Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
August 2005
Date:___________________
David Vining
Chair: _______________________________
Ann M. Porter
_______________________________
Randy C. Gardner
_______________________________
_______________________________
_______________________________
An Annotated Database of 102 Selected Published Works for
By
University of Cincinnati
College-Conservatory of Music
David Vining, Committee Chair
August 2005
ABSTRACT
instructors can obtain information about 102 published works for trombone that use the
annotated database will include general information about each published work that
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
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
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.
ii
iii
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-
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
iv
Table of Contents
Page
Abstract ii
Acknowledgements iv
CHAPTERS
APPENDIX
Bibliography 243
v
List of Musical Examples from Annotated Compositions
White, John. Dialogues for Trombone and Piano, trombone and piano
Example 8, page 133.
vi
List of Figures
Page
D. System of Pitch Name Designation Used, From New Harvard Dictionary of Music 14
vii
Chapter One
instrument, specifically the aboriginal didjeridu,1 dates back perhaps several millennia.2
“sounds in which more than one distinct pitch is discernable, but produced on instruments
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
instruments, used by many jazz trombonists and also employed in the standard solo
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.
1
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
is cited as the first avant-garde composition to use multiphonics throughout the work.7
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
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
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
2
discrimination.12
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.
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
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
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.
3
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.
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.
playing and singing the interval of a tenth. This illustration shows the played and sung
4
pitches, as well as the summation and difference tones, by using the same note shapes as
before.
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
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
confirms earlier research on the acoustical phenomena that account for multiphonics.
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.
5
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
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.
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
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.
6
formula,23 and Jerome Procter’s edition of Cornette’s Method for Trombone includes the
information on resultant tone possibilities with respect to both summation and difference
tones.25
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
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.
7
Chapter Two
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
chamber music). While helpful, these reference guides make little or no mention of any
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
selective listing of solo literature and method books containing exercises to facilitate
8
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
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,
document lists pieces that incorporate multiphonics in context with at least one other
theatrical element31 and does not detail specific multiphonics performance practices
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.
9
trombone literature.33
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
Like its predecessors, this annotated database will include information listing the
forth), print quality, level of difficulty, and a synopsis of the work. It will differ from
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
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).
10
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
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.
11
Chapter Three
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,
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
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
field listing of “offset” indicates a score and parts produced from a large scale publishing
house.
from the publisher or is listed in the publisher’s catalog as permanently out of print.
12
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:
trombonist
Fields listed shall be “alto,” “tenor,” “tenor-bass” (for pieces requiring tenor trombone
works. Accompanied pieces are listed according to accompaniment instrument type, for
13
Overall Range: This field lists the lowest and highest played notes required in
the work. They are listed according to the first system of pitch name designation in the
Clefs: This field lists all clefs incorporated in the trombone part, including bass,
Mutes: This field lists all trombone mutes or muting techniques required for
performance, including straight mute, cup mute, harmon mute, bucket mute, plunger
mute, whisper mute, derby mute (otherwise known as a “hat”), and hand-muting.
Multiphonic Type: This field lists the multiphonics types required in the
mentioned in a previous chapter, these are most often produced by simultaneous singing
and playing into the trombone, creating two generating pitches which then produce
paper a “consonant” designation refers to any multiphonic that will produce recognizable
will produce beats, rather than recognizable chords. Where simultaneous singing and
37
Don Michael Randel, ed., The New Harvard Dictionary of Music, (Cambridge, MA: The
Belknap Press of the Harvard University Press, 1986), 640.
14
playing is done at the unison or octave no audible combination tones are created, yet the
intervals are noted in the database. Multiphonics created through simultaneous singing
8. Dissonant, sung notes written in unison, above, and below played notes
9. Combination consonant and dissonant, sung notes written above played notes
10. Combination consonant and dissonant, sung notes written in unison or above
played notes
11. Combination consonant and dissonant, sung notes written above and below
played notes
12. Combination consonant and dissonant, sung notes written in unison, above,
13. Indeterminate, sung notes written above and below played notes
15
16. Indeterminate and dissonant, sung notes written in unison, above, and below
played notes
17. Indeterminate, sung notes written in unison, above, and below played notes
alone. Thus, a multiphonic may be consonant by mathematical formula, yet not sound
pitch frequencies at the same time. To accomplish this, the performer must buzz between
two neighboring partials in the harmonic series. Stuart Dempster asserts that successful
execution of this technique allows “elements of both partials” to sound, and labels this
kind of multiphonic a “split tone” multiphonic.38 Scholars also refer to this type of
multiphonic as a “lip multiphonic,”39 and the database lists “lip” for any multiphonic of
this type.
mute into the trombone bell, by change of oral cavity shape, or by use of vowel sounds.40
If a composer requires any of these techniques, the database will list these as “sound
alteration via mute,” “sound alteration via oral cavity shape,” or “sound alteration via
vowel sounds.”
Multiphonic Range: This field lists the lowest and highest pitches used in
38
Stuart Dempster, The Modern Trombone: A Definition of Its Idioms, (Rochester, New York:
Accura Music, Inc., 1994), 9.
39
Benny Sluchin, Contemporary Trombone Techniques, (Paris: Éditions Musicales Européennes,
1995), 13-17.
40
Demspter, The Modern Trombone, 12.
16
multiphonic performance, listed in two categories: played pitches (“played range”), and
vocalized pitches (“vocal range”). Where only lip multiphonics are required for
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
Chords listed: This field notes the chords produced via use of summation tones
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
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
Dedication: Where known, this field lists the person, persons, or entities who
41
Don Michael Randel, ed., The New Harvard Dictionary of Music, 399.
42
Benny Sluchin, Contemporary Trombone Excerpts, 14.
17
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
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
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
Cross-harmonic glissando - A glissando effect that involves motion of the slide while
required to play the same pitch while rapidly moving the slide back and forth
“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.
18
Doodle tonguing - A tonguing technique for fast legato tonguing and
continuous or sliding movement from one pitch to another.”48 The trombone can
partial of the harmonic series that occur chromatically from positions 1 to 7, and
Graphic notation - Notation defined in the New Harvard Dictionary of Music as “visual
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.
19
merely hopes to inspire or motivate the activities of performers.”50 Usually the
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
the composer the freedom to use virtually any symbols he/she wishes. If this type
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
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.
20
Figure E. Notation Key: Vinko Globokar, Discours II.52
© Copyright 1969 by C.F. Peters Corporation. On behalf of Henry Litolff’s Verlag. All Rights Reserved.
52
Vinko Globokar, Discours II, (Glendale, NY: C. F. Peters Corporation, 1969), “Explanation of
Symbols” page. © Copyright 1969 by C.F. Peters Corporation. On behalf of Henry Litolff’s Verlag. All
rights reserved. Used by permission of C. F. Peters Corporation.
21
Figure F. Notation Key: Howard Buss, Camel Music.53
Howard J. Buss, Camel Music, (Baltimore, Maryland: Smith Publications, 1976), 3. © Copyright 1976 by
Smith Publications.
Harmonic series glissando - A technique that involves no slide motion while rapidly
passages of music and facilitate the repetition of notes far more rapidly than is
53
Howard J. Buss, Camel Music, (Baltimore, Maryland: Smith Publications, 1976), 3. ©
Copyright 1976 by Smith Publications. All rights reserved. Used by permission of Smith Publications, 2617
Gwynndale Ave., Baltimore, MD 21207.
54
Stephen Muir, “Tonguing” in The Oxford Companion to Music, ed. Alison Latham (New York:
Oxford University Press, 2002), 1281.
22
“d-g” constitute the technique needed for double tonguing. A variety of syllables
Theatrical instructions - Instructions of any type normally associated with the stage
instructions, keeping time with one’s feet, spoken dialogue, gestures, lighting,
Tongue-Stop - A performance requirement whereby the performer must stop the air
stream by placing the tongue between the teeth and into the embouchure, thereby
stifling all air flow and embouchure vibrations and producing a percussive effect.
In each annotation in the following chapters, all text in quotation marks indicates quotes
55
John Kenny, Sonata for Alto Trombone, (Warwick, England: Warwick Music, 1994),
performance notes page.
23
Chapter Four
Title: Consecuenza
Difficulty: professional
Trombone(s): tenor-bass
Multiphonic Type: combination consonant and dissonant, sung notes written above
Dedication: N/A
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
24
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
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
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.
25
Composer: Appert, Donald
Title: Query
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: straight
Multiphonic Type: combination consonant and dissonant, sung notes written in unison or
Overview: This very difficult piece requires a tenor-bass trombone and incorporates
many and varied meter signatures, clef changes, and wide intervallic leaps. The work is
rhythmically complex, uses extreme and sudden dynamic contrasts, and the multiphonics
are employed in both chordal and melodic (polyphonic) ways. Some measures employ
readable, but differentiating between round and square note heads is often problematic.
26
Composer: Asia, Daniel
Pennsylvania
Difficulty: professional
Trombone(s): tenor-bass
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
many theatrical elements, some of which are required and some of which are left to the
performer’s discretion (e.g. lighting, costume). The two pages of explanations include
27
notes. The performer communicates with the audience (in both intelligible and quasi-
intelligible manners) by using both words and nonsense/jazz scat syllables. The phrase
“But did the piece really have any...?” is heard several times throughout the work.
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.
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.
28
Composer: Baxley, Wayne
Newton, Iowa
Difficulty: medium-advanced
Trombone(s): tenor-bass
Clefs: bass
Mutes: none
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,
29
Composer: Berio, Luciano
Title: Sequenza V
Difficulty: professional
Trombone(s): tenor
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
indeterminate intervals
Chords: major chords, root position; major chords, second inversion; augmented chords;
Overview: Berio conceived this work as a musical essay on the different public and
private personas of Adrien Wettach (Grock the clown). It uses proportional and graphic
notation throughout; measures are indicated, but refer to amount of musical material that
one must perform in one breath. Graphic notation is used to indicate melodic contour as
well as degree of openness of the plunger mute, which is employed throughout the work.
