9
9—
... W H AT ’S L E F T W H E N ...
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for solo trumpet
[you]
j o.l 9—————————————————————————————————
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This score belongs to [
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brusenta.com
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i ——————— published do by dots m u s i c ————— music, art, & words © 2016 Aleksandr G. Brusentsev
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score design by Aleksandr G. Brusentsev
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ISSUU edition, 2017
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9 ...what’s left when... was written for
Imogen Hancock as part of the Connect . The . Dots project. ————— The original version was composed throughout August 2014. Substantial revisions took place throughout 2015 and 2016, reaching completion in May. ————— The first performance of the original version was given by
Imogen Hancock in the David Josefowitz Hall, London, UK, on 16 September 2014.
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4
for Imogen Hancock
iv
Program Note —— ——————————————
4———————————————————[ the listener ] In Short Written in close collaboration with the dedicatee, Imogen Hancock, …what’s left when…, for solo trumpet, is about trying to get it right.
Background // how this came to be I started this piece in August 2014 as part of my master’s thesis at the Royal Academy of Music. It was a project called ‘Connect . The . Dots’ (connectthedots1.wordpress.com). The goal was to compose four solo works and contextualize their premiere within a transparent creative arc. To do this, my collaborators and I documented our work, from initial planning to the premiere, on a dedicated website and gave the listener the power to choose how to engage. Beyond just ‘opening the doors’, this was an invitation for the curious to create a meaningful, self-directed, and effortlessly-educational experience for themselves. For the musicians and me, this openness came with a tremendous sense of vulnerability; after all, we showed both successes and struggles. It was a daunting commitment to make. Then again, without it, nothing would have worked. Beyond its importance as my thesis, the Connect . The . Dots project marked a defining point in my artistic development. As a result, each piece became the embodiment of some bit of that moment. This one, …what’s left when…, is the catalog of struggles: a fanfare for failure.
Music // what you might hear The piece announces itself with three long calls that establish the main point of reference, an untouchable peak with an irresistible pull. Severing the last call, a sputtering attack breaks the tension. This restless line is the primary thread. It unfolds in spasms, grasping for what is beyond. In essence, this conflict between an unreachable goal and an unrelenting drive to reach it is the piece. Failure is inevitable (of course), but there is beauty in the fall: what’s left is what’s right to rebuild – differently. The title is a nod to a Robin Williams quote from the end of his special, An Evening with Robin Williams.
n
v
}
fanfare-like leaps
two untouchable anchors/limits
{
Three primary ideas compose this piece. Much like characters in a story, each idea must always maintain a distinct identity – no matter the context.
sputtering strands
§ § §
Working Parts —— ———————————————————————————————
4————[ the performer ]
Always played senza vib., these
These strands are the core of
Always played dolce, with a
high F # s and pedal Cs are the
the piece. At first somewhat
mixed sense of relief and long-
pitch ceiling and floor, respec-
static,
lines
ing, these leaps embody the
tively. The sense of distance,
expand harmonically while con-
freedom for which the strands
unattainability, and, in the case
tinually intensifying their efforts
(2) strive. Though not marked
of the pedal Cs, dynamic im-
to reach beyond established
in the score, the use of vibrato is
mobility should be stressed.
boundaries. Despite undergoing
highly encouraged to achieve a
many transformations, the sense
sound that is clearly distinct
of a single, focused effort must
from the two anchors (1). This
prevail.
distinction is especially impor-
1 2 3 these
stuttering
tant after bar 195 where the material is drastically slowed down.
*
————————————————————————————————— Note: In addition to the strictly musical developments, a more general emotive trans- formation, going from closed to open, spans the entire piece and should be accented.
§ § § § § §
Handling Instructions ————————————————————————————————————————————————
vi
Before
Notation Quirks
Dynamics
. . . . . . .
Though intended for C trumpet, this piece can also be played on a Bb B trumpet (in which case the score becomes a transposed part). This piece requires an adjustable cup mute to be inserted for the duration of the performance. Arrows (
) suggest a smooth transition between defined states.
Solid slur lines ( ) signify legato. Dashed slur lines ( function as phrase marks.
