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Trombone
œb œ œ# œ œœ œb
œ
ggg
^
◊
w/fingertips
œ
ggg
^
œ
◊|
œœb œ œb
Electronics
Assistant
Sound
Lights/
/______
______
- - - - - -→°
~~~~~~~~~~~~~~~~~~~
c.15"c.10"
cresc. ∏
(exposition: soliloquy & dialogue)
- 1 -
nquasi
Ø
Ø
From total darkness, slowly fade on lights at Station I and piano to full intensity over approximately 25 seconds.
From Offstage: Produce continuous speech-like sounds (muttering, growling, violent inhalation/exhalation, fluttertonguing, grunting, etc.) through tenor trombone, incorporating both vocal and instrumental sounds to create the effect of incoherent, primal utterances.
Produce continuous speech-like sounds (muttering, growling, grunting, etc.) into piano, allowing the sounds to resonate in the bass strings of the instrument.
Slowly and deliberately scrape along strings indicated with metal plectra or coins (continue vocal utterances).
Slowly enter stage, gradually meandering toward Station I/V (continue utterances).
Fade up microphone 'c' over approximately 25 seconds, sending input through FX processor with reverb (10 seconds at 60%), distortion, and delay (3-5 seconds, 75% return); processed sound should be as unobtrusive as possible, subtly blending with acoustic sounds.
for solo trombonist and environmentJoseph Klein
© 1993 by Joseph Klein. All rights reserved.
(1993)
➤
Goblin Market
I. come buy, come buy
?
?
?
œ
ggg
^
◊
œ
ggg
^
◊
œ
ggg
^
◊
TBN
ASST
S
L
ELECT
______
______/
/
- 2 -
Suddenly discontinue utterances and remain absolutely silent and motionless for approximately 10 seconds.
(Scraping & vocal utterances)
(Piano and Station I/V lights on full.)
Take position at Station I/V, sitting in chair as motionless as possible (with instrument remaining in playing position throughout); continue utterances as before for approximately 25 seconds.
Fade up microphone 'a' over approximately 10 seconds, sending input through FX processor with same settings as microphone 'c'.
Fade out microphone 'c' over approximately 10 seconds (allow processed sound from mic 'c' input to continue until silent); remove distortion from microphone 'a' input, reduce delay to .5 seconds, 50% return.
- -π p P-- -
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
→(°)
c.10" c.15" c.10"
~~~➤
?
?
?
\:
\:
œb
f
suddenly exuberant
œœ
œ
œb
,
.Ò
p
•6"
œb.
Ò
p
œ̄œ-
œb
2"
œ-
œ#¯
œ
,.
Ò
p
,
± p
(RH)
&
\:
\:
,
p±
(LH)
TBN
ASST
S
L
ELECT
______
______/
/
- 3 -
Resume utterances (through instrument) as before; remain as motionless as possible, as if withdrawn.
Discontinue scraping and vocal sounds; allow strings to continue resonating. Slowly rub superball mallets across/along midrange strings
in an irregular diagonal motion; attempt to keep sound fairly continuous (though uneven) by staggering right and left hands: the result should be an eerie moaning/whining sound.
Microphone 'a': remove delay and increase reverb to 15 seconds.
Fade up microphone 'c' over approximately 12 seconds, sending input through FX processor with reverb (7 seconds at 50%) and delay (2-3 seconds, 90% return).
→(°)
(poco dim.) - - -
c.12" c.17"
➤
➤
FREEZE
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~
?
&
?
œb
p leggero
fitfully
œ
œ
,œb
œ,
œb
œ
,œ
œœb
,
œ#
,
œ
œb
œ
œ,
œbœn
,œ
œb,
œ œbœ
,
œbœ
,
œ#
œn
,
œœ
œb
,œb
œ
,
œb
œ
œ
, œ œb
,
œ
œ
, œ œ#œn
,
Ò
TBN
ASST
S
L
ELECT
______
______/
/
- 4 -
Resume utterances, though in a much less prominent manner than before (as if far off in the distance, waning); remain as motionless as possible until next event.
LH: Discontinue superball and add occasional scrapes with coin/plectrum (as before), though without a noticeable disruption of the rubbed string sounds in the right hand.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(°)→
➤
➤
c.12" c.17"
(Superballs on strings)
~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~
~~~~~~~~~~~~~
,
?
&
?
œ
v
f
lithesome
subito
œ#
v
œ#
v
œ
v
œ
v
œ
v
œb
v
œ. œ
. œ#¯ œ
¯
œ-
œb-
π
œ-
œ-
œ¯
œ¯
œb.
f
œb.
œ. œ
. œ¯
œ#¯
œ-
œ-
π
œb-
œ#¯
œ¯
œ. œ
. œb.
œ.
f
œ.
œb¯
œ¯
œ¯
œb-
œ-
œ-
π
œ- œ
¯ œb¯
œb¯
œ.
œ. œ
.
œ#^
œ^
,
f
TBN
ASST
S
L
ELECT
______
______/
/
- 5 -
(Superballs on strings with occasional scraping): gradually allow scraping sounds to overtake/supercede over the next 20-30 seconds, thus degenerating the continuity of the rubbed string sounds.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(°) →
➤
c.20"
?
