This is Not a Fanfare Jason Huffman
Trumpet in C Piano
Program Notes: This piece is the result of a commission from Phil Sullivan for a short piece for trumpet and keyboard. The title and content are inspired by René Magritte’s painting, The Treachery of Images, which contains the painted French text “Ceci n’est pas une pipe,” usually translated as “This is not a pipe.” Though somewhat different in content, this piece is a brief exploration of the effect of titles on our experience of the music, and is specifically inspired by my interest in cognitive and decision making science, where this effect is called conservatism bias. Loosely, this is a flaw in human information processing in which we tend to under-revise our initial beliefs when presented with new evidence. Even though we are told in the title that the piece is not a fanfare, the idea of “fanfare” has been planted in the listener’s mind and the entire piece is evaluated in terms of whether or not it fits that particular listener’s idea of what a fanfare is. On the most abstract level, the piece does fit some of the criteria for a fanfare. The bulk of the musical material is based on the resulting notes from alternating two combinations of fingerings on the valves of the trumpet and is thus very closely tied to the alternation of two overtone series, a staple of fanfares. I think most would agree that the actual sound world that results from this particular application of that compositional device does not result in music that would be called a fanfare by anyone who hadn’t already known the title in advance. The piano is in fact given most of the musical material that could be called fanfare-like; though the trumpet does get one mangled quotation of Reveille which is pushed out through the distorted overtone series resulting from the removal of one of the trumpet’s valve slides. Is this piece a fanfare, maybe?
Performance Notes: Trumpet Almost every note in the piece is notated with accompanying fingering. Two fingerings separated by a | with extending dotted line denote an alternation between the two fingerings on all notes under the dotted line beginning with the fingering on the left. Out of tune partials as a result of these fingerings are notated arrows attached to accidentals indicating the direction of the discrepancy. Between measures 27 and 40 the third valve slide is removed (the timing and vehemence of which is notated rhythmically). All regularly notated notes within this section indicate fingerings used and x-shaped noteheads indicate the approximate pitch of the resulting sounds which may vary slightly between instruments. Feathered beams in this section denote an accelerando and ritardando of the speed of the tremolo culminating in extremely fast and violent tremolos notated using four beams. These tremolos should be so violent as to cause a shaking of the entire instrument and a wavering of the resulting pitch.
Piano Grace notes with slashes happen before the beat; without slashes happen on the beat. The notes themselves are spaced to make this distinction visibly apparent, as in measure 4. The palm of the hand is used to mute a small section of strings inside the piano in measures 27 and 40-42. The section is approximate but should definitely cover the Bs in the staff and not cover the Bs in the octaves above and below. The duration of the effect is denoting with a dotted line. The sustain pedal is given its own staff below the grand staff and the depression and release of the pedal given as rhythmic values. A staccato dot at the end of a sustain denotes a sudden release of the pedal. Square noteheads denote a partial depression of the pedal (1/2 pedal), here also additional visually distinguished by putting these notes on the space above the single staff line. Any use of the soft or sostenuto pedal is left to the discretion of the pianist.
This is Not a Fanfare
for Phil Sullivan Unwavering. q = 72
& 45
Trumpet in C
Œ
5 &4 Piano
5 4
Œ
44 ˙ ˙ P 3
3
˙ ˙ ˙ p
4 4
∑
? 5 nœ 4 #œ
œœ˙|˙˙œ
∑
4 4
n œ- . n w>
w
4 w 4
w
œ˙˙|˙˙œ
46 6 4
œœ˙|˙˙œ
˙œœ|œ˙˙
n œn œ
π
b œ b œ œ œ b œ b œ 44 # ˙ p F n˙.