)
‘Senza vib.’ indications apply only to the note(s) directly below and do not carry forward unless extended by a bracket. Breath marks (
) specify a very short break taken in time.
Hairpins connecting to new dynamics should reach the designated level. Hairpins without a destination show fluctuations within the last dynamic. Note 1: A ‘molto’ label over a hairpin means ‘to the greatest degree possible’, regardless of previous or upcoming dynamic. Note 2: Hairpins starting or ending with a circle express from ( or to ( ) nothing (niente), respectively.
.
Dynamics not preceded by a hairpin, ‘cresc.’, or ‘dim.’ should be regarded as ‘subito’ dynamics, with no implied gradation: iq iq iq should be seen as iq iq iq p
Time & Tempo
.
.
f
p
f subito
Tempo fluctuations (rit., accel., etc.) connected by a dashed line denote a continuous transition from one to the next until a destination, such as ‘A tempo’ or a new metronome marking, is reached (first occurrence: bars 15 – 17). Tempo changes that are not connected signal an immediate shift, with no implied gradation (first occurrence: bar 24). In either case, tempo fluctuations carry until they reach a destination or are negated by another instruction. The meter and implied rhythmic groupings are integral to the conception of this piece, conveying not only time but feel. They should always be emphasized as if playing with and reacting to another musician beating time (perhaps a drummer). Note: ‘Tagged on’ bars (first occurrence: bar 60) are not counted as individual bars and are conceived in the negative:
.
2+ 1 4 8
should be ‘felt’ as
3-1 4 8
Feathered beams demonstrate an accel. ( ) or rit. ( the given time, with no changes to the overall tempo.
) within
)
§ § §
Handling Instructions ——————————————————————————————— a few more
vii Techniques
. .
Glissandi should span the full value of the note from which the ‘gliss.’ line extends. Unless otherwise marked, the destination pitch should in no way be emphasized (via articulation, dynamics, etc.). There are two ‘non-standard’ articulations: - Ghost tongue Performed by tonguing very lightly at the teeth, resulting in a light and present sound with no resonance. - Tongue stop Performed by forcefully smacking the tongue against the mouthpiece, as if to say ‘HT!’, resulting in a percussive attack.
.
There are two ‘non-standard’ techniques performed with the valves: - Half valve Performed by pressing a valve halfway so as to alter the timbre. The notated pitch will likely be out of tune – it should not be adjusted. - Valve flick (crossed stem) Performed by slightly pushing down an unused valve and allowing it to snap back to position, resulting in a percussive sound. (Always paired with a ghost tongue articulation.)
Performance
.
. .
This piece uses quarter tones based on 24 equal divisions of the octave (each note being 50 cents above/below its neighbor). Because these notes can be achieved a number of ways, the specifics of their execution are left to the performer. Their spellings are below.
Three roughly-equidistant cup mute settings are used to distinguish musical elements: Closed - Half-open - Fully-open Two directions regarding height of the trumpet are used to emphasize the high calls: Bell up Aimed high, as if playing a fanfare Bell norm. Regular playing position
o
Duration: ca. 8'30''
————
——————————————
LED 21.10.2016
viii
This score is the result of countless, lovingly-dedicated hours of my life. I am able to share it without paywalls, omissions, or watermarks thanks to the generous support of patrons on Patreon...
ix
shop ...and the revenue from sales made at brusenta.com/shop. I hope you enjoy,
2
for Imogen Hancock
...what’s left when... q = 63, Tense, focused cup fully-open bell up senza vib.
Trumpet
# w^ ™™ 7 &4
# w^ ™™
U ∑
Obsessive, unstable, closed off
6
Aleksandr G. Brusentsev
5 æ 2 3 & 4 œ œ œ œ œ œ œæ œ ≈ œ œæ ≈ ‚ œ ≈ ‚r 4 -v. . . . . -. . . -. . . . . legg.) bell norm. (flt. 3
p
5 ˙™ 4 f
3 #˙ ™ 4 o
close cup
U Ó
(No gap, right in.)
