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: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________
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UNIVERSITY OF CINCINNATI Date:___________________
I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of:
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.
iii
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
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.
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.
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
Copyright Date: 1979
Availability: currently in publication
Copy Quality: manuscript
Difficulty: advanced
Trombone(s): tenor-bass
Instrumentation: trombone alone
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'
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
Copyright Date: 1989
Availability: currently in publication
Copy Quality: computer
Difficulty: medium-advanced
Trombone(s): tenor-bass
Instrumentation: trombone alone
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
Copyright Date: 1968
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): tenor
Instrumentation: trombone alone
Overall Range: Al - f"
Clefs: bass, treble
Mutes: metal plunger
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
above, and below played notes
Multiphonic Range: vocal range: d flat - a flat'; played range: E - a flat'
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
Copyright Date: 1976
Availability: currently in publication
Copy Quality: manuscript
Difficulty: medium-advanced
Trombone(s): tenor-bass
Instrumentation: trombone alone
Overall Range: Gl - “highest available note” (c" written)
Clefs: bass
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written above
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
Copyright Date: 1995
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): tenor-bass
Instrumentation: trombone alone
Overall Range: C - g flat"
Clefs: bass, tenor
Mutes: none
Multiphonic Type: consonant, sung notes written above played notes
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)
Publisher: TAP Music Sales, Newton, Iowa
Copyright Date: 1972
Availability: currently in publication
Copy Quality: manuscript
Difficulty: professional
Trombone(s): bass
Instrumentation: trombone alone
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”
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
Copyright Date: 1968
Availability: currently in publication
Copy Quality: manuscript (good quality)
Difficulty: professional
Trombone(s): tenor
Instrumentation: trombone alone
Overall Range: F sharp1 - f sharp"
Clefs: bass, tenor, treble
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'
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
Copyright Date: 1987
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): tenor
Instrumentation: trombone alone
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
Copyright Date: 2001
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
Trombone(s): tenor-bass
Instrumentation: trombone alone
Overall Range: E - e"
Clefs: bass, tenor, treble
Mutes: none
Multiphonic Type: consonant, sung notes written in unison or above played notes
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
Copyright Date: 1986
Availability: currently in publication
Copy Quality: manuscript
Difficulty: advanced
Trombone(s): tenor-bass
Instrumentation: trombone alone
Overall Range: El - d"
Clefs: bass, tenor
Mutes: cup, harmon
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
Multiphonic Range: vocal range: c - d'; played range: A flat - f
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
Copyright Date: 1978
Availability: currently in publication
Copy Quality: manuscript
Difficulty: advanced
Trombone(s): bass
Instrumentation: trombone alone
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”
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
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
Publisher: Warwick Music, Coventry, England
Copyright Date: 1994
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): alto
Instrumentation: trombone alone
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.
Annotated Composition Example 4
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
Publisher: Warwick Music, Coventry, England
Copyright Date: 1986
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): tenor-bass
Instrumentation: trombone alone
Overall Range: B flat2 - “top of range” (f" notated)
Clefs: bass, tenor, treble
Mutes: plunger
Multiphonic Type: consonant, sung notes written above played notes
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
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
Publisher: Warwick Music, Coventry, England
Copyright Date: 2000
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
Trombone(s): tenor-bass
Instrumentation: trombone alone
Overall Range: Gl - f"
Clefs: bass, tenor, treble
Mutes: none
Multiphonic Type: consonant, sung notes written above played notes
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
Copyright Date: 1995
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): tenor-bass or bass
Instrumentation: trombone alone
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
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
Copyright Date: 1977
Availability: permanently out of print
Copy Quality: manuscript (good quality)
Difficulty: professional
Trombone(s): tenor
Instrumentation: trombone alone
Overall Range: E - d"
Clefs: bass, tenor, treble
Mutes: plunger, harmon
Multiphonic Type: combination consonant and dissonant, sung notes written above and
below played notes
Multiphonic Range: vocal range: d - d sharp'; played range: F sharp - f'
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
Copyright Date: 1994
Availability: currently in publication
Copy Quality: manuscript
Difficulty: advanced
Trombone(s): alto
Instrumentation: trombone alone
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" +
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
Publisher: Editions Bim, Vuarmarens, Switzerland
Copyright Date: 1988
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): tenor-bass
Instrumentation: trombone and piano
Overall Range: El - c"
Clefs: bass, tenor
Mutes: straight
Multiphonic Type: consonant, sung notes written above played notes
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
Copyright Date: 1996
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
Trombone(s): tenor
Instrumentation: trombone and piano (passive piano)
Overall Range: A flat - d"
Clefs: bass, tenor
Mutes: none
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
or above played notes
Multiphonic Range: vocal range: e flat - g'; played range: d - a
Intervals: seconds, fifths, sevenths, octaves
Chords: major chords, root position; dissonances
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.
