活页乐谱 $10.95

原文

9.28.85. Drake Mabry. Trombone sheet music. Advanced.

译文

85年9月28日. 德雷克马布里. 长号乐谱. 先进.

原文

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.

译文

85年9月28日由德雷克马布里组成. 对于长号. 20世纪. 先进. 得分. 出版德雷克马布里制作. S0.10699. 85年9月28日写于1985年，日期指完成之日起，1985年9月28日. 这片节选都包含在本尼Sluchinâs本书对当代长号摘录. 这项工作包括我的嘴唇打multiphonics的想法发明. 这里的故事. 在1985年的春天我参加了âœl'atelier德RECHERCHEinstrumentalâ部门原声乐器勘探工作IRCAM与皮埃尔 - 伊夫·阿尔托. 长笛. ，丹尼尔Kientzy. 萨克管. 和Benny Sluchin. 长号. 大部分研究是基于在寻找新的方法来产生声音与原声乐器和部门开放给表演者和作曲家. 该研讨会IRCAM尼Sluchin和我决定工作在一块给他几个月后. 我们一起去探索，我可能会选择为连体各种现代技术. 过了一会儿，我缩小了我的选择，运动与空气，一个与唇multiphonics，和一个用钟声的空间特征，唱歌，并通过替代F管发出的声音了回来. 班尼是伟大的为家用电器美妙的音乐，一切皆有可能，家用电器愿意尝试新的想法和家用电器一个伟大的人类福祉工作. 对于一个作曲家的完美结合. 首先，关于在第二移动唇部multiphonics. 在我们工作的一次会议上，我们看着唱歌和演奏multiphonics但我想不同的东西. 于是我问陈木胜，如果他把泛音系列双泛音之间他的口型会发生什么. 其结果是惊人的. 一些泛音响起的同时和纹理颜色是多样而美丽. 与此唯一的问题是âœwindowâ放置的口型很窄. 稍微过高或稍微过低会导致可怕的格格不入和非中心部分. 想起一个什么样的病牛可能听起来像我这样的. 这种困难是第五泛音之间不太明显，但变得更加困难时，谐音是紧密联系起来. 四分之三都没事，但主要和次要的第三谐音是极其困难和危险. 我们决定什么赫克和我写的第二乐章知道风险. 但是当口型完全有它产生这样一个美丽的声音. 班尼提到这个想法有一个教学附带的好处. 他从能够专注于把口​​型在这样一个有限的âwindowâ它提出把口型正常笔记更容易说. 因为包括XENAKIS于1986年，冰岛作曲家几年后，我的发明已被其他作曲家. 交替运动来约尼后，过起了一块了几年. 家用电器能够得到这些multiphonics但意识到，也许就不会有能做到这么多其他玩家. 为了避免这个动作可能会吓到玩家远离我们决定，这将是最好有一个备用的运动，将用于表演同样的想法，但在压力较小的方式那条问题. 我认为这是一个好主意，写，什么对我来说，是基于相同的材料更静心片. 我还想到，它可以通过自身播放，如果播放器希望. 有一个在得分印错在那里根据放置的Eb和自然之间的口型出现multiphonic第一行的结尾. 在A应该是一个抗体。第一乐章探讨各种元音和辅音编队在嘴里的细微之处，而玩. 由于长号是这样一个完美的放大器，这些小细节也能听到. 例如ATSA和âtshâ之间的区别脱落以及. 我觉得这个运动作为一个声乐谈话或话语而变得高度在动画结束. 动态在提供其他颜色的重要作用. 玩家要真正âspeakâ不说话的这个运动工作. 第三乐章是我的一块马戏团. 我知道这是复杂的发挥，但整体感觉应该是一个马戏团的小丑之一. 与AFA管由直管回去更换. 保持调谐然而等于. 我能得到三个可能的空间维度. 声音出来的钟声，从喉舌安置唱歌. 但不进长号的运动的一部分. 和声音传出来的AFA管在后面. 对于歌唱youâll注意到，在开始播放从不唱的同时，他或她扮演. 在测量27时开始歌唱和演奏一起出现，玩家将，当然，有唱对着话筒. 为开始于测量69来结束播放机再现部将回复到歌唱作为在开始通过支持销从瓶口一英寸的一小部分来使用语音. 但是我知道一件可以被用做总是唱对着话筒. 这里的整体情绪应该的乐趣之一，喜庆与幽默，尽管努力工作才能玩这个运动. 更何况唱歌季度色调. 数码打印是打印乐谱可随时随地. 刚刚购买，打印和播放. 查看您的在线乐谱在家庭，学校，工作或任何地方您有连接到Internet的计算机. 使用我们的iPad应用程序，以在路途中欣赏您的数字乐谱. 随着数码打印，你可以购买后立即打印您的数字乐谱，或者等到它的方便. 而我们的软件的安装是很容易 - 我们将引导您通过简单的步骤，以确保你有安装Adobe Flash Player，Adobe AIR和本乐谱加AIR应用程序.