2 4
æ ™™ ™2 r œ- ‚. ≈ ‚. œ. ‰ ‚. œ. ‰ ™ 4 œ- ‚. ≈ œ- ‚. ≈ ‚-. œ. ‰ ≈ ‚. ‰
ææ r ≈ r ≈ ≈Œ 9 3 2 3 æ ™ ™ ≈ ‰ ≈ ™ ™ b œ œ œ œ œ œ œ œ œ b œ œ œ œ & œ ‚ ‚œ 4 œ ‚ œ ‚ œ œ ‚ œ œ œ œ. 4 -. . . . . . . . -. 4 . . . . ‚. 8 v - . -. . - . - . - molto . . 3
5
3
11
f
(corta)
p
A tempo (q = 63)
3 3 r r r≈ r≈ r≈ r≈ r≈ r≈ æ ≈ r≈ æ ≈ 3 æ‰ r≈ r≈ æ ≈ r 3 9 3 b œ & 8 . ‚. œ. œ. ‚. ‚. œ. ‚. œ. 4 b ‚-. œ. ‚. œ. œ. ‚. œ. 8 œ- b œ œ b œ œ b œ œ. 4
accel.
rit.
15
p
æ ≈ ≈ ≈ æ ‰ r ≈ ‰ ær ≈ ≈ r Œ 3 œ. ‚. ‚. œ. b ‚. œ. ‚. & 4 b œ- œ.
18
5 3 &4 œœœœœœ -v. . . . . -.
22
3 5 æ 3 2 3 8 b œ- ‚. ‚-. œ. œ œ œ. 4 œ œ œ œ œ b œ. œ. œ œ œ 4 . -v. . . . . f 3
p
ææ r ≈ r ≈ 5 r ≈ r ≈ r ≈ ≈ r ≈ r 6 œ. œ. œ. œ. 8 ‚. œ. ‚. œ. ‚. 8 3
poco rit.
f
™™ r ≈ ≈ r ≈ r ≈ r ™™ 44 ≈ œ- ‚. ‚. ‚. ‚. œ. A tempo
rit.
5 j 4 1 3 6 2 b œ & 4 œ ‚ œ ‚ œ œ ‚ ‚ œ ‚ œ œ ‚ ‚ œ œ ‚ ‚ 16 œ œ. 4 œ. œ. œ. œ. œ. ‚. œ. ‚. œ. œ. ‚. ‚. œ. 16 œ ™ œ ™ b œ ™ 4 - . . . . . . . . . . . . . . . . . -v molto
25
A tempo
5
3
6
p
f
6 r r 2 & 4 œ. œ. œ. œ. œ. œ. œ. ‚. œ. ≈ ‚. œ. œ. œ. œ. œ. œ. ‚. ≈ ‚. -
29
7
p
poco rit. æ 5 r ≈ ≈ r ≈ r ≈ r ‰ 3 r ≈ ‰ ≈‰ 2 œ. 8 œ. ‚. ‚. œ. 8 ‚. 8
© 2016 Aleksandr G. Brusentsev
3 9 7 5 #œ 2 3 4 2 &8 8 ‰ b œ œ ™ n œ. 4 œ œ œ œ œ œ œ œ œ µ œ œ œ œ. <µ> œ œ œ. œ. n œ # œ B œ œ. <B> ‚ œ ≈ n ‚r 4 -v. . . . . . . . . . . . > . . > . >. . . . . > o poco o p
33
A tempo
(Allow just a hint of note to sound.)
æ 2 æ 3 æ & 4 œ œæ œ ‚ œ ‰ 4 œ œæ œ ‚ œ ‰ œ œæ ‰ œ ‚ ≈ œ ‚ ≈ ‚ œæ ‰ - . - . -. . -. . . . . -. . . . . -. .
36
3
3
3
‚. œ.
dim.
& ™™ ‚r ≈ ‰ ‰ ‚r ≈ œr ≈ ‰ . . .
™™ r ≈ ‰ ¿ œ. 4-. 4. 4. 4. 4. Œ
40
43
& Œ
4. 4. 4. 4. 4-.¿ Œ 5
5
Œ
r 4. ≈ ‰ Œ
ff
‰ Œ
(sounding
‰
‚. œ.
6
ffffff
‰ Œ
‚. œ.
®‰
Œ
f (sounding p)
Π)
U ∑
fully open cup
4 4
q = 84, Increasingly agitated, spilling over
4
bell up senza vib.