Annotated Composition Example 5
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
Copyright Date: 1990
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
Trombone(s): tenor
Instrumentation: trombone and piano
Overall Range: E - d"
Clefs: bass, tenor
Mutes: plunger, harmon
Multiphonic Type: consonant, sung notes written above played notes
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.
Annotated Composition Example 6
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
Copyright Date: 1971
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
Trombone(s): tenor
Instrumentation: trombone and piano
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
Copy Quality: manuscript
Difficulty: advanced
Trombone(s): tenor
Instrumentation: trombone and piano
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”
Publisher: Seesaw Music Corporation, New York
Copyright Date: 1979
Availability: currently in publication
Copy Quality: manuscript
Difficulty: medium
Trombone(s): bass
Instrumentation: trombone and piano (performance with passive piano optional)
Overall Range: A flat1 - f'
Clefs: bass
Mutes: none
Multiphonic Type: consonant, sung notes written above played notes
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
Copyright Date: 1976
Availability: currently in publication
Copy Quality: offset
Difficulty: medium-advanced
Trombone(s): tenor
Instrumentation: trombone and piano
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
Copyright Date: 1986
Availability: currently in publication
Copy Quality: offset
Difficulty: medium-advanced
Trombone(s): tenor
Instrumentation: trombone and organ
Overall Range: E - d flat"
Clefs: bass, tenor
Mutes: straight
Multiphonic Type: consonant, sung notes written above played notes
Multiphonic Range: vocal range: c sharp' - d'; played range: A - B flat
Intervals: tenths
Chords: seventh chords
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
Publisher: Seesaw Music Corporation, New York
Copyright Date: 1976
Availability: currently in publication
Copy Quality: manuscript
Difficulty: advanced
Trombone(s): tenor
Instrumentation: trombone and piano
Overall Range: A flat1 - a'
Clefs: bass
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
and above played notes
Multiphonic Range: vocal range: c - b: played range: E - b flat
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
Copyright Date: 1970
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
Trombone(s): tenor-bass
Instrumentation: trombone and piano
Overall Range: B flat1 - d flat"
Clefs: bass, tenor
Mutes: none
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
Multiphonic Range: vocal range: G - g; played range: C - f
Intervals: seconds, fifths
Chords: major chords, root position; dissonances
Dedication: commissioned by Stuart Dempster
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
Copyright Date: 2003
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
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,
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
Publisher: Warwick Music, Coventry, England
Copyright Date: 2000
Availability: currently in publication
Copy Quality: offset
Difficulty: medium-advanced
Trombone(s): tenor
Instrumentation: trombone and piano
Overall Range: El - c sharp"
Clefs: bass, tenor
Mutes: none
Multiphonic Type: consonant, sung notes written above played notes
Multiphonic Range: vocal range: a sharp - b; played range: F sharp - G
Intervals: tenths
Chords: seventh chords
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
Copyright Date: 1976
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): tenor-bass
Instrumentation: trombone and piano
Overall Range: A flat1 - f"
Clefs: bass, treble
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
above, and below played notes
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
Copyright Date: 1994
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
Trombone(s): tenor
Instrumentation: trombone and piano
Overall Range: E - e flat"
Clefs: bass, tenor
Mutes: harmon, cup
Multiphonic Type: consonant, sung notes written above played notes
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-
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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.
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Composer: White, John
Title: Dialogues for Trombone and Piano
Publisher: TAP Music Sales, Newton, Iowa
Copyright Date: 1988
Availability: currently in publication
Copy Quality: manuscript
Difficulty: medium-advanced
Trombone(s): tenor
Instrumentation: trombone and piano
Overall Range: A flat - c"
Clefs: bass, tenor
Mutes: straight
Multiphonic Type: consonant, sung notes written above played notes
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.
