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Originalno

9.28.85. Drake Mabry. Trombone sheet music. Advanced.

Prevod

9.28.85. Drake Mabry. Pozavna note. Napredno.

Originalno

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

Prevod

9.28.85 sestavljajo Drake Mabry. Za pozavno. 20th Century. Napredno. Ocena. Izdala Drake Mabry Productions. S0.10699. 9.28.85 je bila napisana leta 1985 in datum nanaša na datum dokončanja, 28. september 1985. Izvleček iz tega dela so vključena v Benny Sluchinâs knjigo o sodobnih pozavna odlomkih. To delo vključuje moj izum ideja o igranju za ustnice multiphonics. Tukaj je zgodba. Spomladi leta 1985 sem sodeloval na âœl'atelier de Recherche instrumentalâ oddelka za raziskovanje akustičnih instrumentov na IRCAM-u delajo z Pierre-Yves Artaud. flavta. , Daniel Kientzy. saksofon. Benny Sluchin. pozavna. Večina raziskav je temeljila na iščejo nove načine, da proizvajajo zvok z akustičnimi instrumenti in na oddelku je bil odprt za izvajalce in skladatelje. Nekaj ​​mesecev po IRCAM-u delavnice Benny Sluchin in sem se odločil za delo na kos za njega. Delali smo skupaj, da razišče različne sodobne tehnike, ki bi mi jih izbrali za kos. Čez nekaj časa sem zožiti moje odločitve, da se gibanje z zrakom, eno z ustnic multiphonics, in enega s pomočjo prostorske značilnosti zvonec, petje, in pošilja zvok od zadaj nadomestni F cevi. Benny je super za delo s tako heâs čudovit glasbenik, je vse mogoče, heâs odprta za preizkušanje novih idej in heâs veliko človeško bitje. Popolna kombinacija za skladatelja. Prvič, o multiphonics ustnice drugega gibanja. Med enim od naših delovnih sej smo pogledal na petje in igranje multiphonics ampak sem hotel nekaj drugačnega. Zato sem vprašal Benny, kaj bi se zgodilo, če bi položil embouchure med dvema partials v prizvok serije. Rezultat je bil neverjeten. Število partials zvenel ob istem času in teksturne barve so bile raznolike in lepa. Edini problem pri tem je âœwindowâ za dajanje embouchure je bil zelo ozek. Nekoliko previsoka ali prenizka nekoliko povzročila strašno iz tune in uncentered delni. Me je spomnila, kaj bi lahko bolan krava sliši. Ta težava je bila manj izrazita med partials za petino, vendar je postalo težje, ko so bili partials bližje skupaj. Četrtine so bili v redu, vendar večje in manjše tretje partials bilo izredno težko in tvegano. Odločili smo se, kaj za vraga sem napisal drugo gibanje poznavanje tveganj. Toda, ko je embouchure v dobrem položaju, da proizvaja tako lep zvok. Benny je omenil, da je imel idejo pedagoško stransko korist. Dejal je, da bi lahko, da se osredotoči na dajanje embouchure v takem omejenem âwindowâ je do nje prišlo, dajanje embouchure za normalno note veliko lažje. Moj izum se je z drugimi skladatelji uporabljajo od vključno Xenakis leta 1986 in islandskega skladatelja Nekaj ​​let kasneje. Namestnik gibanje prišlo potem, ko je Benny igral kos za nekaj let. Heâs lahko dobili te multiphonics, vendar je ugotovila, da morda ne bi bilo veliko drugih igralcev lahko storijo. Da bi se izognili problem, da bi to gibanje prestrašil igralce kosa smo se odločili, da bi bilo dobro imeti nadomestno gibanje, ki bi uporabljali iste ideje, vendar v manj stresno tako za izvajalca. Mislil sem, da je to dobra ideja in pisal, kar se mene tiče, je bolj meditativno kos, ki temelji na istem materialu. Prav tako sem si predstavljala, da bi ga lahko imela sama po sebi, če je igralec želel. Obstaja misprint v rezultatom na koncu prve linije, kjer se pojavi multiphonic temelji na dajanje embouchure med EB kot fizična. Mora biti Ab. Prvi stavek raziskuje odtenke različnih vokala in so skladni formacije v usta, medtem ko igranje. Ker pozavna je tako odlična ojačevalnik te majhne podrobnosti je mogoče slišati. Na primer razlika med âtsâ in âtshâ odlepi dobro. Mislim, da tega gibanja kot vokalno pogovoru in razpravi, ki postane zelo animirani konec. Dinamika igrajo pomembno vlogo pri zagotavljanju dodatne barve. Igralec naj bi v resnici âspeakâ brez nje ta gibanja za delo. Tretji stavek je moj cirkus kos. Vem, da je zapleteno igrati, ampak na splošno občutek, mora biti eden od cirkuški klovn. Z AFA cev nadomesti z ravne cevi vrača. vodenje tuning enako pa. Lahko bi dobili tri možne prostorske razsežnosti. Zvok iz zvona, petje od postavitve ustnik. vendar ne v pozavno za del gibanja. In zvoki, ki prihajajo iz AFA cev na hrbtni. Pri peti youâll opazili, da na začetku igralec ne poje istočasno kot on ali ona igra. Začne se pri ukrepu 27, ko petje in igranje skupaj pojavi igralec bo seveda morala zapeti v ustnik. Za bo Rekapitulacija z začetkom ob 69. ukrep za končanje igralec vrne k petju kot v začetku s podporo off del palca od ustnik za uporabo glasu. Ampak vem, kos je mogoče storiti z vedno pojejo v mikrofon. Splošno razpoloženje tukaj bi moral biti eden od zabave, Likovanje in humor kljub trdega dela je potrebno, da igrajo to gibanje. Da ne omenjam pevske četrt tone. Digitalni tisk je mogoče natisniti glasba voljo stanja kadarkoli in kjerkoli. Samo nakup, tiskanje in predvajanje. Oglejte si vašo spletno note doma, v šoli, na delu ali kjerkoli imate računalnik, povezan z internetom. Uporabite naš iPad aplikacijo za ogled digitalnega note na poti. Z digitalnim tiskom lahko natisnete svoje digitalne not takoj po nakupu, ali počakati, dokler njegova priročno. In naša namestitev programske opreme je enostavno - vam bomo vodil skozi preproste korake, da poskrbite, da imate Adobe Flash Player, Adobe AIR in ponjave aplikacij Music Plus AIR.