion – the requirement is to sing a sustained pitch while slowly moving the slide, then

to perform a moving vocal line in conjunction with a non-moving slide.

The multiphonics are depicted on two different staves, with the vocal part notated

on the bottom staff. Multiphonics generally produce dissonances, and both lines make use

of glissandi.

82

Composer: Nieman, Alfred

Title: Tongs and Bones

Publisher: General Music Publishing, Inc., Hastings-on-Hudson, NY


Availability: permanently out of print



Trombone(s): tenor


Overall Range: E - d"




below played notes

Multiphonic Range: vocal range: d - d sharp'; played range: F sharp - f'

Intervals: seconds, thirds, fourths, fifths, sixths, sevenths, octaves, tenths, twelfths

Chords: major chords, root position; major chords, second inversion; diminished chords;

dissonances

Dedication: “to Philip Pickett; for Paul Nieman”

Overview: This atonal work is through-composed, calls for improvisation and other

aleatoric aspects in the performance, uses timed events, and requires plunger technique.

Percussive effects include foot stomping and hitting the bell with the plunger mute. Quick

alternation between singing and playing is required, as are slide vibrato, sung syllables

and consonant sounds, glissandi, tremolo, flutter tonguing, and multiple tonguing. The

composer does not use time signatures, although metronome markings are given. Each

83

staff constitutes a measure, with measure numbers indicated apparently for rehearsal

ease. A notation key is provided, and further performance instructions are written in the

part.

Glissandi play a large part in this work and two kinds of graphic notation are used

to indicate glissandi patterns. Improvisatory sections are required using traditional and

harmonic glissandi. At one point in the work a “laughingly” produced sung glissando is

required to emerge from a played g', in the manner of a jazz fall.

Chant syllables and words are indicated to be performed with multiphonics,

sometimes in combination with plunger mute. Dissonant multiphonics seem to be the

most prevalent in this work, although there are some consonant multiphonics that are

striking. Square note heads indicate sung pitches, and x-shaped note heads indicate the

performer to sing as if he “were laughing.”

84

Composer: Nordheim, Arne

Title: The Hunting of the Snark

Publisher: Wilhelm Hansen, Copenhagen







Overall Range: “as low as possible” (F1 written) - d"

Clefs: bass, tenor

Mutes: harmon


Multiphonic Range: vocal range: B flat - f'; played range: B flat - f

Intervals: unison glissando to the octave; octave glissando to the unison

Chords: N/A

Dedication: Per Brevig

Overview: This work employs traditional and non-traditional notation, for which a key is

provided. The work employs some metronome markings but no meter signatures, and

graphic beaming is employed to indicate note speed. The composition is through-

composed, with repeated motives recurring throughout the work. Flutter tongue, lip

vibrato, and slide vibrato are required for performance, and multiphonics either emerge

from unison pitches and employ glissando up to the octave, or the reverse. The extensive

use of open/closed harmon mute technique, as well as the wide leaps, unusual intervals,

unorthodox employment of F-attachment positions (notated in the score above the staff),

85

wide range, and great and sudden dynamic contrasts make the piece a challenge well-

suited for the advanced undergraduate performer.

86

Composer: Pehrson, Joseph

Title: Approaches






Trombone(s): tenor: optional tenor-bass77


Overall Range: “as low as possible” - e"

Clefs: bass, tenor

Mutes: plunger

Multiphonic Type: dissonant, sung notes written above and below played notes

Multiphonic Range: vocal range: a - c" (approximate pitch); played range: b flat - e'

Intervals: seconds, sixths (approximate)

Chords: dissonances

Dedication: Fred Parcells

Overview: This three-movement work requires the trombonist to play while placing the

trombone bell in a transparent bowl of water. The multiphonics produce dissonances and

two multiphonics require the performer to simultaneously scream/sing an approximate

pitch while sustaining a drone pitch. Graphic notation is used to represent plunger mute

degree of openness and slide vibrato intensity and range. In addition, the composer

requires flutter tonguing, lip trills, glissandi, timed events, use of slide vibrato, fast cross-

harmonic glissandi, fast cross-harmonic repeated notes, the making of lip smacking

77 Pehrson includes one ossia glissando that requires tenor-bass trombone.

87

sounds in the mouthpiece, breath attacks, noisemaking through the trombone (including

“deflation” sounds), free-buzzing, etc. Theatrical elements and stage instructions include

directions for body posture variations and for throwing the plunger mute to the floor. The

work employs aleatoric aspects as well, in terms of harmonic series partial selection,

dynamics, and tempi. The work frequently exploits the altissimo register, and multiple

tonguing, control of all dynamic registers, and fine sense of rhythmic subdivision are

necessary for performance.

88

Composer: Powell, Morgan

Title: Incabado








Overall Range: Gl - “as high as possible”

Clefs: bass, alto, tenor

Mutes: plunger, harmon (stem out and stem in), hat


above played notes

Multiphonic Range: vocal range: d - f; played range: B flat - f

Intervals: unisons, seconds, thirds, sevenths, octaves, tenths, thirteenths

Chords: essentially dissonances, as most multiphonics happen during glissandi

Dedication: Jim Lewis

Overview: The word Incabado is Portugese for “never-ending,” according to the

program notes provided by Powell. The piece uses many avant-garde techniques,

including flutter tonguing, percussive noises made with mutes, timed events, glissandi, F-

attachment trills, lip trills, lip and slide vibrato, aleatoric events with respect to rhythm,

pitch order, and time, and multiphonics. Proportional notation, beamed ritardando, and

mixed meter signatures are used, and a notation key is provided. Multiphonics are used

primarily for dissonance effects and in conjunction with glissandi.

89

Composer: Rabe, Folke

Title: Basta

Publisher: Editions Reimers AB, Stockholm








Clefs: bass, tenor

Mutes: none


Multiphonic Range: vocal range: f - d'; played range: D flat - f

Intervals: fifths, sixths, tenths

Chords: major chords, root position; major chords, second inversion; seventh chords

Dedication: N/A

Overview: Basta, Italian for “enough,” has four distinct sections. The first three sections

introduce different melodic ideas and the fourth section combines material from the other

three sections. The piece places great technical demands on the performer, including

rapid slide technique required while performing fast cross-harmonic note repetition,

simultaneous use of glissandi and multiphonics, frequent use of alternate positions, cross-

harmonic glissandi, trills, sudden dynamic contrasts, and great dynamic range. The

work’s first two sections emphasize specific tones rather than keys while the multiphonic

section allows the piece to relax in intensity and establishes a sequence of pleasing

90

sonorities. The interval of the second (major and minor) figures significantly in the

work’s overall structure, in connection of melodic ideas, and in multiphonic construction,

phrasing, and tonality.

91

Composer: Rivas, Diogènes

Title: Ricercare II

Publisher: Éditions Musicales Européennes, Paris





Trombone(s): bass


Overall Range: El - e"

Clefs: bass, tenor

Mutes: none


played notes

Multiphonic Range: vocal range: B - g; played range: Al - A

Intervals: fourths, fifths, sixths, sevenths, ninths, tenths

Chords: diminished chords; major chords, second inversion; microtonal dissonances

Dedication: Benny Sluchin

Overview: This work is through-composed and requires glissandi, multiphonic glissandi,

flutter tonguing (both when singing and when playing, but never when performing

multiphonics), microtones, lip trills around specific notes as marked, multiple tonguing,

and sudden and abrupt dynamic and tempo changes. Grace notes and other ornamentation

are indicated. The low tessitura of the multiphonics, and the microtonal tunings required

of some of the multiphonic pitches will provide a challenge to all but the best performers

and listeners. Aside from the range requirement, the biggest performance obstacle may be

92

the rhythmic subdivision demanded throughout the work, as measures are not indicated

but tempos and pulse subdivisions are. Also of particular challenge is the frequent

alternation between played and sung notes, and the requirement to perform glissandi

while switching from singing to playing pitches mid-glissando. Sung notes are indicated

with diamond-shaped note heads, and print is clear but very small.

93

Composer: Sichel, John

Title: Waltz of the Underworld Manicurists (and Other Tales of Terror and Suspense)

Publisher: Puna Music Company, Teaneck, NJ







Overall Range: B flat1 - b flat'

Clefs: bass, tenor

Mutes: cup, harmon, plunger


Multiphonic Range: vocal range: c - c flat'; played range: F - g flat78

Intervals: unisons, thirds, fifths, sixths

Chords: major chords, root position; major, minor chords, second inversion

Dedication: N/A

Overview: This work is actually twelve separate unaccompanied etudes for trombone,

each with its own unusually eccentric title: “Aubade,” “The Master Thief,” “The Master

Thief Chez Lui,” “Wunka Bunka Baby,” “Rachel’s Waltz,” “Like, wow,” “Waltz of the

Underworld Manicurists,” “Rattites,” “Berceuse,” “Cars (For Max and Joe),” “Life’s But

a Walking Shadow,” and “Chorale.” Each etude has its own technical challenge, such as

angular melodic lines, multiple tonguing, mixed meter signatures, rapid clef changes, or

78 Two versions of this are given, version A in bass clef is the one noted above. Version B is

written in tenor clef, a perfect fifth higher.

94

glissandi. These etudes are suitable for the undergraduate student trombonist and would

work well on a recital.

The multiphonics occur only in the last movement, are consonant and written in

chordal texture. Diamond-shaped note heads indicate the pitches to be sung. Gender-

specific vocal issues have been addressed here by writing the exercise in bass clef

(Version A) and then transposing it up a perfect fifth in tenor clef (Version B).

95

Composer: Stockhausen, Gabriel

Title: Poe Songs

Publisher: Kagarice Brass Publications, Denton, Texas







Overall Range: B flat1 - e"

Clefs: bass, tenor

Mutes: straight

Multiphonic Type: combination consonant and dissonant, sung notes written above played

notes

Multiphonic Range: vocal range: d - d'; played range: G - g flat

Intervals: thirds, fourths, fifths, sixths, sevenths, octaves

Chords: major chords, root position; major and minor chords, second inversion; diminished

chords; dissonances

Dedication: N/A

Overview: This work has five movements named for prominent works by Edgar Allan

Poe – “The Raven,” “The Tell-tale Heart,” “The Murders of the Rue Morgue,” “The Pit

and the Pendulum,” and “House of Usher.” Multiphonics occur in the first and last

movements, with square note heads indicating the pitches to be sung. In addition to

multiphonics, multiple tonguing is required. The piece employs use of mixed meter and

hemiola. Glissandi and F-attachment half-valve glissandi technique are also required. The

96

wide intervals, fast tempo of “The Murders of the Rue Morgue,” wide dynamic contrasts

(from written pppp - ffff), and oddly-spaced accents make this a challenging work. The

intervals, techniques required, and distinctive musical nuances for each movement depict

Poe’s literary works well. Performance notes are provided, including an admonition from

Stockhausen to “familiarize yourself with the actual stories of Edgar Allan Poe.”

97

Composer: Vazzana, Anthony

Title: Tre Monodie

Publisher: Philharmusica Corporation, New York





Trombone(s): tenor




Mutes: none


below played notes

Multiphonic Range: vocal range: g sharp - d'; played range: G - f sharp'

Intervals: seconds, thirds, fourths, sixths, sevenths, ninths, tenths

Chords: seventh chords; major chords, second inversion; dissonances

Dedication: Robert Marsteller

Overview: This work is in three movements (“Intrada,” “Cantillatio,” “Tropus”). In

addition to multiphonics, it incorporates wide leaps, difficult syncopations, sudden and

extreme dynamic contrasts, and lip trills. Measures are notated but meter signatures are

not, as Vazzana states on the last page of the piece that the quarter note value should

remain proportional throughout. A tenor-bass trombone is not necessary but might be

helpful in the odd technical passage.

The multiphonic sections show the sung notes with diamond-shaped note heads

98

and dissonance seems to be their primary role. These could all be performed by singing

the top notes throughout the work, instead of as indicated. Indeed, there are ossia parts

written in case the performer cannot perform multiphonics. These ossia parts do not

include any combination tones, even where the multiphonics as written would produce

them.

99

Composer: Wolking, Henry

Title: Seven Vignettes

Publisher: TAP Music Sales, Newton Iowa, for Wolking Music Publications,

Salt Lake City, Utah





Trombone(s): bass


Overall Range: E flat1 - c"

Clefs: bass

Mutes: plunger (mounted on mute stand), cup


Multiphonic Range: vocal range: a - b flat; played range: c - e flat

Intervals: fifths, sixths

Chords: major chords, root position; major chords, second inversion

Dedication: N/A

Overview: The movement titles are eclectic – “Shadows, Sherlocks, and Seven Cues,”

“52nd Street,” “Theoretical - Introduction and Grand Valse,” “Pentatonic Paradise,”

“Wild Mouse,” “Love Song,” and “Ragtime.” Multiphonics occur only in the first and

third movements, with the sung notes placed in parentheses. Wolking uses theatrical

elements in “Wild Mouse,” requiring the performer to stalk and, finally, dispatch said

imaginary mouse. The work employs percussion instruments, namely police whistle and

suspended cymbals, as well as percussive elements in the form of foot stomps.

100

In addition to multiphonics, the work requires theatrical and percussive elements,

multiple tonguing, plunger mute usage, flutter tonguing, use of quarter tones, glissandi,

singing outside the mouthpiece, and knowledge of jazz swing style. Metronome markings

are indicated, but some movements do not have meter signatures, and complex

syncopations are prevalent. One movement has bar lines, but only for visual orientation,

as noted in the score. Unfortunately, the manuscript is very difficult to read in places, and

TAP Music has reversed pages in the “Grand Valse,” and “Wild Mouse” movements.

101

Composer: Xenakis, Iannis

Title: Keren

Publisher: Éditions Durand-Salabert-Eschig, Paris



Copy Quality: both offset and manuscript




Overall Range: E2 - g flat"


Mutes: straight

Multiphonic Type: lip

Multiphonic Range: E flat - a

Intervals: thirds, fourths, fifths

Chords: N/A


Overview: Keren (“horn” in Hebrew) is available in both offset quality copy and in

manuscript. In the manuscript copy, the manuscript size is often too small to read. The

piece requires sudden dynamic shifts, wide range, wide intervals, abrupt clef changes,

difficult rhythms and syncopations, abrupt mute changes, accents written with no

predictable rhythm pattern, flutter tonguing, quarter tones, microtones, and glissandi.

Measures and tempo indications are noted. Benny Sluchin, who first performed this work

102

in 1986,79 asserts that lip multiphonics are specifically called for in this piece.80

79From program notes provided in the offset version of the score, written by Harry Halbreich. 80Benny Sluchin, Contemporary Trombone Excerpts, (Paris: Éditions Musicales Européennes, 1995),

80.

103

Composer: Young, David L.

Title: koris 25

Publisher: Australian Music Centre, New South Wales





Trombone(s): alto


Overall Range: A - c sharp"

Clefs: bass, treble

Mutes: none

Multiphonic Type: dissonant, sung notes written above and below played notes

Multiphonic Range: vocal range: A sharp - e'; played range: A + 1/4 tone - c sharp" +

1/4 tone (approximate pitch)

Intervals: unisons, seconds, sevenths, octaves, indeterminate dissonances

Chords: indeterminate dissonances

Dedication: N/A

Overview: This atonal work uses glissandi, microtones and multiphonics as its principal

techniques. While no measures are indicated, tempo markings are given and Young

graphically notates glissandi direction and tessitura, and provides symbols and

rudimentary performance notes. The multiphonics are performed in conjunction with

glissandi, with the pitches to be sung notated on a separate staff. Singing below the

played pitches will be a performance challenge for most performers.

104

Composer: Yuhas, Dan

Title: Episodes

Publisher: Noga Music, Jerusalem





Trombone(s): tenor


Overall Range: Gl - d flat"

Clefs: bass, treble




Multiphonic Range: vocal range: G sharp - f'; played range: F - b'

Intervals: unisons, seconds, thirds, fifths, sixths, sevenths, ninths

Chords: major chords, root position; major and minor chords second inversion;

diminished chords; dissonances


Overview: This work is through-composed, and many techniques are required, including

glissandi, cross-harmonic glissando, cross-harmonic note repetition, percussive effects

executed by striking the instrument with a mute and the palm of one’s hand, percussive

effects achieved by rapidly closing the slide, singing through the instrument, foot

stomping, flutter tonguing, trills, altering the sound quality via oral cavity shape, timed

events, quarter tones, and pronunciation of vowel and consonant sounds through the

105

mouthpiece. Rudimentary staging instructions are given. Yuhas stipulates that while the

piece is to be performed in a fast tempo, it should only be as fast as one can play without

using multiple tonguing. While some measures are indicated, the work is essentially

notated senza misura, with repeated motivic events that impart compositional cohesion.

The work is written using both traditional and graphic notation and a notation key is

provided, with instructions printed in both English and German.

Multiphonics are used in conjunction with other techniques. For example, there

are sections that require multiphonics to be performed in conjunction with parallel and

contrary-motion glissandi, while another section requires the multiphonic to be held

while the played note (above the sung pitch) descends via glissando to unison while

simultaneously singing vowel inflections. The low tessitura of one multiphonic (played F

sharp, sung G sharp) may preclude this composition from being performed by female

trombonists. Singing below the played note will be problematic for some performers as

well.

106

Chapter Five

Database Entries: Trombone and Keyboard

Composer: Blank, William

Title: Esquisse







Instrumentation: trombone and piano

Overall Range: El - c"

Clefs: bass, tenor

Mutes: straight


Multiphonic Range: vocal range: a flat - c sharp'; played range: F sharp - e flat

Intervals: fifths, sixths, tenths

Chords: major chords, root position; minor chords, second inversion; major chords,

second inversion; seventh chords

Dedication: N/A Overview: The piece is divided into five “plans,” each with a distinctive character

to be played without pause. Included are timed events, expanded beaming, mixed meter

signatures (the third “plan” changes meter signature almost every measure), and

proportional notation. A notation key is provided. The trombonist must perform flutter

107

tonguing, quarter tones, glissandi, extreme dynamic shadings, multiple tonguing, and

multiphonics. Further, the trombonist must be able to negotiate complex rhythms,

syncopations, and angular melodic lines. Piano cues are provided in the trombone part

due to the complex rhythmic interaction between piano and trombone.

Multiphonics are used only in the first “plan.” They are performed in conjunction

with glissandi (both parallel and in contrary motion), in soft dynamics (ppp - p), and con

sordino. While the multiphonics themselves are consonant sonorities, the piano

accompaniment does sometimes cloud the landscape with dissonances.

108

Composer: Borden, Lawrence

Title: The Conditions of a Solitary Bird

Publisher: International Trombone Association Manuscript Press, Austin, Texas





Trombone(s): tenor

Instrumentation: trombone and piano (passive piano)

Overall Range: A flat - d"

Clefs: bass, tenor

Mutes: none



Multiphonic Range: vocal range: e flat - g'; played range: d - a

Intervals: seconds, fifths, sevenths, octaves


Dedication: Ardash Marderosian and Frank Crisafulli

Overview: Borden drew his inspiration for this five movement work from San Juan de la

Cruz, who wrote the words that constitute the title of the work and the titles of the

individual movements. The movements are entitled: “The first, that it flies to that which

is highest;” “The second, that it does not suffer companionship, even of its own kind;”

“The third, that it points its beak to the sky;” “The fourth, that it does not have a definite

color;” “The fifth, that it sings very sweetly.” The first and last movements employ the

use of passive piano, in which the pianist holds the damper pedal down, allowing the

109

strings to vibrate sympathetically when the trombonist plays into the piano soundboard.

In addition to multiphonics, the work requires multiple tonguing, a reliable high

register, glissandi, cross-harmonic glissandi, quarter tones (achieved with slide movement

or by changing the oral cavity shape using vowel inflections), and timed events.

Multiphonics are used in the fourth movement only. Borden elects to have only

one consonant multiphonic, and the chord produced is striking when heard in contrast to

the other dissonant multiphonics. He writes the multiphonics as timed events and in

conjunction with flutter tonguing and/or contrary-motion glissandi. Borden conceived

this work as intentionally non-gender specific and he indicates that the fourth movement

can be played as written, or in tenor clef rather than bass clef, thus accommodating the

female voice. This effective and accessible work can be performed by the competent

undergraduate level student and above. An example of Borden’s multiphonic writing is

shown below.