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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.
Annotated Composition Example 8
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.
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Composer: Wilby, Philip
Title: Ruach
Publisher: Warwick Music, Coventry, England
Copyright Date: 1998
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
Trombone(s): tenor
Instrumentation: trombone and organ
Overall Range: E - d" (Gl ad-libitum)
Clefs: bass, tenor
Mutes: harmon (required), cup (optional)88
Multiphonic Type: combination consonant and dissonant, sung notes written above and
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.
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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.
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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
Availability: currently in publication
Copy Quality: manuscript
Difficulty: professional
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,
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).
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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.”
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.
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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.
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Composer: Erb, Donald
Title: The Rainbow Snake
Publisher: Merion Music, by Theodore Presser Company, King of Prussia, Pennsylvania
Publish date: 1986
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): tenor-bass99
Instrumentation: trombone, two percussionists, keyboards (instrumentation required:
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.
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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.
.
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Composer: Erickson, Robert
Title: Ricercare á 5
Publisher: Smith Publications, Baltimore, Maryland
Copyright Date: 1993 (this is a reissue from 1966)
Availability: currently in publication
Copy Quality: manuscript (good quality)
Difficulty: professional
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 Type: consonant, sung notes written above played notes
Multiphonic Range: vocal range: c - f; played range: C - d flat
Intervals: thirds, tenths
Chords: seventh chords
Dedication: Stuart Dempster
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.
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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
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
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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
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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.”
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Composer: Grahn, Ulf
Title: Pour Quatre
Publisher: Swedish Music Information Centre, Stockholm
Multiphonic Type: combination consonant and dissonant, sung notes written above and
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.
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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
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.
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Composer: Haug, Halvor
Title: Essay
Publisher: Music Information Centre Norway, Oslo
Copyright Date: 1987
Availability: currently in publication
Copy Quality: manuscript
Difficulty: medium-advanced
Trombone(s): alto
Instrumentation: alto trombone and string quartet
Overall Range: A - c"
Clefs: alto
Mutes: straight
Multiphonic Type: consonant, sung notes written above played notes
Multiphonic Range: vocal range: e - d flat'; played range: A - g flat
Overall Range: G sharp1 - “highest note” (f" written)
Clefs: bass, tenor, treble
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
Multiphonic Range: vocal range: e - c'; played range: F - f
Intervals: fifths, sevenths, octaves, ninths
Chords: major chords, root position; dissonances
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.
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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.
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Composer: James, Kevin
Title: Good Friday
Publisher: Wehr’s Music House, Winter Park, Florida
Copyright Date: 1993
Availability: currently in publication
Copy Quality: computer quality
Difficulty: advanced
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 Type: combination consonant and dissonant, sung notes written in unison
or above played notes
Multiphonic Range: vocal range: f (plus quarter tone) - f'; played range: e - b
Chords: major chords, root position; major chords, second inversion; dissonances
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.
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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
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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.
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)
Clefs: bass, tenor, alto
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.”
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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
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.
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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.
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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.
Annotated Composition Example 9
Joseph Klein, Goblin Market, (Denton, TX: Nopone Press, 1993), 37. Used by permission.
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Composer: Klein, Joseph
Title: Leviathan
Publisher: Nopone Press, Denton, Texas
Copyright Date: 1998
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
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.
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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.
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Composer: Larsen, Libby
Title: Bronze Veils
Publisher: E. C. Schirmer Music Company, Boston
Copyright Date: 1984
Availability: currently in publication
Copy Quality: manuscript (facsimile series)
Difficulty: medium-advanced
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"
Clefs: bass, tenor, treble
Mutes: harmon, straight, plunger
Multiphonic Type: consonant, sung notes written above played notes
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,
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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.
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Composer: Lesley, Simon
Title: The Two Terrible Trombones
Publisher: Warwick Music, Coventry, England
Copyright Date: 2003
Availability: currently in publication
Copy Quality: offset
Difficulty: medium-advanced
Trombone(s): two tenors
Instrumentation: trombone duet
Overall Range: A flat1 - b'
Clefs: bass, tenor
Mutes: straight, “metal hat” (metal plunger)
Multiphonic Type: consonant, sung notes written in unison or above played notes
Multiphonic Range: vocal range: f - c'; played range: E - f122
Intervals: unisons, tenths
Chords: seventh chords
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
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.