&
?
.˙b
pespress.
sultry q = 72
œ
œ ˙ œ
œ œ œ œb ˙œ
p
œ
œ#
œ
,
p
B ?
TBN
ASST
S
L
ELECT
______
______/
/
- 6 -
Slowly fade out piano light over approximately 12 seconds .
(FX off)
(Piano light off)
Remain motionless, hunched slightly forward until next entrance.
(Scraping sounds overtaking rubbed string sounds.)
Microphone 'a' off; fade out input from microphone 'c' over approximately 12 seconds, allowing processed sound to continue until silent.
dim. - - - n
,
(°)→
c.12"
- -
- -
-
-
~~~~~~~~~~~~~~~~~~~~~~~~~
?
&
?
?
nvoice:
trombone:+ harmon mute (stem in)
œ[ƒ
nfurioso
œ œ
ƒ
œb ]n
œb
,innocente
œb
œ
p
˙ port.
(n)
œ( )œ[
ƒ
furioso
œbœ œb ]
ƒ
n
œ
, innocente
œ
œ#
\
p
TBN
ASST
S
L
ELECT
______
______/
/
- 7 -
Hybridize vocal and instrumental noises (as in the beginning), combining/ balancing as indicated.
voice/inst., ad lib. voice/inst., ad lib.
From this point to the end of Movement I, trombonist becomes increasingly agitated, as if futilely attempting to escape the confines of his/her seated position at Station I.
Microphone 'a' input to FX processor with reverb (15 seconds at 70%), delay (2-3 seconds, 90% return), and pitch shift downward (approximately one semitone lower per second).
Microphone 'a' input off (allow processed sound to continue).
Microphone 'a' input on. Microphone 'a' input off (allow processed sound to continue).
7" 6" 4"
~~~~~~ ~~~~~~~~~~~~~~~(trombone only) (trombone only)
schizophrenic ("inner struggle")
(+ vocal noises)
⇒⇒⇒
7" 3" 4" 3" 6"
74
⇓ ⇓ ⇓ ⇓
?
?
&
?
q = 150
⋲
(harmon)impulsive
flt.
.
j
œ@
+
F
Ͼ
Œ ∑
œ
ggg
^
◊
F
⋲.
j
œ@
+
F
flt.
œ@
œ@
→j˚
œb
v
o
ß
ord.
‰ . ∑ ⋲
flt.
.
j
œ@
+
F
œ@
œ@
→j˚
œb
v
o
ß
‰ . ‰ . J
œ>
+o
f
œ,
→→port.
Ó ⋲
flt.
.
j
œ@
+
F
œ@
œ@
→j˚
œb
v
o
ß
‰ . .œ>+
f
œ>
+o →→œ ,port.
ÓTBN
ASST
S
L
ELECT
______
______/
/
- 8 -
Piano light on (suddenly)
VOICE:
RH:
LH: - - - - - -
ASSISTANT: allow the various sounds to emanate from the initial bass string strums, as though each strum generates a wave of activity; throughout this section, these other sounds (i.e., scraping, ballons, and vocal utterances) begin to overtake the occasional strums (as if feeding back upon itself, becoming autonomous). The cumulative effect should become increasingly tumultuous during the course of this section.
Produce vocal sounds (growling, muttering, etc.) into piano, as in beginning (intermittent).
Slowly rub balloon across midrange strings (continuous). a. Slow scraping along wound bass strings with plectrum/coin, as in beginning (sporadic). b. Strum across bass strings with fingertips (at 8 to 10 second intervals).
Microphone 'a' off (though processed sound should continue until silent); fade up microphone 'c' input to FX processor with reverb only (7 seconds at 50%) over approximately 8 seconds.
(°) →
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~cresc. sempre
➤
74
?
&
?
⋲
flt.
.
j
œ@
+
F
œ@
œ@
→j˚
œb
v
o
ß
‰ . .œ>+
f
œ>
+oœ ,→→
port.
‰
J
œ
,+ +o o
poco
gliss.
⋲.
j
œ@
+
F
(sim.)
œ@
œ@
→j˚
œb
v
o
ß
‰ . .œ>+
f
œ>
+oœ ,→→
j
œb
v
o
ß
↑(ossia: 8va)
J
œ
,+ +o o
poco
⋲.
j
œ@
+
F
œ@
œ@
→j˚
œb
v
o
ß
‰ . .œ
>
+
f
œ>
+oœ ,→→
j
œb
v
o
ß
J
œ
+ +o o
poco
J
œ#^
o
ß
→
.
j
œ@
+
F
œ@
œ@
→j˚
œb
v
o
ß
‰ . .œ>+
f
œ>
+oœ ,→→
j
œb
v
o
ß
J
œ
+ +o o
poco
TBN
ASST
S
L
ELECT
______
______/
/
- 9 -
(Inside piano: scraping, balloons, strumming, vocal utterances)
- - - - - - - - -
Gradually add delay (1 second, 75% return) and pitch shift downward (one semitone lower per second) to microphone 'c' input (over approximately 10 seconds).