30
Percussive sounds are required, and the soloist often must hit the bell of the instrument
with the metal plunger mute. Numbers indicate dynamic levels. Through-composed, it
expressions, and wardrobe. Vocalization, both speaking and singing through the
while inhaling) are required. In addition to multiple tonguing, vocalization, and virtuosic
plunger technique, the work requires glissandi, flutter tonguing, and cross-harmonic note
repetition. The work is extremely difficult due to the writing of the sung pitches of the
multiphonics often below the played notes, as well as the use of unusual notation and
A notation key is provided in both German and English. Stuart Dempster, who
commissioned the work and for whom it was written, has written performance notes that
The multiphonics are usually performed with some other technique, either flutter
tonguing or glissandi, and often the glissandi are required on the vocalized pitches. Sung
notes are indicated by a dot inside a white note. A slash through this multiphonic notation
configuration indicates that the sung pitch is to approximate the written note on the staff.
31
Composer: Bon, André
Title: Canzone
Difficulty: advanced
Trombone(s): tenor
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written in unison or
Dedication: none; the soloist for the premiere performance was Camille Verdier
Overview: This through-composed work is divided into thirteen sections. Measures are
not indicated, but tempo markings are given. Note stem positions indicate which notes in the
multiphonic passages are to be sung. Bon provides a notation key in both French and English.
There is a translation error in the English portion dealing with the making of percussive effects
with the plunger mute (it incorrectly says “with the slide”). Three degrees of mute openness are
indicated by markings, and there are graphic depictions of mute openness indicated underneath
several phrases.
32
In addition to range and plunger work, slide vibrato, jazz articulations, trills,
flutter tonguing, glissandi, harmonic glissandi, and aleatoric aspects are called for in
performance. The aleatoric aspects include “a mixture of all possible articulations,” note
durations, staccato note groupings, and a technique requiring percussive air articulations
33
Composer: Brink, Philip
Title: Exegesis
Difficulty: professional
Trombone(s): bass (double valve bass trombone configured with F/D valves
recommended)
Mutes: none
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
Intervals: unisons, seconds, thirds, fourths, fifths, sixths, sevenths, ninths, tenths,
elevenths
Dedication: N/A
34
motive is a unifying figure, recurring in different guises throughout the work.
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
Multiphonics are used vertically (chords) and melodically. They are also used in
conjunction with other effects, including glissandi in contrary motion. Square note heads
35
Composer: Buss, Howard
Difficulty: medium-advanced
Trombone(s): tenor-bass
Clefs: bass
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
Dedication: N/A
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
36
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.
From “Camel Music” by Howard Buss. Copyright by Smith Publications. Used by permission of Smith
Publications, 2617 Gwynndale Ave., Baltimore, MD 21207.
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,
37
Composer: Carter, Elliott (transcribed for trombone by Benny Sluchin)
Title: Gra
Difficulty: professional
Trombone(s): tenor-bass
Mutes: none
Intervals: twelfth
Overview: According to the program notes, Gra is Polish for “game;” the work is
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.
38
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
39
Composer: Celona, John Anthony
Difficulty: professional
Trombone(s): bass
Mutes: hand-muting
Multiphonic Range: vocal range: A flat - “highest available pitch”; played range:
Intervals: seconds, fourths, fifths, sixths, sevenths, octaves, ninths, tenths, thirteenths,
indeterminate intervals
Chords: major chords, root position; incomplete seventh chords; indeterminate intervals;
dissonances
Dedication: N/A
Overview: This work is full of technical difficulties including, but not limited to, playing
while inhaling, employment of vowel sounds, flutter tonguing, vocal trills, performing
“extremely fast double tongue slightly out of phase with pitch execution,”
40
random/approximate pitch, use of glissandi, range extremes, multiple tonguing (used in
executing “excited bursts” of notes), and changing from producing air sounds with
included and proportional and graphic notation is used. Measures are not used, but
elapsed time, in seconds, is notated above each staff line. The manuscript is small but
very legible and familiarizing oneself with the many notational symbols may take time to
accomplish. The entire program notes quote attributed to the composer is included here:
glissandi. Singing below the played pitch is required and may be a performance challenge
for some performers. Often, the vocalized pitches are more than an octave above the
played notes. The tessitura may be problematic for both female and male performers.
41
Composer: Dedrick, Christopher
Publisher: Almitra Music Co., Inc. (held by Kendor Music, Delevan, New York)
Difficulty: medium
Trombone(s): bass
Clefs: bass
Mutes: none
Multiphonic Type: consonant, sung notes written in unison or above played notes
Dedication: N/A
Overview: This piece is through-composed and begins with a quasi-cadenza. After the
cadenza, a section in andante begins with a three-measure melodic motive. This motive is
heard in rhythmic variation throughout the A section of the work. The B section begins in
measure 33, and employs some mixed meter signatures after which the A theme returns.
The work uses traditional notation and multiphonics are heard at the beginning and end of
the work.
59
Out-of-print status confirmed through electronic mail message (received 24 September 2004) from
Craig Cornwall, president, Kendor Music, Inc, in response to author’s query.
42
In addition to multiphonics, trills, quarter tones, glissandi, harmonic glissandi (or
Multiphonics are written mostly in chordal style. Two multiphonics are performed
in conjunction with glissandi. Both diamond and x-shaped note heads are used to indicate
the sung pitches in the multiphonics.60 This would be a fine piece for the undergraduate
Christopher Dedrick, Prelude and March (Delevan, New York: Almitra Music, 1972), 1. © Copyright
1972 by Almitra Music. Used by Permission.
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.
43
Composer: Du Bois, Rob
Difficulty: professional
Trombone(s): tenor
Multiphonic Type: combination consonant and dissonant, sung notes written above and
Chords: major chords, root position; major chords, second inversion; dissonances
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
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.
44
Composer: Dusapin, Pascal
Title: Indeed
Difficulty: professional
Trombone(s): tenor
Multiphonic Type: indeterminate and dissonant, sung notes written in unison, above and
Multiphonic Range: indeterminate (written vocal range: e + 1/4 tone - g'; written played
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.
45
Overview: This is a one-movement, through-composed work for solo trombone that uses
multiple tonguing, quarter tones, slap tongue, and rudimentary theatrical instructions
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
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.
46
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
47
Composer: Edwards, Brad
Difficulty: advanced
Trombone(s): tenor-bass
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
Dedication: N/A
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,
48
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
Perhaps the most difficult technique required is the use and deployment of the
Optional techniques include circular breathing and a dramatic pause. Multiphonics usage
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
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).”
49
Composer: Elias, Joel
Title: Preludes
Difficulty: advanced
Trombone(s): tenor-bass
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
Dedication: N/A
multiphonics occurring in movements five, six, and seven. The atonal work employs
mixed meter signatures, wide leaps, and quarter tones. It requires knowledge of a number
of jazz styles, flutter tonguing, glissandi, multiple tonguing, and a good sense of rhythmic
pulse. No performance instructions are given. This work is appropriate for the graduate
50
Composer: Erickson, Robert
Copyright Date: 1967 (Smith Publications acquired rights from Seesaw Music, New
York, in 1984)
Difficulty: professional
Trombone(s): tenor-bass
Clefs: bass
Mutes: none
Multiphonic Range: G - d
Intervals: fifth
Chords: N/A
Overview: The work is based on General of the Army Douglas Macarthur’s farewell
speech given at West Point. The theatrical instructions call for a podium adorned with
flags, military style dress resplendent with medals, a glass of water from which the
entrance and exit instructions. Stuart Dempster refers to this work as a “speech, parody,
51
or both, and nearly every vowel is used, as well as consonants.”65 The tenor-bass
trombone is called for because of the necessity for half-valve effect, where the trigger is
depressed halfway between open and closed. The notes traditionally played via the F-
attachment have the annotation “fake” above, below, or next to them. Performance
indicating one should perform these pitches via false harmonics. Diaphragm, or air
pulsation, vibrato and glissandi are specifically called for. The speech is written in small
letters and the “word abstractions” (what one is actually to syllabize into the instrument)
are written in large print above the pitches. X-shaped note heads indicate spoken pitches.
generated by the employment of vowel inflections on single pitches is a timbral one for
most listeners. Nevertheless, the possibility of multiple sonorities generated from single
these will be determined in the ear of the individual listener. There is one lip multiphonic
(called a “split tone” in the music) at the beginning of the piece, but even this complex
technique may generate two separate articulations rather than simultaneous pitches. This
is a seminal work for theatrical and avant-garde elements in trombone solo performance.
65
Stuart Dempster, The Modern Trombone - A Definition of Its idioms (Rochester, New York: Accura
Music, Inc., 1994), 14.
52
Composer: Felder, David
Title: Nexus
Difficulty: advanced
Clefs: bass
Multiphonic Type: dissonant, sung notes written in unison, above, and below played notes
Multiphonic Range: vocal range: indeterminate (a - f' written); played range: indeterminate
(f - f' written)
Chords: dissonances
Overview: This five-movement work includes performance notes and a notation key.
Multiphonics occur only in the first and last movement and are used essentially for color,
rather than for any tonal implication. The work also employs theatrical and staging
elements, for instance, in the fourth movement, the trombonist is directed to dance across
53
The piece uses a combination of traditional and graphic notation and requires
multiple tonguing, flutter tonguing, glissandi, lip bends, sound alteration via vowel
repetition, quarter tones, and timed events. Perhaps the major performance challenge is
the interpretation and execution of the graphic notation. In some movements, the graphic
notation is combined with instructions for no articulation, adding articulation later in the
phrase. Tone quality requirements include instructions to crack and pinch the tone.