#œ nœ
π
. #w 6 4 n w .. P w. 6 4
∑
?5 4
∑ œ œœœ|˙˙˙
& 46
10
6 &4 ? 46 46
#œ nœ #œ nœ #œ #œ nœ nœ #œ p 3
3
bœ
nœ nœ
π
n n ˙˙ ..
n˙
b w. bp w . w. w.
n œ
bœ
π
n˙
nw bw
P
3
nœ
nœ
#œ
π
b˙ ˙ n˙
F
U 41 Œ
45
œ. J
3
œœ˙|˙˙œ
44 ˙ F
f 4 b ˙w 4
45
4
45 n n œœ
U 41 Œ
45
44
nw
p 44 ˙
˙
˙ #˙ F n˙
≠
bœ p
3
w
nw
≠
Œ
Œ
˙
3
ƒ > n ww –
˙
bw n˙ 3 f ˙
˙
5 4
˙ 3
n˙ P
44
˙
46
w
46 ˙˙˙|˙˙œ
œœœ|˙˙œ
46 46
∑
44 w
w
b˙
5 4
3
44
5 4
3
44
n œ- . b w >
3
w #œ œ œ . 3. . Œ Œ
∑
p
˙ n œ. œ. œ.
>j bœ
n˙ p
3
j œ
ƒ
bw
Œ
U 41 Œ
3
œœ˙|˙˙œ
n œ # œ 45 nœ bœ nœ
3
Wavering steadily. q = 72
1 UŒ
45 w
j #œ
accel.
& 45
p
˙œœ|œœ˙
3
w.
6 n œ Kn œ Kn œ b œ n œ b œ n œ Jb œ Kn œ œ œ œ # œ b œ œ œ 5 &4 œ œ bœ 3 6 . f
6
n˙ 3
n˙ œ f 4 n œ n œ. œ. œ. 4 # œw 3 ƒ 4 Œ Œ3 > 4 j #œ œ ˙ ˙ ˙ ˙ ˙ ˙ f 4 pœ3≠ 3 ˙ 4
#˙.
F
˙œœ|˙˙œ œ˙˙|œœ˙
Jason Huffman
‰ œ n œ œ n œ 46 #œ œ #œ œ nœ p p F n wœ œ œ . . . Œ 3 ƒ ww > –
3
3
˙.
6 4 46 46
2
accel. œœ˙|˙˙˙
œœœ|œœ˙
J U nKœ n œ # œ nKœ # œ œ # œ œ œ b œ n œ n œ Kn œ œ # œ n œ œ 6 # œ &4 œ œ 41 Œ 45 œ. 3 3 3 f Fp
14
& 46
∑
? 46
∑
Unsteadily. q = 72
U 41 Π45
1 UŒ
œœœ|˙œ˙
6 &4
#œ
19
& 46 ? 46 46
n œ
p
˙˙˙|œœœ
3 œ # œ n œ3 K n œ # œ # œ nœ
b˙
3
b œ
nœ
n˙
b œ
bb ˙˙ n˙ π π π F p b w . b w nw bw. P w. bœ
U œ. 41 Œ 45 R
œ ..
bœ
w.
œ˙œ|œœœ
#œ
˙œ˙|œ˙œ
˙ F
#˙ ˙ p
f nw.
w.
p w
b˙
bw.
œ Kn œ œ Kn œ Kn œ # œ œ # œ œ # œ # œ œ & 3 3 3 p 3
24
4 4 ˙ 44
˙
44 ≠
44
n˙ p
Œ
˙ n œ. œ. œ.
64 ˙
>j bœ
˙
˙
‰Œ ˙
nw
˙ b˙ w
46 ≠
˙ #˙ P
w
f w
46 46
∑
∑
46
w
44 w
46 w .
46
w ˙˙˙|œ˙œ
4 œ 4 œ œœœ Œ œ P p P n wœ œ œ 44 . . . ‰Œ 3 ƒ 44 > bw w
44 – J
œ.
˙œ˙|˙˙˙
˙
accel.
# œ n œ œ Jb œ Kn œ œ # œ œ #œ nœ œ œ #œ œ œ. f
&
∑
∑
?
∑
∑
w
44
˙
44
w
F
3
˙
n œ- . b w>
6 ˙ 4 p
ƒ
44
∑
n˙
j bœ
˙ b˙
˙œ˙|œ˙œ
45 b b œœ >
4
46 w
Œ
˙ ..
1U 4 Œ
4 4
14 UŒ
44
U 41 Œ
œ. J
U 41 Œ
44 44
Waving. q = 48
& 44
27
˙˙˙
3rd valve pop
Œ Œ
46
3
√ 3 œ
Mute strings with palm
œ3 4 &4 œ œ œ œ f œ ? 44 Œ&
?