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(°) →
(cresc.)➤
?
&
?
J
œ#^
o
ß
→
.
j
œ@
+
F
œ@
œ@
→j˚
œb
v
o
ß
‰ . .œ>
+
f
→→œ>
+oœ ,
j
œb
v
o
ß
J
œ
+ +o o
poco
\:
\
BTBN
ASST
S
L
ELECT
______
______/
/
- 10 -
(Inside piano: scraping, balloons, strumming, vocal utterances)
- - - - - - - - - (cresc.) Ï
(cresc.) - - -
Fade up Station IIa light and fade out Station I light over approximately seven seconds.
From this point to the end of the movement, the frequency of the low strums must increase (almost overtaking/superceding the other piano sounds.)
Conclude with a final violent "scream" through the instrument, suddenly leaping out of chair at Station I and rapidly rushing over to Station IIa (take alto trombone, leaving tenor trombone in its place at Station IIa), standing in position directly facing audience. Trombonist: Repeat for approximately 24 seconds; with each repetition, gradually
degenerate the pattern by interjecting various vocal/instrumental noises (as in the beginning), eventually allowing these auxilliary sounds to overtake the pattern (however, always attempting to retain some semblance of the repeated gestures throughout). The result should be that of a demonic transformation, accompanied by increasingly violent and aggressive physical gestures as well (though still remaining confined to the seated position at Station I).
Fade up microphone 'a' (over approximately 7 seconds), sending input to FX processor with same settings as microphone 'c'.
Gradually add distortion and chorus to input from microphone 'a'.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
(°) →
Ï ,
c.13" c.11"
⇒⇒⇒
Ø
B
&
?
œ#-
p
erratic q = 48(alto tbn)
œ
.œ-
π
5
.œ
œb
P
j
œ.
‰
5
œ
F
œbœ
f
6
œ
œ
œ>
ƒ
5
œ
.œ
œ
3
œ
œb^
ƒ
‰
7
⋲œ
.
F
œb>
Ï
cuivréœ
3
œ
œb.
P
(ord.)œ>
ƒ
5
.œœ#-
p6
œ.œ#
>
f
œn
P5
œœ
œ œb
P
.œ>
f
œ.
p
5‰ .
j
œ
v
ƒ
‰ .j˚
œ-
π
œ
TBN
ASST
S
L
ELECT
______
______/
/
- 11 -
Stop suddenly, allowing piano strings to continue resonating (indefinitely).
Station IIa spot light on (suddenly): white light (no gel), tight beam, maximum intensity.
Microphones 'a' and 'c' off; allow processed sound to continue until silent.
(theme & variations 1-5)
(°) →
Theme
Ø
II. open heart/absent dream
B
&
?
œœ>
f
5j˚
œ œ-
p
œ
F
œbœb
5
œœ
F
.œ#-
p
6
œ œn¯
f
⋲ œ#¯
P
œ#>
ƒ6
œ.
F
œ#>
Ï
cuivréœ
7
œ
œ.
f
(ord.)
‰
œb>
ƒ
œ
œb>
5
œ
.œ
œ
3
œœ œb
5
œœb
œ œ
œ#
-
5
œ
.œ-
π
.
j
œ
3"
⋲Ò
TBN
ASST
S
L
ELECT
______
______/
/
- 12 -
FREEZE
(°) →
B
&
?
.œ
7molto legato,
q = 48
F dim. poco a pocoincreasingly stretched → → →
.œb
œb
5poco agitato,f dim. poco a poco
increasingly clipped→ → →
œn
œ
,
œœ
œ,
3
œbœb
œ
œ#
7
œ#
7
œ
,
.œ
5
.œb
œœ
œb
,
œ
œ
3
œb
œbœ
5
œ
,
.œ
.œ#
TBN
ASST
S
L
ELECT
______
______/
/
- 13 -
→(°)
B
&
?
œ
6
(dim.)
(dim.)
œb,
œ œb
5
œ
œ#
7
œ,
. .œ
. .œ#
œnp
œ
œ,
œ
π
œb
Ò
4"
?B
?B
œ.
f
œ#<
œ- œb
2"
p
œ-
œ< œ#
.
,
Ò
f
TBN
ASST
S
L
ELECT
______
______/
/
- 14 -
FREEZE
(°) →
B
&
?
6"
œb
Ò
p
œœ
œœb^
Ò
f
œ
(cup mute)
p
q = 72
œb
sempre, molto legato
œœ œb
œ œ#œ#
œ
œœ
œb
œ œb
œnœ
œ#œ
œ
œbœ œ#
œœb
œ œbœ#
TBN
ASST
S
L
ELECT
______
______/
/
- 15 -
rit. - poco - a - poco -
Move to Station IIb at a moderate pace, inserting cup mute while walking; once at Station IIb, begin playing while lying on floor (on right side, facing towards audience at approximately 45˚ angle), attempting to maintain as even a tone as possible throughout.