Lawrence Borden, Conditions of a Solitary Bird (Austin, Texas: International Trombone Association Manuscript Press, 1996), fourth movement, mm. 1-2. Used by permission.

110

Composer: Chave, George

Title: Trombonics

Publisher: Norruth Music, through MMB Music, Saint Louis, Missouri





Trombone(s): tenor


Overall Range: E - d"

Clefs: bass, tenor



Multiphonic Range: vocal range: g sharp - b; played range: e - g sharp

Intervals: thirds

Chords: incomplete ninth chords

Dedication: N/A

Overview: This is a three-movement work scored in traditional notation, and all three

movements begin with trombone cadenzas. The work is not rhythmically complex, yet

rhythmic motives provide the underpinning of the formal structure. The third movement

requires passive piano, and there are rudimentary theatrical instructions in the form of

staging directions (“face audience,” “bell up,” and so forth). In addition to multiphonics,

performance requirements include multiple tonguing, glissandi, flutter tonguing, and

harmonic glissando. Use of a tenor-bass trombone might alleviate some minor technical

issues, although one is not required for performance.

111

Multiphonics occur only in the cadenza of the first movement. These

multiphonics require simultaneous singing and playing while performing multiple

articulations (playing thirty-second notes while singing eighth notes). An example is

shown below.


George Chave, Trombonics (St. Louis, MO: MMB Music, 1990), 1, mm. 20-21. Used by permission.

112

Composer: Chaynes, Charles

Title: Impulsions

Publisher: Alphonse Leduc, Paris





Trombone(s): tenor


Overall Range: B flatl - d flat" (e" optional)

Clefs: bass, tenor

Mutes: straight, harmon, cup81

Multiphonic Type: dissonant, sung notes written in unison and below played notes

Multiphonic Range: vocal range: a; played range: a - b flat

Intervals: unisons, seconds

Chords: dissonances

Dedication: N/A

Overview: This atonal work requires improvisation, flutter tonguing, glissandi,

vocalization, wide intervals, difficult syncopations, percussive effects on the mute and the

trombone bell, and multiple tonguing. Performance instructions are written in French.

The one multiphonic begins with a vocalized pitch and adds the played pitch at the

unison. The sung pitch remains on an a while the played pitch ascends to b flat in

glissando in conjunction with flutter tonguing.

81 Although a plunger mute is not specifically called for, mm. 4-10 have “open” and “closed”

symbols underneath the notes in the measure, indicating the requirement for either plunger or hand-muting. Nevertheless, no mute is specified in the beginning.

113

Composer: Childs, Barney

Title: Music for Trombone and Piano

Publisher: American Composers Alliance, New York

Copyright date: 1966

Availability: permanently out of print82



Trombone(s): tenor


Overall Range: A1 - e flat"

Clefs: bass, tenor

Mutes: cup, plunger

Multiphonic Type: dissonant, sung notes written above played notes

Multiphonic Range: vocal range: F sharp; played range: a

Intervals: tenth

Chords: dissonance

Dedication: commissioned by Stuart Dempster

Overview: This work employs timed events, standard and proportional notation, and

requires the trombonist to perform flutter tonguing, flutter tonguing while generating air

sounds through the instrument (not producing an audible pitch), trills, glissandi, harmonic

glissandi, falls, quarter tones, microtones, and multiphonics. In addition to these

82 On 29 July 2005 the author searched the on-line database of the American Composers Alliance,

www.composers.com, for this work. The reply to this search was “no results found for your search.” The author then called Hickey’s Music, Ithaca, New York, to inquire if the work was still in print and was informed that it was not listed in their database. Thus, the conclusion is that this work, although available from many university music libraries, is now unavailable for retail purchase.

114

techniques, the work requires timbre changes via vowel inflections, a “short sucking

squeak on [the] mouthpiece,” vocal effects such as barking, muttering, talking and

shouting through the instrument, and percussive effects generated by hitting the

mouthpiece with one’s hand, striking the bell with a hard vibraphone mallet, and striking

the trombone slide with a plastic stick. The microtonal pitch gradations descending from

d" - b' are written on a four-line staff, using approximate rhythms. Childs requests that

“ten slide positions [be] used in this passage, dividing the gamut B-D into 9 equal

parts.”83 There are performance instructions written throughout the music. The single

multiphonic written will produce a dissonance.

83 Childs provides an alternative pitch range (g sharp'- b') if the microtonal pitch range b'- d" is too

high for the performer to execute. The four-line staff and slide position gradations remain the same.

115

Composer: Everett, Thomas

Title: Natural “D”





Difficulty: medium

Trombone(s): bass

Instrumentation: trombone and piano (performance with passive piano optional)

Overall Range: A flat1 - f'

Clefs: bass

Mutes: none


Multiphonic Range: vocal range: g; played range: d

Interval: fourth

Chords: incomplete seventh chord

Dedication: “for my dad”

Overview: Thomas Everett is the founder and past president of the International

Trombone Association and long-time Director of Bands at Harvard University. The piece

begins and ends with a three-note motive, d-f-e, which is used and repeated throughout

the one-movement work. Although the composer calls for bass trombone, the work could

be performed on a tenor-bass instrument. There are no extended techniques required for

performance, although glissandi and multiple tonguing are required. There is just one

multiphonic chord, a perfect fourth, in the piece. Everett employs mixed meter signatures

and tempo indications, but no metronome markings. The work has an optional section

116

that could be performed in conjunction with passive piano. This would be a fine work for

an accomplished high school player, or a first-year undergraduate student.

117

Composer: Hartley, Walter S.

Title: Sonorities III

Publisher: Theodore Presser Company, King of Prussia, Pennsylvania





Trombone(s): tenor


Overall Range: A flat1 - d"

Clefs: bass, tenor

Mutes: none

Multiphonic Type: dissonant, sung notes written in unison or below played notes

Multiphonic Range: vocal range: d; played range: d - f

Intervals: unison, seconds, thirds

Chords: dissonances

Dedication: N/A

Overview: This is a one-movement atonal work. The optional multiphonics occur in only

three measures and the sung pitch is a drone note below the played pitches. In addition to

multiphonics, the piece requires control of the high register, ability to negotiate wide

leaps in the melodic line, glissandi, harmonic glissandi, cross-harmonic glissandi, flutter

tonguing, and multiple tonguing. This would be a fine work for the advanced

undergraduate trombonist.

118

Composer: Hovland, Egil

Title: Cantus V, Op. 120

Publisher: Norsk Musikforlag A/S, Oslo





Trombone(s): tenor

Instrumentation: trombone and organ

Overall Range: E - d flat"

Clefs: bass, tenor

Mutes: straight


Multiphonic Range: vocal range: c sharp' - d'; played range: A - B flat

Intervals: tenths


Dedication: N/A

Overview: This through-composed work features optional multiphonics in only one

section of the work. Aside from these optional multiphonics, no other extended

techniques are required and the range of the work makes it accessible for the

undergraduate student or perhaps even a good high school player. The comfortable range

of the multiphonics would make this piece an ideal first multiphonics performance piece

for a male trombonist.

119

Composer: Hutcheson, Jere

Title: Wonder Music IV






Trombone(s): tenor


Overall Range: A flat1 - a'

Clefs: bass

Mutes: plunger


and above played notes

Multiphonic Range: vocal range: c - b: played range: E - b flat

Intervals: unisons, seconds, fifths, sixths, sevenths, octaves, ninths, tenths


Dedication: commissioned by the Michigan Music Teachers Association and the Music

Teachers National Association Overview: This atonal work in mixed-meter uses timed events and proportional notation.

Glissandi are used throughout and serve as a unifying feature. In addition to this

technique, the performer must possess skillful plunger technique (degree of mute

openness is notated graphically beneath the trombone part), be able to split notes at will

(the composer writes “frack!” [sic] in the part), abruptly change dynamics, make vocal

120

sounds outside the instrument, and perform rudimentary theatrical instructions in terms of

exaggerated slide and body movements. There are moments of aleatory used in random

pitch selection and in instances of deliberate imprecision between the trombone and piano

parts, and ad libitum rhythms and tempi. Performance instructions are written throughout

the score, of which two are provided. The greatest performance challenge may be

achieving sixteenth-note precision in a particular section (page 5, third system through

page 6, second system). Although playable on the tenor trombone, a tenor-bass trombone

may alleviate some technical issues.

The multiphonics require glissandi in both vocal and played lines. The vocal line

is written using traditional note head shapes with vocal pitches written on a staff above

the played pitches. The multiphonics generally are written to produce dissonances,

although there is one chordal occurrence. Low tessitura of the vocal line may prohibit

performance of this work by female trombonists.

121

Composer: Imbrie, Andrew

Title: Three Sketches

Publisher: Malcolm Music/Shawnee Press from G. Schirmer, New York







Overall Range: B flat1 - d flat"

Clefs: bass, tenor

Mutes: none


played notes

Multiphonic Range: vocal range: G - g; played range: C - f

Intervals: seconds, fifths



Overview: The difficulties of this three-movement atonal work lie in the many wide

leaps and syncopations evident in the trombone part. The trombonist must perform

glissandi, cross-harmonic note repetition, trills and multiphonics. Multiphonics occur

only in the second and third movements. In the second movement, they are written in

seconds to create dissonances, while third movement ends in consonant interval

multiphonics, albeit in the low register.

122

Composer: Keenan, Paul

Title: A Field of Scarecrows

Publisher: Warwick, Music, Coventry, England





Trombone(s): alto, tenor-bass

Instrumentation: alto/tenor-bass trombone solo, piano (third pedal required)

Overall Range: “as low as possible” - g"

Clefs: bass, tenor, alto, treble

Mutes: cup, bucket, harmon84

Multiphonic Type: lip; dissonant, sung notes written in unison or above played notes

Multiphonic Range: vocal range: F sharp (+ 1/8 microtone) - f (- 1/8 microtone);

played range: F sharp (+ 1/8 microtone) - f (- 1/8 microtone)

Intervals: unisons, sevenths, octave plus sevenths, indeterminate and microtonal

intervals

Chords: indeterminate due to microtonal fluctuation, dissonances Dedication: John and Renee Kenny Overview: This twenty-five minute atonal work in thirteen movements was

commissioned by Irish trombone virtuoso John Kenny. The soloist performs on both alto

and tenor-bass trombones throughout the work, switching to each instrument as notated

in the score. Text is taken from an Anglo-Saxon poem called “The Ruin,” as translated by

84 According to Keenan’s performance notes, mutes can also be used in movements or places where

not marked in the score, if the performance is done in a smaller room.

123

Michael Alexander. The composition employs mixed meters, wide intervallic leaps,

difficult rhythmic subdivision, sudden dynamic changes, microtones, flutter tonguing,

doodle tonguing, glissandi, harmonic glissandi, cross-harmonic glissandi, cross-harmonic

trills, lip glissando, performance while inhaling, and poetry recitation. Movement seven

is a three-minute improvisational section based on the words of the poem, with

suggestions for improvisational material given in the form of non-traditional and graphic

notation, as well as the composer’s admonition to allow the improvisation to reflect the

words of the poem. The trombonist is tacet in movement two, and recites poetry in

movements four, six, eight, and nine. The pianist is required to perform tone clusters,

pluck strings, and provide instances of passive piano.

Multiphonics occur only in movements one, five, and six. Multiphonics produced

by simultaneous singing and playing must be performed using microtonal intervals and in

combination with contrary motion glissandi. Lip multiphonics are required on the alto

trombone.

124

Composer: Krenek, Ernst

Title: Five Pieces, Op. 198

Publisher: Bärenreiter, Kassel, Germany







Overall Range: A flat1 - “as high as possible” (f" written)

Clefs: bass, treble

Mutes: straight, cup, harmon



Multiphonic Range: vocal range: f- a flat': played range: d - c'

Intervals: unisons, seconds, thirds, fourths, fifths, sixths, sevenths

Chords: major chord, root position; minor chord, second inversion; diminished chords;

dissonances


Overview: This is a five-movement atonal work incorporating many extended and

avant-garde techniques which unify the work. Aside from multiphonics, the performer

will need to perform flutter tonguing and continuous slap tonguing, lip trills, wide slide

vibrato, glissandi, quarter tones, harmonic glissandi, cross-harmonic note repetition,

make percussive sounds with the instrument (either by striking the bell with a plastic

percussion mallet, or by quickly pulling the F-attachment slide out, allowing the listeners

125

to hear the audible sound made by the vacuum effect), horn disassembly sounds (playing

with the outer slide completely off, or covering only the mouthpiece side inner slide

tube,85 or by rolling the bell on the piano strings, or by whistling over the mouthpiece

shank), mutter, bark, and clear one’s throat into the instrument. Finally, one must produce

an echo effect by playing a note, then quickly engaging the F-attachment (minus the F-

attachment tuning slide) and playing the same note. Staging instructions are given (for

facing into the piano, and so forth). Some aleatoric aspects are required—Krenek on

occasion gives melodic contours without specifying pitches. This is a difficult yet

entertaining piece.

Multiphonics occur in the second and fourth movements. The multiphonics

require one part to sustain a long note while the other part moves in counterpoint to it.

Traditional note shapes are used for both sung and played pitches. Both vocal and played

note parts perform the sustained/contrapuntal parts. An example of Krenek’s use of

multiphonic writing is shown below.

Annotated Composition Example 7 Ernst Krenek, Five Pieces, op. 198 (Kassel, Germany: Bärenreiter, 1969), 8, mm. 2-3. Used by permission.

85 As a seminal work for trombone, this piece is fodder for many pedagogical/performance practice debates. Stuart Dempster, in his text The Modern Trombone, p. 48, and Milton Stevens, in his DMA document “New Techniques Required to Perform Recent Music For the Trombone,” pp. 31-33, both address the issue of Krenek’s requirement for horn disassembly from different avenues. At issue is the interpretation of the instructions “take regular slide off and engage on top tube only,” as noted by Krenek in the performance instructions. Both pedagogues reach different conclusions as to appropriate performance.

126

Composer: Lesley, Simon

Title: Three Sketches in the Form of a Sonata






Trombone(s): tenor


Overall Range: El - c sharp"

Clefs: bass, tenor

Mutes: none


Multiphonic Range: vocal range: a sharp - b; played range: F sharp - G

Intervals: tenths


Dedication: British Trombone Society

Overview: The three movements in this work are entitled “Blueprint,” “Eulogy,” and

“Cartoon.” Multiphonics appear in the second movement only. Techniques required for

performance include glissandi, cross-harmonic glissandi, cross-harmonic note repetition,

lip trills, an “outrageous tongue-stop,” and double tonguing. At times, position

indications are notated, although whether they truly facilitate technique is debatable—

they are not compositionally essential. The composition employs mixed meter and the

last movement ends with a cadenza. There is also spoken dialogue between the soloist

127

and accompanist in the first movement,86 but no other staging or theatrical directions are

given. This would be an appropriate piece for the advanced undergraduate performer.

86 Dialogue as printed in measure 15, quoted here: Accompanist: “OK then?” Soloist: “Yeah, let's go for it.” Dialogue is spoken during a fermata. Since the measures before measure 15 are to be taken as “a quick fiddly warm-up, jokily,” this dialogue seems appropriate and necessary.

128

Composer: Rieunier, Jean-Paul

Title: Silences

Publisher: Alphonse Leduc, Paris







Overall Range: A flat1 - f"

Clefs: bass, treble

Mutes: plunger



Multiphonic Range: vocal range: G - c sharp"; played range: E - c sharp" (optional f")

Intervals: unisons, seconds, fourths, sevenths, ninths, thirteenths, indeterminate intervals Chords: seventh chords; dissonances Dedication: Gérard Pichaureau Overview: Scholars note the historical significance of Silences; in 1976 the Paris

Conservatory programmed it as the first required trombone contest work to employ

multiphonics.87 Required performance techniques include singing into the instrument,

flutter tonguing, multiphonics with flutter tonguing, multiphonics while performing fast

rhythmical articulations on both sung and played notes, glissandi, timed events, multiple

87 John Mark Thompson and Jeffrey Jon Lemke, French Music for Low Brass Instruments,

(Bloomington, Indiana: Indiana University Press, 1994), 47.

129

tonguing, trills, fast alternation between singing and playing, rips, use of quarter tones,

vibrato, wide intervallic leaps, and sudden dynamic shifts. Notation challenges include

the use of sudden clef changes, complex rhythms, and expanded beaming. There are three

brief sections that require a plunger mute, with a small misprint in the solo part pertaining

to mute usage. Measures 71-73 are performed in mute and while both parts indicate

where the muted passage begins, only the piano part shows where the muted passage

ends (measure 73).

The multiphonics are primarily dissonant and often executed in conjunction with

another technique, such as flutter tonguing, glissandi, or articulation of a rhythmic

passage over a drone pitch. Vocalized and played pitches perform both rhythmic passages

and drone pitches in the multiphonic passages. There are minimal performance notes

which deal with symbols for singing and playing and quarter-tone notation. Notation used

to indicate vocalized pitches is a whole note with a dot in the center.

130

Composer: Trussell-Cullen, Lauren

Title: The Devil’s Dervish

Publisher: Earnestly Music, West Newton, Massachussetts





Trombone(s): tenor


Overall Range: E - e flat"

Clefs: bass, tenor

Mutes: harmon, cup


Multiphonic Range: vocal range: g - d sharp'; played range: F - c sharp

Intervals: sixths, sevenths, tenths, twelfths

Chords: major chords, second inversion; seventh chords; diminished chords

Dedication: Brian Diehl

Overview: This work is in quasi-rondo form with an ethereal, impressionistic flavor due

to the piano scoring. The trombonist must negotiate sudden clef and meter signature

changes, perform multiple tonguing, and possess command of the total register of the

trombone, a well-developed sense of internal pulse, and flexibility. Glissandi occur

throughout the work.

The extended cadenza includes multiphonics and harmonic glissandi. Diamond-

131

shaped note heads differentiate between played and sung pitches in the multiphonic

sections. Performance notes are included in the trombone part. There is a printing error in

the trombone part — cup mute usage is notated in the piano part only.

132

Composer: White, John

Title: Dialogues for Trombone and Piano






Trombone(s): tenor


Overall Range: A flat - c"

Clefs: bass, tenor

Mutes: straight


Multiphonic Range: vocal range: f - f sharp; played range: A flat - B flat

Intervals: fifths, sixths

Chords: major chords, root position; major chords, second inversion

Dedication: written for Michael Davidson; dedicated to Richard W. Bowles

Overview: The piece has three movements, “Slow,” “Song,” and “Swagger.” Advanced

techniques include multiphonics, glissandi, multiple tonguing, and negotiating some non-

traditional notation. Each movement employs a main motive and an extended technique

as a compositional device. The piano part calls for muted sections and aleatoric aspects

are required, with improvisatory and senza misura passages notated. Feathered beaming

is used to indicate articulation speed and dynamics. This piece is well-suited for the

undergraduate student.

133

Multiphonics occur only in the first movement. The notation shows the

summation tone (top note in the chord) but not the difference tone. The multiphonics are

consonant and produce the chords they purport to according to mathematical formula.

The multiphonic example from this work is shown below. Note the printed instructions

concerning the vocalized pitch.


John White, Dialogues for Trombone and Piano (Newton, Iowa: TAP Music Sales, 1988), mm. 20-22. Copyright 1988 by TAP Music Sales. Used by permission.