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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.
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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.
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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)
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
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
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.”
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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.
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Composer: Erb, Donald
Title: ...and then, toward the end...
Publisher: Merion Music, Inc., by Theodore Presser Co., King of Prussia, Pennsylvania
Copyright Date: 1974
Availability: currently in publication
Copy Quality: manuscript
Difficulty: professional
Trombone(s): tenor-bass
Instrumentation: trombone and 4 track CD132
Overall Range: B flat1 - b flat"
Clefs: bass, tenor, treble
Mutes: harmon, plunger, whisper
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
or above played notes
Multiphonic Range: vocal range: d - c"; played range: F - c sharp'
Chords: major chords, root position; major chords, second inversion; seventh chords;
diminished chords; minor chords; dissonances
Dedication: Stuart Dempster
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.”
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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.
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Composer: Kucharzyk, Henry
Title: Imagination (Yes)
Publisher: Canadian Music Centre, Toronto
Copyright Date: 1982
Availability: currently in publication
Copy Quality: manuscript
Difficulty: advanced
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 Type: combination consonant and dissonant, sung notes written in unison,
above, and below played notes
Multiphonic Range: vocal range: f - “pitch ad lib - high”; played range: F - d flat
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
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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.
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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
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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.
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Composer: Walshe, Jennifer
Title: they could laugh smile
Publisher: Contemporary Music Centre, Dublin
Copyright Date: 1999
Availability: currently in publication
Copy Quality: manuscript
Difficulty: advanced
Trombone(s): tenor-bass
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
Chords: major chords, root position; dissonances
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.
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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.
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Chapter Eight
Database Entries: Trombone and Orchestra Composer: Cosma, Edgar
Title: Concerto
Publisher: Editions Bim, Vuarmarens, Switzerland
Copyright Date: 1991
Availability: currently in publication
Copy Quality: offset
Difficulty: advanced
Trombone(s): tenor-bass
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.
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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.
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Composer: Erb, Donald
Title: Concerto
Publisher: Theodore Presser Company, King of Prussia, Pennsylvania
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.
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Composer: Lipkis, Larry
Title: Harlequin: Concerto for Bass Trombone and Orchestra
Publisher: Warwick Music, Coventry, England
Copyright Date: 1997
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): bass
Instrumentation: bass trombone and orchestra; piano reduction available139
Overall Range: A2 - b flat'
Clefs: bass, tenor
Mutes: none
Multiphonic Type: consonant, sung notes written above played notes
Multiphonic Range: vocal range: a - d sharp'; played range: F - B
Intervals: tenths
Chords: seventh chords
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
Copyright date: 1998
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): tenor-bass
Instrumentation: trombone and string orchestra
Overall Range: D1 - f''
Clefs: bass, tenor
Mutes: plunger
Multiphonic Type: consonant, sung notes written above played notes
Multiphonic Range: vocal range: e flat - g'; played range: D - e flat
Intervals: fourths, fifths, sixths, octaves, tenths, two octaves plus a third
Chords: major chords, root position; major chords, second inversion; seventh chords
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
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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.
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Composer: Sandström, Jan
Title: Concerto for Trombone and Orchestra
Publisher: Swedish Music Information Center, Stockholm
Copyright Date: 1989
Availability: currently in publication
Copy Quality: manuscript
Difficulty: professional
Trombone(s): tenor-bass
Instrumentation: Trombone and orchestra
Overall Range: Cl - g'''
Clefs: bass, tenor, treble
Mutes: plunger, harmon
Multiphonic Type: consonant, sung notes written above played notes
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,
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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.
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Composer: Sandström, Jan
Title: Don Quixote: Trombone Concerto No. 2
Publisher: Edition Tarrodi, Stockholm
Copyright Date: 1995
Availability: currently in publication
Copy Quality: offset
Difficulty: professional
Trombone(s): tenor-bass
Instrumentation: trombone and orchestra
Overall Range: A flat1 - f"
Clefs: bass, C clef tenor, G clef tenor
Mutes: straight
Multiphonic Type: consonant, sung notes written above played notes
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
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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.
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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]
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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
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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
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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
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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]
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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]
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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.
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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.
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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.