Multiphonics are written on both one (last movement) and two (first movement)
staves. In the first movement “the unison multiphonics should produce subtle timbral
shadings.” In the last movement, multiphonics begin on the interval of a major third, and
then are combined with aleatoric aspects (either contrary motion glissandi or graphic
notation indicating random pitches and crossed voices). The instance in which the
challenge.
54
Composer: Frith, John
Difficulty: medium-advanced
Trombone(s): bass
Clefs: bass
Mutes: none
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
Overview: Humorous in title and in nature, this one-movement work is unified by the
use of glissandi, as well as rhythmic and melodic sequences. Pitches to be sung are
notated using diamond-shaped note heads and aside from the half-step glissandi that
pervade the work, special effects are few. In addition to multiphonics, multiple tonguing,
harmonic glissandi and tremolo are required. The technical sequence patterns are very
idiomatic for the instrument and alternate positions are marked where appropriate. This
would be a fine piece for an undergraduate student who possesses the required double-
55
valve instrument.
As written, the multiphonics require the performer to sing the lower notes in most
instances. The multiphonics are seen as individual chords, as octaves, and as melodic
figures played against a drone pitch. An example of the latter is shown below. (Music is
John Frith, Ode to a Happy Bunny (Warwick, England: Warwick Music, 2000), 4. Copyright © 2000,
Warwick Music. Used by permission.
56
Composer: Globokar, Vinko
Title: Res/As/Ex/Ins-pirer
Difficulty: professional
Trombone(s): tenor-bass
Clefs: bass
Mutes: none
Multiphonic Type: lip, or sound alteration via oral cavity shape; also, combination
consonant and dissonant, sung notes written above and below played notes
Intervals: unisons, seconds, thirds, fourths, fifths, sixths, sevenths, octaves, ninths (these
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.
57
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
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.
58
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
produced via simultaneous singing and playing, sung pitches are indicated by a dot within
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.
59
Composer: Grahn, Ulf
Difficulty: advanced
Trombone(s): bass
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
Multiphonic Range: vocal range: f sharp - “highest possible vocal random pitches”
Intervals: unisons, thirds, fourths, fifths, sixths, sevenths, octaves, ninths, tenths,
indeterminate intervals
dissonances
Dedication: N/A
Overview: This through-composed work is written without bar lines but includes
metronome markings. The technical demands include speaking consonant sounds through
the instrument, singing alone, producing air sounds through the instrument, multiple
71
The last note of the work is an F sharp1, with an indication to perform a slow glissando slightly
below this written pitch.
60
tonguing, plunger work, flutter tonguing, slide vibrato, and multiphonics. The
multiphonics fall well within male vocal range capabilities and generally present no
performance notes handwritten in very small script throughout the performer’s part.
Indeed, the overall small print of the manuscript may present the most difficult
61
Composer: Heider, Werner
Title: D. E. Memorial
Difficulty: advanced
Trombone(s): tenor-bass
Clefs: bass
Multiphonic Type: indeterminate, consonant and/or dissonant, sung notes written in unison,
Overview: This work, in five sections, was commissioned by the International Trombone
Association and written in memory of Duke Ellington. The pitches D and E serve as
Ellington’s musical initials, and figure prominently in the work. At the end of the work,
they are sounded together via multiphonics. The notation included in the “Explanation of
Signs” does not always coincide with the notation seen in the score, nor does it include
every symbol used in the work. The score uses both proportional and graphic notation
and indeterminate pitches, both low and high, are at the performer’s discretion.
62
The piece requires flutter tonguing, glissandi, multiple tonguing, vibrato, shakes,
trills, plunger mute work, and percussive effects generated through foot stomping.
Rudimentary staging instructions are also included, specifically directing the performer’s
facing on stage. Three music stands are required for staging and performance. A tenor-
bass trombone is required, both for range, and because of an extended mid-register figure
required to be performed through the use of the trigger. The end of the work requires the
performer to sing into the bell of the instrument, as if the bell were a mask covering the
seconds.
63
Composer: Heussenstamm, George
Difficulty: advanced
Trombone(s): tenor
Intervals: fourths
Overview: This work has many extended techniques. The composer employs mixed
meter signatures and requires four different types of vibrato, notated V1 through V4, in
ever-increasing intensities. The piece also requires shouting of vowel sounds, whistling,
lip trills, quarter tones, flutter tonguing, harmonic glissandi, random pitch selection,
multiphonics, hemiola, a cadenza, and a specific technique called “spit tonguing,” where
the performer makes a spitting sound through the mouthpiece without producing tones.
Finally, basic performance and stage directions are noted throughout the piece, such as
“hum stupidly, thoughtlessly as you remove your mute,” “remove mute slowly with
64
exaggerated gestures, while humming Beethoven's Eroica theme,” and “rotate 180
degrees to your right until your back is to the audience, while you spit-tongue in fairly
65
Composer: Huber, Nicolaus
Title: presente
Publisher: Breitkopf & Härtel, Wiesbaden, Germany, for Musikverlage Hans Gerig
Difficulty: professional
Trombone(s): tenor-bass
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
Intervals: unisons, seconds, thirds, fourths, fifths, sixths, sevenths, octaves, ninths
Chords: major chords, root position; major chords, second inversion; dissonances
Dedication: N/A
into measures, albeit measures without meter signatures. Metronome markings are
indicated throughout and plunger mute position is notated graphically below the staff.
Near the end of the work, the trombonist is required to face different directions. In
addition, the performer must remove the F-attachment tubing and diamond-shaped note
heads are then used to indicate the pitches played through the open F-attachment. The
timbral difference between the open F-attachment and the regular trombone sound is
66
striking. Other techniques required include flutter tonguing, glissandi, timed events, and
multiple tonguing. Several passages are notated with specific positions marked.
Multiphonics are notated in two different ways. The first time the performer
encounters multiphonics, the vocalized notes serve a contrapuntal function, and are
written on a separate staff from the played notes. The second time multiphonics are
required they are consonant in nature, with the vocalized note being indicated by a dot in
the middle of a white note head. Singing below the played note in the multiphonic will
performed through the open F-attachment while simultaneously performing glissandi and
67
Composer: Kavanaugh, Patrick
Difficulty: professional
Mutes: none
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
Multiphonic Range: vocal range: e' - e" (e''' optional); played range: El - a'
Intervals: unisons, octaves, ninths, tenths, octave plus tri-tone, indeterminate intervals
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.”
68
markings are not indicated and Kavanaugh uses at times up to three different staves to
glissandi, trills, F-attachment trills, water key trills, flutter tonguing, percussive effects
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
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.”
69
Composer: Kenny, John
Difficulty: professional
Trombone(s): alto
Multiphonic Type: lip; combination consonant and dissonant, sung notes written in
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,
Overview: This three-movement work uses mixed meter signatures, frequent clef
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.
70
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
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
John Kenny, Sonata for Alto Trombone (Coventry, England: Warwick Music, 1994), 5, mm. 66-78. Used
by permission.
71
Composer: Kenny, John
Difficulty: professional
Trombone(s): tenor-bass
Mutes: plunger
Chords: seventh chords, root position; various consonant intervals with pedal point
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
techniques, including lip trills, F-attachment trills, flutter tonguing, glissandi, changing
the shape of the oral cavity to produce vowel sounds (once while performing
72
screeching while inhaling through the instrument, plunger mute work, multiple tonguing,
and doodle tonguing. The second movement includes a cadenza and the third movement
is entirely non-measured, with aleatoric aspects. The last movement requires circular
breathing while holding an F sharp pedal and simultaneously performing any number of
the following techniques: rhythmic diaphragm pulse, grunts, screams, animal sounds
(bird sounds and monkey calls), tongue stops, and multiphonics. There is no notation key
provided, although performance suggestions in the music aid the performer. The vocal
range is extreme, requiring falsetto, and sung pitches are at least an octave (sometimes
73
Composer: Kühnl, Claus
Title: 5 Episoden
Difficulty: advanced
Trombone(s): tenor-bass
Multiphonic Type: dissonant, sung notes written in unison or below played notes
Chords: dissonances
Overview: As the title suggests, this work consists of five movements (“Quasi
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
74
mute openness. A notation key is provided in both German and English and performance
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
75
Composer: Lynn, Brian
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: none
Multiphonic Range: vocal range; d flat - e flat; played range: G flat - A flat
Intervals: fifths
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
hysterical laughter, calming down slowly.” Perhaps the most difficult performance aspect
is negotiating the multiple tonguing passages and wide intervals at the tempos required.
76
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
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
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.
77
Composer: Mabry, Drake
Title: 9.28.85
Difficulty: professional
Mutes: none
Multiphonic Type: lip; dissonant, sung notes written in unison, above, and below played
notes
Dedication: N/A
avant-garde technique. The notation instructions page explains the procedure for
producing lip multiphonics, and also shows the symbols for quarter tones, slap tonguing,
multiple tonguing, flutter tonguing, and the symbol for playing through clenched teeth. In
addition to these techniques, glissandi are used in all three movements, and sung/played
78
Instead of making sounds by traditional methods, the performer blows air through the
lead pipe and uses specified articulations (“tut,” “kut,” “tst,” etc.) in conjunction with the
forced air sounds and slide positions. Only seven pitches are notated in the first
movement, corresponding to all seven slide positions. Pitches are notated in strict rhythm,
are circled, and include dynamics, glissandi, and slap tongue. The proper articulation to
use for each pitch is noted above that pitch. In addition, some pitches are blown through
composer writes the reminder that one must play these lip multiphonics in the position
where both notes can be performed. The directions for producing lip multiphonics
conclude with the observation that “the actual sound is more complex than the notation
indicates.”
