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9.28.85. Drake Mabry. Trombone sheet music. Advanced.

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9.28.85. Drake Mabry. Tromboon bladmusiek. Gevorderde.

Oorspronklik

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

Vertaling

9.28.85 saamgestel deur Drake Mabry. Vir Trombone. 20ste eeu. Gevorderde. Telling. Gepubliseer deur Drake Mabry Productions. S0.10699. 9.28.85 is in 1985 geskryf en die datum verwys na die datum van voltooiing, September 28, 1985. Uittreksels van hierdie stuk is ingesluit in Benny Sluchinâs boek oor kontemporêre trombone uittreksels. Hierdie werk sluit my uitvinding van die idee van speel lip multiphonics. Hier is die storie. Gedurende die lente van 1985 het ek deelgeneem aan die âœl'atelier de recherche instrumentalâ afdeling vir akoestiese instrument eksplorasie by IRCAM werk met Pierre-Yves Artaud. fluit. , Daniel Kientzy. saksofoon. en Benny Sluchin. trombone. Die meeste van die navorsing is gegrond op soek na nuwe maniere om klank te produseer met akoestiese instrumente en die departement oop vir kunstenaars en komponiste was. 'N Paar maande na die IRCAM werkswinkels Benny Sluchin en ek het besluit om te werk op 'n stuk vir hom. Ons het saam gewerk verskeie kontemporêre tegnieke wat ek kan kies vir die stuk te verken. Na 'n rukkie het ek verklein my keuse om 'n beweging met lug, die een met lip multiphonics, en een deur die ruimtelike kenmerke van die klok, sing, en die stuur van klank uit die rug van 'n alternatiewe F buis. Benny is wonderlik om te werk met as heâs 'n wonderlike musikant, is enigiets moontlik, heâs oop te probeer om nuwe idees en heâs 'n groot mens. Die perfekte kombinasie vir 'n komponis. Eerstens, oor die lip multiphonics in die tweede beweging. Tydens een van ons werksessies het ons gekyk na multiphonics sing en speel, maar ek wou iets anders. So het ek gevra Benny wat sou gebeur as hy sy embouchure geplaas tussen twee alen van die ondertoon reeks. Die gevolg was 'n ongelooflike. 'N Aantal alen geklink op dieselfde tyd en die tekstuur kleure was en afwisselende. Die enigste probleem met hierdie is die âœwindowâ vir die plasing van die embouchure was baie smal. Effens te hoog of effens te laag sou lei tot 'n vreeslik uit tune en uncentered gedeeltelike. Herinner my aan wat 'n siek koei klink soos. Hierdie probleem was minder uitgespreek tussen alen van 'n vyfde, maar het meer moeilik as die alen was nader aan mekaar. Vierdes was okay, maar groot en klein derde alen was uiters moeilik en riskant. Ons het besluit wat die heck en ek het die tweede beweging die wete dat die risiko's. Maar toe die embouchure is goed geplaas om dit produseer so 'n pragtige klank. Bennie het genoem dat die idee het 'n opvoedkundige kant voordeel. Hy het gesê in staat is om te fokus op die plasing van die embouchure in so 'n beperkte âwindowâ dit het die plasing van die embouchure vir normale noot baie makliker. My uitvinding gebruik word deur ander komponiste sedert insluitend Xenakis in 1986 en 'n Yslandse komponis 'n paar jaar later. Die alternatiewe beweging kom oor na Benny het die stuk vir 'n paar jaar gespeel. Heâs om hierdie multiphonics te kry, maar besef dat miskien sou daar nie baie ander spelers in staat is om dit te doen. Die probleem is dat hierdie beweging kan weg van die stuk het ons besluit dat dit goed sou wees om 'n alternatiewe beweging wat sou gebruik dieselfde idees, maar in 'n minder stresvolle manier vir die performer te hê skrik spelers te vermy. Ek het gedink dit was 'n goeie idee en geskryf het, wat my betref, is 'n meer meditatiewe stuk grond van dieselfde materiaal. Ek het ook gedink dat dit kan gespeel word deur die self as die speler wou. Daar is 'n drukfout in die telling aan die einde van die eerste reël waar daar blyk 'n multiphonic gebaseer op die plasing van die embouchure tussen 'n Eb en 'n A-natuurlike. Die A moet 'n AB. Die eerste beweging verken die subtiliteite van verskeie vokaal en konsonant formasies in die mond, terwyl speel. Sedert die trombone is so 'n perfekte versterker hierdie klein besonderhede kan gehoor word. Byvoorbeeld die verskil tussen âtsâ en âtshâ kom uit sowel. Ek dink van die beweging as 'n stem gesprekke of diskoers wat word hoogs geanimeerde aan die einde. Die dinamika speel 'n belangrike rol in die verskaffing van bykomende kleure. Die speler moet regtig âspeakâ sonder om te praat vir hierdie beweging te werk. Die derde beweging is my sirkus stuk. Ek weet dit is ingewikkeld om te speel, maar die algemene gevoel moet een van 'n sirkus nar wees. Met die AFA buisie vervang deur 'n reguit tube gaan terug. die behoud van die stemme gelyk egter. Ek kon kry drie ruimtelike dimensies. die klank uit die klok, sing uit die mondstuk plasing. maar nie in die trombone vir 'n deel van die beweging. En klanke uit te kom die AFA buisie aan die agterkant. Vir die sang youâll sien dat aan die begin van die speler nooit sing op dieselfde tyd as wat hy of sy speel. Begin op maat 27 wanneer die sing en speel saam voorkom die speler sal, natuurlik, het om te sing in die mondstuk. Vir die samevatting begin op maat 69 die speler aan die einde sal terugkeer na sing soos in die begin by agtergrond af 'n fraksie van 'n duim van die mondstuk om die stem te gebruik. Maar ek weet die stuk kan gedoen word deur altyd sing in die mondstuk. Die algemene stemming hier moet een van die pret, vreugde en humor ten spyte van die harde werk wat dit neem om hierdie beweging te speel. Nie sang kwart-toon te noem. Digitale Print is printable bladmusiek beskikbaar enige tyd, enige plek. Net aankoop, druk en speel. Kyk na jou aanlyn bladmusiek by die huis, skool, werk of waar jy 'n rekenaar wat aan die Internet. Gebruik ons ​​iPad app jou digitale bladmusiek te sien op die pad. Met Digitale Print, kan jy jou digitale bladmusiek druk onmiddellik na die aankoop, of wag totdat sy gerieflike. En ons sagteware installasie is maklik - ons sal jou lei deur die eenvoudige stappe om seker te maak jy het Adobe Flash Player, Adobe AIR en die bladmusiek Plus AIR aansoek.