134

Composer: Wilby, Philip

Title: Ruach






Trombone(s): tenor

Instrumentation: trombone and organ

Overall Range: E - d" (Gl ad-libitum)

Clefs: bass, tenor

Mutes: harmon (required), cup (optional)88


below played notes

Multiphonic Range: vocal range: F - c'; played range: e flat - d flat'

Intervals: unisons, seconds, sixths, sevenths, indeterminate intervals due to glissando

Chords: minor chords, second inversion; incomplete seventh chords; dissonances

Dedication: “Commissioned jointly by Elliot Chasanov and the British Trombone

Society”

Overview: According to the program notes, Ruach is a Hebrew word meaning “God’s

Breath.” This work is through-composed, with several recurring motives throughout

88 The notes printed in the trombone part read thus: “Electric reverb pedal on or Cup Muted [sic].” However, notation for the reverberation unit seems inconsistent and unclear. According to the performance requirements notes printed in the score, under “ideal circumstances he requires the use of a foot-operated electronic reverberation unit.” The electronic reverb unit is called for three times, from mm. 43-48, then from mm. 66-102, and finally from mm. 127-end. Over m. 66 is written: “Electronic reverb pedal on or Cup Muted [sic].” It seems that if the reverberation unit is not available, a cup mute will be acceptable for the composer’s requirements. The cup mute is obviously the second choice so far as the composer is concerned.

135

which may depict the different ways the Almighty’s breath comes down upon His

people.89 The organist must have three erasers at his disposal for sostenuto notes.90

Ideally, the trombonist should have access to a speaker system, as a foot-operated

reverberation pedal is requested. The atonal work requires flutter tonguing, performing

circular motions with the bell while playing, and breathing through the instrument.

Traditional notation is used throughout.

Multiphonics are essentially dissonant and are to be performed with the

reverberation unit on (or in cup mute). They are used three times: twice from unison the

played note rises one-half step above the sung pitch to produce dissonance, and once a

glissando through a sustained pitch is noted, with x-shaped note heads indicating the sung

pitches. This two-measure multiphonic glissando is probably the most difficult

performance issue in the piece, although there are some wide intervals to negotiate as

well. The unique trombone and organ combination would make this an appropriate recital

piece for the advanced undergraduate student and above.

89 The composer’s note section reads, in part: “Amongst the most memorable accounts of such divine

inspiration is that of the prophet Ezekiel (Chap 37), who describes his dream of a valley filled with dry bones into which God breathes His spirit. ‘Prophesy, Son of Man: Come, Breath from the Four Winds, and let these dead live!’ ”

90 According to the performance requirements notes, “the organist is required to use three erasers to

sustain certain pitches on an Echo manual.” These pitches change throughout the work.

136

Chapter Six

Database Entries: Trombone in Chamber Music Composer: Aitken, Robert

Title: Kebyar

Publisher: Editions Salabert, Paris

Copyright Date: 1973 is copyright date; first printing is 1978




Trombone(s): tenor-bass with slide pulled to E, or bass

Instrumentation: trombone, flute (doubles wood or temple block), B flat clarinet (A

clarinet optional, also doubles wood or temple block), 2 double basses to low C,

percussion (finger cymbals, oriental cowbells, temple bowls, temple blocks, bowed

cymbal, Dharma bells, Philippine cowbell, Indian squeeze drum, pitched Trompong,

Gend'r, three low pitched gongs, bells),91 tape

Overall Range: F1 - d"

Clefs: bass, tenor

Mutes: straight

Multiphonic Type: indeterminate, sung notes written in unison or below played notes

Multiphonic Range: indeterminate: as written vocal and played range: f sharp - c"

(composer asks performer to vocalize approximate pitch of played notes)

Intervals: indeterminate (possible unisons and other intervals)

Chords: indeterminate intervals

91 On the title page, the composer lists possible Western percussion instrument alternatives if Oriental percussion instruments are unavailable.

137

Dedication: Commissioned by John Roberts, Carl Little, and the Canadian Broadcasting

Company. Written for Nicholas Fiore, Stanley McCartney, Eugene Watts,

Nancicarole Monoban, Thomas Monoban, and John Wyre

Overview: This work employs metered and non-metered sections, graphic notation, and

timed events. Elapsed time, in seconds, is notated in the score, which includes all parts,

including the electronic tape. The trombonist is required to perform wide leaps, flutter

tonguing, fast cross-harmonic note repetition, tremolo, glissandi, singing through the

instrument, trills, and multiple tonguing. Non-traditional use of the F-attachment (for

high register tone color variations), and percussive sounds generated through body

movements and on the trombone and equipment (bell, mouthpiece, water key, mute) are

required as well. The composer employs aleatoric elements in a series of musical events

that require additive elements or improvisation from the trombonist at the performer’s

discretion. An explanation of symbols page and a staging diagram are included in the

score. The techniques and notation used require professional level performers.

Multiphonics are required from the clarinet and flute as well as trombone. For the

woodwind instruments, the composer provides alternate fingerings. For the trombonist,

the challenge will be singing an approximation of the played pitch.

138

Composer: Alsina, Carlos Roqué

Title: Trio 1967

Publisher: Bote and Bock, Berlin






Instrumentation: trombone (trombonist must also perform on maracas and whistle),

violoncello, percussion (suspended cymbal, three tam-tams, sizzle cymbal, temple

blocks, four cowbells, snare drum, tom-tom, bass drum, vibraphone, ratchet, trill

whistles, glass marbles, aluminum paper, Greek hand-cowbell, two “dog barks”)

Overall Range: F sharp1 - f"

Clefs: bass, treble

Mutes: plunger


below played notes

Multiphonic Range: vocal range: c - d'; played range: F - g flat'

Intervals: seconds, thirds, fourths, fifths, sevenths, indeterminate intervals

Chords: major chords, root position; diminished chords; seventh chords; dissonances

Dedication: N/A Overview: Proportional notation is used throughout this work, with measures generally

divided into equal units of time. The performance score includes all parts by necessity

and is essentially a three-line score that adds or subtracts staves depending on

instrumentation. Five pages of performance directions (in both German and English)

139

include a stage set diagram, notation explanation, and musical and theatrical performance

instructions. These theatrical directions include, but are not limited to, staging directions,

facial expressions, overall body movement directions and instructions for interaction with

the other performers. The trombonist must use percussion instruments in performance, as

well as make percussive sounds by tapping the mute on the trombone bell. Other

performance requirements include laughing, whistling, improvisation (within given

parameters), trills, flutter tonguing, vocalization through the instrument, spoken

consonants and syllables, flutter tonguing and performing while inhaling.

Multiphonics performance challenges include singing below the played note and

executing multiphonics in combination with other techniques, such as glissandi

(including contrary motion glissandi), trills, and flutter tonguing. Glissandi often make

precise interval prediction impossible. Diamond-shaped note heads indicate sung pitches.

140

Composer: Anderson, Thomas Jefferson

Title: Minstrel Man

Publisher: Bote and Bock, Berlin





Trombone(s): bass

Instrumentation: trombone and percussion (bass drum, hi-hat cymbals)

Overall Range: Fl - b'

Clefs: bass, tenor

Mutes: none


Multiphonic Range: vocal range: G - d; played range: C - G

Intervals: fifths

Chords: major chords, root position; minor chords

Dedication: commissioned by Thomas Everett

Overview: This piece has theatrical elements which portray a minstrel show

performance. The multiphonics appear in the cadenza and show three notes printed.

Presumably the top note is the summation tone and the diamond-shaped note indicates

which pitch is to be sung, although there are no instructions for multiphonic performance

printed. If this is the case, one of the multiphonics will not sound as written, although

singing the topmost note of the notated minor chord will produce an approximation of

what is indicated. The low range of the multiphonics makes this piece an unlikely choice

for a female performer.

141

In addition to multiphonics, wide slide vibrato, tremolo, glissandi, flutter tonguing

and lip trills are required for performance. One must negotiate all these techniques while

reading a three-line score and playing the bass drum and hi-hat cymbal parts as well as

the trombone part. Percussion parts are played using foot pedals.

142

Composer: Appert, Donald

Title: Dialogue







Instrumentation: trombone and viola or violoncello

Overall Range: C sharp - c"

Clefs: bass, alto

Mutes: straight


Multiphonic Range: vocal range: f - f sharp'; played range: D - c sharp'

Intervals: fourths, fifths, sixths, tenths


Dedication: N/A Overview: This atonal duet employs mixed meters, wide intervallic leaps, fugal

imitation, and sudden and extreme dynamic changes. Written in legible manuscript and

score form, the publisher provides two performance scores, one for viola and one for

violoncello. The performers are required to perform hocket-like passages of alternating

sixteenth notes. The work is divided into two movements, with trombone multiphonics

used in the second movement. The multiphonics should pose no challenges for male

performers.

143

Composer: Bergsma, William

Title: Blatant Hypotheses

Publisher: Galaxy Music Corporation, New York






Instrumentation: trombone and percussion (vibraphone, marimba, antique cymbals,

triangle, wind chimes, suspended cymbal, temple blocks, bass drum)

Overall Range: B flat1 - d sharp"

Clefs: bass, tenor

Mutes: plunger


Multiphonic Range: vocal range: c sharp - a'; played range: E - c'

Intervals: sixths, tenths

Chords: major chords, second inversion; seventh chords

Dedication: N/A

Overview: This piece has three movements, with multiphonics required only in the

second and third movements. Multiphonics, flutter tonguing, glissandi, and harmonic

glissandi are the only extended techniques required. In addition, frequent clef and meter

signature changes, wide range and intervals make this a challenging work. The second

movement requires the performer to place a toilet paper roll tube in the bell of the

instrument throughout the entire movement, thus lowering the overall pitch and distorting

the overall sound quality of the trombone. Simultaneous use of a plunger mute in some

144

sections of the movement also enhances these effects. Melodic embellishment or

wholesale improvisation can occur in the third movement, as Bergsma provides only a

bare sketch for the trombonist, calling his printed notes “a base for elaboration.” The

performer must hit the trombone bell with a metal object.

Notes to be sung are written in smaller font size than played notes. It appears that,

for the female performer, the multiphonics could be taken up an octave without damaging

the integrity of the piece, as either untuned percussion or crotales performing non-

specific pitches play during the multiphonic parts of the second movement.

145

Composer: Buss, Howard

Title: Boom Time

Publisher: Brixton Publications, Lakeland, Florida






Instrumentation: trombone and percussion (tom toms, suspended cymbal, wind chimes,

wood block, large tam-tam, Chinese bell tree, triangle, bass drum with foot pedal,

tambourine, hi-hat, whip, vibraslap, agogo bells, vibraphone, orchestra bells)

Overall Range: A flat1 - c"

Clefs: bass, alto

Mutes: plunger, straight

Multiphonic Type: consonant, sung notes written above and below played notes

Multiphonic Range: vocal range: e flat - f; played range: A flat - b

Intervals: fourths, fifths

Chords: diminished chords; major chords, root position

Dedication: Paul Hunt

Overview: Written in four movements (“Boomers!,” “Thoughts of Grey,” “Trombone

Magic,” “Wild Nights”), this work uses several idiomatic techniques, including glissandi

(sometimes in conjunction with vibrato), multiple tonguing, cross-harmonic glissandi,

cross-harmonic note repetition, flutter tonguing, and trills (including F-attachment trills).

146

Speaking (both into and out of the instrument, and in combination with F-attachment

actuation) and whispering is required of both the trombonist and the percussionist, and

there is a notation key provided to aid the trombonist in performance. The percussion

part, playable by one performer, also includes a notation key, with designated instrument

symbols provided in the staff where appropriate.

At one point, the plunger mute is inverted to produce a “stopped horn” effect. The

third movement quotes, in quick succession, easily recognizable material from many

popular trombone solos and excerpts (for both band and orchestra). These include, but are

not limited to, motives from Hindemith’s trombone sonata, Rimsky-Korsakov’s

trombone concerto, the Ride of the Valkyries, Lassus Trombone, the Stars and Stripes

Forever, Tommy Dorsey’s “I’m Getting Sentimental over You,” and the Dies Irae. Buss

also quotes from another of his compositions for trombone, Camel Music, in measure 10

of the third movement.92

Multiphonics are used only in the first and third movements. It is possible and

permissible to invert the multiphonics where the sung note is written below the played

note.93 This would probably be sensible from a performance standpoint, since these occur

at the end of technical passages. This may facilitate a more effective performance, as it is

usually easier for performers to sing above played notes. Diamond-shaped note heads

indicate pitches to be sung.

92 Discovered through 05 November 2004 electronic mail correspondence with the composer. 93 In the same 05 November 2004 electronic mail correspondence with the composer, Dr. Howard

Buss gave two reasons why he wrote the multiphonic in measures 12 and 13 in the manner he did: timbre considerations (matching the timbre of the three note fragment employed in measure 11), and his ability to personally perform the multiphonic as written. However, he conceded that for most performers, singing above the played note is easier. He therefore wrote the following in response to the author's query: “I would not have any objections to someone reversing the roles of the 2 pitches in the multiphonic. I also realize that female players most likely would need to do so (or sing the F an octave higher) because of their voice range. I am after the effect of aggressive ‘brasstiness’ [sic]. So long as that comes across I am satisfied.”

147

Composer: Campo, Frank

Title: Commedie

Publisher: Colla Voce Music, Indianapolis, Indiana





Trombone(s): tenor

Instrumentation: trombone and percussion (amplified vibraphone, tubular bells,

bongos, triangle, tom toms, two suspended cymbals, finger cymbals)

Overall Range: A flat1 - e"

Clefs: bass, tenor

Mutes: hat, cup, plunger, non-metallic straight


played notes

Multiphonic Range: vocal range: e flat - b flat; played range: c - a flat

Intervals: seconds, thirds, fourths

Chords: incomplete seventh chords; dissonances

Dedication: Miles Anderson

Overview: This three-movement work uses multiphonics in the second and third

movements, primarily for dissonance effects. While no meter signatures or measures are

used, metronome markings are given. Flutter tonguing, air sounds through the instrument,

glissandi, harmonic glissandi, quick alternation between sung pitches and played pitches,

slide vibrato, multiple tonguing, plunger work, and quarter tones are required in this

work. Graphic notation in the forms of proportional notation and beamed accelerando and

148

ritardando are used, but both are fully explained in the given notation key. To make

performance possible, parts are in score form, with both percussion and trombone on two

staves, and spots demanding “coincidence of parts” are marked by dotted lines between

the parts.

149

Composer: Erb, Donald

Title: Mirage

Publisher: Merion Music, by Theodore Presser Company, King of Prussia, Pennsylvania






Instrumentation: trombone, flute,94 bassoon,95 trumpet,96 percussion (vibraphone,

chimes, marimba, tam-tam, bongos, timbales, bass drum, suspended cymbal,

timpani),97 keyboards (piano, electric piano, harpsichord, electric organ)98

Overall Range: lowest possible pitch - highest possible pitch (F sharp1 - d" written)

Clefs: bass, tenor

Mutes: straight, plunger, whisper (optional)



Multiphonic Range: vocal range: B - c'; played range: E - f


94 Flutist must also perform on soda bottle prepared for actual written pitch, harmonica, water goblet, and extra head joint.

95 Bassoonist must also perform on slide whistle. 96 Trumpeter must also perform on two different harmonicas, water goblet, and soda bottle

prepared for actual written pitch. 97 Percussionist must also perform on harmonica and soda bottle prepared for actual written pitch. 98 Keyboardist must also perform on harmonica. The piano is prepared by placing masking tape

“across strings between 2 mid braces.” It is also necessary to have a device able to independently depress organ keys – pencils are suggested in the score.

150

Chords: essentially major chords, root position; dissonances

Dedication: The Las Vegas Chamber Players

Overview: This eight-minute, rhythmically complex sextet scored for unusual

instrumentation employs timed events, standard and graphic notation, and requires a

trombonist with a fine sense of time, admirable capabilities in rhythmic subdivision,

multiple tonguing and plunger technique, and a reliable high register. In addition to

multiphonics, the work requires glissandi, flutter tonguing, trills, timbre changes via

vowel inflections, and indeterminate pitches. While the trombone is not acting in the

capacity of a primary solo instrument, it is interesting to note that the trombonist plays

the only part not required to perform on another instrument.

The multiphonics occur most often as a series of parallel fifths. This interval

serves as a unifying factor throughout the work. Trombone, flute, and bassoon scoring

requires multiphonics, executed either by alternate fingerings or by simultaneous singing

and playing. The bassoonist must produce multiphonics by singing and playing on the

slide whistle as well. Trombone multiphonics are performed in conjunction with plunger

mute or glissandi.

151


Title: The Rainbow Snake

Publisher: Merion Music, by Theodore Presser Company, King of Prussia, Pennsylvania

Publish date: 1986




Trombone(s): tenor-bass99

Instrumentation: trombone, two percussionists, keyboards (instrumentation required:

wind chimes, chimes, vibraphone, marimba, tam-tam, crotales, bass drum, nipple

gong in C, glockenspiel, 4 timpani, 6 roto-toms, bongos, piano,100 harmonica,

harpsichord, celeste)

Overall Range: G1 - “as high as possible” (f" notated)

Clefs Used: bass, tenor, treble

Mutes Used: harmon, plunger, cup

Multiphonic Type: consonant, sung notes written below played notes

Multiphonic Range: vocal range: B - f'; played range: E - b flat

Intervals: fifths, tenths, elevenths, twelfths

Chords: major chords, root position; seventh chord; augmented chord

Dedication: Commissioned by the International Trombone Association

Overview: This chamber quartet employs timed events as well as traditional, graphic and

99 Although tenor-bass is not specifically called for (the instrumentation says simply “trombone”),

in mm. 44-49 Erb writes a series of parallel fifth multiphonics in conjunction with glissando that could be played as strictly written if a tenor-bass trombone is used. Tenor-bass trombone will also alleviate some other technical problems.

100The piano is prepared by putting masking tape on the strings of the top two octaves.

152

proportional notation. The trombonist is required to perform glissandi (some

approximately playable only with F-attachment trombone), tongued glissandi, flutter

tonguing, tremolo, trills, harmonic glissandi (or cross-harmonic glissandi depending on

interpretation), and multiple tonguing. In addition, the trombonist must play a percussion

instrument (wind chimes) and make sounds by placing the trombone mouthpiece in a

harmon mute. The composer uses controlled aleatory in one section of the work

(indefinite pitch used in conjunction with definite rhythm and melodic contour in the

section the trombonist is required to play on the harmon mute). The biggest performance

challenge is likely the extended time the soloist must spend in the extreme upper register

of the trombone. Score and performance parts are provided.

The multiphonics are consonant in nature and will pose no problems for the male

trombonist. They are performed in conjunction with glissandi and usually in conjunction

with plunger mute. The requirement to play the parallel fifth multiphonics strictly in tune

while also employing glissandi may initially create some performance problems.

.

153

Composer: Erickson, Robert

Title: Ricercare á 5

Publisher: Smith Publications, Baltimore, Maryland

Copyright Date: 1993 (this is a reissue from 1966)




Trombone(s): alto, three tenors, contrabass is specified; five tenor-bass trombones will

substitute, or four tenor-bass trombones and one tenor101

Instrumentation: trombone quintet, or solo trombone with four separate “self-prepared

tapes”

Overall Range: Dl - f"

Clefs: bass, treble

Mutes: plunger, harmon102


Multiphonic Range: vocal range: c - f; played range: C - d flat

Intervals: thirds, tenths



Overview: Graphic notation is used throughout this atonal work. Instructions include a

set-up diagram, a page of general directions and performance notes and additional

specific directions printed in the score. The score shows neither meter signatures nor

101 From performance notes. 102 According to the program notes, the plunger is the desired mute for all voices, even though

“wa-wa” is called for in the parts.

154

metronome markings at the beginning, but the general directions indicate that the piece is

in common time throughout, except where specified, and is to be performed at a

metronome marking of quarter note = 60. Performance challenges include the use of

continuous slap tongue, extreme pedal register, trills, glissandi, harmonic glissandi,

flutter tonguing, percussive sounds made by striking the mouthpiece with the palm as

well as by striking the instrument with percussion mallets and sticks. At one point,

aleatoric rhythms played on a single pitch by the entire ensemble gives the aural

impression of stereophonic Morse code. In addition, speaking, whistling and bellowing

(the performers are instructed to make bovine sounds) though the instrument, vowel

inflections, humming through the instrument, and sudden dynamic changes are required

for performance.

The multiphonics by themselves are all consonant and easily performed.

Nevertheless, the layering of these multiphonics in the overall ensemble will make the

total aural experience atonal. This is an effective work for trombone ensemble.