The third movement is printed on three staves, with one staff notating rhythms
and pitches indicated for singing, one staff reserved for sounds produced through the F-
attachment (the F-attachment tuning slide is to be removed), and one staff for pitches
made in normal fashion. These sounds often happen simultaneously, and glissandi are
required in both trombone and vocal lines. Multiphonics produce dissonances due to the
quarter-tone scoring. The quick alternation between the open F-attachment and the
trombone will create striking timbral and spatial differences. This movement demands
79
Composer: Nicholson, George
Difficulty: professional
Trombone(s): tenor-bass
Mutes: cup, two different harmon mutes (one with stem removed)76, bucket
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
Overview: This atonal work employs mixed meter signatures, proportional notation,
timed events, difficult rhythmic subdivisions, microtones, and wide intervallic leaps. The
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.
80
requires “lip harmonics,” defining it thus: “beginning and ending on clearly defined
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
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
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.
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Composer: Nieman, Alfred
Difficulty: professional
Trombone(s): tenor
Multiphonic Type: combination consonant and dissonant, sung notes written above and
Intervals: seconds, thirds, fourths, fifths, sixths, sevenths, octaves, tenths, twelfths
Chords: major chords, root position; major chords, second inversion; diminished chords;
dissonances
Overview: This atonal work is through-composed, calls for improvisation and other
aleatoric aspects in the performance, uses timed events, and requires plunger technique.
Percussive effects include foot stomping and hitting the bell with the plunger mute. Quick
alternation between singing and playing is required, as are slide vibrato, sung syllables
and consonant sounds, glissandi, tremolo, flutter tonguing, and multiple tonguing. The
composer does not use time signatures, although metronome markings are given. Each
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staff constitutes a measure, with measure numbers indicated apparently for rehearsal
ease. A notation key is provided, and further performance instructions are written in the
part.
Glissandi play a large part in this work and two kinds of graphic notation are used
to indicate glissandi patterns. Improvisatory sections are required using traditional and
harmonic glissandi. At one point in the work a “laughingly” produced sung glissando is
most prevalent in this work, although there are some consonant multiphonics that are
striking. Square note heads indicate sung pitches, and x-shaped note heads indicate the
83
Composer: Nordheim, Arne
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: harmon
Multiphonic Type: consonant, sung notes written in unison or above played notes
Chords: N/A
Overview: This work employs traditional and non-traditional notation, for which a key is
provided. The work employs some metronome markings but no meter signatures, and
composed, with repeated motives recurring throughout the work. Flutter tongue, lip
vibrato, and slide vibrato are required for performance, and multiphonics either emerge
from unison pitches and employ glissando up to the octave, or the reverse. The extensive
use of open/closed harmon mute technique, as well as the wide leaps, unusual intervals,
unorthodox employment of F-attachment positions (notated in the score above the staff),
84
wide range, and great and sudden dynamic contrasts make the piece a challenge well-
85
Composer: Pehrson, Joseph
Title: Approaches
Difficulty: advanced
Mutes: plunger
Multiphonic Type: dissonant, sung notes written above and below played notes
Multiphonic Range: vocal range: a - c" (approximate pitch); played range: b flat - e'
Chords: dissonances
Overview: This three-movement work requires the trombonist to play while placing the
trombone bell in a transparent bowl of water. The multiphonics produce dissonances and
pitch while sustaining a drone pitch. Graphic notation is used to represent plunger mute
degree of openness and slide vibrato intensity and range. In addition, the composer
requires flutter tonguing, lip trills, glissandi, timed events, use of slide vibrato, fast cross-
harmonic glissandi, fast cross-harmonic repeated notes, the making of lip smacking
77
Pehrson includes one ossia glissando that requires tenor-bass trombone.
86
sounds in the mouthpiece, breath attacks, noisemaking through the trombone (including
“deflation” sounds), free-buzzing, etc. Theatrical elements and stage instructions include
directions for body posture variations and for throwing the plunger mute to the floor. The
work employs aleatoric aspects as well, in terms of harmonic series partial selection,
dynamics, and tempi. The work frequently exploits the altissimo register, and multiple
tonguing, control of all dynamic registers, and fine sense of rhythmic subdivision are
87
Composer: Powell, Morgan
Title: Incabado
Difficulty: advanced
Trombone(s): tenor-bass
Multiphonic Type: combination consonant and dissonant, sung notes written in unison or
program notes provided by Powell. The piece uses many avant-garde techniques,
including flutter tonguing, percussive noises made with mutes, timed events, glissandi, F-
attachment trills, lip trills, lip and slide vibrato, aleatoric events with respect to rhythm,
pitch order, and time, and multiphonics. Proportional notation, beamed ritardando, and
mixed meter signatures are used, and a notation key is provided. Multiphonics are used
88
Composer: Rabe, Folke
Title: Basta
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: none
Chords: major chords, root position; major chords, second inversion; seventh chords
Dedication: N/A
Overview: Basta, Italian for “enough,” has four distinct sections. The first three sections
introduce different melodic ideas and the fourth section combines material from the other
three sections. The piece places great technical demands on the performer, including
rapid slide technique required while performing fast cross-harmonic note repetition,
simultaneous use of glissandi and multiphonics, frequent use of alternate positions, cross-
harmonic glissandi, trills, sudden dynamic contrasts, and great dynamic range. The
work’s first two sections emphasize specific tones rather than keys while the multiphonic
section allows the piece to relax in intensity and establishes a sequence of pleasing
89
sonorities. The interval of the second (major and minor) figures significantly in the
90
Composer: Rivas, Diogènes
Title: Ricercare II
Difficulty: professional
Trombone(s): bass
Mutes: none
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
flutter tonguing (both when singing and when playing, but never when performing
multiphonics), microtones, lip trills around specific notes as marked, multiple tonguing,
and sudden and abrupt dynamic and tempo changes. Grace notes and other ornamentation
are indicated. The low tessitura of the multiphonics, and the microtonal tunings required
of some of the multiphonic pitches will provide a challenge to all but the best performers
and listeners. Aside from the range requirement, the biggest performance obstacle may be
91
the rhythmic subdivision demanded throughout the work, as measures are not indicated
but tempos and pulse subdivisions are. Also of particular challenge is the frequent
alternation between played and sung notes, and the requirement to perform glissandi
while switching from singing to playing pitches mid-glissando. Sung notes are indicated
with diamond-shaped note heads, and print is clear but very small.
92
Composer: Sichel, John
Title: Waltz of the Underworld Manicurists (and Other Tales of Terror and Suspense)
Difficulty: medium-advanced
Trombone(s): tenor-bass
Multiphonic Type: consonant, sung notes written in unison or above played notes
Chords: major chords, root position; major, minor chords, second inversion
Dedication: N/A
Overview: This work is actually twelve separate unaccompanied etudes for trombone,
each with its own unusually eccentric title: “Aubade,” “The Master Thief,” “The Master
Thief Chez Lui,” “Wunka Bunka Baby,” “Rachel’s Waltz,” “Like, wow,” “Waltz of the
Underworld Manicurists,” “Rattites,” “Berceuse,” “Cars (For Max and Joe),” “Life’s But
a Walking Shadow,” and “Chorale.” Each etude has its own technical challenge, such as
angular melodic lines, multiple tonguing, mixed meter signatures, rapid clef changes, or
78
Two versions of this are given, version A in bass clef is the one noted above. Version B is
written in tenor clef, a perfect fifth higher.
93
glissandi. These etudes are suitable for the undergraduate student trombonist and would
The multiphonics occur only in the last movement, are consonant and written in
chordal texture. Diamond-shaped note heads indicate the pitches to be sung. Gender-
specific vocal issues have been addressed here by writing the exercise in bass clef
(Version A) and then transposing it up a perfect fifth in tenor clef (Version B).
94
Composer: Stockhausen, Gabriel
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: straight
Multiphonic Type: combination consonant and dissonant, sung notes written above played
notes
Chords: major chords, root position; major and minor chords, second inversion; diminished
chords; dissonances
Dedication: N/A
Overview: This work has five movements named for prominent works by Edgar Allan
Poe – “The Raven,” “The Tell-tale Heart,” “The Murders of the Rue Morgue,” “The Pit
and the Pendulum,” and “House of Usher.” Multiphonics occur in the first and last
movements, with square note heads indicating the pitches to be sung. In addition to
multiphonics, multiple tonguing is required. The piece employs use of mixed meter and
hemiola. Glissandi and F-attachment half-valve glissandi technique are also required. The
95
wide intervals, fast tempo of “The Murders of the Rue Morgue,” wide dynamic contrasts
(from written pppp - ffff), and oddly-spaced accents make this a challenging work. The
intervals, techniques required, and distinctive musical nuances for each movement depict
Poe’s literary works well. Performance notes are provided, including an admonition from
Stockhausen to “familiarize yourself with the actual stories of Edgar Allan Poe.”
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Composer: Vazzana, Anthony
Difficulty: advanced
Trombone(s): tenor
Mutes: none
Multiphonic Type: combination consonant and dissonant, sung notes written above and
extreme dynamic contrasts, and lip trills. Measures are notated but meter signatures are
not, as Vazzana states on the last page of the piece that the quarter note value should
The multiphonic sections show the sung notes with diamond-shaped note heads
97
and dissonance seems to be their primary role. These could all be performed by singing
the top notes throughout the work, instead of as indicated. Indeed, there are ossia parts
written in case the performer cannot perform multiphonics. These ossia parts do not
include any combination tones, even where the multiphonics as written would produce
them.