œ
3
5 &4
f
? 45 45
F 6:5
˙. œœœ|˙˙œ
7 & 4 # w‹ . . ∏ & 74
P
? 74 n ˙ -
74
˙
74 w .
w.
74 w .
p
#˙
ƒ
nw. p
74
#w.
&
œ
ƒ
n ˙-
?
nœ
nœ
œ nœ #œ #œ
#œ bœ
43
∑
?
43
∑
43 ˙ .
43 ‹ . ˙ . #˙.
nœ nœ
43
∑
45
&
#œ #œ
43
∑
45
?
bœ
3 4 # ‹˙. # ˙ . .
#œ
nœ
?
#œ
43
∑
3 #œ 4
∑
∏
bœ
∏ &
n #n œœœ
˙˙œ
∑
5 . 4
n œ-
√ n ˙- .
Œ
45
f F P Œ Œ n œ 45 ˙.
n ˙- .
45 ˙ .
.
45
∑
7 4
n ˙-
44 n n ˙˙ #˙
F P 3 n ˙-
f
44
∏
74 74 74
w
45
43 ˙ . 4 4
44
43 ˙ .
˙.
bœ
œ nœ
œ
3 4 # ‹˙. .
#œ
œ
œ
œ
œ
&
œ bœ
ƒ
œ
œ œ
w.
74 w .
n ˙-
p
74
w.
7 ‹. 4 #w . ∏ √ nw.
# ˙-
74
F P n ˙-
œœœ|˙œœ
∑
& 45 n n n ˙˙˙
35
46
œ ˙
31
# ˙-
3
74 ‹ . #w. ∏ √ nw.
∑
46 n # n ˙˙˙ f 46
&
?
3
44 Œ 3 ˙
œ
œœœ|œ˙œ
.
1U 6 4 Π4 14 UΠ46
U 41 Œo 46
˙
41 œ
46
4
forcefully reattach 3rd valve slide
œœœ
Œ & 46 ƒ
40
˙ ˙ ˙ ˙ ƒ f ∑
44 ˙ F 44
w
44 w
Mute strings with palm
& 46 ? 46
46 ˙œœ|œ˙œ
& 43 b œ
45
& 43 ? 43 43
44 nw ∏
œœœ
#w œ ˙
2 nœ 4
˙
3
∑
P
#œ 5
œ œ œ
#œ #œ f nœ œ ˙ j bœ œ œ œ # œ œ. . . 2 4 . . . ‰ Œ n œ˙ . b œ œ œ 3 f f ƒ3 Œ >j 42 b ˙ nœ ˙ n˙ bœ œ ˙ ˙ n˙ ƒ > œ – œ. œ. 42 –J J nœ bœ p
p ∑
œ˙œ ˙œœ
5
f
bœ bœ
F b˙ ˙
Steady. q = 72
œ˙œ|˙œ˙
46 n ˙ p 46
œ ˙
3
w
rit.
˙œœ|œ˙˙
,
bœ
#˙
˙ P
44
∑
44
46 b w . bw.
44
46 w
44
∑ n˙
bœ nœ œ bœ nœ #œ n œ bœ nœ bœ 3 3 p F π f π b œr π r b n œ œ bœ r nœ r nœ œ nœ nœ b ˙ F π . P b ˙ pŒ bw w w
œ˙˙
˙œ˙ œ. #˙œ˙ Kn œ œ. 3 œ. 4 # œ 34 J ‰ b œ ‰ 4 nœ #œ bœ œ 3 f f 3
P n˙
˙
∑
#˙
43 43 43 43
w
Sturdy. q = 60
˙˙œ œ˙˙
Kn œ œ œ
œ˙˙|˙œ˙
˙œœ|œ˙œ
. 43 œJ ‰ n n n ˙˙˙ b˙ p f 34 Œ # # # ˙˙˙˙
44
43 Jœ. ‰
44
˙
44
˙˙œ
nw ƒ
# n ww
wwww ƒ wwww
n n ww w