155

Composer: Ford, Andrew

Title: Tuba Mirum

Publisher: Australian Music Centre, New South Wales





Trombone(s): basses

Instrumentation: bass trombone duet

Overall Range: B2 - b'

Clefs: bass, tenor



played notes

Multiphonic Range: vocal range: d sharp - b; played range: B2 - g

Intervals: thirds, fifths, sixths, sevenths, octaves, twelfths, 3 octaves

Chords: major chords, root position; minor chords, second inversion; dissonances

Dedication: Charles Maclnnes

Overview: This through-composed duet for two bass trombones employs timed events,

proportional notation and utilizes portions with mixed meter signatures. In many

instances the trombonists are performing together in dissimilar quarter-note tempi.

Performance challenges include sudden wide dynamic changes, flutter tonguing,

glissandi, cross-harmonic glissandi (in the form of fast rips), use of instrumental hocket,

multiple tonguing, and multiphonics.

156

Plunger mute dexterity is also required and markings indicating open and closing of the

plunger mute are notated above the system. There are markings indicating when an

audible inhalation or exhalation is required. Staging and rudimentary acting instructions

are written in the score, and include instrument raising and lowering and instructions for

specific facial expressions. A notation key is provided. In addition to the extreme low

range demanded of both performers, rhythmic precision in the mixed meter section will

be perhaps the most difficult performance challenge.

The multiphonics are relatively easy for male performers, although there is one

rather challenging instance where a sung b is voiced over a played B2. The sung notes are

indicated by a note head in parentheses and are always indicated with a black note head,

although performance instructions indicate that the sung note is to be held for the same

duration as the played note.

157

Composer: Fulkerson, James

Title: In Quest of a Silence







Instrumentation: trombone, piano, and percussion (vibraphone, suspended cymbal)

Overall Range: Fl - e flat"


Mutes: plunger

Multiphonic Type: dissonant, sung notes written above played notes

Multiphonic Range: vocal range: c flat' - d'; played range: b flat - c sharp'

Intervals: seconds

Chords: dissonances

Dedication: N/A

Overview: This work is through-composed, with several motives recurring throughout

the piece. The end of the work requires specific bell directional rotation as a stage

direction. Metronome markings are indicated, but time signatures are not. The work

presents two main challenges: to correctly perform the intricate rhythms and polyrhythms

between the vibraphone, piano and trombone; and to negotiate the wide leaps required.

Besides multiphonics, the performer is required to execute flutter tonguing, lip trills,

glissandi, harmonic glissandi, and multiple tonguing. Slide vibrato width is notated

graphically in the score and the multiphonics produce dissonance.

158

The piano part has an option for prepared piano, and the pianist must strike the

strings (sometimes in specific rhythm) with mallets, perhaps for a sound akin to the

hammered dulcimer. The vibraphonist must also perform on suspended cymbals. This

work demands the graduate student-level performer and above.

159

Composer: Gaburo, Kenneth

Title: Cantilena Four

Publisher: Frog Peak Music, Lebanon, New Hampshire





Trombone(s): tenor

Instrumentation: trombone, soprano

Overall Range: c - b flat'

Clefs: bass, treble

Mutes: the composer requires hand-muting


played notes

Multiphonic Range: vocal range: a flat - b; played range: d - f

Intervals: thirds; sixths

Chords: major chords, second inversion; dissonances

Dedication: “to Candace and John English; for Steven Gerber”

Overview: This duet is written on four staves, two for the soprano, and two for the

trombonist and proportional notation is used. Performance techniques include flutter

tonguing, glissandi, trills, use of microtonal pitch and note length gradations, singing, and

speaking through the instrument (via use of phonetics). The composer includes theatrical

devices in the form of gestures, and performance instructions for the same are included in

the score. The multiphonics are but a small part in the whole work and not problematic

160

for the male trombonist. The manuscript is, at times, confusing due to the small print size.

The work includes explicit performance directions for both soprano and trombonist. The

biggest performance challenge is familiarizing oneself with the unusual notation.

161

Composer: Globokar, Vinko

Title: Discours II

Publisher: C. F. Peters, New York





Trombone(s): tenor

Instrumentation: five trombones, or trombone with four channel tape

Overall Range: “as low as possible” - e flat"

Clefs: bass, tenor

Mutes: straight, cup, harmon, plunger, solotone



Multiphonic Range: vocal range: B flat - g'; played range: F - f sharp'

Intervals: unisons, seconds, thirds, fourths, fifths, sixths, sevenths, tenths, octave

plus fifths, octave plus sixths

Chords: major chords; minor chords; diminished chords; dissonances

Dedication: Jean-Pierre Drouet

Overview: This work can be played by five trombonists, or by one trombonist who

has taped the other four voices. If five live trombonists are used, the composer

requests/requires specific audience seating, performer staging, theatrical instructions, and

lighting instructions. If the taped version is performed, there are soloist microphone

162

placement requirements and theatrical requirements.

The performance instructions, notation key, and action assignments take up three

entire pages in the front of the work. The work is written entirely in graphic notation,

with performance instructions (in French) placed at various intervals throughout the

score, for example, “empty water key discretely, noisily, using water key,” “put down

plunger spinning it on its rim like a top,” and “pour water in the slide and discretely take

maracas.”

Multiphonics are used to produce tone clusters as well as unison and consonant

sonorities. Some of the multiphonics fade into singing only, some are used in

combination with glissandi, and some glissandi are done in contrary motion, resulting in

voice exchange. In addition to multiphonics, the piece requires percussive noises to be

made by quickly bringing the slide into first position, by finger and mute taps against the

bell, air sounds, by using a “fla” articulation in the mouthpiece, by making the water in

the slide sound through exhalation, and by using maracas in performance. At times a

three-line score is used to indicate plunger mute degree of openness. Flutter tonguing,

timed events, speaking into the instrument, use of vowel sounds, cross-harmonic note

repetition, glissandi, quarter tones, vibrato, trills, F-attachment noise and trills, and

multiple tonguing are but some of the techniques required for performance. At one time,

one must pour water into the slide.

Familiarity with the French language and its speech inflections is necessary for

performance, as the text as printed under the notation in the performance score is the

“basis of the part which is played. . . . The rhythmic interpretation should resemble that

163

of the French text recited in normal fashion.”103 The translation of the text (seen below)

shows the importance and similarity Globokar hears between the French language and the

voice of the trombone, and the methods he uses to achieve this “discourse.”

There are many similarities between human speech and the sound of the trombone. Not only do certain sonorities of the trombone resemble the timbres of the human voice, but there exists, in addition, an analogy between the methods of producing these two types of sounds. With the aid of mutes which permit modulation of the sound with the hand, vowel-like sonorities can be obtained, while “consonants” can be produced using the breath and tongue, without the conventional use of the instrument.104

This is a truly virtuosic work, and requires a performer who has total command of all

facets of trombone performance.

103 Vinko Globokar, Discours II (New York: C. F. Peters Corporation, 1969), notes page. 104 Globokar, Discours II, “Translation of the Discours.”

164


Title: Pour Quatre

Publisher: Swedish Music Information Centre, Stockholm





Trombone(s): tenor

Instrumentation: trombone, flute, double bass, contralto

Overall Range: F - d"


Mutes: plunger, straight

Multiphonic Type: dissonant, sung notes written in unison, above, and below played notes

Multiphonic Range: vocal range: g - d': played range: d double sharp - d'


Chords: dissonances

Dedication: N/A

Overview: This atonal, through-composed fifty-nine measure work makes use of mixed

meter signatures, wide intervallic leaps, and moderately-difficult syncopations. The

trombonist must perform flutter tonguing, trills, and glissandi. The multiphonics produce

tone color changes or dissonances, are always performed in conjunction with glissandi,

and always begin and end at the unison. Achieving precision in performance is perhaps

the biggest performance challenge.

165


Title: Tensta Emotions

Publisher: Swedish Music Information Centre, Stockholm






Instrumentation: trombone, clarinet, piano

Overall Range: “deep as possible” (B flat1 written) - b flat'

Clefs: bass, tenor

Mutes: plunger,105 harmon



Multiphonic Range: vocal range: c - g; played range: E - a flat

Intervals: unisons, seconds, fifths, sixths, microtonal intervals

Chords: dissonances; major chords, root position; minor chords, second inversion

Dedication: N/A

Overview: This atonal work requires the trombonist to perform glissandi, cross-harmonic

glissandi, microtones, slide vibrato, and trills. Plunger mute openness is indicated below

the trombone part. The dissonant multiphonics begin at the unison and extend to an

interval of a second, with instructions to simultaneously employ quarter tone glissandi.

105 In the performance notes Grahn writes: “cup=plunger.” His preference is for a rubber plunger

mute, not a metal one.

166

The multiphonics built on larger intervals produce consonant sounds although in the latter

portions of the piece these are obscured by quarter-tone glissandi required on the played

pitches, and in all sections by the atonal nature of the clarinet and piano parts. The low

tessitura of the consonant sounding multiphonics will certainly preclude performance by

female trombonists.

167

Composer: Harris, Roger

Title: Women go to Heaven and Men go to Hell






Trombone(s): bass

Instrumentation: trombone, piano, two percussion (suspended cymbal, steel pipe of a

specific length [12" - 14"] and diameter [ 1½"], according to composer’s

specifications, three stainless “West Bend brand” steel mixing bowls, which

composer requires to be inverted and mounted on either a thick foam pad or on a

made stand-board with cutouts)

Overall Range: “indefinite low pedal tone” (Gl written) - g'

Clefs: Bass

Mutes: Straight


below played notes106

Multiphonic Range: vocal range: c - f flat'; played range: E flat - g'107

Intervals: seconds, sixths, sevenths, octaves

Chords: major chords, second inversion; dissonances

Dedication: N/A

106 Multiphonics can be played at the discretion of the performer. 107 These tessituras are approximate due to possibility of reversal of sung/played pitches.

168

Overview: This atonal work, inspired by the composer’s perusal of visual art,108 is

through-composed. The composer requires specific traditional and non-traditional non-

melodic percussion instruments for both percussionists and trombonist. At times

specified the trombonist must play into a “double jingle tambourine” in order to make the

“jingles” ring. Aleatoric aspects are utilized in performance, specifically indefinite

pitches, rhythms, and number of times certain measures are repeated. Timed events and

expanded beaming are used and wide leaps and difficult syncopations occur throughout

this work. Required performance techniques include glissandi, microtones, jaw and slide

vibrato, and multiple tonguing, often used in combination with one another, for example,

microtones performed in conjunction with jaw vibrato. A notation key is provided for all

parts, the manuscript is easy to read, and the provided performance scores include all

parts by necessity.

The work begins and ends with multiphonics. As written, there are sections where

the sung notes occur below the played note, but according to the composer these may be

reversed.109 Diamond-shaped note heads indicate sung pitches.

108 Professor Harris writes: “This title came from a lithograph of that title and is in the [Mesa

Community] College’s Art Collection. Sorry, I can’t give the artist the proper credit for the title.” 109 In question is a three-measure section of the work in which the composer wrote two

multiphonics with the sung pitches notated below the played pitches. The author wrote to inquire if it would be permissible to reverse the order of the sung/played pitches, or if these multiphonics were purposely written in this manner because of tone-color issues. Professor Harris’ correspondence with this writer regarding these multiphonics is quoted here: “Your question concerning the reversal of the notation in measures 23-25 is quite acceptable. In fact, it may be a notational mistake. The sketches for the composition have long since disappeared. The correction as you suggested would occur in your database and hopefully help in the performance of the work.” Therefore, if one is so inclined, one may play the d, and sing the c', and likewise reverse the g and g'. Correspondence dated 12 January 2005.

169

Composer: Haug, Halvor

Title: Essay

Publisher: Music Information Centre Norway, Oslo





Trombone(s): alto

Instrumentation: alto trombone and string quartet

Overall Range: A - c"

Clefs: alto

Mutes: straight


Multiphonic Range: vocal range: e - d flat'; played range: A - g flat

Intervals: fifths, sixths, sevenths, octaves, tenths

Chords: major chords, root position; major chords, second inversion; minor chords,

second inversion; seventh chords

Dedication: Synnøve Hannisdal

Overview: This work is very lyrical throughout, with no real technical difficulties. The

trombone part calls for trills and proficiency in the low register. A trigger (B flat

attachment) is not required but may smooth some awkward low register passages.

Multiphonics are consonant, but the string writing will create dissonances in some

instances. Diamond-shaped note heads (although the program notes state “square notes”)

indicate sung pitches. This is an accessible piece of chamber music for alto trombone.

170

Composer: Hutcheson, Jere

Title: PASSING PASSING PASSING






Trombone(s): bass, or large bore tenor-bass110

Instrumentation: trombone, soprano, clarinet, violoncello, piano111

Overall Range: G sharp1 - “highest note” (f" written)


Mutes: plunger


played notes

Multiphonic Range: vocal range: e - c'; played range: F - f

Intervals: fifths, sevenths, octaves, ninths


Dedication: commissioned by and dedicated to the American Artists Series

Overview: This atonal chamber music work is written in mixed meter signatures and

uses timed events. Performance instructions are printed throughout the score. Repeated

motives, improvisation, controlled aleatory, or cadenzas are required of all performers.

110 Although the composer notes a preference for bass trombone, range and technical considerations do not require a bass trombone. Indeed, these considerations make the large bore tenor-bass trombone more appropriate.

111 Several objects are placed on the piano strings during the performance, including golf tees, chains,

and a tambourine. Additionally, the strings are struck with wooden dowels, an “unused” pencil eraser, and yarn mallets. The trombonist, or an assistant, is required to assist the pianist in piano preparation.

171

The text for the work is from “Telephone Pole,” by Richard Heraty, and is delivered via

sprechstimme, with additional references to the expressive capabilities of Cathy

Berberian to help guide the soprano. A staging diagram and symbols definitions are

included for each instrument. Besides multiphonics, the trombonist is required to perform

glissandi and multiple tonguing. Aside from extreme range, no other technical demands

are placed on the trombonist.

The multiphonics are easily played by male trombonists, and performed in

conjunction with glissandi. Multiphonics occur only twice in the work, at rehearsal

number 29. In the first instance, both multiphonics lines move in parallel motion

glissando, keeping a constant interval throughout. In the other instance of multiphonics,

the played note is a sustained pitch while the vocal line moves above this via glissando.

172

Composer: James, Kevin

Title: Good Friday

Publisher: Wehr’s Music House, Winter Park, Florida



Copy Quality: computer quality


Trombone(s): tenor-bass or bass112

Instrumentation: trombone and percussion (one player - large frame drum, wind

chimes, bells, shakers, maracas, seed pods, and any other “gentle” sound-

producing percussion instruments at the performer’s discretion)

Overall Range: Fl - “as high as possible” (e" written)

Clefs: bass, tenor

Mutes: harmon



Multiphonic Range: vocal range: f (plus quarter tone) - f'; played range: e - b

Intervals: fourths, fifths, sixths, octaves, indeterminate intervals, microtonal intervals


Dedication: N/A

Overview: This two-movement work was written for the survivor of an automobile

accident in which his fiancée was killed. It employs audience participation in the form of

112 While the piece specifies only “trombone,” the work has a written low B1, and many pedal

tones indicated. Thus, a tenor-bass trombone with the F-attachment tuning slide pulled, or a bass trombone, is required. The tenor-bass or bass trombone trigger attachment(s) will facilitate the performance of many other passages in the work as well. In an electronic correspondence with the author, the composer stated that he always performs the work on “tenor.” The composer did not prohibit performance on bass trombone, however.

173

random noise generation and subsequent cessation of said noise in precise spots in the

music, as well as stage props (five candles positioned about the corners and center of the

stage), stage lighting instructions (candles only throughout), and rudimentary theatrical

instructions for the trombonist, including mute noise effects, foot stomping, instructions

to walk about the stage while performing, and exit instructions. The percussion part is

entirely aleatoric, with instructions written in the program notes.

The trombonist is required to perform glissandi, cross-harmonic glissandi, falls,

wide intervallic leaps, pedal tones, vocalizations through the instrument, and audible

breathing in specific sections of the work. Improvisatory and aleatoric sections are

required as well, with a specific section in the first movement requiring “random slide

movement and indeterminate pitch.” Performance cues (“w/frustration; w/growing

sadness”) are written in the trombone part. The second movement requires the trombonist

to play several fast passages without articulating (N.T. stands for “no tongue and a quick

slide”) creating glissandi effects. The key signature contains one flat, but it is A flat.

Memorization of the work seems necessary given the only stage lighting is provided by

candles, as well as the composer’s requirement for the trombonist to roam about the stage

while playing.

Multiphonics are written with the sung pitches always above the played pitches.

The first movement multiphonics utilize both specific and aleatoric intervals. The second

movement multiphonics require the vocalized pitches to never be in unison with the

played pitches, yet to be no higher than a quarter tone above the played pitches, thereby

producing beats. Both played and sung pitches are notated with traditional note heads.

The second movement has at least one spot where an indefinite multiphonic may be

174

added at the performer’s discretion (specifically in measures twenty-seven and

twenty-eight, on the written downward glissando).113 Diamond-shaped note heads denote

the vocalized pitches.

113 In an e-mail to the publisher, the author asked about the possibility of a misprint in the score, if

in fact the glissando was to be done under a vocalized a. The publisher wrote back to state that in the part in question, the written a was notated to indicate duration, not to indicate a multiphonic. Later that same evening, however, Kevin James wrote an e-mail to the author about the measures in question, and his response is quoted here: “Jamie [James Wehr, proprietor, Wehr’s Music House] is correct that the notation on the page is an indication of the length of the glissando. However as a performance note, I do often add a multiphonic on that note and the more I perform the piece the more I think it makes sense to have one there from a structural point of view.” So, at one’s discretion, one may or may not perform a multiphonic at this spot. The composer notes that if a multiphonic is performed at this spot, it must be similar in character to the others in the second movement.

175

Composer: Klein, Joseph

Title: Goblin Market114

Publisher: Nopone Press, Denton, Texas





Trombone(s): tenor-bass and alto

Instrumentation: tenor-bass trombone, alto trombone, prepared euphonium,115 piano,116

four music boxes playing four different songs, flexatone, two police whistles,

computer and electronics for sound and lighting

Overall Range: C1 (approximate pitches written to G2) - “highest pitch possible”

(g flat" written)


114 As conceived, the work may be performed in three distinct versions. According to the

composer’s general performance notes, if the work is to be performed with electronics, the composer requires the piece to be referred to as “Goblin Market, for solo trombonist and environment.” If electronics are not used, the piece is to be called “Goblin Market, for solo trombonist and performance assistant.” If the work is performed by solo trombonist only, the work is to be called “Goblin Market, a monologue for solo trombonist.” The last version eliminates the entire fourth movement and most theatrical elements.

115 In the fourth movement, the composer requires a four valve euphonium prepared with the

valve slides removed, with 8'-10' lengths of rubber tubing attached in place of said valve slides. To these tubes are attached any number of noisemaking items, which could include, but are not limited to, items like a duck call, a police whistle, a kazoo, and a bucket of water (in which case, the tube is to be submerged in the water). The trombonist should select items that give “the widest variety of timbral possibilities.” The trombonist may simply blow air through the euphonium to make the devices speak, or may buzz into the mouthpiece normally. Additionally, these sounds must be supplemented by flutter tonguing, humming, over blowing, changing partials, and so forth. Finally, if one desires even more variety of sounds, one may connect a second euphonium (prepared the same way) to the first via a rubber tube from a valve slide of the first instrument to the lead pipe of the second. If “Goblin Market, a monologue for solo trombonist” is performed, the prepared euphonium is unnecessary.

116 The piano needs to be played on the inside strings. The composer requires the appropriate

strings to be marked, and further requires the following things to be used to make the strings sound: balloons, metal coins, yarn marimba mallets, “superball” mallets, a one foot length of chain, a two to three foot length of wire, and a “four foot strand of bowing material.”