Slowly widen spot beam (over approximately 7 seconds) to include Station IIb, gradually adding soft blue gel.
Look around stage in a cautious, quasi-paranoid manner; then resume playing.
[Start music boxes #1 & #2]
Fade up microphone 'c' (over approximately 7 seconds), sending input to FX processor: reverb (15 seconds at 70%), delay (2-3 seconds, 90% return, and pitch shift upward (2 semitone higher per second); volume should be adjusted so as to enhance the source without obscuring it.
Variation 1: dormant
(°) →
⇓
B
&
?
œ
(rit.)
œ œœ
œb œ
œ œbœ#
œ#œ
œ
( = 60)q
œbœ œ
œ
œbœ œb
œ œ#
œ#œ
œ
œœb
œ œb
œœ œb
œ œ#
q = 48
poco
&
TBN
ASST
S
L
ELECT
______
______/
/
- 16 -
Slowly and deliberately get up from off the floor and tiptoe over to Station IIc, removing cup mute and taking plunger mute while in transit.
[Start music box #3] [Start music box #4]
Slowly widen spot light beam to include Station IIc, gradually changing to yellow gel.
(°)→
⇓ ⇓
B
&
&
√
√
?
œb
P
increasingly exuberant → → →cresc.
(plunger)
molto espress.↔ +,° ad lib.
œ
j
œ œœ
j
œ
œb
œb
P dim.
increasingly lethargic → → →
non espress.+ (tightly), -----------------›sempre
œœ
œbœb
œ œ
œn
œ œb œ œbœb
œb
œ œ
œb œ
œ
f dim.
œœ
œ œ
œ œb
œ œb
œb œœ
œ
œ œ
œb
P
œ
œb
œbœb
n
œ# œ œœ œb œb œ
œb
P
œ œb œ œ
TBN
ASST
S
L
ELECT
______
______/
/
- 17 -
Pluck strings indicated with fingernails, avoiding any sense of rhythmic/melodic regularity or dynamic fluctuation (in imitation of music boxes).
(music boxes #1- 4 continue)
c.30"
Variation 2: pastoral
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~➤
(°) →
?B
?B
B
&
&
œ\
4"p
espress.
(straight mute)
œb œ œbœ
P
œbœn
p
(absolutely even)
non espress.
œ
,
3"
(espress.)
œœ# œ
P
œ#
,
p (non espress.)
(absolutely even)TBN
ASST
S
L
ELECT
______
______/
/
- 18 -
Very slowly proceed to Station IIe, removing straight mute and inserting practice mute (or cloth); squat in place with back to audience upon arrival.
(music boxes and plucking)
Slowly widen spot light beam to include Station IIe, gradually changing to pink gel.
Proceed to Station IId at a moderate pace, removing plunger and inserting straight mute; stand rigidly in place at a 45˚ angle to front of stage upon arrival.
Slowly widen spot light beam to include Station IId, gradually changing to soft green gel.
Variation 3: melancholy
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~➤
10"7"
(°)→
B
&
&
œb
p poss. (lontano)
port.I III→ → →
œb( )œ
port.IV VI→ → →
œ( )œ
port.
IV VII→ → →
œ( ) œport.
II IV→ → →
œ( ) œ#port.
III VI→ → →
œ#( )
TBN
ASST
S
L
ELECT
______
______/
/
- 19 -
(music boxes and plucking)
Gradually change to orange gel on Station II spot light.
Quickly but subtly remove practice mute and take aluminum pie tin; suddenly stand and turn towards audience at Station IIe:
6"5"3" 4" 7"
(practice mute)Variation 4: empty
~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ➤~~~~~~~~~~~~~~~~~~~~~~
(°) →
?B
B
&
&
œ
,
v
ƒ
(pie tin)
œb
v
œb
v œ
v
œ
v
œ#
,
vœb
v
œ
v
œ
,
v œ
v
œ
v
œb
,
v
œ
v
œb
v
œ
v
œ
,
v
œb
vœb
,
v œ
v
œ
,
v
œ#
v
œ
v
œ#
,
v
œ
^ œ^ œb
^
œ
,
^
œ
v
œ
v
œb
,
v
œ
v
œ
,
v
j
œ
,
v
J
œ
,^
œ#^
œ
^œ#
,^
œn
v œb
,
v œ
v
œ
,
v
j
œb
,
vœb
v œ
v
œ
,
v
B
TBN
ASST
S
L
ELECT
______
______/
/
- 20 -
Slowly narrow spot light beam (without increasing intensity) as trombonist moves around Station II.
Fade on black light at Station III (over approximately 5 seconds); Very slowly fade out Station II spot light (over approximately 25 seconds).
(music boxes and plucking)
Throughout this variation, frantically retrace steps through each of the stations (from IIe to IId to IIc, etc.), arriving at Station IIa by the end of the movement.
Quickly exchange alto trombone for tenor trombone at Station IIa, removing harmon mute; continue on to Station III in the same urgent manner.
Fade off microphone 'c' (over approximately 7 seconds).