98
Composer: Wolking, Henry
Publisher: TAP Music Sales, Newton Iowa, for Wolking Music Publications,
Difficulty: medium-advanced
Trombone(s): bass
Clefs: bass
Dedication: N/A
Overview: The movement titles are eclectic – “Shadows, Sherlocks, and Seven Cues,”
“Wild Mouse,” “Love Song,” and “Ragtime.” Multiphonics occur only in the first and
third movements, with the sung notes placed in parentheses. Wolking uses theatrical
elements in “Wild Mouse,” requiring the performer to stalk and, finally, dispatch said
imaginary mouse. The work employs percussion instruments, namely police whistle and
99
In addition to multiphonics, the work requires theatrical and percussive elements,
multiple tonguing, plunger mute usage, flutter tonguing, use of quarter tones, glissandi,
singing outside the mouthpiece, and knowledge of jazz swing style. Metronome markings
are indicated, but some movements do not have meter signatures, and complex
syncopations are prevalent. One movement has bar lines, but only for visual orientation,
as noted in the score. Unfortunately, the manuscript is very difficult to read in places, and
TAP Music has reversed pages in the “Grand Valse,” and “Wild Mouse” movements.
100
Composer: Xenakis, Iannis
Title: Keren
Difficulty: professional
Trombone(s): tenor-bass
Mutes: straight
Chords: N/A
Overview: Keren (“horn” in Hebrew) is available in both offset quality copy and in
manuscript. In the manuscript copy, the manuscript size is often too small to read. The
piece requires sudden dynamic shifts, wide range, wide intervals, abrupt clef changes,
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
101
in 1986,79 asserts that lip multiphonics are specifically called for in this piece.80
79
From program notes provided in the offset version of the score, written by Harry Halbreich.
80
Benny Sluchin, Contemporary Trombone Excerpts, (Paris: Éditions Musicales Européennes, 1995),
80.
102
Composer: Young, David L.
Title: koris 25
Difficulty: advanced
Trombone(s): alto
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" +
Dedication: N/A
Overview: This atonal work uses glissandi, microtones and multiphonics as its principal
techniques. While no measures are indicated, tempo markings are given and Young
graphically notates glissandi direction and tessitura, and provides symbols and
glissandi, with the pitches to be sung notated on a separate staff. Singing below the
103
Composer: Yuhas, Dan
Title: Episodes
Difficulty: professional
Trombone(s): tenor
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
Chords: major chords, root position; major and minor chords second inversion;
Overview: This work is through-composed, and many techniques are required, including
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
104
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
Multiphonics are used in conjunction with other techniques. For example, there
are sections that require multiphonics to be performed in conjunction with parallel and
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.
105
Chapter Five
Title: Esquisse
Difficulty: professional
Trombone(s): tenor-bass
Mutes: straight
Multiphonic Range: vocal range: a flat - c sharp'; played range: F sharp - e flat
Chords: major chords, root position; minor chords, second inversion; major 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
106
tonguing, quarter tones, glissandi, extreme dynamic shadings, multiple tonguing, and
syncopations, and angular melodic lines. Piano cues are provided in the trombone part
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
107
Composer: Borden, Lawrence
Difficulty: advanced
Trombone(s): tenor
Mutes: none
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
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
108
strings to vibrate sympathetically when the trombonist plays into the piano soundboard.
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
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
shown below.
Lawrence Borden, Conditions of a Solitary Bird (Austin, Texas: International Trombone Association
Manuscript Press, 1996), fourth movement, mm. 1-2. Used by permission.
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Composer: Chave, George
Title: Trombonics
Difficulty: advanced
Trombone(s): tenor
Intervals: thirds
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,
harmonic glissando. Use of a tenor-bass trombone might alleviate some minor technical
110
Multiphonics occur only in the cadenza of the first movement. These
shown below.
George Chave, Trombonics (St. Louis, MO: MMB Music, 1990), 1, mm. 20-21. Used by permission.
111
Composer: Chaynes, Charles
Title: Impulsions
Difficulty: advanced
Trombone(s): tenor
Multiphonic Type: dissonant, sung notes written in unison and below played notes
Chords: dissonances
Dedication: N/A
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
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.
112
Composer: Childs, Barney
Difficulty: advanced
Trombone(s): tenor
Intervals: tenth
Chords: dissonance
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
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.
113
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
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.
114
Composer: Everett, Thomas
Difficulty: medium
Trombone(s): bass
Clefs: bass
Mutes: none
Interval: fourth
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
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
115
that could be performed in conjunction with passive piano. This would be a fine work for
116
Composer: Hartley, Walter S.
Difficulty: medium-advanced
Trombone(s): tenor
Mutes: none
Multiphonic Type: dissonant, sung notes written in unison or below played notes
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.
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Composer: Hovland, Egil
Difficulty: medium-advanced
Trombone(s): tenor
Mutes: straight
Intervals: tenths
Dedication: N/A
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
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Composer: Hutcheson, Jere
Difficulty: advanced
Trombone(s): tenor
Clefs: bass
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
Dedication: commissioned by the Michigan Music Teachers Association and the Music
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
119
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
page 6, second system). Although playable on the tenor trombone, a tenor-bass trombone
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
120
Composer: Imbrie, Andrew
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: none
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
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
only in the second and third movements. In the second movement, they are written in
121
Composer: Keenan, Paul
Difficulty: professional
Multiphonic Type: lip; dissonant, sung notes written in unison or above played notes
intervals
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.
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Michael Alexander. The composition employs mixed meters, wide intervallic leaps,
trills, lip glissando, performance while inhaling, and poetry recitation. Movement seven
suggestions for improvisational material given in the form of non-traditional and graphic
notation, as well as the composer’s admonition to allow the improvisation to reflect the
words of the poem. The trombonist is tacet in movement two, and recites poetry in
movements four, six, eight, and nine. The pianist is required to perform tone clusters,
Multiphonics occur only in movements one, five, and six. Multiphonics produced
by simultaneous singing and playing must be performed using microtonal intervals and in
combination with contrary motion glissandi. Lip multiphonics are required on the alto
trombone.
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Composer: Krenek, Ernst
Difficulty: advanced
Trombone(s): tenor-bass
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
Chords: major chord, root position; minor chord, second inversion; diminished chords;
dissonances
avant-garde techniques which unify the work. Aside from multiphonics, the performer
will need to perform flutter tonguing and continuous slap tonguing, lip trills, wide slide
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
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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.
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
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.
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Composer: Lesley, Simon
Difficulty: medium-advanced
Trombone(s): tenor
Mutes: none
Intervals: tenths
Overview: The three movements in this work are entitled “Blueprint,” “Eulogy,” and
“Cartoon.” Multiphonics appear in the second movement only. Techniques required for
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
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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.
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Composer: Rieunier, Jean-Paul
Title: Silences
Difficulty: professional
Trombone(s): tenor-bass
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
Multiphonic Range: vocal range: G - c sharp"; played range: E - c sharp" (optional f")
Overview: Scholars note the historical significance of Silences; in 1976 the Paris
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.
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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
The multiphonics are primarily dissonant and often executed in conjunction with
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
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Composer: Trussell-Cullen, Lauren
Difficulty: advanced
Trombone(s): tenor
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
130
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
Difficulty: medium-advanced
Trombone(s): tenor
Mutes: straight
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
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
Difficulty: advanced
Trombone(s): tenor
Multiphonic Type: combination consonant and dissonant, sung notes written above and
Society”
Overview: According to the program notes, Ruach is a Hebrew word meaning “God’s
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
reverberation pedal is requested. The atonal work requires flutter tonguing, performing
circular motions with the bell while playing, and breathing through the instrument.
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
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
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
Title: Kebyar
Difficulty: professional
clarinet optional, also doubles wood or temple block), 2 double basses to low C,
percussion (finger cymbals, oriental cowbells, temple bowls, temple blocks, bowed
cymbal, Dharma bells, Philippine cowbell, Indian squeeze drum, pitched Trompong,
Mutes: straight
Multiphonic Type: indeterminate, sung notes written in unison or below played notes
Multiphonic Range: indeterminate: as written vocal and played range: f sharp - c"
91
On the title page, the composer lists possible Western percussion instrument alternatives if
Oriental percussion instruments are unavailable.
136
Dedication: Commissioned by John Roberts, Carl Little, and the Canadian Broadcasting
Overview: This work employs metered and non-metered sections, graphic notation, and
timed events. Elapsed time, in seconds, is notated in the score, which includes all parts,
including the electronic tape. The trombonist is required to perform wide leaps, flutter
tonguing, fast cross-harmonic note repetition, tremolo, glissandi, singing through the
instrument, trills, and multiple tonguing. Non-traditional use of the F-attachment (for
high register tone color variations), and percussive sounds generated through body
movements and on the trombone and equipment (bell, mouthpiece, water key, mute) are
required as well. The composer employs aleatoric elements in a series of musical events
that require additive elements or improvisation from the trombonist at the performer’s
discretion. An explanation of symbols page and a staging diagram are included in the
score. The techniques and notation used require professional level performers.
Multiphonics are required from the clarinet and flute as well as trombone. For the
woodwind instruments, the composer provides alternate fingerings. For the trombonist,
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Composer: Alsina, Carlos Roqué
Difficulty: professional
Trombone(s): tenor-bass
blocks, four cowbells, snare drum, tom-tom, bass drum, vibraphone, ratchet, trill
whistles, glass marbles, aluminum paper, Greek hand-cowbell, two “dog barks”)
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written above and
Chords: major chords, root position; diminished chords; seventh chords; dissonances
Dedication: N/A
Overview: Proportional notation is used throughout this work, with measures generally
divided into equal units of time. The performance score includes all parts by necessity
instrumentation. Five pages of performance directions (in both German and English)
138
include a stage set diagram, notation explanation, and musical and theatrical performance
instructions. These theatrical directions include, but are not limited to, staging directions,
facial expressions, overall body movement directions and instructions for interaction with
the other performers. The trombonist must use percussion instruments in performance, as
well as make percussive sounds by tapping the mute on the trombone bell. Other
Multiphonics performance challenges include singing below the played note and
(including contrary motion glissandi), trills, and flutter tonguing. Glissandi often make
precise interval prediction impossible. Diamond-shaped note heads indicate sung pitches.