176

Mutes: for tenor trombone: straight, cup, harmon, bucket, plunger; for alto

trombone: straight, practice (or cloth), plunger, aluminum pie tin

Multiphonic Type: combination consonant and dissonant tonal (indeterminate), sung

notes written above and below played notes

Multiphonic Range: indeterminate (written vocal range: g - a flat'; written played

range: c sharp - c')

Intervals: indeterminate intervals, thirds, fifths

Chords: indeterminate intervals and dissonances; major chords, root position

Dedication: William Bootz

Overview: This four or five movement work117 is intended to be a “structural and

psychological study of the actions and characters portrayed. . .” in Christina Rossetti’s

nineteenth century poem “Goblin Market.” The five movements are entitled “come buy,

come buy,” “open heart/absent dream,” “Laura dwindling,” “resistance,” “bitterness

without a name.” The two main characters of the poem, sisters Laura and Lizzie, are

portrayed in the work by two “mutually exclusive pitch cells,” one of five notes, one of

seven notes, and this 5:7:12 relationship can be seen throughout the structure of the piece.

For example, there are twelve variations, five variations performed in the second

movement, seven performed in the last movement. Klein's notes indicate that “the work

depicts the course of a protagonist (trombonist) through a reflection of the plot

(environment) as generated by the composer’s response to the content of Rossetti’s

poem.”

There are five pages of notes included which describe the compositional process,

the necessary procedures required for performance of each movement, the roles of the

117 See the first footnote related to this work for clarification.

177

trombonist, assistant(s), the equipment necessary, the notational symbols used in the

work, sartorial requirements, and stage setup. The work is presented in score form, with

separate staves for trombonist, assistant, and electronics (both sound and

lights).Theatrical instructions for all performers are notated in the score. For the

trombonist, theatrical instructions include, but are not limited to, entrance and exit

instructions, lying down on the stage floor while playing, and movement-specific

instructions controlling physical action, cessation of motion, facial expressions, and so

forth. The trombonist is required to perform speech-like sounds (including both vocal and

instrumental noises) through the trombone, laugh and moan through the instrument,

disassemble the instrument while performing, play with the water key open, scream,

overblow the instrument, approximate written pitches, switch instruments (between alto

trombone, tenor trombone, and prepared euphonium118), and so forth. Flutter tonguing,

glissandi, proficient harmon and plunger mute technique, multiple tonguing, ability to

negotiate wide intervallic leaps and abrupt dynamic changes, the ability to rapidly change

instruments and mutes, and multiphonics are required for performance as well. Due to the

physical action and difficult page turns required of the trombonist, memorization of this

work is required as well.

The multiphonics occur in two basic ways. The first is intervallically non-specific,

and combined with flutter tonguing, speaking, or with tremolos.119 The second use of

118 See second footnote related to this work for clarification. 119 Dr. Klein’s notation requires the following: “composite voice/instrument tone:

distribution/alternation of tremolos between voice and instrument ad libitum.” The author possesses a compact disc recording of a performance by the dedicatee, William Bootz. The aural result of this notation is a multiphonic produced by simultaneous singing and playing.

178

multiphonics requires both specific and aleatoric intervals. The multiphonics are

performed in conjunction with parallel and contrary motion glissandi. The composer

requires crossed voice glissando for the last multiphonic. An example of multiphonic

usage in Joseph Klein’s Goblin Market, Variation 9, is shown below.


Joseph Klein, Goblin Market, (Denton, TX: Nopone Press, 1993), 37. Used by permission.

179


Title: Leviathan






Trombone(s): bass

Instrumentation: bass trombone, male voice, intermedia120

Overall Range: El - a flat'

Clefs: bass, tenor

Mutes: harmon, plunger, bucket, cup

Multiphonic Type: indeterminate, sung notes written above and below played notes

Multiphonic Range: vocal range: B - a flat; played range: B - a flat

Intervals: indeterminate dissonances121

Chords: indeterminate

Dedication: Joseph Hopkins, William Bootz

120 According to the composer’s performance notes, the intermedia required equipment list is as follows: 8-channel ADAT deck (most optimal circumstances), or 4-channel ADAT, or 2-channel DAT or CD (least optimal circumstances); FX processor with required multi-channel capability (Dr. Klein suggests either an Ensoniq DP-4, or two Yamaha SPX-1000 processors); two microphones; a mixing board; two VHS video cassette players; two video projectors; two music stand lights with blue-green gels; two ceiling-mounted flood lights with blue-green gels; one ceiling mounted white spot light; a light fader board; seven speakers (two spaced on stage and the other five spaced around the hall) plus one monitor speaker. A fog machine is optional. The FX processor settings are given in the performance notes as well.

121 Although the multiphonics as printed show an interval of a third, the interval is not meant to

indicate anything but range of vocalized and played pitches. On 01 March 2005 the author engaged in electronic correspondence with Dr. Klein about this matter, who confirmed that the intent of the multiphonics used in both the live and recorded portions of the work was written to create dissonances.

180

Overview: The muse for this work is the poem “Leviathan,” from the collection of

poems entitled Green With Beasts by William Stanley Merwin. It employs the words of

this poem, as well as text from three Biblical accounts of the sea serpent. Structurally, the

work consists of five “episodes,” in which the solo voice depicts the “conceptual and

psychological aspects of leviathan,” and the trombonist the “physical and mythical

manifestations of the beast.” This is accompanied by the intermedia sounds, which

include recorded voice and trombone sounds (including multiphonics), and other sounds

associated with the ocean. The three pages of performance instructions include the

different texts used throughout the work, a stage diagram, and a music notation key. The

score includes separate staves for the vocalist, trombonist, and three separate staves for

intermedia (tape, effects processor, and lights and video). Elapsed time, in seconds, is

printed in the middle of the score for reference. The score includes both metered and non-

metered sections.

The bass trombone part is not especially difficult but does require a reliable low

register, glissandi, and some alternate positions using the F-attachment valve. The

multiphonics occur only in the “Fourth Episode,” are required to be performed within the

space of a third, and should create dissonances. The simultaneous sounding of recorded

trombone multiphonics, as well as the insertion of the cup mute while performing the

multiphonics will encourage this effect. The sung/played pitches cross voices and

diamond-shaped note heads indicate vocalized pitches. The lower tessitura of these

multiphonics may preclude most female trombonists from performing this work.

181

Composer: Larsen, Libby

Title: Bronze Veils

Publisher: E. C. Schirmer Music Company, Boston



Copy Quality: manuscript (facsimile series)


Trombone(s): tenor

Instrumentation: trombone and percussion (suspended cymbal, tam-tam, tom-toms,

Sarna bells, vibraphone, triangle, wind chimes, woodblock, water gong, temple

blocks, bell tree, glass harmonica or other “sustaining instrument;” two

performers required)

Overall Range: B flat1 - c"


Mutes: harmon, straight, plunger


Multiphonic Range: vocal range: b - d': played range: d - f

Intervals: sixths, sevenths

Chords: major chords, second inversion

Dedication: N/A

Overview: This through-composed work is a musical depiction of the “layering”

technique as used by painter Morris Louis. The two percussionists perform on thirteen

different pitched and unpitched percussion instruments throughout the work, and with the

trombone they create the “veils” of color Larsen describes in her program instructions,

which include her specific graphic notation instructions. In addition to multiphonics,

182

Larsen employs aleatoric aspects with respect to pitches, rhythms, and specific

articulations played, as well as syllables uttered. She also calls for quarter-tone vibrato,

trills, flutter tonguing, glissandi, random-pitch glissandi, and downward rips while

specific syllable(s) are articulated. She notates three specific pitches for the multiphonics,

the played note (bottom), sung note (middle), and summation tone (top). The summation

tones will not all sound as specified according to mathematical formula, however, and

she does not notate any difference tones. A tenor-bass trombone would be helpful when

attempting the mid-register trill. There is a minimal amount of multiple tonguing

required. This would be a good selection for the undergraduate student attempting their

first avant-garde work. The manuscript (this is published via Schirmer’s E. C. S.

Facsimile Series) is very easy to read.

183

Composer: Lesley, Simon

Title: The Two Terrible Trombones






Trombone(s): two tenors

Instrumentation: trombone duet

Overall Range: A flat1 - b'

Clefs: bass, tenor

Mutes: straight, “metal hat” (metal plunger)


Multiphonic Range: vocal range: f - c'; played range: E - f122

Intervals: unisons, tenths


Dedication: N/A

Overview: This humorous work combines music and theater. The trombonists swap

story-telling and noise-effect duties throughout the work. The piece requires narration,

making wind noises and laughing through the instrument, and performing glissandi, falls,

flutter tonguing, and multiphonics. The multiphonics are performed in conjunction with

parallel motion glissandi. Diamond-shaped note heads indicate vocalized pitches.

This piece would work well for elementary school music demonstrations.

122 Multiphonics are done in conjunction with parallel glissandi, so unison sung/played

multiphonic performed on f will descend below f, according to performer’s discretion.

184

Composer: McCulloh, Byron

Title: Concertino No. 2: “Il Pomo della Discordia”123

Publisher: Accura Music, North Greece, New York





Trombone(s): bass

Instrumentation: bass trombone and wind ensemble (piano reduction available)124

Overall Range: C sharp1 - b'

Clefs: bass, tenor

Mutes: none


and above played notes

Multiphonic Range: vocal range: a - b flat'; played range: G sharp - a

Intervals: unisons, octave plus sixths, octave plus sevenths

Chords: possible major chords, second inversion; dissonances

Dedication: Commissioned by the 1980 International Trombone Workshop

Overview: This two-movement work, scored for “large trombone and small wind

ensemble” by the long-time and late bass trombonist of the Pittsburgh Symphony

Orchestra, requires a trombonist with a fine sense of time, admirable capabilities in

123 McCulloh’s title page includes an asterisk next to the subtitle, with the following in

parentheses: “Italian equivalent of ’bone [sic] of contention.” 124 Piano reduction was used for this annotation.

185

rhythmic subdivision, aptitude in multiple tonguing and accuracy in all registers. In

addition to multiphonics, the work requires glissandi, tongued glissandi, flutter tonguing,

growls, trills, and indeterminate pitches.

The multiphonics occur only in the first movement, require vocalizing in falsetto,

and are performed in parallel thirteenths, or in counterpoint above a played drone pitch. A

possible performance challenge will be vocalizing the dissonance-producing

multiphonics an octave plus a seventh above the played pitches.

186

Composer: McCulloh, Byron

Title: Protagony







Instrumentation: trombone, piano, and percussion ensemble (six parts includes

xylophone, vibraphone, marimbas, snare drum, brake drums, bass drum,

suspended cymbal, anvil, snare, gong, chimes)

Overall Range: E flat1 - f"

Clefs: bass, tenor

Mutes: straight

Multiphonic Type: dissonant, sung notes written in unison or above played notes

Multiphonic Range: vocal range: f - g flat; played range: f

Intervals: unisons, microtones, seconds

Chords: dissonances

Dedication: N/A

Overview: This atonal work is through-composed. The title page defines a protagony as

“a drama in which the protagonist attempts to set forth his thesis and expound it, only to

be met with apathy, ignorance, intolerance, and hostility.” It requires flutter tonguing,

glissandi, harmonic glissandi, quarter tones, multiphonics, and some aleatoric aspects

187

with respect to number of times repeated accompaniment figures are utilized (as

determined by the soloist), as well as the various tempi used for written accompaniment

figures (as determined by the members of the percussion ensemble, specifically notated

thus in the xylophone I part). An explanation of notations used is included in the

performance score. Conducting gestures will be required for the performance of this

ensemble. Indeed, precision seems to be the most difficult performance aspect of the

work with regard to ensemble entrances and cut offs. From the trombonist’s standpoint,

the wide leaps and range will prove challenging. Multiphonics are required in only two

places, and both begin on an f, with sung pitch ascending from f to g flat in microtones.

188

Composer: Reynolds, Roger

Title: “...From Behind the Unreasoning Mask”

Publisher: C.F. Peters Corporation, New York





Trombone(s): tenor (or tenor-bass, depending on multiphonic performance

interpretation)125

Instrumentation: trombone, percussion (one player: xylophone, glockenspiel,

vibraphone, 2 bass drums of different timbre, tom-toms, suspended cymbal, small

gong, temple blocks, 2 flexatones, claves, 3 pairs of castanets, both wood and

glass wind chimes, knitting needles, 2 bass bows for the vibraphone), assistant,

four-track tape (15 IPS is the preferred playback format, according to the

performance notes)

Overall Range: Al - b flat'

Clefs: bass, treble

Mutes: plunger

Multiphonic Type: lip; indeterminate, sung notes written in unison, above and below

played notes

Multiphonic Range: can be quantified only after performer decides on multiphonic

interpretation (written notes range from B flat1 - g')

Intervals: unisons, seconds, thirds, octaves, ninths, elevenths, thirteenths

Chords: as presented with all aspects of the performance, indeterminate dissonances

125 See the last footnote for this database entry for explanation of “multiphonic interpretation.”

189

Dedication: N/A

Overview: This atonal work takes its name from Melville’s Moby Dick, according to the

program notes. It is through-composed, uses many timed musical events and is presented

in graphic notation. The work requires flutter tonguing, cross-harmonic note repetition,

glissandi, aleatoric sections (in the forms of indeterminate rhythm and pitch notations, in

the instructions to “make progressively more radical deviations from basic form,” and so

forth), glissandi, multiphonics, multiple tonguing, tonguing combined with air sounds

only, lip noises (smacks, kisses, and so forth), alternation between singing and playing,

and multiphonics. Staging directions consist of rudimentary facing instructions.

Performance challenges will be the technical issues as listed, as well as coordinating the

trombone performance with the tape. There are performance instructions written

throughout the score, and a stage diagram is included.

While there are specific multiphonics that must be performed as lip multiphonics,

some of the multiphonics can be played according to the performer's discretion. Evidence

of this is seen in the score, which lists the multiple sonorities to be performed as “TB

[trombone] multiphonic or play/hum.” Stuart Dempster suggests that even the

specifically notated lip multiphonics should be performed via singing and playing, citing

the extreme difficulty and reliability of making these (or any) written lip multiphonics

sound on command.126 This provides a good solution to the problem of lip multiphonic

reliability; if done, a tenor-bass trombone is needed for performance, as the played

partials are available only in the trigger register, and even then one encounters B1 pitches

that must be shaded flat. Multiphonics are performed in conjunction with glissandi.

126 Stuart Dempster, The Modern Trombone - A Definition of its Idioms (Rochester, New York:

Accura Music, Inc., 1994), 9n.

190

Composer: Schafer, R. Murray

Title: Music for Wilderness Lake

Publisher: Arcana Editions, Ontario





Instrumentation: trombone ensemble: 12 trombones

Overall Range: Fl - f"

Clefs: bass, tenor

Mutes: straight, harmon, plunger


Multiphonic Range: vocal range: d - c'; played range: B flat1 - c'

Intervals: unisons, tenths


Dedication: “to the members of Sonaré: David Boyd, Christine Boyd, Doug Burden,

Robert Campbell, Greg Furlong, Danny Gallant, Gord Griffith, Kirk MacKenzie,

Ernie Pattison, Ken Skitch, Peter Tombler, and Phil Trow.”

Overview: Schafer has written a work for trombone ensemble that will receive limited

performance, due in part to specific natural requirements. One must perform at a very

remote lake (specifically shaped to allow for three staging areas with a focal point in the

middle of the lake) that is approximately 500 meters across. The performance must be

during specific seasons (fall or spring) and times (the movement titles are “Dusk” and

“Dawn”). Specific seasons are important for inclusion of wildlife sounds, specifically

birds. Trombonists are on three sides of the lake, in three groups of four trombones.

191

Written in score form, the work uses motives often played in canon, timed

events, and requires a conductor in the middle of the lake to coordinate some points of

the performance via signal flags. Staging directions are given in the form of facing

directions, performer rotation directions, and bell position directions. In addition to

multiphonics, performance techniques include flutter tonguing, glissandi, vibrato, singing

through the instrument to produce high tone clusters, and wolf howls (in the performance

notes the composer admonishes his performers to listen to the “real thing”). Randomness

is achieved quite naturally due to positioning, staging (the circular turning motion

required would change dynamics), staging area (echoes from the surrounding woods),

and scoring. For example, the score has indications marked thus: “play the indicated parts

together or as nearly together as possible.” Presumably it is difficult to be precise when

performing forces are 500 meters apart.

From the composer’s notes, it is apparent that the work was composed to bring

about a revival of “outdoor music,” and possibly as a reaction against musicologists “too

drugged by masterpiece mania to notice whether the record is warped, the roof is rotten,

or the public is no longer in situ, that is, notice events which might give rise to new

musical contexts causing whole banks of repertoire to be jettisoned.”

The multiphonics present no real problems although the low register of the played

pitches may require an adjustment period for some performers. There are vocal register

issues for female trombonists. Since the multiphonics do not occur in all parts, however,

judicious part assignment should alleviate problems in this area.

192

Composer: Schwartz, Elliott

Title: Options I

Publisher: Media Press, Champaign, Illinois





Trombone(s): tenor

Instrumentation: trombone and piano/options for trombone, piano and percussion

and/or tape

Overall Range: E - “highest note possible”

Clefs: bass, treble

Mutes: straight (optional in “Prelude”), cup, harmon


played notes

Multiphonic Range: vocal range: c' - “highest doublestop [sic]”; played range: f sharp -

highest note possible

Intervals: thirds, fifths, sixths, indeterminate interval

Chords: major chords, root position; minor chords, indeterminate dissonances

Dedication: Stuart Dempster Overview: This work, as the title suggests, has many performance options. The

trombonist can perform this as a solo with piano (the trombonist plays the piano), or as a

duet (with percussion or tape), or as a trio (with percussion and tape). The tape can be

made by the performers or purchased from the publisher. If the tape is made by the

performers, specific instructions for crafting it are included.

193

There are essentially three sections to this piece; a prelude, the main section

(labeled “trombone at piano” in the performance instructions), and a postlude. The

“options” occur in the type of musical entrance material used and demeanor portrayed by

the trombonist, in determining whether mute is used, and if lighting (spotlight on soloist,

or beginning with a blackout) is employed or not. In the second section (“trombone at the

piano”), there are five “option sections” where different sonic events can occur, including

silence from the trombonist while the percussionist/tape makes sounds, using

a megaphone concealed inside the piano to shout one’s musings (name, day of week, etc.)

into the piano, inserting a lighted flashlight into the bell of the instrument while

performing, using mouthpiece only, making sounds through instrument disassembly,

making a very “disagreeable noise” on the trombone while bell is aimed at the piano

strings, etc.

The trombonist is also required to play and make noises on/through the piano,

including playing tone clusters, plucking the strings, scratching the lowest string of the

piano with one’s fingernail, hitting the mouthpiece on the wood of the piano, producing a

tremolo on the wood of the piano using one’s fingers, rolling the bell on the strings, and

using a harmon mute to hit the metal structure of the piano. Shouting, hand percussion

sounds, making sounds by hitting the trombone bell (the percussion part has an option to

“roll” on either the trombone bell or the piano as well) are necessary performance

practices for the trombonist. The piano must be prepared by placing something on the

damper pedal to allow for resonance, as there are notations in the score that require the

trombonist to play into the piano, or face out into the audience.

194

Notation is a mix of traditional and graphic notation. Each system of music is

supposed to last fifteen seconds. In addition to the requirements needed for the aleatoric

aspects, glissandi, speaking (required of all performers), singing (alone and in

conjunction with simultaneous playing), and flutter tonguing are the requirements.

Performance notations, notation key, and suggested staging instructions (including

speaker placement) are included in the parts.

Performers may find it more expedient to purchase the tape from the publisher

rather than attempt to record their own tape. The instructions are fairly explicit, and

include sound overlapping, splicing, distortion, and so forth. Finally, one must use a toy

trumpet to record one of the passages for the tape.

The note-specific multiphonics are consonant, and fairly easy to negotiate. The

indeterminate multiphonic (notated as “highest doublestop” [sic]) will require a male

trombonist to use falsetto, as it is written in conjunction with graphic notation indicating

the highest possible pitch. Square note heads indicate pitches to be sung.