Variation 5: urgent
(°)→
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~➤
⇒⇒⇒
B
&
&
q = 60
7
Œ
impetuous
(tenor tbn)
¿ ¿
¿#
œ
Ï
œ#
j
œ œ
dim. sempre
œ œ
q5 =
œ
œ#
œ
¿b
¿ ¿
5
œ.œ
5
.œ
, œ-
3
œ#- œ#
-
œ-
3
œb ¿
¿#
¿
J
œ
3
.œ
poco
œ
,port.
œ
3J
œ œ#j
œ
5
œœ
œ#
5
œj
œ œ
œbœb
5
œbj
œn œ
œ œ
ƒ
œb
poco
port.
3
œ
,
J
œ
poco5
œport.
œ#
,œ
3
œ .œ
poco
port.œ
,
3
œb
J
œport.
?
TBN
ASST
S
L
ELECT
______
______/
/
- 21 -
Upon trombone entry, suddenly discontinue plucking; turn off any music boxes still playing one at a time over the next 20 seconds.
Microphone 'b' on, sending input to FX processor with delay (2 returns only, panning right to left: .2 seconds right channel, .4 seconds left channel, at 80% return); output volume should remain well below source, as a ghost-like echo.
(passacaglia)
⇓
(°) →
III. Laura dwindling
?
&
&
œ
,
(dim.)
j
œ# œ
œ
œ#œ#
5
J
œœ
,
poco
port.5
j˚
œ#œb
3
œ
poco
port.
J
œ
,
œb
poco
3
œ
,
œb œ
œ
poco
port. œ#
,
œb
5
œ
.œ
poco
port. œ#
,
œ
5
œ .œ#
3
œ
pocof
port.j
‚#( )œ
poco
port. œ#
,
œ ˙
poco
port.
TBN
ASST
S
L
ELECT
______
______/
/
- 22 -
?
&
&
5
j˚
œ
œb
,
(dim.)
œ
poco
port.œ
,
.œ œ
œ
poco
port.
5
.œ#
,
œn œ
‚
poco
( ) port.
3
œ#
,j
œ
5
œ
.œb
3
œ
poco
port.
j
œ#
,
j
œn œ
5
œ.œ œ
poco
port..œ#
,
œn ˙
poco
port.
TBN
ASST
S
L
ELECT
______
______/
/
- 23 -
?
&
&
œ# .œ
F
œ
,
˙
poco(dim.)
port.
5
œ#
,
j˚
œ ˙
5
œ
œport.
œ#
poco
œ
3
œ
,
j
œ
3
œ
j
œ
poco
port.
5
œ#
,
œ ˙
5
j˚
œ ‚(
5
j˚
‚ ) œb port.
TBN
ASST
S
L
ELECT
______
______/
/
- 24 -
?
&
&
5
j˚
œ
,
œ#
(dim.)
œ
5
œ
.œb œ
poco
port.
3
œ
,
‚( .·
5
j˚
‚ )œ-
◊
.˙# ˙
poco
port.
5
j˚
œ#
,
P
œTBN
ASST
S
L
ELECT
______
______/
/
- 25 -
?
&
&
.˙
(◊)
(dim.)
5
œ
j˚
œb
poco
port.
3j
œ ˙ .œ
,
‚( · ‚#
5
j˚
‚
‚ ·
3j
‚ )œb
poco
œport.
˙
,
TBN
ASST
S
L
ELECT
______
______/
/
- 26 -
?
&
&
j
œ# œ
(◊)
(dim.)
3
œj
œ#
œ œ
poco
port.
3
j
œ#
,
.˙n œ‚b( ·
pocop
port.·
5
‚
,
)
j˚
œb ˙ ˙
poco
port.TBN
ASST
S
L
ELECT
______
______/
/
- 27 -
?
&
&
w
(◊)
(dim.)
7
.œ
,
j˚
‚( ·
5
.‚
poco
port.‚# .·
π
5
‚
,
)
j˚
œ .˙
|
5
.œ
poco
port.œ# œ
?
?
TBN
ASST
S
L
ELECT
______
______/
/
- 28 -
?
?
?
3
œ
,
(dim.)
(◊)
j
‚( ·
∏
œ œb œb œ œ# œ œ
œ
◊
œœb œ œb
5
‚
j˚
‚
poco
‚ .·#
5
.‚
,
‚n .· ·
n
)
&
œ
ggg
^
violently
TBN
ASST
S
L
ELECT
______
______/
/
- 29 -
Slow and deliberately scrape along strings indicated (with plectra or coins), incorporating occasional strumming across lowest strings with fingertips (as in beginning).
Microphone 'c' on; fade up (over approximately 7 seconds) sampled trombone/vocal sounds from beginning of Movement I [optional: pre-recorded tape playback], sending both through FX processor with same settings as microphone 'b' input.
Suddenly and quickly proceed to Station IV, taking tenor trombone; upon arrival, immediately turn on euphonium lights and proceed with Movement IV.
ASST: attacca subito
(°) →n cresc. - - - - ƒ
⇒⇒⇒
- - ⇒⇒⇒
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
?
&
?