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Composer: Anderson, Thomas Jefferson
Difficulty: advanced
Trombone(s): bass
Mutes: none
Intervals: fifths
Overview: This piece has theatrical elements which portray a minstrel show
performance. The multiphonics appear in the cadenza and show three notes printed.
Presumably the top note is the summation tone and the diamond-shaped note indicates
which pitch is to be sung, although there are no instructions for multiphonic performance
printed. If this is the case, one of the multiphonics will not sound as written, although
singing the topmost note of the notated minor chord will produce an approximation of
what is indicated. The low range of the multiphonics makes this piece an unlikely choice
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In addition to multiphonics, wide slide vibrato, tremolo, glissandi, flutter tonguing
and lip trills are required for performance. One must negotiate all these techniques while
reading a three-line score and playing the bass drum and hi-hat cymbal parts as well as
the trombone part. Percussion parts are played using foot pedals.
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Composer: Appert, Donald
Title: Dialogue
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: straight
Chords: major chords, root position; major chords, second inversion; seventh chords
Dedication: N/A
Overview: This atonal duet employs mixed meters, wide intervallic leaps, fugal
imitation, and sudden and extreme dynamic changes. Written in legible manuscript and
score form, the publisher provides two performance scores, one for viola and one for
sixteenth notes. The work is divided into two movements, with trombone multiphonics
used in the second movement. The multiphonics should pose no challenges for male
performers.
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Composer: Bergsma, William
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: plunger
Dedication: N/A
Overview: This piece has three movements, with multiphonics required only in the
second and third movements. Multiphonics, flutter tonguing, glissandi, and harmonic
glissandi are the only extended techniques required. In addition, frequent clef and meter
signature changes, wide range and intervals make this a challenging work. The second
movement requires the performer to place a toilet paper roll tube in the bell of the
instrument throughout the entire movement, thus lowering the overall pitch and distorting
the overall sound quality of the trombone. Simultaneous use of a plunger mute in some
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sections of the movement also enhances these effects. Melodic embellishment or
wholesale improvisation can occur in the third movement, as Bergsma provides only a
bare sketch for the trombonist, calling his printed notes “a base for elaboration.” The
Notes to be sung are written in smaller font size than played notes. It appears that,
for the female performer, the multiphonics could be taken up an octave without damaging
the integrity of the piece, as either untuned percussion or crotales performing non-
specific pitches play during the multiphonic parts of the second movement.
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Composer: Buss, Howard
Difficulty: advanced
Trombone(s): tenor-bass
Instrumentation: trombone and percussion (tom toms, suspended cymbal, wind chimes,
wood block, large tam-tam, Chinese bell tree, triangle, bass drum with foot pedal,
Multiphonic Type: consonant, sung notes written above and below played notes
Magic,” “Wild Nights”), this work uses several idiomatic techniques, including glissandi
cross-harmonic note repetition, flutter tonguing, and trills (including F-attachment trills).
145
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
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
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
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
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.”
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Composer: Campo, Frank
Title: Commedie
Difficulty: advanced
Trombone(s): tenor
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
Overview: This three-movement work uses multiphonics in the second and third
movements, primarily for dissonance effects. While no meter signatures or measures are
used, metronome markings are given. Flutter tonguing, air sounds through the instrument,
glissandi, harmonic glissandi, quick alternation between sung pitches and played pitches,
slide vibrato, multiple tonguing, plunger work, and quarter tones are required in this
work. Graphic notation in the forms of proportional notation and beamed accelerando and
147
ritardando are used, but both are fully explained in the given notation key. To make
performance possible, parts are in score form, with both percussion and trombone on two
staves, and spots demanding “coincidence of parts” are marked by dotted lines between
the parts.
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Composer: Erb, Donald
Title: Mirage
Difficulty: professional
Trombone(s): tenor-bass
Overall Range: lowest possible pitch - highest possible pitch (F sharp1 - d" written)
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
149
Chords: essentially major chords, root position; dissonances
instrumentation employs timed events, standard and graphic notation, and requires a
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 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
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.
150
Composer: Erb, Donald
Difficulty: professional
Trombone(s): tenor-bass99
wind chimes, chimes, vibraphone, marimba, tam-tam, crotales, bass drum, nipple
harpsichord, celeste)
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.
100
The piano is prepared by putting masking tape on the strings of the top two octaves.
151
proportional notation. The trombonist is required to perform glissandi (some
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
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
Difficulty: professional
Trombone(s): alto, three tenors, contrabass is specified; five tenor-bass trombones will
tapes”
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.
153
metronome markings at the beginning, but the general directions indicate that the piece is
metronome marking of quarter note = 60. Performance challenges include the use of
continuous slap tongue, extreme pedal register, trills, glissandi, harmonic glissandi,
flutter tonguing, percussive sounds made by striking the mouthpiece with the palm as
well as by striking the instrument with percussion mallets and sticks. At one point,
aleatoric rhythms played on a single pitch by the entire ensemble gives the aural
(the performers are instructed to make bovine sounds) though the instrument, vowel
inflections, humming through the instrument, and sudden dynamic changes are required
for performance.
Nevertheless, the layering of these multiphonics in the overall ensemble will make the
total aural experience atonal. This is an effective work for trombone ensemble.
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Composer: Ford, Andrew
Difficulty: advanced
Trombone(s): basses
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
Chords: major chords, root position; minor chords, second inversion; dissonances
Overview: This through-composed duet for two bass trombones employs timed events,
proportional notation and utilizes portions with mixed meter signatures. In many
glissandi, cross-harmonic glissandi (in the form of fast rips), use of instrumental hocket,
155
Plunger mute dexterity is also required and markings indicating open and closing of the
plunger mute are notated above the system. There are markings indicating when an
are written in the score, and include instrument raising and lowering and instructions for
specific facial expressions. A notation key is provided. In addition to the extreme low
range demanded of both performers, rhythmic precision in the mixed meter section will
The multiphonics are relatively easy for male performers, although there is one
rather challenging instance where a sung b is voiced over a played B2. The sung notes are
indicated by a note head in parentheses and are always indicated with a black note head,
although performance instructions indicate that the sung note is to be held for the same
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Composer: Fulkerson, James
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: plunger
Multiphonic Range: vocal range: c flat' - d'; played range: b flat - c sharp'
Intervals: seconds
Chords: dissonances
Dedication: N/A
the piece. The end of the work requires specific bell directional rotation as a stage
direction. Metronome markings are indicated, but time signatures are not. The work
presents two main challenges: to correctly perform the intricate rhythms and polyrhythms
between the vibraphone, piano and trombone; and to negotiate the wide leaps required.
Besides multiphonics, the performer is required to execute flutter tonguing, lip trills,
glissandi, harmonic glissandi, and multiple tonguing. Slide vibrato width is notated
157
The piano part has an option for prepared piano, and the pianist must strike the
strings (sometimes in specific rhythm) with mallets, perhaps for a sound akin to the
hammered dulcimer. The vibraphonist must also perform on suspended cymbals. This
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Composer: Gaburo, Kenneth
Difficulty: professional
Trombone(s): tenor
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
Overview: This duet is written on four staves, two for the soprano, and two for the
tonguing, glissandi, trills, use of microtonal pitch and note length gradations, singing, and
speaking through the instrument (via use of phonetics). The composer includes theatrical
devices in the form of gestures, and performance instructions for the same are included in
the score. The multiphonics are but a small part in the whole work and not problematic
159
for the male trombonist. The manuscript is, at times, confusing due to the small print size.
The work includes explicit performance directions for both soprano and trombonist. The
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Composer: Globokar, Vinko
Title: Discours II
Difficulty: professional
Trombone(s): tenor
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
Intervals: unisons, seconds, thirds, fourths, fifths, sixths, sevenths, tenths, octave
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
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
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,
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
162
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
103
Vinko Globokar, Discours II (New York: C. F. Peters Corporation, 1969), notes page.
104
Globokar, Discours II, “Translation of the Discours.”
163
Composer: Grahn, Ulf
Difficulty: advanced
Trombone(s): tenor
Multiphonic Type: dissonant, sung notes written in unison, above, and below played notes
Multiphonic Range: vocal range: g - d': played range: d double sharp - d'
Chords: dissonances
Dedication: N/A
Overview: This atonal, through-composed fifty-nine measure work makes use of mixed
trombonist must perform flutter tonguing, trills, and glissandi. The multiphonics produce
tone color changes or dissonances, are always performed in conjunction with glissandi,
and always begin and end at the unison. Achieving precision in performance is perhaps
164
Composer: Grahn, Ulf
Difficulty: medium-advanced
Trombone(s): tenor-bass
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
Chords: dissonances; major chords, root position; minor chords, second inversion
Dedication: N/A
Overview: This atonal work requires the trombonist to perform glissandi, cross-harmonic
glissandi, microtones, slide vibrato, and trills. Plunger mute openness is indicated below
the trombone part. The dissonant multiphonics begin at the unison and extend to an
105
In the performance notes Grahn writes: “cup=plunger.” His preference is for a rubber plunger
mute, not a metal one.
165
The multiphonics built on larger intervals produce consonant sounds although in the latter
portions of the piece these are obscured by quarter-tone glissandi required on the played
pitches, and in all sections by the atonal nature of the clarinet and piano parts. The low
female trombonists.