# w^ 4 &4
47
≈ ∑
close cup
f
2 4
¥ bell norm. 3 5 7 œ ® 2 J b œ œ n œ 4 œ œ œ œ œ œ œææ œ œ œ œ œ œ œ œ œæ œ œæ œ 43 . -v. . . . . -. . . . . . . . . . . . . .
3 #˙ 4 o
p
3
3 2 1 r 2 & 4 œ œ œ œ œ œ ≈ ‚ œ ≈ ≈ ‚ œ ≈ 8 œ œ b œ œ. œ œ œ œ b œ œ œ. œ. œ. 4 œ. ‰ ‚r œr ‰ ‚r 4 . . . . . > . . . -. . . . . . . . >
52
6
f
2 3 2 3 r≈‰ & 4 œ ‚ ≈ œ ‚ ≈ ‚ œæ ‰ œ ‚ ≈ 4 œ ‚ ≈ œ ‚ ≈ ‚ œæ ‰ 4 +16 œ. - . - . -. . - . - . - . -. .
57
p
2 1 2 & 8 # œææ œ œ œ. 8 b œ œ ™ œ œ ™ œ œ ™ b œ œ œ œ. 4 b œ œ ™ > > > > > > 3
61
7 6 #œ ™ 2 1 3 ‰ & 4 œ. œ. œ. œ. B œ. œ. œ. œ. œ. œ. œ. œ œ 4 # œ œ 8 -v .. .. o molto
1 4‚ œ ‰ . .
≈ ‰ œ. œ œ.
p
2 4
¥ bell norm. 7 6 1 ‰ 3 1 4 œ n œ b œ œ. 4 œ. œ. œ. œ. B œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ # œ ≈ 8 -v .. .
bell up senza vib.
68
1 2 & 8 n œ œ ™ œ # œæ ™ 4 Œ > >
73
f
p
3 1 3 2 œ œ ™ œ 8 œ # œ ≈ ‰ ‰ 4 ‰ œ œ b œ œ. 4 n œ-. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 4 v . > . 7
7
6
2 3 & 4 œ. œ. ‰ ‰ œ œ b œ œ. 4 n œ-. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ- ‚. ≈ œ. v p
79
5 ™ 28 ‰ ¿ 4-. 4. 4. 4. 4.
3
f
6
æ 2 œ.æ œ. ‚. œ. ‰ 4 3
æ 2 2 3 & 4 œ- ‚. ≈ œ- ‚. ≈ 4 œ- ‚. ≈ œ- ‚. ≈ ‚. œ. ‰ 4 œ- ‚. ≈ œ- ‚. ≈ ‰ œ œ b œ œ. ≈ œ- ‚. f > p
82
r 6 ≈ r≈ r≈ r≈ r≈ r≈ r 2 r ≈ r ææ ≈ r ≈ r 8 ≈ ‰ ≈ ≈ & œ- ‚. ‚. 8 œ. ‚. œ. ‚. œ. ‚. 4 œ- ‚. œ. œ. ‚. œ. œ. œ. œ. ‚. 8 -
86
poco accel.
A tempo
3
half open cup
poco accel.
8 4 & 8 œ ™ bœ ™ Œ bœ ™ bœ ™ 8 ˙ b˙
90
q = 76, Grasping
2 b œ b œ. ≈ ≈‰ ≈ œ b œ œ œ. 3 b -œ ™ œ. -œ œ. -œ œ. -œ œ -œ 4 4 rit.
5
3
f 94
&
œ
f dolce
1 ∑ 7 b œ ™™ 1 ∑ 3 -œ ™ œ. -œ œ. -œ œ. -œ œ -œ 2 œ 8 16 8 4 4 o molto f dolce bell up senza vib.
-œ b œ œ
5
bell norm.
≈ ‰
close cup
accel.