TBN
ASST
S
L
ELECT
______
______/
/
- 30 -
Reading text into piano:
Respond to text and environment through prepared euphonium for the duration of the movement, following the general improvisational guidelines indicated:
slow • sporadic • pure • even • gentle active • relentless • distorted • disjunct • erratic
Laughed every goblin when they spied her peeping:
Came toward her hobbling, flying running, leaping, puffing and blowing, chuckling, clapping crowing, clucking and gobbling, mopping and mowing,
'Look at our apples russet and dun,Bob at our cherries,Bite at our peaches, citrons and dates,Grapes for the asking,
Pears red with basking out in the sun,Plums on their twigs; Pluck them and suck them, pomegranates, figs.'---
Lashing their tails they trod and hustled her, elbowed and jostled her, clawed with their nails, barking mewing, hissing, mocking, Tore her gown and soiled her stocking, twitched her hair out by the roots, stamped upon her tender feet,Held her hands and squeezed their fruits against her mouth to make her eat.
Lizzie uttered not a word;Would not open lip from lip lest they should cram a mouthful in:But laughed in heart to feel the drip of juice that syrupped all her face, and lodged in dimples of her chin, and streaked her neck which quaked like curd.At last the evil people worn out by her resistance flung back her penny, kicked their fruit along whichever road they took, not leaving root or stone or shoot;
Some writhed into the ground,Some dived into the brook with ring and ripple,Some scudded on the gale without a sound,Some vanished in the distance.
Full of airs and graces, pulling wry faces, demure grimaces,Cat-like and rat-like, ratel- and wombat-like, snail-paced in a hurry, parrot-voiced and whistler,Helter skelter, hurry skurry, chattering like magpies, fluttering like pigeons, gliding like fishes, ---
Microphone 'c' input to FX processor; all lights and FX processor controlled by computer algorithm for the duration of this movement. Fade out sampled trombone sound over approximately 7 seconds.
ASST: attacca subito
(improvisation)
⇓
⇓
(°) →
[ ]~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~→ → →→ → → (becoming...)
IV. resistance
⇒⇒⇒
?
&
?
f poss.
œ
ggg
^
,
◊
‚
œ
,
f poss.
J
œ.
f
œ
U
,
π P↔
j
*,
ß
TBN
ASST
S
L
ELECT
______
______/
/
- 31 -
Quickly looking around stage, frantically insert cup mute.
Chortling into instrument in middle to low register (combining instrumental and vocal sounds) while looking around audience with wild, darting eyes.
Combine vocal and instrumental sound (middle register) with fluttertonguing, pushing tone to the point of breaking; sustain with as little fluctuation in sound as possible.
Violently pull instrument away from face upon release, taking a step or two backwards before continuing.
Upon cue from the assistant, immediately discontinue computer control of electronics.
Slowly rub balloon across midrange strings.
Violently burst balloon while it is pressed against piano strings.
Allow any processed sound to fade out naturally.
(Gently drape chain across lowest piano strings)
Play into piano; sustain for as long as possible (maintaining volume) within a single breath. Freeze in position until next cue.
All lights off except for piano and Station I/V lights.
* Trombonist: The events in this variation are to be played in rapid succession, as if the performer has completely lost control.
Upon cue from the assistant, quickly turn off lights at euphonium and suddenly leave Station IV, frantically taking tenor trombone and playing immediately; meander incoherently around Station I/V throughout Variation 6:
(epilogue: variations 6-12)Variation 6: delirious
æ
(!)(c.7")
⇑
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
œ
œ~~~~~~~~~
~~~~~~~~~
(violently)
(°)→
⇓
2 police whistles
}
→
→
[ ]⇓
~~~~~~~~~~~~~~~~~~~~~~~~~
V. bitterness without a name
(c.4")
?
&
?
(sim.)
f poss. (cuivré)(molto)
n
^
^
^
^
^
^
^
^
^
^
^
^
^
π F↔
Flexatone (into piano)
—
J
œ.
f
q( = 104)
‰
3
ŒJ
œb^
ƒ
œ
P
j
–>
Fpoco
‰ ‰ . j˚
–>
Œj
–>
œ
I VII→→→→ →
F
poco
LH in bell(slide off)
J
œ
œ
^
>
,
ç
police whistles
❚
TBN
ASST
S
L
ELECT
______
______/
/
- 32 -
While playing, slowly reach around behind head with right hand and remove tuning slide (all the while attempting to keep tone even).
Moan through instrument (in disappointment) while inspecting tuning slide; hastily resume playing (tuning slide remains in right hand).
Play with spit valve open, changing slide position and embouchure ad libitum .
Frantically remove mute (while obviously straining and grimacing); stomp foot once in anger, then continue immediately .
Freeze in place for 2 seconds, then hastily replace tuning slide (while whimpering slightly).
( q = c. 60)
(slide out)↓ (?)
n
(c.2")
anemic
(?)
(c.3")
(°)→
,
strike strings w/palm
(allow chain to rattle)
⇓w/yarn mallet on wood (inside)
(c.6")
?
&
?