166
Composer: Harris, Roger
Difficulty: advanced
Trombone(s): bass
specifications, three stainless “West Bend brand” steel mixing bowls, which
Clefs: Bass
Mutes: Straight
Multiphonic Type: combination consonant and dissonant, sung notes written above and
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.
167
Overview: This atonal work, inspired by the composer’s perusal of visual art,108 is
specified the trombonist must play into a “double jingle tambourine” in order to make the
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.
168
Composer: Haug, Halvor
Title: Essay
Difficulty: medium-advanced
Trombone(s): alto
Clefs: alto
Mutes: straight
Chords: major chords, root position; major chords, second inversion; minor chords,
Overview: This work is very lyrical throughout, with no real technical difficulties. The
trombone part calls for trills and proficiency in the low register. A trigger (B flat
attachment) is not required but may smooth some awkward low register passages.
Multiphonics are consonant, but the string writing will create dissonances in some
instances. Diamond-shaped note heads (although the program notes state “square notes”)
indicate sung pitches. This is an accessible piece of chamber music for alto trombone.
169
Composer: Hutcheson, Jere
Difficulty: advanced
Mutes: plunger
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
Overview: This atonal chamber music work is written in mixed meter signatures and
uses timed events. Performance instructions are printed throughout the score. Repeated
170
The text for the work is from “Telephone Pole,” by Richard Heraty, and is delivered via
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
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
the played note is a sustained pitch while the vocal line moves above this via glissando.
171
Composer: James, Kevin
Difficulty: advanced
Instrumentation: trombone and percussion (one player - large frame drum, wind
chimes, bells, shakers, maracas, seed pods, and any other “gentle” sound-
Mutes: harmon
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
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.
172
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
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
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
173
added at the performer’s discretion (specifically in measures twenty-seven and
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.
174
Composer: Klein, Joseph
Difficulty: professional
four music boxes playing four different songs, flexatone, two police whistles,
(g flat" written)
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.”
175
Mutes: for tenor trombone: straight, cup, harmon, bucket, plunger; for alto
nineteenth century poem “Goblin Market.” The five movements are entitled “come buy,
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
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.
176
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
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
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.
177
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
Joseph Klein, Goblin Market, (Denton, TX: Nopone Press, 1993), 37. Used by permission.
178
Composer: Klein, Joseph
Title: Leviathan
Difficulty: advanced
Trombone(s): bass
Multiphonic Type: indeterminate, sung notes written above and below played notes
Chords: indeterminate
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.
179
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
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.
180
Composer: Larsen, Libby
Difficulty: medium-advanced
Trombone(s): tenor
Sarna bells, vibraphone, triangle, wind chimes, woodblock, water gong, temple
performers required)
Dedication: N/A
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,
181
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
required. This would be a good selection for the undergraduate student attempting their
182
Composer: Lesley, Simon
Difficulty: medium-advanced
Multiphonic Type: consonant, sung notes written in unison or above played notes
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
This piece would work well for elementary school music demonstrations.
122
Multiphonics are done in conjunction with parallel glissandi, so unison sung/played
multiphonic performed on f will descend below f, according to performer’s discretion.
183
Composer: McCulloh, Byron
Difficulty: professional
Trombone(s): bass
Mutes: none
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
Overview: This two-movement work, scored for “large trombone and small wind
ensemble” by the long-time and late bass trombonist of the Pittsburgh Symphony
123
McCulloh’s title page includes an asterisk next to the subtitle, with the following in
parentheses: “Italian equivalent of ’bone [sic] of contention.”
124
Piano reduction was used for this annotation.
184
rhythmic subdivision, aptitude in multiple tonguing and accuracy in all registers. In
addition to multiphonics, the work requires glissandi, tongued glissandi, flutter tonguing,
The multiphonics occur only in the first movement, require vocalizing in falsetto,
and are performed in parallel thirteenths, or in counterpoint above a played drone pitch. A
185
Composer: McCulloh, Byron
Title: Protagony
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: straight
Multiphonic Type: dissonant, sung notes written in unison or above played notes
Chords: dissonances
Dedication: N/A
Overview: This atonal work is through-composed. The title page defines a protagony as
“a drama in which the protagonist attempts to set forth his thesis and expound it, only to
be met with apathy, ignorance, intolerance, and hostility.” It requires flutter tonguing,
glissandi, harmonic glissandi, quarter tones, multiphonics, and some aleatoric aspects
186
with respect to number of times repeated accompaniment figures are utilized (as
determined by the soloist), as well as the various tempi used for written accompaniment
figures (as determined by the members of the percussion ensemble, specifically notated
performance score. Conducting gestures will be required for the performance of this
ensemble. Indeed, precision seems to be the most difficult performance aspect of the
work with regard to ensemble entrances and cut offs. From the trombonist’s standpoint,
the wide leaps and range will prove challenging. Multiphonics are required in only two
places, and both begin on an f, with sung pitch ascending from f to g flat in microtones.
187
Composer: Reynolds, Roger
Difficulty: professional
interpretation)125
gong, temple blocks, 2 flexatones, claves, 3 pairs of castanets, both wood and
glass wind chimes, knitting needles, 2 bass bows for the vibraphone), assistant,
four-track tape (15 IPS is the preferred playback format, according to the
performance notes)
Mutes: plunger
Multiphonic Type: lip; indeterminate, sung notes written in unison, above and below
played notes
125
See the last footnote for this database entry for explanation of “multiphonic interpretation.”
188
Dedication: N/A
Overview: This atonal work takes its name from Melville’s Moby Dick, according to the
program notes. It is through-composed, uses many timed musical events and is presented
in graphic notation. The work requires flutter tonguing, cross-harmonic note repetition,
glissandi, aleatoric sections (in the forms of indeterminate rhythm and pitch notations, in
the instructions to “make progressively more radical deviations from basic form,” and so
forth), glissandi, multiphonics, multiple tonguing, tonguing combined with air sounds
only, lip noises (smacks, kisses, and so forth), alternation between singing and playing,
Performance challenges will be the technical issues as listed, as well as coordinating the
trombone performance with the tape. There are performance instructions written
While there are specific multiphonics that must be performed as lip multiphonics,
some of the multiphonics can be played according to the performer's discretion. Evidence
of this is seen in the score, which lists the multiple sonorities to be performed as “TB
specifically notated lip multiphonics should be performed via singing and playing, citing
the extreme difficulty and reliability of making these (or any) written lip multiphonics
sound on command.126 This provides a good solution to the problem of lip multiphonic
partials are available only in the trigger register, and even then one encounters B1 pitches
that must be shaded flat. Multiphonics are performed in conjunction with glissandi.
126
Stuart Dempster, The Modern Trombone - A Definition of its Idioms (Rochester, New York:
Accura Music, Inc., 1994), 9n.
189
Composer: Schafer, R. Murray
Difficulty: advanced
Multiphonic Type: consonant, sung notes written in unison or above played notes
Dedication: “to the members of Sonaré: David Boyd, Christine Boyd, Doug Burden,
Robert Campbell, Greg Furlong, Danny Gallant, Gord Griffith, Kirk MacKenzie,
Overview: Schafer has written a work for trombone ensemble that will receive limited
performance, due in part to specific natural requirements. One must perform at a very
remote lake (specifically shaped to allow for three staging areas with a focal point in the
middle of the lake) that is approximately 500 meters across. The performance must be
during specific seasons (fall or spring) and times (the movement titles are “Dusk” and
“Dawn”). Specific seasons are important for inclusion of wildlife sounds, specifically
birds. Trombonists are on three sides of the lake, in three groups of four trombones.
190
Written in score form, the work uses motives often played in canon, timed
events, and requires a conductor in the middle of the lake to coordinate some points of
the performance via signal flags. Staging directions are given in the form of facing
through the instrument to produce high tone clusters, and wolf howls (in the performance
notes the composer admonishes his performers to listen to the “real thing”). Randomness
is achieved quite naturally due to positioning, staging (the circular turning motion
required would change dynamics), staging area (echoes from the surrounding woods),
and scoring. For example, the score has indications marked thus: “play the indicated parts
From the composer’s notes, it is apparent that the work was composed to bring
about a revival of “outdoor music,” and possibly as a reaction against musicologists “too
drugged by masterpiece mania to notice whether the record is warped, the roof is rotten,
or the public is no longer in situ, that is, notice events which might give rise to new
The multiphonics present no real problems although the low register of the played
pitches may require an adjustment period for some performers. There are vocal register
issues for female trombonists. Since the multiphonics do not occur in all parts, however,
191
Composer: Schwartz, Elliott
Title: Options I
Difficulty: advanced
Trombone(s): tenor
and/or tape
Multiphonic Type: combination consonant and dissonant, sung notes written above
played notes
Multiphonic Range: vocal range: c' - “highest doublestop [sic]”; played range: f sharp -
Overview: This work, as the title suggests, has many performance options. The
trombonist can perform this as a solo with piano (the trombonist plays the piano), or as a
duet (with percussion or tape), or as a trio (with percussion and tape). The tape can be
made by the performers or purchased from the publisher. If the tape is made by the
192
There are essentially three sections to this piece; a prelude, the main section
“options” occur in the type of musical entrance material used and demeanor portrayed by
the trombonist, in determining whether mute is used, and if lighting (spotlight on soloist,
or beginning with a blackout) is employed or not. In the second section (“trombone at the
piano”), there are five “option sections” where different sonic events can occur, including
silence from the trombonist while the percussionist/tape makes sounds, using
a megaphone concealed inside the piano to shout one’s musings (name, day of week, etc.)
into the piano, inserting a lighted flashlight into the bell of the instrument while
making a very “disagreeable noise” on the trombone while bell is aimed at the piano
strings, etc.