195

Chapter Seven

Database Entries: Trombone and Recorded Sounds127

Composer: Austin, Larry

Title: Changes: Open Style for Trombone and Magnetic Tape

Publisher: Larry Austin Music, Denton, Texas (formerly Composer/Performer Edition)






Instrumentation: trombone and compact disc

Overall Range: Gl - “as high as possible” (f''' written)

Clefs: bass, tenor, alto, treble

Mutes: plunger

Multiphonic Type: lip; combination consonant and dissonant, sung notes written above


Multiphonic Range: vocal range: B - g'; played range: Al - b'

Intervals: quarter tone intervals used, thirds, fourths, sixths, sevenths, ninths, tenths

Chords: dissonances; seventh chords; major chords, second inversion

Dedication: Written for trombonist Dary John Mizelle. Stuart Dempster premiered the

work in San Francisco, 22 March 1966128

127 This chapter is dedicated to works that incorporate only trombone and taped sounds. Six other

works, Robert Aitken’s Kebyar, Robert Erickson’s Ricercare á 5, Joseph Klein’s Leviathan, Vinko Globokar’s Discours II, Roger Reynolds’ “…From Behind the Unreasoning Mask,” and Elliott Schwartz’s Options I, are listed in the previous chapter because they use (or can use) other instrumentation in addition to trombone and recorded sounds.

128 Information learned from 13 April 2005 electronic mail correspondence with the composer.

196

Overview: This atonal work does not use measures: instead, the composer employs

timed intervals, shown in seconds, throughout the work. Non-traditional and graphic

notation are employed throughout as well. The taped parts are notated in the three-line

score to allow the trombonist to align played sounds with recorded sounds.

The piece requires horn disassembly,129 trills, buzzing into the lead pipe alone

without the mouthpiece, making percussive sounds by hitting the mouthpiece with the

palm and by hitting the trombone bell with a percussion mallet, producing whistling

sounds through the instrument, making sounds while inhaling, quarter tone intervals,

buzzing through the mouthpiece, humming, flutter tonguing, lip multiphonics (Austin

calls these split tones), playing indeterminate pitches, glissandi, multiphonics, and wide

vibrato. Extreme dynamic variation, sudden dynamic changes, and extreme register

changes make this work difficult. The same notation used for split tones is also used to

notate difference tones. The work includes a notation key, since Austin uses several non-

standard symbols, including ones for quarter-tone pitch gradations. Black note heads

indicate that written pitches are to be raised a half-step. The tessitura often descends to

low Bl (with the notation to raise the pitch a quarter-step), so the work is playable on the

required tenor-bass instrument. The manuscript is difficult to read, and time will be

needed to become familiar with the non-traditional notation.

There are three lip multiphonics and numerous vocalized multiphonics written.

The numerous performance challenges include execution of the sung/played multiphonics

with the vocal parts written below the played notes and the performance of the lip

129 The last measure of the work requires the performer to stand on the outer slide of the

instrument while striking the mouthpiece with their palm. This percussive effect is to be continued until the outer slide comes off. The work ends with the slide off the instrument.

197

multiphonics.130 This is a seminal, formidable work for solo trombone and electronics.

130 In an electronic mail correspondence with the author on 14 April 2005, the composer stressed

the importance of performing the work exactly as notated due to considerations of timbre. One must not reverse the order of the vocalized and played pitches.

198

Composer: Druckman, Jacob

Title: Animus 1

Publisher: Boosey and Hawkes, London

Copyright Date: 1967 (Boosey and Hawkes acquired the copyright to Animus 1 from

MCA in 1988)




Trombone(s): tenor

Instrumentation: trombone and tape (reel to reel, DAT, and compact disc versions

available)

Overall Range: Gl - d"

Clefs: bass, tenor

Mutes: straight, plunger, harmon, cup

Multiphonic Type: dissonant, sung notes written in unison, above and below played

notes

Multiphonic Range: vocal range: G - a; played range: G flat - a

Chords: dissonances

Dedication: Davis Shuman131

Overview: This work incorporates many techniques, including glissandi, aleatoric

passages, cross-harmonic glissandi, flutter tonguing, slap tongue, tongue clicking sounds

made into the mouthpiece, sound alteration via vowel sounds, multiphonics, and the use

of “loud whispers” articulated into the trombone and noted with International Phonetic

131 According to Druckman’s program notes: “The concrete portions of the tape were prepared

from material recorded for the composer by the late trombone virtuoso, Davis Shuman, for whom the work was originally conceived, and to whose memory it is dedicated.”

199

Alphabet symbols. Proportional notation is used in the score. Multiple tonguing is

required, as well as wide leaps in the trombone part, made even more difficult by

frequent dynamic changes. The trombone part employs very complex syncopations.

Druckman includes rudimentary staging instructions in the score. There is a page

including performance instructions, a notation key, and three different loudspeaker set-

ups, depending on which type of tape (reel to reel, DAT, or compact disc) is used: two

track, three (or “center”) track, or four track.

Multiphonics are used to create dissonances. The tessitura of some of the

multiphonics may be a bit low for female performers. This is a seminal work for

trombone and tape, and is within the capabilities of the graduate student trombonist.

200


Title: ...and then, toward the end...

Publisher: Merion Music, Inc., by Theodore Presser Co., King of Prussia, Pennsylvania






Instrumentation: trombone and 4 track CD132

Overall Range: B flat1 - b flat"


Mutes: harmon, plunger, whisper



Multiphonic Range: vocal range: d - c"; played range: F - c sharp'

Intervals: unisons, seconds, fourths, fifths, sixths, sevenths, octaves, tenths

Chords: major chords, root position; major chords, second inversion; seventh chords;

diminished chords; minor chords; dissonances


132Stuart Dempster, to whom the piece is dedicated, and who collaborated with Erb on the

recording of the CD tracks and in the editing of the trombone solo part, notes that this piece, because of the construction of the taped portion, offers alternative performance possibilities. Writing about ...and then, toward the end...in The Modern Trombone- A Definition of Its Idioms, pp. 68-69, he states: “The Erb piece is totally different in its tape conception, appearing as a ‘frozen performance’ rather than a synthetic tape. As I recorded the source material, the composer performed at the Moog, choosing registrations as the work progressed. . . . The result is a piece that theoretically, if not practically, could be performed ‘live’ by five trombonists, four being accompanied by synthesizers - a real electronic chamber piece. It has the spontaneity so lacking in some electronic music, because the work is in part instrumental rather than solely electronic.”

201

Overview: This work is through-composed and employs many extended techniques,

including buzzing through the mouthpiece alone (the taped electronic parts also do this),

use of improvisatory and aleatoric aspects, glissandi, flutter tonguing, circular breathing,

microtones, timber changes through use of vowel sounds, timed events, harmonic

glissandi, and tremolo. Multiple tonguing, slide vibrato, trills, F-attachment trills, and

command of the extreme high register are necessary for performance as well. A cadenza

is indicated, and a one-minute improvised cadenza extension may be added at the end of

the written cadenza. Graphic and traditional notation are used in the work and the piece is

available as a study score (without CD), and as a score/CD package.

Multiphonics are used chordally as well as melodically over a drone

pitch. Parallel fifths and parallel tenths are perhaps the most frequently used consonant

multiphonics. Erb also writes multiphonics in chromatic contrary motion, which usually

end in a dissonance of a minor second. Graphic notation indicates indeterminate

multiphonics performed in conjunction with glissandi in contrary motion. Sung/played

pitches are notated in the same manner, with the words “sing” and “play” used to specify

which line is sung/played. Vowel changes are called for during multiphonics. This is a

work for the trombonist with total command of every aspect of performance.

202

Composer: Kucharzyk, Henry

Title: Imagination (Yes)

Publisher: Canadian Music Centre, Toronto





Trombone(s): bass or tenor-bass (“trombone” is specified)

Instrumentation: trombone and tape

Overall Range: Cl (approximate pitch) - a flat'

Clefs: bass

Mutes: harmon



Multiphonic Range: vocal range: f - “pitch ad lib - high”; played range: F - d flat

Intervals: unisons, seconds, thirds, fourths, ninths, tenths, octaves, indeterminate

intervals

Chords: seventh chords; dissonances

Dedication: N/A

Overview: Although the composer specifies only that this is a work for “trombone solo

with tape,” the bass trombone might be a better choice than the tenor. The last pitch is an

approximate Cl, certainly easier to play on a bass trombone. In addition to multiphonics,

the work calls for flutter tonguing, use of microtones, tongue stops, glissandi, and

harmonic glissandi. One must change the oral cavity shape and produce vowel sounds

while playing, as well as send percussive air pulses through the instrument. There are no

203

measures noted, although metronome markings are given. The piece is essentially a series

of timed events, written primarily on a three-stave score with essential tape indications

included on the first two staves. The work is bound together by recurring motives, for

example, the beginning multiphonic/rhythmic motive recurs, as does the motive seen in

both sixteenth note/sextuplet figures. An intervallic motive first seen at “3:50” recurs

intact, then in diminution.

Many of the multiphonics written are melodic in nature and sung over a drone

pitch. Another major objective achieved with the multiphonics is the creation of

dissonance—the interval of a second is prominent throughout. There is a notation key

provided in the score. The tape is now in fact a CD available from Canadian Music

Centre.133

133 CD availability confirmed through the author’s electronic mail correspondence with the composer.

204

Composer: Sandström, Jan Title: Short Ride on a Motorbike Publisher: Swedish Music Information Center, Stockholm Copyright Date: 1990 Availability: currently in publication Copy Quality: offset Difficulty: professional Trombone(s): tenor Instrumentation: trombone and tape Overall Range: B flatl - f" Clefs: bass, tenor Mutes: plunger Multiphonic Type: consonant, sung notes written above played notes Multiphonic Range: vocal range: F - f sharp'; played range: B flat1 - a Intervals: fifths, sixths, octaves Chords: major chords, root position; major chords, second inversion Dedication: N/A Overview: This work is an abbreviated version of Sandström’s “Motorbike Concerto”

for trombone and orchestra. The work is in ABA form, and glissandi is the glue that binds

this work together. At one point in the work the performer is directed to turn in circles on

the stage and at another he must use his trombone slide to draw in the air the shapes of

different countries and continents. Sandström calls this the “pedagogic” moment where

205

the audience visually sees where the motor bike rider has been.134

The multiphonics most often occur in the slow middle section of the work. They

are chordal, and demand some falsetto singing from the male soloist. In addition to

multiphonics and glissandi, the work demands multiple tonguing, flutter tonguing,

harmonic glissandi, and command of a wide range of registers. Screaming while inhaling

through the instrument is required. There is a cadenza calling for didjeridu sounds, so one

should be comfortable with performing vowel and consonant sounds, clicks, and other

percussive effects while also simultaneously singing and playing in the instrument. There

is a section demanding improvisatory skills as well. This is a professional-level work.

134 Learned from electronic mail correspondence between the composer and the author, dated 21 October 2004.

206

Composer: Walshe, Jennifer

Title: they could laugh smile

Publisher: Contemporary Music Centre, Dublin






Instrumentation: trombone and compact disc135

Overall Range: E1 - f minus 1/4 tone136

Clefs: bass, tenor

Mutes: none

Multiphonic Type: lip; combination consonant and dissonant, sung notes written in

unison or above played notes

Multiphonic Range: vocal range: B flat - d' plus 1/4 tone; played range: E - c

Intervals: unison; twelfths; indeterminate intervals due to use of quarter tones


Dedication: N/A

Overview: This piece has many theatrical elements in it. It is written on a six-region

staff, with each staff (and corresponding symbols) notating a different element — time,

embouchure, phonetics, breathing/pitch, physical/mental directions, and the recorded

135 The author received a handwritten memo from the publisher stating that they did not have a

copy of the CD for this work. The wording of the memo made it unclear whether the needed compact disc was temporarily, or permanently, unavailable. Subsequent electronic mail correspondence with the publishers requesting clarification of this went unanswered.

136 Overall range will be determined by the musical events chosen.

207

portion. Indeed, much of the work does not involve actually playing the trombone at all.

Phonetic Alphabet symbols are employed, as are symbols that depict varying degrees of

mouth openness, embouchure settings for when the trombone is used, and so forth. Many

theatrical elements are required and notated, including, but not limited to, coughing,

blinking eyes, shaking, foot tapping, finger tapping, cursing at the audience, etc. There is

a symbols definition page and a staging diagram included. Staging and theatrical

directions are printed throughout the score.

This piece contains a certain degree of aleatoric writing. The performer may

choose to insert “debris pitches” (random notes) in a line or not, and choose the musical

events that occur in the last portion of the work. Valve trills, flutter tonguing, glissandi,

and microtonal gradations are also required of the trombonist. The manuscript is difficult

to read at times, and familiarization with the composer’s symbols will take time.

The multiphonics occur only in the last three minutes of the work and are part of

the choice of musical elements available to the performer. Glissandi and use of vocal

microtonal gradations is required in the multiphonic elements.

208

Chapter Eight

Database Entries: Trombone and Orchestra Composer: Cosma, Edgar

Title: Concerto







Instrumentation: trombone and string orchestra; piano reduction available137

Overall Range: B flat1 - f"

Clefs: bass, tenor

Mutes: bucket, cup, harmon

Multiphonic Type: consonant, sung notes written above and below played notes

Multiphonic Range: vocal range: G sharp - f sharp; played range: A - f'

Intervals: fifths, sixths, octaves

Chords: major chords, root position; major chords, second inversion Dedication: Michel Becquet Overview: This atonal work is in three movements, employs complex rhythms,

mixed meter signatures, standard, graphic and proportional notation, and requires a fine

sense of time, admirable capabilities in rhythmic subdivision, multiple tonguing, and a

reliable high register. Additionally, the work requires glissandi, flutter tonguing, trills,

quarter tones, speaking through the instrument, timbre changes via vowel inflections,

137 The author used the piano reduction in preparing this database entry.

209

improvisational sections, sections using indeterminate pitches, growls (also a “jungle

style,” defined as a growl with wa-wa mute), airy sounds, combination air and consonant

sounds through the instrument, air only through the mouthpiece, a “buzz” tone, kissing or

smacking sounds through the mouthpiece, three speeds of vibrato, and multiphonics.

There are cadenzas, as well as sections without meter, to be performed in a “quasi

aleatoric” manner. Ossia parts are included for extended high register sections. The

tessitura requires a tenor-bass trombone but there is a written B1 in the third movement,

so care will have to be taken to pull the F-attachment tuning slide out to E (there are

opportunities to do this just before the Bl). Notation keys are provided for both strings

(piano) and trombonist. Cosma also tells of the compositional thought processes and

inspiration for each movement.

Multiphonics occur only in the second movement. There are two chordal

multiphonics used, with summation and difference tones notated with diamond-shaped

note heads. Additionally, octaves performed with the sung note below the played note are

required, with the played note also requiring flutter tonguing.

210


Title: Concerto

Publisher: Theodore Presser Company, King of Prussia, Pennsylvania






Instrumentation: trombone and orchestra

Overall Range: E1 - “highest note possible” (g'' written)


Mutes: harmon, plunger



Multiphonic Range: vocal range: B - “highest note possible”;

played range: E - “highest note possible”

Intervals: unisons, seconds, thirds, fourths, fifths, sixths, sevenths



Overview: This four-movement rhythmically complex work employs timed events,

standard, graphic and proportional notation, and requires a fine sense of time, admirable

capabilities in rhythmic subdivision, multiple tonguing, and a reliable high register. In

addition to multiphonics, the work requires glissandi, flutter tonguing, trills, jazz-style

211

falls, vocalization through the instrument while playing (specifically saying “dijeridu”

[sic] while simultaneously playing an F or while performing multiphonics), timbre

changes via vowel inflections, indeterminate pitches, growls, barks, improvisational

sections, and circular breathing.

The multiphonics occur most often as a series of parallel fifths, although there are

instances where either line (played or sung pitch) serves as a static line set against the

contrapuntal line of the other. In the last movement, the multiphonics must be

interspersed with “dijerido [sic] articulation.” Plunger mute and glissandi are used in

conjunction with multiphonics.

212


Title: Pathways: Opposing Forces






Trombone(s): tenor-bass, alto (optional)

Instrumentation: Trombone and chamber orchestra

Overall Range: Gl - “highest pitch possible” (g flat" written)

Clefs: bass, tenor, alto138

Mutes: straight, cup, plunger, harmon, bucket

Multiphonic Type: lip; combination consonant and dissonant, sung notes written above and below played notes

Multiphonic Range: vocal range: a - d"; played range: G - b flat'

Intervals: indeterminate intervals; quarter tones; seconds, thirds, fourths, fifths, sixths

Chords: indeterminate dissonances; major chords, root position; diminished chords;

seventh chords

Dedication: “to my wife, Heidi, and my son, Gabriel; composed for

Andrew Glendening

Overview: This atonal work consists of three movements (“Fractured Horizons,” “The

Searcher,” “Butterfly Storm”). The score includes program notes, an explanation of the

compositional processes and formulas used, a stage set diagram, symbols definition page

138 The second movement may, at the performer’s discretion, be performed on alto trombone. If

this is done, a trombone part written in alto clef is available.

213

and employs traditional and graphic notation, mixed meter signatures, non-metered

sections, timed events, beamed accelerandi/ritardandi, and proportional notation.

Necessary performance techniques include trills, glissandi, flutter tonguing, and cross-

harmonic glissandi. The F-attachment is used for upper register pitches, perhaps to give

these pitches a non-traditional timbre. Multiple tonguing and rhythmic subdivision are

necessary for performance, as is the ability to negotiate wide leaps, angular melodic lines,

and dynamic extremes.

Multiphonics occur only in the second and third movements. The multiphonics

produced by simultaneous singing and playing are performed in conjunction with

contrary and parallel motion glissandi. Quarter-tone vocalized multiphonics are required.

The solitary lip multiphonic is intervallically nonspecific, performed in conjunction with

parallel motion glissandi, and occurs in the upper register of the trombone.

214

Composer: Lipkis, Larry

Title: Harlequin: Concerto for Bass Trombone and Orchestra






Trombone(s): bass

Instrumentation: bass trombone and orchestra; piano reduction available139

Overall Range: A2 - b flat'

Clefs: bass, tenor

Mutes: none


Multiphonic Range: vocal range: a - d sharp'; played range: F - B

Intervals: tenths


Dedication: commissioned by Jeffrey Reynolds Overview: This one-movement work requires a soloist competent in every phase of

trombone performance. The composer employs frequent meter signature changes

throughout the work. Performance requirements include negotiating wide intervallic leaps

and abrupt dynamic contrasts, performing complex rhythmic subdivisions, trills, valve

trills, glissandi, a cadenza in which the trombonist performs a duet with a musical saw,

and multiphonics. The multiphonics are consonant as written, but negotiating the written

tri-tone interval may present an initial aural/vocal intonation challenge.

139 The author used the piano reduction in preparing this database entry.

215

Composer: Sandström, Jan

Title: A Scottish Play

Publisher: Edition Tarrodi, Stockholm






Instrumentation: trombone and string orchestra

Overall Range: D1 - f''

Clefs: bass, tenor

Mutes: plunger


Multiphonic Range: vocal range: e flat - g'; played range: D - e flat

Intervals: fourths, fifths, sixths, octaves, tenths, two octaves plus a third


Dedication: Christian Lindberg and Camerata Scotland; commissioned by The

Northlands Festival

Overview: This three-movement work (“Lesser, and greater,” “Arabenne,” “Your

children shall be kings”) employs many theatrical events. Memorization is mandatory, as

the soloist is required to insult audience members, interact with orchestra members, sing,

deliver monologue, run about the stage, conduct the orchestra, and so forth. The work

requires a fine sense of time, multiple tonguing, proficient plunger technique, and a

216

reliable high register. In addition to multiphonics, the work also requires glissandi, flutter

tonguing, trills, singing, harmonic glissandi, cross-harmonic glissandi, and unorthodox

valve usage.

The multiphonics occur only in the second movement, often as a series of parallel

intervals performed in conjunction with glissandi. Diamond-shaped note heads indicate

vocalized pitches. Male trombonists may need to sing in the falsetto register on some

multiphonics.