œ
p
port.‚( = 104)q
Œ
3
ΠJ
œ.
f
Œ
3
‰J
œb^ ,
ƒ
I VII→→→ƒ
(scream)
œ
æ
>U
F
( = 104)q
\:
\:
3
œ
æJ
œ.
f
œb
P3
J
œ J
œb^
ƒ
‰œ
port.
p
(3x)
Flexatone (into piano)
π↔ F
œ
(5)
p± (murmurring)
police whistlesP (delicately)
œ
œ
œ
œ
TBN
ASST
S
L
ELECT
______
______/
/
- 33 -
“AH!!”
Release abruptly and insert bucket mute (while chuckling to self in a somewhat sinister manner); continue playing immediately, changing character suddenly (remain standing at Station I/V):
Replace slide (impatiently) and return instrument to ordinary playing position; resume playing immediately:
Suddenly turn away from audience and scream through instrument (voice only, upper register) as a single explosive release of sound/energy, while violently thrusting slide outward and stooping forward; freeze silently in position for at least two seconds before hastily turning towards audience and resuming play (by this point, trombonist should be standing at Station I/V).
Strike midrange piano strings w/hard yarn mallets
Suddenly stop playing and turn instrument around, looking curiously into bell; then place bell over face and shout into instrument (short and explosively, in low to middle register):
Begin sampled trombone chord [optional: pre-recorded tape], sending through FX processor with reverb only (7 seconds at 50%); volume should always remain well beneath trombone solo (as a distant resonance).
(!)(1"-2")
↑
(°)→
⇓
⇓⇒⇒⇒
?
&
?
œ#
P
(bucket)
molto espress.
œ œœ#
3"f
œ œbœ œ
P
(molto)
œ
2"f
œbœ œ#
œ œ,
F
(molto)
œ( )
n
œ
P
(strings w/hard yarn)
(delicately)
(7)
œœ
œ
œœ
œ
TBN
ASST
S
L
ELECT
______
______/
/
- 34 -
Slowly remove mute, deliberately wiping mouth with sleeve; sit at Station I/V, take plunger, and resume playing:
[trombone sample]
molto vib., with slow portamento molto vib., with slow portamento
Variation 7: passionate7"5"
(whistles)
(°) →
⇓
⇒⇒⇒⇒
?
&
?
œ
q = 104
P (flowing)± poco agitato
(plunger)œ
3
J
œœ œ
5
.œbœ
œ œ# œ
3
œ
ƒ (disruptive)sempre
v
œ
J
œb
5
.œ
œ œ
7
œ œ œ
3
œ
J
œ# œœ
3
J
œ
œ
v
œb
v
œb
7
œ œb œ
œ
5
œ.œ
3
J
œ œbœb
v
œ
v
œ
v œ œ
œ
5
œ.œb œb
3
œJ
œ œœ#
œb
v
œ
v
œ
œ
3
J
œœb œ
5
.œœb
J
œ
œœ# mmmm➤f
œ#
v
œ
vœ#
v
J
œ œ
TBN
ASST
S
L
ELECT
______
______/
/
- 35 -
Strive to create the illusion of two separate and distinct lines: the upper ("disruptive") line is to displace the rhythmic continuity of the lower ("flowing") line, rather than be contained within it; thus time is to be slightly suspended during these rapid interjections.
[trombone sample]
Variation 8: anxious
-------------------›L
-------------------›+
(°) →
⇓w/metal plectrum or coin
⇒⇒⇒⇒
?
&
?
3
œ#
P( )±
J
œ
5
.œœb
ƒ( )
œœbmmmm➤
f
(sim.)
œ
œ
v
œ
vœ
v
œ
v 7
œ œœ
3
œ
J
œ# œœ#
3
J
œ œ
7
J
œ
J
œb œœb
v
œ
v
œ
v
œ
5
œ.œ
3
J
œ
œb
œ
v
œb
v
œ
v
œ
v
œ œœ#
5
œ .œ
·····b
#
(depress silently)
œ#
v
œ
v
œ#
v
œ
v
œ
v
œb
3
œ
J
œ œ œ
J
œ#
œb
v œb
vœ
v
œ
v
J
œ
3
J
œ œ
œœœœœ
#
b
n cresc.
œ
5
.
J
œ
œb
v
œ
v
œb
v œ
v
œ
v
J
œ œ œ# œœ
v
œ
v
œb
v
œb
v
œ
v
œb
v œb
v
œ
v
œ
vœ
vœ
v
œb
,
v
TBN
ASST
S
L
ELECT
______
______/
/
- 36 -
Smoothly and evenly bow the strings indicated, changing bow direction as infrequently and imperceptibly as possible.
[trombone sample] Fade on microphone 'c' over approximately 7 seconds.
--------( )-----›
-------( )------›
+
L
⇓
(°)
Sos.
]→
[
⇒⇒⇒⇒
( )
⇓
?
&
?
c.5"
B
œœœœœ
b
#(w/bow)
(cresc.) F dim.
‚œ
#b
F
portamento sempre‚
œœb ‚
‚
œ
‚b œ
œ#
‚bœ
‚
,U
\
?
