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Izvornik

9.28.85. Drake Mabry. Trombone sheet music. Advanced.

Prijevod

9.28.85. Drake Mabry. Trombon note. Napredan.

Izvornik

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.

Prijevod

9.28.85 skladao Drake Mabry. Za Trombon. 20. stoljeće. Napredan. Postići. Published by Drake Mabry Productions. S0.10699. 9.28.85 je napisana 1985 i valjanosti odnosi se na datum završetka, 28. rujna 1985. Izvadci iz ovog dijela su uključeni u Benny Sluchinâs knjizi o suvremenim trombon izvadaka. Ovaj rad uključuje moj izum ideju igranja usana multiphonics. Evo priče. Tijekom proljeća 1985 sam sudjelovao u âœl'atelier de Recherche instrumentalâ odjela za akustičnu istraživanje instrumentima na IRCAM rad s Pierre-Yves Artaud. flauta. , Daniel Kientzy. saksofon. i Benny Sluchin. trombon. Većina istraživanja se temelji na gleda na nove načine kako proizvesti zvuk s akustičnim instrumentima i odjela bio je otvoren za izvođača i skladatelja. Nekoliko mjeseci nakon što IRCAM radionice Benny Sluchin i odlučio sam raditi na komad za njega. Radili smo zajedno istraživati ​​razne suvremene tehnike koje sam mogla odabrati za komad. Nakon nekog vremena sam suzio moj izbor za pokret sa zrakom, jednu s usana multiphonics, i jedan koristeći prostorne karakteristike zvono, pjevanje, i slanje zvuka iz leđa prema alternativnoj F cijevi. Benny je super raditi s kao heâs prekrasan glazbenik, sve je moguće, heâs otvoren za isprobavati nove ideje i heâs veliko ljudsko biće. Savršena kombinacija za skladatelja. Prvo, o usana multiphonics u drugom stavku. Tijekom jednog od naših radnih sesija smo gledali na pjevanje i sviranje multiphonics, ali ja sam htjela nešto drugo. Zato sam pitao Benny što će se dogoditi ako je stavio ušće između dva parcijala iz intonirani serije. Rezultat je bio nevjerojatan. Broj parcijala zvučalo istovremeno i teksture boje su raznolika i lijepa. Jedini problem s ovim je âœwindowâ za stavljanje na ušće je vrlo uzak. Nešto previsoko ili malo preniska će rezultirati strašno neskladno i uncentered djelomična. Podsjetilo me na ono što bolesna krava može zvučati kao. Ova poteškoća je manje izražen između parcijala od petine, ali postalo je teže kad su djelomični bili bliže zajedno. Četvrtine bili u redu, ali glavni i sporedni treće parcijala bili izuzetno teško i rizično. Mi smo se odlučili za ime boga i napisao sam drugu pokret znajući rizike. No, kada je ušće dobro postavljeno proizvodi tako lijep zvuk. Benny spomenuo da je ideja imala pedagošku tiče naknada. On je rekao da i dalje usredotočiti na stavljanje ušće u takvoj ograničenoj âwindowâ je napravio stavljanjem ušće za normalan bilješku mnogo lakše. Moj izum je korišten od strane drugih skladatelja budući uključujući Xenakis 1986 i islandskog skladatelja par godina kasnije. Alternativni pokret uslijediti tek Benny je igrao komad za par godina. Heâs moći dobiti ove multiphonics, ali je shvatio da možda ne bi bilo mnogo drugih igrača u mogućnosti to učiniti. Da bi izbjegli problem da se ovaj pokret možda uplašiti igrače daleko od komada, odlučili smo da bi bilo dobro imati alternativni pokret koji će koristiti iste ideje, ali na manje stresan način za izvođača. Mislio sam da je to dobra ideja i napisao, ono što je za mene više meditativna komad na temelju istog materijala. Također sam zamišljao da bi to moglo biti igrao sam po sebi, ako igrač poželio. Tu je pogrešno otisnuti u rezultat na kraju prve linije gdje se pojavljuje u multiphonic na temelju stavljanja ušće između Eb i prirodni. Bi trebala biti Ab. Prvi stavak istražuje suptilnosti različitih samoglasnika i suglasnika formacija u ustima dok igrate. Budući trombon je takva idealno pojačalo ti mali detalji mogu se čuti. Na primjer razlika između ATSA i âtshâ skida dobro. Mislim ovog pokreta kao vokalni razgovoru ili diskursa koji postaje vrlo animiranom na kraju. Dinamika igraju važnu ulogu u pružanju dodatne boje. Igrač bi trebao stvarno âspeakâ bez riječi tog pokreta na posao. Treći je stavak moj cirkus komad. Znam da je to komplicirano za igrati, ali ukupni osjećaj bi trebao biti jedan od cirkuskog klauna. S AFA cijev zamijeniti ravna cijev ide natrag. vođenja tuning jednaka međutim. Mogao sam dobiti tri moguća prostorne dimenzije. Zvuk se zvono, pjevanje iz usnika plasman. ali ne u trombona za dio pokreta. , A zvukovi dolaze iz AFA-cijev na stražnjoj. Za pjevanje youâll primijetiti da je na početku igrač nikada ne pjeva u isto vrijeme kao što je on ili ona igra. Godine s početkom u 27 mjera kad je pjevanje i sviranje pojaviti zajedno igrač će, naravno, morati pjevati u mikrofon. Za rekapitulacije, s početkom u 69 mjera za okončanje player će se vratiti na pjevanje kao na početku tako povlačiti djelić inča iz usta da koristite glas. Ali znam komad može se obaviti uvijek pjeva u mikrofon. Ukupni raspoloženje ovdje trebao jedan od zabave, radosti i humora, unatoč napornom radu je potrebno za igrati ovaj pokret. Da ne spominjem pjevačke četvrtfinale tonove. 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