217


Title: Concerto for Trombone and Orchestra

Publisher: Swedish Music Information Center, Stockholm






Instrumentation: Trombone and orchestra

Overall Range: Cl - g'''




Multiphonic Range: vocal range: a - a'; played range: B flat1 - c sharp'

Intervals: fifths, sixths, sevenths, octaves

Chords: major chords, root position; major chords, second inversion; minor chords,

second inversion

Dedication: Christian Lindberg

Overview: This work, referred to as the “Motorbike Concerto,” is the longer, orchestral

version of “Short Ride on a Motorbike,” (also included in this database). The same ideas

are used in this piece as in the “Short Ride,” but they are more developed. The work uses

glissandi, flutter tonguing, quarter tones, microtones, an homage to Berio’s Sequenza V,

cross-harmonic glissandi, frequent use of multiple tonguing, extended time in the

altissimo register, a cadenza complete to didjeridu sounds, and a scream while inhaling

through the instrument (called a “suck-scream”). Theatrical/staging instructions,

218

including turning around in circles while playing, using the trombone slide to draw the

outlines of the countries the motorbike rider visits, instructions to show an “astonished

face,” and mimicking the playing of the orchestral trombone section’s part (“pretend

playing”) are required. The production of “jungle sounds,” and improvisatory sections

using glissandi are also required. This piece has an extremely high tessitura requiring

well-developed range and endurance. The last note of the piece is a written g'''.

The multiphonics demand falsetto vocalizations from the performer. Diamond-

shaped note heads indicate pitches to be sung. A professional performer with complete

command of the trombone is required to perform this work.

219


Title: Don Quixote: Trombone Concerto No. 2

Publisher: Edition Tarrodi, Stockholm






Instrumentation: trombone and orchestra

Overall Range: A flat1 - f"

Clefs: bass, C clef tenor, G clef tenor

Mutes: straight


Multiphonic Range: vocal range: f- c"; played range: D flat - a flat

Intervals: fourths, fifths, sixths, tenths, twelfths, same intervals plus one octave

Chords: major chords, root position; major chords, second inversion; diminished chords;

seventh chords

Dedication: Christian Lindberg

Overview: This one-movement work employs many theatrical and avant-garde elements

and is comprised of six sections depicting the various adventures of Don Quixote. The

section titles are very descriptive (“Introduction - A Windmill Ride,” “To Walk Where

the Bold Man Makes a Halt,” “To Row Against a Rushing Stream,” “To Believe in an

Insane Dream,” “To Smile Despite Unbearable Pain,” “And Yet When You Succumb,

Try to Reach This Star in the Sky”). The first thing the trombonist does when on stage is

shake hands with the concertmaster. Then, he “accidentally” drops the trombone outer

220

slide and plays an extended passage without it. Other theatrical performance directions

include jumping, speaking, singing, laughing, mimicking the motion of a windmill as

well as mimicking activities with the trombone (playing tennis, or shooting clay pigeons,

for example). The scene at the close of the fifth movement involves the trombonist in a

sword fight, with the slide as a sword, the bell section as the shield. The staging almost

certainly demands that the work be memorized for the performance.

In addition to multiphonics, the piece requires performance on a disassembled

instrument, glissandi, trills, and quartertones. Multiple tonguing is required, as well as

command of the entire range of the instrument, and a fine sense of rhythmic subdivision.

Sandström and Lindberg’s musings for the inspiration of the two cadenzas are shown

only as sketches (illustrations) in the trombone part. True dramatic/improvisatory

activities are required for these.

Multiphonics are used only in the last section. Many require singing in the falsetto

range while playing in the trigger register. Thus, several of the multiphonic notes are

more than two octaves apart, which can create balance issues.

221

Appendix A: Works Indexed Alphabetically by Composer’s Last Name

Composer Title Page

A Aitken, Robert Kebyar 136 Alsina, Carlos Roqué Conscuenza 24 Alsina, Carlos Roqué Trio 1967 138 Anderson, Thomas Jefferson Minstrel Man 140 Appert, Donald Dialogue 142 Appert, Donald Query 26 Asia, Daniel Dream Sequence 1 27 Austin, Larry Changes: Open Style 195 B Baxley, Wayne Ronald McDifficult 29 Bergsma, William Blatant Hypotheses 143 Berio, Luciano Sequenza V 30 Blank, William Esquisse 106 Bon, André Canzone 32 Borden, Lawrence The Conditions of a Solitary Bird 108 Brink, Philip Exegesis 34 Buss, Howard Boom Time 145 Buss, Howard Camel Music 36 C Campo, Frank Commedie 147 Carter, Elliott (transcribed Sluchin) Gra 38 Celona, John Anthony Multiphony III (Gradients) 40 Chave, George Trombonics 110 Chaynes, Charles Impulsions 112 Childs, Barney Music For Trombone and Piano 113 Cosma, Edgar Concerto 208 D Dedrick, Christopher Prelude and March 42 Druckman, Jacob Animus I 198 Du Bois, Rob Music For a Sliding Trombone 44 Dusapin, Pascal Indeed 45 E Edwards, Brad Blue Wolf 48 Elias, Joel Preludes 50 Erb, Donald ...and then, toward the end... 200 Erb, Donald Concerto 210 Erb, Donald Mirage 149

222

Composer Title Page E, continued Erb, Donald The Rainbow Snake 151 Erickson, Robert General Speech 51 Erickson, Robert Ricercare á 5 153 Everett, Thomas Natural “D” 115 F Felder, David Nexus 53 Ford, Andrew Tuba Mirum 155 Frith, John Ode to a Happy Bunny 55 Fulkerson, James In Quest of A Silence 157 G Gaburo, Kenneth Cantilena Four 159 Globokar, Vinko Discours II 161 Globokar, Vinko Res/As/Ex/Ins-pirer 57 Grahn, Ulf Pour Quatre 164 Grahn, Ulf Tensta Emotions 165 Grahn, Ulf Trombone Unaccompanied?! 60 H Harris, Roger Women go to Heaven and Men go to Hell 167 Hartley, Walter S. Sonorities III 117 Haug, Halvor Essay 169 Heider, Werner D. E. Memorial 62 Heussenstamm, George TrombOnly, Op. 59 64 Hovland, Egil Cantus V, Op. 120 118 Huber, Nicolaus presente 66 Hutcheson, Jere PASSING PASSING PASSING 170 Hutcheson, Jere Wonder Music IV 119 I Imbrie, Andrew Three Sketches 121 J James, Kevin Good Friday 172 K Kavanaugh, Patrick Debussy Variations 68 Keenan, Paul A Field of Scarecrows 122 Kenny, John Sonata for Alto Trombone 70 Kenny, John Sonata for Tenor Trombone 72 Klein, Joseph Goblin Market 175 Klein, Joseph Leviathan 179

223

Composer Title Page K, continued Klein, Joseph Pathways: Opposing Forces 212 Krenek, Ernst Five Pieces, Op. 198 124 Kucharzyk, Henry Imagination (Yes) 202 Kühnl, Claus 5 Episoden 74 L Larsen, Libby Bronze Veils 181 Lesley, Simon Three Sketches in the Form of a Sonata 126 Lesley, Simon The Two Terrible Trombones 183 Lipkis, Larry Harlequin 214 Lynn, Brian Doolallynastics 76 M Mabry, Drake 9.28.85 78 McCulloh, Byron Concertino No. 2: “Il Pomo della Discordia” 184 McCulloh, Byron Protagony 186 N Nicholson, George Slide Show 80 Nieman, Alfred Tongs and Bones 82 Nordheim, Arne The Hunting of the Snark 84 P Pehrson, Joseph Approaches 86 Powell, Morgan Incabado 88 R Rabe, Folke Basta 89 Reynolds, Roger “...From Behind the Unreasoning Mask” 188 Rieunier, Jean-Paul Silences 128 Rivas, Diogenes Ricercare II 91 S Sandström, Jan A Scottish Play 215 Sandström, Jan Concerto 217 Sandström, Jan Don Quixote: Trombone Concerto No. 2 219 Sandström, Jan Short Ride on a Motorbike 204 Schafer, R. Murray Music for Wilderness Lake 190 Schwartz, Elliott Options I 192 Sichel, John Waltz of the Underworld Manicurists 93 Stockhausen, Gabriel Poe Songs 95

224

Composer Title Page T Trussell-Cullen, Lauren The Devil’s Dervish 130 V Vazzana, Anthony Tre Monodie 97 W Walshe, Jennifer they could laugh smile 206 White, John Dialogues for Trombone and Piano 132 Wilby, Philip Ruach 134 Wolking, Henry Seven Vignettes 99 X Xenakis, Iannis Keren 101 Y Young, David L koris 25 103 Yuhas, Dan Episodes 104

225

Appendix B: Works Indexed by Chapter and Page Number

Composer Title Page

Chapter Four, Trombone Alone

Alsina, Carlos Roqué Consecuenza 24 Appert, Donald Query 26 Asia, Daniel Dream Sequence 1 27 Baxley, Wayne Ronald McDifficult 29 Berio, Luciano Sequenza V 30 Bon, André Canzone 32 Brink, Philip Exegesis 34 Buss, Howard Camel Music 36 Carter, Elliott (transcribed Sluchin) Gra 38 Celona, John Anthony Multiphony III (Gradients) 40 Dedrick, Christopher Prelude and March 42 Du Bois, Rob Music for a Sliding Trombone 44 Dusapin, Pascal Indeed 45 Edwards, Brad Blue Wolf 48 Elias, Joel Preludes 50 Erickson, Robert General Speech 51 Felder, David Nexus 53 Frith, John Ode to a Happy Bunny 55 Globokar, Vinko Res/As/Ex/Ins-pirer 57 Grahn, Ulf Trombone Unaccompanied?! 60 Heider, Werner D. E. Memorial 62 Heussenstamm, George TrombOnly, Op. 59 64 Huber, Nicolaus presente 66 Kavanaugh, Patrick Debussy Variations (No. 13) 68 Kenny, John Sonata for Alto Trombone 70 Kenny, John Sonata for Tenor Trombone 72 Kühnl, Claus 5 Episoden 74 Lynn, Brian Doolallynastics 76 Mabry, Drake 9.28.85 78 Nicholson, George Slide Show 80 Nieman, Alfred Tongs and Bones 82 Nordheim, Arne The Hunting of the Snark 84 Pehrson, Joseph Approaches 86 Powell, Morgan Incabado 88 Rabe, Folke Basta 89 Rivas, Diogènes Ricercare II 91 Sichel, John Waltz of the Underworld Manicurists 93 Stockhausen, Gabriel Poe Songs 95 Vazzana, Anthony Tre Monodie 97 Wolking, Henry Seven Vignettes 99

226

Composer Title Page

Chapter Four, Trombone Alone, Continued Xenakis, Iannis Keren 101 Young, David koris 25 103 Yuhas, Dan Episodes 104

Chapter Five, Trombone and Keyboard Blank, William Esquisse 106 Borden, Lawrence The Conditions of a Solitary Bird 108 Chave, George Trombonics 110 Chaynes, Charles Impulsions 112 Childs, Barney Music for Trombone and Piano 113 Everett, Thomas Natural “D” 115 Hartley, Walter Sonorities III 117 Hovland, Egil Cantus V, Op. 120 118 Hutcheson, Jere Wonder Music IV 119 Imbrie, Andrew Three Sketches 121 Keenan, Paul A Field of Scarecrows 122 Krenek, Ernst Five Pieces, Op. 198 124 Lesley, Simon Three Sketches in the Form of a Sonata 126 Rieunier, Jean-Paul Silences 128 Trussell-Cullen, Lauren The Devil’s Dervish 130 White, John Dialogues for Trombone and Piano 132 Wilby, Philip Ruach 134

Chapter Six, Trombone in Chamber Music

Aitken, Robert Kebyar 136 Alsina, Carlos Roqué Trio 1967 138 Anderson, Thomas Jefferson Minstrel Man 140 Appert, Donald Dialogue 142 Bergsma, William Blatant Hypotheses 143 Buss, Howard Boom Time 145 Campo, Frank Commedie 147 Erb, Donald Mirage 149 Erb, Donald The Rainbow Snake 151 Erickson, Robert Ricercare á 5 153 Ford, Andrew Tuba Mirum 155 Fulkerson, James In Quest of a Silence 157 Gaburo, Kenneth Cantilena Four 159 Globokar, Vinko Discours II 161 Grahn, Ulf Pour Quatre 164 Grahn, Ulf Tensta Emotions 165

227

Composer Title Page

Chapter Six, Trombone in Chamber Music, Continued

Harris, Roger Women go to Heaven and Men go to Hell 167 Haug, Halvor Essay 169 Hutcheson, Jere PASSING PASSING PASSING 170 James, Kevin Good Friday 172 Klein, Joseph Goblin Market 175 Klein, Joseph Leviathan 179 Larsen, Libby Bronze Veils 181 Lesley, Simon The Two Terrible Trombones 183 McCulloh, Byron Concertino No. 2: “Il Pomo della Discordia” 184 McCulloh, Byron Protagony 186 Reynolds, Roger “...From Behind the Unreasoning Mask” 188 Schafer, R. Murray Music for Wilderness Lake 190 Schwartz, Elliott Options I 192

Chapter Seven, Trombone and Recorded Sounds Austin, Larry Changes: Open Style 195 Druckman, Jacob Animus 1 198 Erb, Donald …and then, toward the end… 200 Kucharzyk, Henry Imagination (Yes) 202 Sandström, Jan Short Ride on a Motorbike 204 Walshe, Jennifer they could laugh smile 206

Chapter Eight, Trombone and Orchestra

Cosma, Edgar Concerto 208 Erb, Donald Concerto 210 Klein, Joseph Pathways: Opposing Forces 212 Lipkis, Larry Harlequin 214 Sandström, Jan A Scottish Play 215 Sandström, Jan Concerto 217 Sandström, Jan Don Quixote: Trombone Concerto No. 2 219

228

Appendix C: Works Indexed by Trombone Type(s) Necessary for Performance Composer Title Page Alto Haug, Halvor Essay 169 Kenny, John Sonata for Alto Trombone 70 Young, David koris 25 103 Tenor Berio, Luciano Sequenza V 30 Bon, André Canzone 32 Borden, Lawrence The Conditions of a Solitary Bird 108 Campo, Frank Commedie 147 Chave, George Trombonics 110 Chaynes, Charles Impulsions 112 Childs, Barney Music for Trombone and Piano 113 Druckman, Jacob Animus I 198 Du Bois, Rob Music for a Sliding Trombone 44 Dusapin, Pascal Indeed 45 Erb, Donald The Rainbow Snake140 151 Gaburo, Kenneth Cantilena Four 159 Globokar, Vinko Discours II 161 Grahn, Ulf Pour Quatre 164 Hartley, Walter Sonorities III 117 Heussenstamm, George TrombOnly, Op. 59 64 Hovland, Egil Cantus V, Op. 120 118 Hutcheson, Jere Wonder Music IV 119 Larsen, Libby Bronze Veils 181 Lesley, Simon Three Sketches in the Form of a Sonata 126 Nieman, Alfred Tongs and Bones 82 Pehrson, Joseph Approaches 86 Reynolds, Roger “…From Behind the Unreasoning Mask” 188 Schwartz, Elliott Options I 192 Trussell-Cullen, Lauren The Devil’s Dervish 130 Vazzana, Anthony Tre Monodie 97 White, John Dialogues for Trombone and Piano 132 Wilby, Philip Ruach 134 Yuhas, Dan Episodes 104

140 Possible tenor-bass

229

Composer Title Page Tenor-bass Alsina, Carlos Roqué Consecuenza 24 Alsina, Carlos Roqué Trio 1967 138 Appert, Donald Dialogue 142 Appert, Donald Query 26 Asia, Daniel Dream Sequence 1 27 Austin, Larry Changes: Open Style 195 Baxley, Wayne Ronald McDifficult 29 Bergsma, William Blatant Hypotheses 143 Blank, William Esquisse 106 Buss, Howard Boom Time 145 Buss, Howard Camel Music 36 Carter, Elliott (transcribed Sluchin) Gra 38 Cosma, Edgar Concerto 208 Edwards, Brad Blue Wolf 48 Elias, Joel Preludes 50 Erb, Donald …and then, toward the end… 200 Erb, Donald Concerto 210 Erb, Donald Mirage 149 Erickson, Robert General Speech 51 Fulkerson, James In Quest of a Silence 157 Globokar, Vinko Res/As/Ex/Ins-pirer 57 Grahn, Ulf Tensta Emotions 165 Heider, Werner D. E. Memorial 62 Huber, Nicolaus presente 66 Imbrie, Andrew Three Sketches 121 Kavanaugh, Patrick Debussy Variations (No. 13)141 68 Kenny, John Sonata for Tenor Trombone 72 Krenek, Ernst Five Pieces, Op. 198 124 Kühnl, Claus 5 Episoden 74 Lynn, Brian Doolallynastics 76 Mabry, Drake 9.28.85142 78 McCulloh, Byron Protagony 186 Nicholson, George Slide Show 80 Nordheim, Arne The Hunting of the Snark 84 Powell, Morgan Incabado 88 Rabe, Folke Basta 89 Rieunier, Jean-Paul Silences 128 Sandström, Jan A Scottish Play 215 Sandström, Jan Concerto 217 Sandström, Jan Don Quixote: Trombone Concerto No. 2 219

141 Tenor-bass or bass 142 Tenor-bass or bass

230

Composer Title Page Tenor-bass, continued Sandström, Jan Short Ride on a Motorbike 204 Sichel, John Waltz of the Underworld Manicurists 93 Stockhausen, Gabriel Poe Songs 95 Xenakis, Iannis Keren 101 Bass Aitken, Robert Kebyar143 136 Anderson, Thomas Jefferson Minstrel Man 140 Brink, Philip Exegesis 34 Celona, John Anthony Multiphony III (Gradients) 40 Dedrick, Christopher Prelude and March 42 Everett, Thomas Natural “D” 115 Felder, David Nexus 53 Frith, John Ode to A HappyBunny 55 Grahn, Ulf Trombone Unaccompanied?! 60 Harris, Roger Women go to Heaven and Men go to Hell 167 Hutcheson, Jere PASSING PASSING PASSING144 170 James, Kevin Good Friday145 172 Klein, Joseph Leviathan 179 Kucharzyk, Henry Imagination (Yes)146 202 Lipkis, Larry Harlequin 214 McCulloh, Byron Concertino No. 2: “Il Pomo della Discordia” 184 Rivas, Diogènes Ricercare II 91 Wolking, Henry Seven Vignetttes 99 Combination of instruments, different instruments, optional instruments Erickson, Robert Ricercare á 5 (alto, three tenors, contrabass;

or five tenor-bass trombones; or four tenor-bass trombones and one tenor) 153

Ford, Andrew Tuba Mirum (bass trombone duet) 155 Keenan, Paul A Field of Scarecrows (alto, tenor-bass) 122 Klein, Joseph Goblin Market (alto, tenor-bass) 175 Klein, Joseph Pathways: Opposing Forces (tenor-bass,

optional alto) 212 Lesley, Simon The Two Terrible Trombones (trombone duet) 183

143 Bass or tenor-bass trombone with F-attachment slide pulled to E. 144 Bass or tenor-bass 145 Bass or tenor-bass 146 Bass or tenor-bass