TBN
ASST
S
L
ELECT
______
______/
/
- 37 -
Attempt to produce a rich, continuously changing sound complex: vocal and instrumental lines must be fluid (as if in constant flux), with no decrease in intensity throughout; breathing should be as infrequent and imperceptible as possible.
Suddenly leap from chair and stand steadfastly in position, directly facing audience; resume playing immediately:
FREEZE momentarily; then put down plunger and resume playing:
[trombone sample]
c.28"
Variation 9: fervid
[ ]−
→
⇒⇒⇒⇒
(Sos.)
?
&
?
œb
@
flt.
f poss.
œ
@
œ
@
œb
@
œ
@
œ#
@
,˙> ,ord.
Ï (non dim.)
lunga poss.
cuivré
B ?
n
p±
œ#
∏(as a murmur)
4"
œ œn œ œ#
,
˙>
U,
Ï cuivré (non dim.)
B
˙b>
,
lunga poss.
?
˙b>
lunga poss.7"
3"
Ï cuivré (non dim.)
p±
TBN
ASST
S
L
ELECT
______
______/
/
- 38 -
Slowly rub superball mallets along/across midrange strings (as before).
[trombone sample]
FREEZE momentarily; then casually sit down (as before), insert cup mute, and continue playing in a withdrawn (almost self-conscious) manner:
Variation 10: resolute
FREEZE FREEZE
|
(°)→
⇓(at trombone release)
⇓(at trombone release)
c.5"c.7"
(bowed chord)
⇒⇒⇒⇒
(Sos.)
?
&
?
3
œ
q = 48
p leggero
(cup mute)
œbœb
œ œœ œb
5
⋲
œœ œ œ#
π±
œ œbœb
⋲
5
œœ œb œb
œ
6
J
œ
‰œ œb
œb
5
œn œ œ#œ
⋲
6
œœ œ œ#
œ œ#
7
‰œ#
port.œ( )
J
œ
6
‰ . œ œ œb
5
œb
œbœb
‰
6
œn œ œ œ#œ⋲
5
‰
œb
œ# œJ
œ
‰ .
5
⋲œ œb
œœb
6
J
œb‰ .
œœ
5
œ œ#
‰ .
6
⋲ œ œ#œ ‰TBN
ASST
S
L
ELECT
______
______/
/
- 39 -
With both palms resting on lowest register strings, frenetically tap/rub fingertips on strings; the result should be a constantly active (though erratic) rumbling sound.
(° off )
[trombone sample]
Variation 11: susurrant
[ ]~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~➤
|
⇒⇒⇒⇒
?
&
?
7
‰ .œ œb œb
œ
6
Œ œ œb
5j˚
œ# Œ
6
⋲
œœ
‰ .
7
‰ .
œœ œb
⋲
6
Œ
œ#œ#
7
Π.
J
œ
6j˚
œ ⋲ Œ
7
⋲ J
œ
⋲ Œ
c.5"
œ
P
freely
œbœb
œ
œ
f
˙œb œ
˙b
F
œ
p
œ
˙#
P n
VII
œ
,
¿b
,
>
c.3"t k t k . . .I →→→
ß
(air)
(as an aside)
TBN
ASST
S
L
ELECT
______
______/
/
- 40 -
FREEZE momentarily; then remove cup mute and resume playing:
(tapped/rubbed strings)
[trombone sample]
Variation 12 (coda): reflective
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~] ~~~~~~~~➤
⇒⇒⇒⇒
?
&
?
œb
P
œ˙
j
œb
œj
œb
˙ ˙
,U
n
œb
F
poco
œ œb
œn
œ
j
œn
œ#
P
œ
œ#
j
œ
˙ œ#
P
œ port.
poco
œ#
˙
,U
P
c.7"
± p
œb-
F
œ
f
œb
˙n
j
œ œ#
P
œb œ˙
˙#
,U
-
p
œ-
F
j
œ#
œport.
poco
œ
TBN
ASST
S
L
ELECT
______
______/
/
- 41 -
Empty spit valve in a very blatant (but not exaggerated) manner, deliberately disrupting the flow of the melodic line.
FREEZE in position (hunched over inside of piano) until the stage is dark.
(tapped/rubbed strings)
Slowly fade out piano light over approximately 20 seconds.
Wildly and erratically flail midrange strings with heavy twine.
Slowly fade out trombone sample (over approximately 30 seconds).
Microphone 'c' off.
]~~~~~~~~~~~ [ ]⇓
° →(al fine)
⇓
~~~~~~~~~
?
&
?
œb
port.
F
poco
œb
œ
P
j
œb œb œn
port.
poco
œ
œ port.
pocoP
œ
,
œ
p
˙#
U ,
TBN
ASST
S
L
ELECT
______
______/
/
- 42 -
Freeze in place momentarily; then slowly and deliberately insert cup mute, returning to playing position and again freezing momentarily before resuming.
Remain absolutely frozen in playing position until the stage is completely dark.
Fade out light at Station I/V over approximately 30 seconds.
c.30"