5 œ 4 œ #œ œ .
q = 84, Drunken, rambling
5 7 6 5 3 5 3 4 r ≈ ‰ Œ Œ ≈‰ Œ Ó & 4 œ. œ. œ. B œ. œ. œ œ œ œ œ œ œ µ œ œ n œ. œœ 4 4 œœœœ B œ œ œ œ œ œ n œ ff ....... .. ...... ...... . -v
100
p
6+ 3 4 16
f
6 3 b œ œ œ Bb œ œ œ œ œ œ œ œ œ µ œ œ b œ œ œ œ œ œ Bb œ œ œ œ œ œ œ n œ œ œ œ ‰ ™ & 4 +16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5 4
r≈ ‰ 5 3 b œ œ œ Bb œ œ b œ œ œ œ œ œ Bb œ œ œ œ œ œ 4. 4. 4. 4. 4.¿ Œ & 4 . . . . . œ. œ. œ. œ. œ. œ. œ. µ œ. œ. . . . . . . . . . . . . n œ. 4 œ. -
4 4
5
103
7
5
6
p
5
104
7
5
5 4 & 4 ≈ # œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ. Œ
106
5
6
Œ
mormorio
1 3 8 ∑ 8
senza vib.
r≈ ‰ Ó f
p
w
(pedal)
3 2 & 8 Ϫ Ϫ 4
110
&
q = 76, Heaving
2+ 1 j œ œ œ 4 8œ ™ œ- œ- œœ3
œ-
dolce
3
3 ≈ œ # œ. ‰ ≈Œ 4
∑
half open cup
# œ œ 48 ˙ ≈ œ œ b œ œ œ œ 58 . #œ™ œ™
& Œ
‰ ™ 81 œ œ ™ œ æ 42 #œ ™ > >
2 3 ‰ ≈ 4 +16 œ œ œ b œ œ œ. ‰ poco accel.
116
120
∑
‰ 42
˙
3
r œ œ. œ. œ. œ. B œ. œ. œ. ≈ ‰ œ3
b œ-
dim.
accel. 5
rit. 5
≈œœ ≈ ∑
œ # œ.
close cup
5 4
6
q = 84, Fighting, fragmenting
7 6 5 5 2 1 4 ≈ œ œ œ B œ œ & 4 œ œ œ œ œ œ œ µ œ œ œ. œ. œ. œ. œ. œ. B œ. œ. œ. œ. œ. œ. œ. n œ œ œ œ 4 +16 œ # œ œ œ 4 n œ œ . . . . . . . . . . . . -. . . . . . . . .
125
5
5 5 4 2 1 & 4 œ. œ. œ. œ. œ. œ. œ. ˜ œ. œ. œ. œ. œ. œ. œ. œ. B œ. œ. œ. œ. œ. œ. œ. 4 b œ n œ œ œ œ # œ œ œ. œ. œ. œ. B œ. ≈ 16 -v 7
127
6
bellicoso
bell up senza vib.
bell norm.
b˙ 1 4 ∑ & 16 8
129
o
molto
1 4 3 3 16 b œ n œ 8 œ œ œ # œ œ œ. œ. œ. r ≈ ‰ 8 œ œ œ b œ œ # œ œ œ œ œ œ b œ 4 . mormorio
poco accel.
5 3 1 1 1 2 & 4 n œ-. œ. œ. B œ. œ. œ. œ. œ. œ. œ. œ. œ. ˜ œ. œ. 4 n œ. œ. œ. B œ. œ. 8 œ. œ. 4 œ. œ. œ. B œ. œ. 4 v
134
5
5
5
f cresc.
r r 2 r r 3 æ r ær 2 r æ 2 3 & 4 b œ-. œ. œ. n œ. œ. b œ œ œ œ 8 œ œ ≈ œ. œ. ≈ 8 ‚. ≈ œ. ≈ 8 ‚. œ. ≈ ‚. ≈ œ. 8 ≈ ‚. ‰ v A tempo 5
138
æ ≈ ær 2 ‚. œ. œ. 4 -
poco accel.
(non staccato)
p
bellicoso
æ 2 3 2 3 & 4 b œ œ œ ∫ œ œ œ. ‰ œ. œ. œ œ œ. 4 + 81 ∫ œ b œ œ. ≈ ‰ 4. 4. 4. 4. 4.¿ ‰ ≈ œ œ œ. ‰ 4 b œ. œ. œ. œ. œ. b œ œ œ œ 8 6
144
f
Completely withdrawn, broken
∑
∑
∑
sempre
r & œ. ≈ ‰ ‰ -
157
3
5
A tempo 5
(non staccato)
p
3 r & 8 œ. ≈ ‰ ‰ -
147
3
3
∑
‰ œr ≈ ‰ .