231

Composer Title Page Combination of instruments, different instruments, optional instruments, continued Schafer, R. Murray Music for Wilderness Lake (eight tenors, four tenor-basses) 190 Walshe, Jennifer they could laugh smile (tenor or tenor-bass,

depending on musical event choices) 206

232

Appendix D: Works Indexed by Specific Multiphonic Performance Practice Composer Title Page 1. Consonant, sung notes written above played notes Anderson, Thomas Jefferson Minstrel Man 140 Appert, Donald Dialogue 142 Baxley, Wayne Ronald McDifficult 29 Bergsma, William Blatant Hypotheses 143 Blank, William Esquisse 106 Carter, Elliott (transcribed Sluchin) Gra 38 Chave, George Trombonics 110 Erb, Donald The Rainbow Snake 151 Erickson, Robert Ricercare á 5 153 Everett, Thomas Natural “D” 115 Haug, Halvor Essay 169 Heussenstamm, George TrombOnly, Op. 59 64 Hovland, Egil Cantus V, Op. 120 118 Kenny, John Sonata for Tenor Trombone 72 Larsen, Libby Bronze Veils 181 Lesley, Simon Three Sketches in the Form of a Sonata 126 Lipkis, Larry Harlequin 214 Lynn, Brian Doolallynastics 76 Rabe, Folke Basta 89 Sandström, Jan A Scottish Play 215 Sandström, Jan Concerto 217 Sandström, Jan Don Quixote: Trombone Concerto No. 2 219 Sandström, Jan Short Ride on a Motorbike 204 Trussell-Cullen, Lauren The Devil’s Dervish 130 White, John Dialogues for Trombone and Piano 132 Wolking, Henry Seven Vignettes 99 2. Consonant, sung notes written in unison or above played notes Dedrick, Christopher Prelude and March 42 Edwards, Brad Blue Wolf 48 Lesley, Simon Two Terrible Trombones 183 Nordheim, Arne The Hunting of the Snark 84 Schafer, R. Murray Music for Wilderness Lake 190 Sichel, John Waltz of the Underworld Manicurists 93 3. Consonant, sung notes written above and below played notes Buss, Howard Boom Time 145 Cosma, Edgar Concerto 208

233

Composer Title Page 4. Dissonant, sung notes written above played notes Childs, Barney Music For Trombone and Piano 113 Fulkerson, James In Quest of a Silence 157 5. Dissonant, sung notes written in unison or above played notes Keenan, Paul A Field of Scarecrows (also lip) 122 McCulloh, Byron Protagony 186 6. Dissonant, sung notes written in unison or below played notes Chaynes, Charles Impulsions 112 Hartley, Walther S Sonorities III 117 Kühnl, Claus 5 Episoden 74 7. Dissonant, sung notes written above and below played notes Pehrson, Joseph Approaches 86 Young, David koris 25 103 8. Dissonant, sung notes written in unison, above and below played notes Druckman, Jacob Animus 1 198 Felder, David Nexus 53 Grahn, Ulf Pour Quatre 164 Mabry, Drake 9.28.85 78

9. Combination consonant and dissonant, sung notes written above played notes Buss, Howard Camel Music 36 Campo, Frank Commedie 147 Elias, Joel Preludes 50 Ford, Andrew Tuba Mirum 155 Gaburo, Kenneth Cantilena Four 159 Hutcheson, Jere PASSING PASSING PASSING 170 Imbrie, Andrew Three Sketches 121 Rivas, Diogènes Ricercare II 91 Scwartz, Elliott Options 1 192 Stockhausen, Gabriel Poe Songs 95 10. Combination consonant and dissonant, sung notes written in unison or above played notes Appert, Donald Query 26 Bon, André Canzone 32 Borden, Lawrence The Conditions of a Solitary Bird 108 Erb, Donald Concerto 210 Erb, Donald …and then, toward the end 200 Erb, Donald Mirage 149 Grahn, Ulf Trombone Unaccompanied?! 60 Hutcheson, Jere Wonder Music IV 119

234

Composer Title Page 10. Combination consonant and dissonant, sung notes written in unison or above played notes, continued James, Kevin Good Friday 172 Kavanaugh, Patrick Debussy Variations (No. 13) 68 Kenny, John Sonata for Alto Trombone (also lip) 70 Krenek, Ernst Five Pieces, Op. 198 124 McCulloh, Byron Concertino No. 2: “Il Pomo della Discordia” 184 Powell, Morgan Incabado 88 Walshe, Jennifer they could laugh smile (also lip) 206 11. Combination consonant and dissonant, sung notes written above and below played notes. Austin, Larry Changes: Open Style (also lip) 195 Alsina, Carlos Roqué Consecuenza 24 Alsina, Carlos Roqué Trio 1967 138 Du Bois, Rob Music for a Sliding Trombone 44 Globokar, Vinko Res/As/Ex/Ins-pirer (also lip; sound alteration via

oral cavity shape) 57 Harris, Roger Women go to Heaven and Men go to Hell 167 Klein, Joseph Goblin Market 175 Klein, Joseph Pathways: Opposing Forces (also lip) 212 Nieman, Alfred Tongs and Bones 82 Vazzana, Anthony Tre Monodie 97 Wilby, Philip Ruach 134

12. Combination consonant and dissonant, sung notes written in unison, above, and below played notes Asia, Daniel Dream Sequence 1 27 Berio, Luciano Sequenza V 30 Brink, Philip Exegesis 34 Frith, John Ode to a Happy Bunny 55 Globokar, Vinko Discours II 161 Grahn, Ulf Tensta Emotions 165 Huber, Nicolaus presente 66 Kucharzyk, Henry Imagination (Yes) 202 Nicholson, George Slide Show 80 Rieunier, Jean-Paul Silences 128 Yuhas, Dan Episodes 104 13. Indeterminate, sung notes written above and below played notes Klein, Joseph Leviathan 179 14. Indeterminate, sung notes written in unison or below played notes Aitken, Robert Kebyar 136

235

Composer Title Page 15. Indeterminate, consonant and/or dissonant, sung notes written in unison, above, and below played notes Celona, John Anthony Multiphony III (Gradients) 40 Heider, Werner D. E. Memorial 62 16. Indeterminate and dissonant, sung notes written in unison, above and below played notes Dusapin, Pascal Indeed 45 17. Indeterminate, sung notes written in unison, above, and below played notes Reynolds, Roger “…From Behind the Unreasoning Mask” 188 18. Lip Austin, Larry Changes: Open Style (also combination

consonant and dissonant, sung notes written above and below played notes) 195

Erickson, Robert General Speech 51 Globokar, Vinko Res/As/Ex/Ins-pirer (also sound alteration

via oral cavity shape; combination consonant and dissonant, sung notes written in unison, above, and below played notes) 57

Keenan, Paul A Field of Scarecrows (also dissonant, sung notes written in unison, or above played notes) 122

Kenny, John Sonata for Alto Trombone (also combination consonant and dissonant, sung notes written in unison or above played notes) 70

Klein, Joseph Pathways: Opposing Forces (also combination consonant and dissonant, sung notes written above and below played notes 212

Mabry, Drake 9.28.85 (also dissonant, sung notes written in unison, above, and below played notes) 78

Reynolds, Roger “…From Behind the Unreasoning Mask” (also indeterminate, sung notes written in unison, above and below played notes 188

Walshe, Jennifer they could laugh smile (also combination consonant and dissonant, sung notes written in unison or above played notes) 206

Xenakis, Iannis Keren 101

236

Appendix E: Publisher Contact Information Accura Music P. O. Box 257 North Greece, New York 14515-0257 Telephone: (585) 227-1550 / Fax: (585) 227-2829 www.accuramusic.com Alphonse Leduc, Paris c/o Robert King Music Sales, Inc. 140 Main Street North Easton, MA 02356 Fax: (508) 238-2571 E-Mail: [email protected] American Composers Alliance 170 West 74th Street New York, NY 10023 www.composers.com Amphion Éditions Musicales, Paris c/o Hal Leonard Publishing 7777 West Bluemound Road P.O Box 13819 Milwaukee, WI 53213 Telehone: (414) 774-3630 / Fax: (414) 774-3259 www.halleonard.com Arcana Editions 227 1st Line Douro RR2 Indian River, Ontario KOL 2B0, Canada Telephone: (705) 652-0446 / Fax: (705) 652-0683 www.patria.org/arcana Australian Music Centre PO Box N690 Grosvenor Place, New South Wales 1220 Telephone: +61 2 9247 4677 / Fax: +61 2 9241 2873 www.amcoz.com.au Bärenreiter-Verlag Heinrich-Schütz-Allee 35 D - 34131 Kassel Telephone: +49 (0)561 3105-0 / Fax: +49 (0)561 3105-176 E-mail:[email protected] / www.baerenreiter.com

237

Boosey & Hawkes Music Publishers Limited Aldwych House 71-91 Aldwych London WC2B 4HN Telephone: +44 (0)20 7054 7200 www.boosey.com Bote and Bock, Berlin c/o Boosey & Hawkes Music Publishers Limited Aldwych House 71-91 Aldwych London WC2B 4HN Telephone: +44 (0)20 7054 7200 www.boosey.com Breitkopf & Härtel KG Walkmühlstrasse 52 65195 Wiesbaden Germany Telephone: +49 611 45008 0 / Fax: +49 611 45008 59-61 E-mail: [email protected] www.breitkopf.de Brixton Publications 4311 Braemar Avenue Lakeland, FL 33813-1608 Telephone/Fax: (863) 646-0961 E-mail: [email protected] / www.brixtonpublications.com C. F. Peters 70–30 80th Street Glendale, NY 11385 Telephone: (718) 416 7800 / Fax: (718) 416 7805 Email: [email protected] Canadian Music Centre Chalmers House, 20 St. Joseph Street Toronto, Ontario M4Y 1J9 Telephone: (416) 961-6601 / Fax: (416) 961-7198 E-mail: [email protected]

238

Carl Fischer 65 Bleecker Street New York, NY 10012

Telephone and Fax: 1-800-762-2328 E-mail: [email protected] / www.carlfichser.com Colla Voce Music Indianapolis, IN Fax: (317) 466-0638 E-mail: [email protected] Contemporary Music Centre 19 Fishamble Street, Temple Bar Dublin, Ireland Telephone: +353 1 673 1922 / Fax +353 1 648 9100 E-mail: [email protected] / www.cmc.ie Donemus, Amsterdam Funenpark 1 1018 AK Amsterdam Telephone: 020 3058900 / Fax: 020 6733588 E-mail: [email protected] / www. donemus.nl Dorn Publications, Inc. P.O. Box 206 Medfield, MA 02052 Telephone: (508) 359-1015 / Fax: (508) 359-7988 E-mail: [email protected] Earnestly Music P. O. Box 650006 West Newton, MA 02165 ECS Publishing 138 Ipswich St. Boston, MA 02215 Telephone: (617) 236-1935 / Fax: (617) 236-0261 E-mail: [email protected] www.ecspub.com Edition Tarrodi Vallhallavägen 110 S-114 41 Stockholm, Sweden Fax: + 4686613717 E-mail: [email protected] www.tarrodi.se

239

Editions Bim P.O. Box 300 – CH-1674 Vuarmarens, Switzerland Telephone: ++41 (0)21 909 10 00 / Fax: ++41 (0)21 909 10 09 www.editions-bim.com Éditions Musicales Européennes, Paris c/o Hickey’s Music Center 104 Adams Street Ithaca, NY 14850 Telephone: (607) 272-8262 / Fax: (607) 272-2203 www.hickeys.com Editions Reimers AB c/o Theodore Presser Company 588 North Gulph Road King of Prussia, PA 19406 Telephone: (610) 592-1222 / Fax: (610) 592-1229 www.presser.com Éditions Durand-Salabert-Eschig c/o Hal Leonard Publishing 7777 West Bluemound Road P.O Box 13819 Milwaukee, WI 53213 Telephone: (414) 774-3630 / Fax: (414) 774-3259 www.halleonard.com Frog Peak Music P.O. Box 1052 Lebanon, NH 03755 Telephone/Fax: 603-643-9037 E-mail: [email protected] / www.frogpeak.org Galaxy Music Corporation c/o ECS Publishing 138 Ipswich St. Boston, MA 02215 Telephone: (617) 236-1935 / Fax: (617) 236-0261 E-mail: [email protected] www.ecspub.com

240

General Music Publishing c/o G. Schirmer, Inc. 257 Park Avenue South, 20th Floor New York, NY 10010 Telephone: (212) 254-2100 www.schirmer.com International Trombone Association Press c/o Dr. Nathaniel Brickens University of Texas School of Music Austin, TX 78712 Kagarice Brass Publications Box 305302 Denton, TX 76203 Fax: (940) 891-3435 E-mail: [email protected] Kendor Music P.O. Box 278 Delevan, NY 14042-0278 Phone: (716) 492-1254 / Fax: (716) 492-5124 www.kendormusic.com Larry Austin Music 10205 Murray S. Johnson St. Denton, TX 76207 E-mail: [email protected] Media Press, Champaign, IL MMB Music, Saint Louis, MO Telephone: (800) 543-3771 E-mail: [email protected] Music Information Centre Norway www.mic.no Musikverlag Zimmermann, Frankfurt, Germany

241

Noga Music, Jerusalem c/o Ensemble Publications P.O. Box 32 Ithaca, NY 14851-0032 Telephone: (607) 592-1778 Fax: (607) 273-4655 E-mail: [email protected] Nopone Press PO Box 50944 Denton, TX 76206 Telephone: (904) 565-4926 / Fax: (940) 565-2002 E-mail: [email protected] Norsk Musikforlag A/S c/o MMB Music, Saint Louis, MO Telephone: (800) 543-3771 E-mail: [email protected] Philharmusica Corporation 305 Madison Ave., Suite 1166 New York, NY 10165 Puna Music Company P.O. Box 3004 Teaneck, NJ 07666 Telephone: 888-586-8677 / www.punamusic.com Seesaw Music Corporation 2067 Broadway New York, NY 10023 Telephone: (212) 874-1200 Shawnee Press c/o G. Schirmer 257 Park Ave South, 20th floor New York, NY 10010 Telephone: 212 254-2100 / Fax: 212 254-2013 E-mail: [email protected] Smith Publications 2617 Gwynndale Avenue Baltimore, MD 21207 Telephone: (410)-298-6509 / Fax: (410)-944-5113 E-mail: [email protected]

242

Swedish Music Information Center Box 27327 SE-102 54 Stockholm, Sweden Telephone: +46 8 783 88 00 / Fax: +46 8 783 95 10 / www.mic.stim.se TAP Music Sales 1992 Hunter Avenue Newton, IA 50208 Telephone: (800) 554-7628 / www.tapmusicsales.com Theodore Presser Company (also sole selling agent for Merion Music) 588 North Gulph Road King of Prussia, PA 19406 Telephone: (610) 592-1222 / Fax: (610) 592-1229 www.presser.com Universal Edition Ltd. 48 Great Marlborough Street GB London W1F 7BB Telephone: +44 20 7437 5205 / Fax: +44 20 7437 6115 www.universaledition.com/london/ Warwick Music 1 Broomfield Road Coventry, England CV5 6JW Telephone: +44 (0)24 7671 2081 / Fax: +44 (0)24 7671 2550 www.warwickmusic.com Wehr's Music House 3533 Baxter Drive Winter Park, FL 32792 E-mail: [email protected] Wilhelm Hansen AS Bornholmsgade 1 DK-1266 Copenhagen K, Denmark Telephone: +45 33 11 78 88 / Fax: +45 33 14 81 78 E-mail: [email protected]

243

Bibliography Appert, Donald L. A Progressive Study on Multiphonics. Newton, Iowa: TAP Music Sales, 1988. Arling, Harry J. Trombone Chamber Music: An Annotated Bibliography, 2d ed. Nashville, Tennessee: The Brass Press, 1983. Baker, Buddy. The Tenor Trombone Handbook. Austin, Texas: International Trombone Association Manuscript Press, 2001. Berlioz, Hector. The Memoirs of Hector Berlioz. Translated and edited by David Cairns. New York: Alfred A. Knopf, 2002. Bowles, Richard W. “Multiphonics on Low Brass Instruments.” Instrumentalist 34 (October 1979), 52-57. Buss, Howard. Camel Music. Baltimore, Maryland: Smith Publications, 1976. Culver, Charles. Musical Acoustic, 3d ed. New York: The Blakiston Company, 1951. Dempster, Stuart. The Modern Trombone: A Definition of Its Idioms. Rochester, New York: Accura Music, 1994. Duke, Cason A. “A Performer’s Guide to Theatrical Elements in Selected Trombone Literature.” DMA doc., Louisiana State University, 2001. Fink, Reginald. The Trombonist’s Handbook Athens, Ohio: Accura Music, 1977. Globokar, Vinko. Discours II. Glendale, New York: C. F. Peters Corporation, 1969. Gregory, Robin. The Trombone: The Instrument and Its Music. New York: Praeger Publishers, 1973. Griffiths, John R. Low Brass Guide, 2d ed. Roswell, Georgia: E. Williams Publishing Company, 1999. Harris, T. F. Stuart. Handbook of Acoustics, 9th ed. London: J. Curwen and Sons, 1913. Helmholtz, Hermann. On the Sensations of Tone as a Physiological Basis for the Theory of Music, 2d ed., 1885; reprint New York: Dover Publications, 1954. Hofacre, Marta Jean. Teaching Collegiate Trombone Or, what I did anyway…. Hattiesburg, Mississippi: by the author, 2002. Hunt, Norman, and Dan Bachelder. Guide to Teaching Brass, 5th ed. Boston: McGraw Hill, 1994.

244

Kehle, Robert. Alto Trombone Literature: An Annotated Guide. Coventry, England: Warwick Music Limited, 2003. Kenny, John. Sonata for Alto Trombone. Warwick, England: Warwick Music Limited, 1994. Kimball, Willford Wayne. “Alto Trombone Solo Literature: An Annotated Bibliography.” DMA doc., Arizona State University, 2001. LaChance, Mark H. “Trombone Multiphonics: A Method.” MM thes., Bowling Green State University, 1994. Lammers, Mark. Nordic Instrumental Music for Colleges and Universities. Saint Peter, Minnesota: Gustavus Adolphus College, 1991. Milken Archive of American Jewish Music. http://www.milkenarchive.org/artists/artists.taf?artistid=190; Internet: accessed 16 May 2005. Montagu, Jeremy. “Didjeridu.” In The Oxford Companion to Music, ed. Alison Latham, 364. New York: Oxford University Press, 2002. Mueller, Robert. Technical Studies for Trombone, Vol. 2. New York: Carl Fischer, 1924. Muir, Stephen. “Multiphonics.” In The Oxford Companion to Music, ed. Alison Latham, 811. New York: Oxford University Press, 2002. Procter, Jerome, ed. V. Cornette’s Method for Trombone. New York: Carl Fischer, 1937. Randel, Don Michel, ed. The New Harvard Dictionary of Music. Cambridge, Massachusetts: The Belknap Press of the Harvard University Press, 1986. Schiaffini, Giancarlo. The Trombone: Increasing its Technical and Expressive Capabilities. Zumikon, Switzerland: Editions Marc Reift, 1982. Senff, Thomas E. “An Annotated Bibliography of the Unaccompanied Solo Repertoire for Trombone.” DMA doc., University of Illinois, 1976. Sluchin, Benny. “Playing and Singing Simultaneously on Brass Instruments,” Brass Bulletin-International Brass Chronicle 37 (1982), 20-28. ________. Contemporary Trombone Excerpts: A Practical Introduction to Contemporary Trombone Techniques. Paris: Éditions Musicales Européennes, 1995.

245

Stanley, William. “Annotated Bibliography of Compositions for Trombone and String Quartet.” International Trombone Association Journal 24 (Summer 1996), 26-31. Stevens, Milton. “New Techniques Required To Perform Recent Music For The Trombone.” DMA doc., Boston University, 1976. ________. “Vocalization – An Introduction to Avant-Garde Trombone Techniques.” Instrumentalist 28 (February 1974), 44-46. Swett, James. “A Selected Annotated List of Published Trombone Literature.” Instrumentalist 28 (February 1974), 76-84. Thompson, John Mark, and Jeffrey Jon Lemke. French Music For Low Brass Instruments. Bloomington, Indiana: Indiana University Press, 1994. Thompson, John Mark, ed. Solos for the Student Trombonist, 2d ed. Vuarmarens, Switzerland: Editions Bim, 2001. Tychinski, Bruce. “An Annotated Guide to Trombone Choir Literature.” DMA doc., University of Kansas, 2001. Watrous, Bill, and Alan Raph. Trombonisms. New York: Carl Fischer, 1983. Wick, Denis. Trombone Technique. London: Oxford University Press, 1980. Whitener, Scott. A Complete Guide to Brass, 2d ed. New York: Schirmer, 1997.

Davidson, Michael M. - An Annotated Database of 102 Selected Published Works for Trombone Requiring...

Documents

Transcript of Davidson, Michael M. - An Annotated Database of 102 Selected Published Works for Trombone Requiring...