The trombonist is also required to play and make noises on/through the piano,
including playing tone clusters, plucking the strings, scratching the lowest string of the
piano with one’s fingernail, hitting the mouthpiece on the wood of the piano, producing a
tremolo on the wood of the piano using one’s fingers, rolling the bell on the strings, and
using a harmon mute to hit the metal structure of the piano. Shouting, hand percussion
sounds, making sounds by hitting the trombone bell (the percussion part has an option to
“roll” on either the trombone bell or the piano as well) are necessary performance
practices for the trombonist. The piano must be prepared by placing something on the
damper pedal to allow for resonance, as there are notations in the score that require the
trombonist to play into the piano, or face out into the audience.
193
Notation is a mix of traditional and graphic notation. Each system of music is
supposed to last fifteen seconds. In addition to the requirements needed for the aleatoric
conjunction with simultaneous playing), and flutter tonguing are the requirements.
Performers may find it more expedient to purchase the tape from the publisher
rather than attempt to record their own tape. The instructions are fairly explicit, and
include sound overlapping, splicing, distortion, and so forth. Finally, one must use a toy
The note-specific multiphonics are consonant, and fairly easy to negotiate. The
the highest possible pitch. Square note heads indicate pitches to be sung.
194
Chapter Seven
Difficulty: professional
Trombone(s): tenor-bass
Mutes: plunger
Multiphonic Type: lip; combination consonant and dissonant, sung notes written above
Intervals: quarter tone intervals used, thirds, fourths, sixths, sevenths, ninths, tenths
Dedication: Written for trombonist Dary John Mizelle. Stuart Dempster premiered the
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.
195
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
There are three lip multiphonics and numerous vocalized multiphonics written.
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.
196
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.
197
Composer: Druckman, Jacob
Title: Animus 1
Copyright Date: 1967 (Boosey and Hawkes acquired the copyright to Animus 1 from
MCA in 1988)
Difficulty: advanced
Trombone(s): tenor
Instrumentation: trombone and tape (reel to reel, DAT, and compact disc versions
available)
Multiphonic Type: dissonant, sung notes written in unison, above and below played
notes
Chords: dissonances
passages, cross-harmonic glissandi, flutter tonguing, slap tongue, tongue clicking sounds
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.”
198
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.
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
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.
199
Composer: Erb, Donald
Publisher: Merion Music, Inc., by Theodore Presser Co., King of Prussia, Pennsylvania
Difficulty: professional
Trombone(s): tenor-bass
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
Chords: major chords, root position; major chords, second inversion; seventh chords;
132
Stuart 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.”
200
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
pitch. Parallel fifths and parallel tenths are perhaps the most frequently used consonant
multiphonics. Erb also writes multiphonics in chromatic contrary motion, which usually
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.
201
Composer: Kucharzyk, Henry
Difficulty: advanced
Clefs: bass
Mutes: harmon
Multiphonic Type: combination consonant and dissonant, sung notes written in unison,
Multiphonic Range: vocal range: f - “pitch ad lib - high”; played range: F - d flat
intervals
Dedication: N/A
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
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
202
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
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
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.
203
Composer: Sandström, Jan
Difficulty: professional
Trombone(s): tenor
Mutes: plunger
Dedication: N/A
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
204
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
134
Learned from electronic mail correspondence between the composer and the author, dated 21
October 2004.
205
Composer: Walshe, Jennifer
Difficulty: advanced
Trombone(s): tenor-bass
Mutes: none
Multiphonic Type: lip; combination consonant and dissonant, sung notes written in
Multiphonic Range: vocal range: B flat - d' plus 1/4 tone; played range: E - c
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,
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.
206
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
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
207
Chapter Eight
Title: Concerto
Difficulty: advanced
Trombone(s): tenor-bass
Multiphonic Type: consonant, sung notes written above and below played notes
mixed meter signatures, standard, graphic and proportional notation, and requires a fine
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.
208
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.
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
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
209
Composer: Erb, Donald
Title: Concerto
Difficulty: professional
Trombone(s): tenor-bass
Multiphonic Type: combination consonant and dissonant, sung notes written in unison
Chords: major chords, root position; major chords, second inversion; dissonances
standard, graphic and proportional notation, and requires a fine sense of time, admirable
addition to multiphonics, the work requires glissandi, flutter tonguing, trills, jazz-style
210
falls, vocalization through the instrument while playing (specifically saying “dijeridu”
The multiphonics occur most often as a series of parallel fifths, although there are
instances where either line (played or sung pitch) serves as a static line set against the
contrapuntal line of the other. In the last movement, the multiphonics must be
interspersed with “dijerido [sic] articulation.” Plunger mute and glissandi are used in
211
Composer: Klein, Joseph
Difficulty: professional
Multiphonic Type: lip; combination consonant and dissonant, sung notes written above
Intervals: indeterminate intervals; quarter tones; seconds, thirds, fourths, fifths, sixths
seventh chords
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.
212
and employs traditional and graphic notation, mixed meter signatures, non-metered
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,
Multiphonics occur only in the second and third movements. The multiphonics
contrary and parallel motion glissandi. Quarter-tone vocalized multiphonics are required.
parallel motion glissandi, and occurs in the upper register of the trombone.
213
Composer: Lipkis, Larry
Difficulty: professional
Trombone(s): bass
Mutes: none
Intervals: tenths
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
139
The author used the piano reduction in preparing this database entry.
214
Composer: Sandström, Jan
Difficulty: professional
Trombone(s): tenor-bass
Mutes: plunger
Intervals: fourths, fifths, sixths, octaves, tenths, two octaves plus a third
Chords: major chords, root position; major chords, second inversion; seventh chords
Northlands Festival
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
215
reliable high register. In addition to multiphonics, the work also requires glissandi, flutter
valve usage.
The multiphonics occur only in the second movement, often as a series of parallel
vocalized pitches. Male trombonists may need to sing in the falsetto register on some
multiphonics.
216
Composer: Sandström, Jan
Difficulty: professional
Trombone(s): tenor-bass
Chords: major chords, root position; major chords, second inversion; minor chords,
second inversion
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
altissimo register, a cadenza complete to didjeridu sounds, and a scream while inhaling
217
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'''.
shaped note heads indicate pitches to be sung. A professional performer with complete
218
Composer: Sandström, Jan
Difficulty: professional
Trombone(s): tenor-bass
Mutes: straight
Intervals: fourths, fifths, sixths, tenths, twelfths, same intervals plus one octave
Chords: major chords, root position; major chords, second inversion; diminished chords;
seventh chords
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
219
slide and plays an extended passage without it. Other theatrical performance directions
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
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
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.
220
Appendix A: Works Indexed Alphabetically by Composer’s Last Name
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
221
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
222
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
223
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
224
Appendix B: Works Indexed by Chapter and Page Number
225
Composer Title Page
226
Composer Title Page
227
Appendix C: Works Indexed by Trombone Type(s) Necessary for Performance
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
228
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
229
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
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
230
Composer Title Page
231
Appendix D: Works Indexed by Specific Multiphonic Performance Practice
232
Composer Title Page
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
233
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
234
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
235
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
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
Bärenreiter-Verlag
Heinrich-Schütz-Allee 35
D - 34131 Kassel
Telephone: +49 (0)561 3105-0 / Fax: +49 (0)561 3105-176
E-mail:info@baerenreiter.com / www.baerenreiter.com
236
Boosey & Hawkes Music Publishers Limited
Aldwych House
71-91 Aldwych
London
WC2B 4HN
Telephone: +44 (0)20 7054 7200
www.boosey.com
Brixton Publications
4311 Braemar Avenue
Lakeland, FL 33813-1608
Telephone/Fax: (863) 646-0961
E-mail: sales@brixtonpublications.com / www.brixtonpublications.com
C. F. Peters
70–30 80th Street
Glendale, NY 11385
Telephone: (718) 416 7800 / Fax: (718) 416 7805
Email: sales@cfpeters-ny.com
237
Carl Fischer
65 Bleecker Street
New York, NY 10012
Telephone and Fax: 1-800-762-2328
E-mail: cf-info@carlfischer.com / www.carlfichser.com
Donemus, Amsterdam
Funenpark 1
1018 AK Amsterdam
Telephone: 020 3058900 / Fax: 020 6733588
E-mail: info@donemus.nl / www. donemus.nl
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: office@ecspub.com
www.ecspub.com
Edition Tarrodi
Vallhallavägen 110
S-114 41 Stockholm, Sweden
Fax: + 4686613717
E-mail: info@tarrodi.se
www.tarrodi.se
238
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
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
239
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
Kendor Music
P.O. Box 278
Delevan, NY 14042-0278
Phone: (716) 492-1254 / Fax: (716) 492-5124
www.kendormusic.com
240
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: enspub@aol.com
Nopone Press
PO Box 50944
Denton, TX 76206
Telephone: (904) 565-4926 / Fax: (940) 565-2002
E-mail: jklein@music.unt.edu
Norsk Musikforlag A/S
c/o MMB Music, Saint Louis, MO
Telephone: (800) 543-3771
E-mail: infor@mmbmusic.com
Philharmusica Corporation
305 Madison Ave., Suite 1166
New York, NY 10165
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: schirmer@schirmer.com
Smith Publications
2617 Gwynndale Avenue
Baltimore, MD 21207
Telephone: (410)-298-6509 / Fax: (410)-944-5113
E-mail: sylvias@smith-publications.com
241
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
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
Warwick Music
1 Broomfield Road
Coventry, England CV5 6JW
Telephone: +44 (0)24 7671 2081 / Fax: +44 (0)24 7671 2550
www.warwickmusic.com
Wilhelm Hansen AS
Bornholmsgade 1
DK-1266 Copenhagen K, Denmark
Telephone: +45 33 11 78 88 / Fax: +45 33 14 81 78
E-mail: ewh@ewh.dk
242
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