≈ œr ‰ ‰ . ∑
∑
∑
‰ ‰ 4r ≈ .
4
∑
∑
∑
∑ ∑
7
r r & ™™ œ. ≈ ‰ ≈ µ œ. -
164
∑
r ≈ ææj ‰ 3 ™ & 8 ™ œ. µ œ. r r & œ. ≈ ≈ B œ. ‰ -
∑
∑
™™
∑
‰ ‰ n 4r ≈ .
∑
™™ œ B œ ‰ ‰ -. .
171
176
™™
∑
r n œ. ≈ ‰ ‰ -
ææj ‰ r 3 + 1 ™ í ≈ & 8 16 ™ œ. µ œ. -
182
r r r 2 + 1 ¿ ≈ µ œ ‰ ≈ œ 8 16 ‰ ≈ n 4 ≈ 83 . . .
r r n œ. ≈ ≈ µ œ. ‰ -
r r µ œ. ≈ ≈ n ‚. ‰
2 ‰ n ‚r ≈ 8 .
∑
1 n œr ≈ ≈ µ œr Œ ≈ ™™ 48 +16 . -.
1 ™™ î 83 +16
r 2 1 œr ≈ µ œr ≈ n ‚r 8 ¿ n 4. 8 +16 . . 8 -.
8 r r r r r r r r 5 1 n œr ≈ µ œr ≈ œr ≈ n œr ≈ œr ≈ B œr 4 & 8 œ. ≈ µ œ. ≈ œ. ≈ n œ. ≈ œ. ≈ µ œ. ≈ n œ. ≈ µ œ. ≈ 8 +16 . . . . . 4 -.
185
poco accel.
A tempo (q = 84) * half-valve smear
4 & 4 n‚
187
mormorio
5 6 ¥ half-valve notes ¥ norm. n œ # œ œ. 3 4 ‚ ‚# ‚ ‚ ‚ ‚ ‚ ‚ œ œ œ œ œ œ œ œ œ# œ œ œ n œ# œ œb œ
* Gradually transition from a half-valve smear to proper notes. Make it messy.
>œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. 3 &4
188
q = 76
˙ 4 &4
191
‰
3
marcato
à2 * -œ 4 + 81
accel.
œ 3
˙
p
>œ^. J ‰
rit.
.œ œ œ.
3
>œ^. J ‰
>œ^. J
A tempo ¥B -œ ≈ 6 nU w™ œ. ‰ 4
3
p
* Smear the leaps and allow the pitch to sag.
‰
>œ^. J ‰
¥ fully-open cup >œ^. ≈ J Œ
close cup
√ ∑
(lunga)
o
4 4
8
q = 56, Vulnerable, searching
B˙ Œ & Bœ ˙ ™
195
œj
˙™
3
U 5 & 4 Ó™
200
‰ Bœ ™ œ > { poco
Bœ œ ˙ ™
˙
˙™
U™ Ó
3
p
#˙ ™ o
à ‰ ® B œµ œ œ 45 b ˙ b ˙ ™ 46 µ w ™ ˙™ 5
bell norm. 3 Œ Œ b œ 44 b ˙ œ 3 µ˙
p
˙™
bell up senza vib.
U ∑
o
5 4
senza vib. p
w™ “™
(double pedal)
Whole, open 207
U ∑
fully open cup
&
4˙ 4
3
œ ˙
-œ à3 œ. œ. B œ. œ. B œ. œ. gliss. œ µ œ n˙ ™ 4 -œ -œ -œ -œ -œ -œ -œ - J poco accel.
3
f dolce
212
q = 48
& ‰ f f Œ
Œ œ œ œ Bb œ. œ. 3
Œ
p
3 .œ .œ B œ. nœ ™ œ. 4 & œ œ n -œ œ- œ 4 j . b œ3 3
215
3
rit.
3
3
3
(poco)
‰ œ œ b œ. œ ‰ 4¿ 4 4 4 4 œ œ œ œ . -. . . . . 3
œ ‰ J
5
≈ b œJ ™
nw
1 4‰
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i do dots music