Anything You Are Attached to, Give That by Jeremy Howard Beck

JEREMY HOWARD BECK

A N Y T H I N G YOU ARE A T T A C H E D T O, G I V E T H A T FOR

BASS

TROMBONE

Score (29 May 2017)

AND

PIANO

Commissioned by: Dennis Bubert, Justin Clark, John Engelkes, Randy Hawes, Gabe Langfur (lead commissioner), James Markey, Steve Norell, James Rogers, and Nick Schwartz

First performances: June 18, 2016 Cleveland Trombone Seminar, Cleveland, OH June 27, 2016 Boston University Tanglewood Institute, Lenox, MA

Instrumentation Bass Trombone (Harmon mute) Piano

Performance Notes 1. All dynamics are subito unless indicated otherwise. 2. All glissandi should begin immediately following the attack and move as gradually as possible—spend as much time as possible “between” pitches. Unless speci?cally marked, do not re-articulate the “landing” note. 3. A successful performance of the work depends on the creation, by the performers, of a meditative emotional atmosphere in the performance space. Lighting and staging may be helpful in this regard. For example: the bass trombonist may wish to sit behind the piano, moving into a more usual performing position (in front of the piano) in measures 59-62. Lighting, if used, should gradually dim over the duration of the work, possibly ending in darkness.

Duration approximately 8 minutes

iii

Program Note Anything You Are Attached to, Give at is named after the fourth in the series of instructions known as the Five Slogans of Machig Labdrön (Labdrön was a Buddhist nun in Tibet in the 11th century CE). De slogans are wonderfully counterintuitive—the second is "approach what you ?nd repulsive"—and my original plan was to create a ?ve-movement virtuosic work, with each movement's construction guided by one of the slogans. Dis piece is, therefore, a study in subtraction, dissolution, and letting go. It is mostly very quiet and extremely delicate. De simple beauty of the beginning lullaby, rocking gently, is systematically disassembled, bit by bit, until nothing remains. What began as a purely musical challenge (could I compose a piece without using certain musical techniques I was "attached" to?) gradually expanded to also become an emotional portrait of my experience putting this slogan, the fourth of Machig Labdrön's ?ve, into practice. De piece forced me to let go of many things—for example, this is the ?rst piece I've composed that has no climax. I also had to let go of the thing I was perhaps most attached to: not just my elegant, clever ?ve-movement plan, but having any plan at all. Dis is the ?rst piece I have ever written without having planned it—from the largest arc down to the smallest details—in advance. Dis is both the result of letting go and also what letting go feels like. In a further departure from my usual process, the piece was written backwards: the end was written ?rst (since that was supposed to be the entire fourth movement of the ?ve-movement work), and I then worked from the end to the beginning, bar by bar, gradually assembling the music that will be experienced as gradually taking itself apart.

for Gabe Langfur

ANYTHING YOU ARE ATTACHED TO, GIVE THAT Jeremy Howard Beck Lullaby q = 66 - 72 Very calm, but with some sadness Keep e pulse very steady throughout (non rubato)

Bass Trombone

°? ¢

4 nœ 4

˙™

#œ

*1 p (comfortable)

Lullaby q = 66 - 72 Very calm, but with some sadness Keep e pulse very steady throughout (non rubato) Voice the C§ out ever so slightly

4 &4 Œ

˙˙˙

<n>˙˙˙

*1 p Piano

‰ bœ bw 1 °

?4 Œ 4

{ B. Tbn.

°? ¢

Œ nœ

œj œj b œ bw 2 ø

œj œj nœ

œj

w 3 ø

œ nœ œ œ œ #œ

œ œ #œ œ ˙

3 3

& Ó

˙˙˙

<n>˙˙˙

(sim.) Pno.

j œ œ œ œj œj b œ œ œ œj œj b œ œ ? bw bw w 4 5 6 ø ø sim. >

{

œ œj œj nœ w

œ œ œj

9 B. Tbn.

°? <#>œ ¢ J

nœ ‰ Œ

œ œ

œ #˙

3 3

Pno.

& Ó jœ œ ?

{ w 8

Ó Ó Ó ˙˙˙ ˙˙˙ ˙˙˙ <n>˙˙˙ œ œ œj œj b œ œ œ œj œj b œ œ œ œj œj nœ œ œ œj bw bw w 9

2 | Je re m y How a rd Be c k

°? <#>œ B. Tbn. ¢ J

‰ Œ

Œ nœ

œ nœ œ œ ˙

œ#œ œ œ œ nœ œ œ œ

mf not too much

& Ó

Ó ˙˙˙

˙˙˙

<n>˙˙˙

˙˙˙ mf not too much

Pno.

jœ œ ? w

œ œ œj œj b œ œ œ œj œj b œ bw bw

{

œ œ œj #œwj nœ w

œ œ œj

17 ˙ B. Tbn.

°? ¢

˙™

Œ nœ

œ nœ œ œ œ #œ

œ œ #œ œ ˙

3 3

Pno.

Ó Ó & Ó ˙˙˙ ˙˙˙ pj j œj b œ œ œ œj œj b œ œ œ œ œ œ ? #w bw bw w

Ó ˙˙˙ œ œ œj œj nœ w

{

<n>˙˙˙ œ œ œj

very light accent in one breath if possible:

> œ

°? <#>œ B. Tbn. ¢

nœ Œ

Œ nœ ™

#œ ™ œ œ

œnœ œ œ œ ™ œ œ

œ 3

mf not too much

& Ó

Ó ˙˙˙

<n>˙˙˙

Ó #w

n˙˙˙

mf not too much

Pno.

j œ œ œ œj œj b œ œ œ œj œj b œ œ ? bw bw w

{

œ œj œj nœ w w 23

œj

A N Y T H I N G Y O U A R E AT TA C H E D TO , G I V E T H AT | Score | 3

25 #˙

œ ‰ ˙™ J

°? B. Tbn. ¢

nœ œ J ‰

œ b˙

(mf warm, dark)

& Ó bw

(still with a soft tone)

bbb ˙˙˙

n˙˙˙

bbb ˙˙˙

mf warm, dark

bbb ˙˙˙

f (still with a soft touch)

Pno.

j b œ œ œ œj œj b œ œ œ ? bw b w bw

œj œj b œ œ œ œj œj b œ œ œ œj bb w w bb w w

{

œ <n>>˙ ™ J ‰

°? B. Tbn. ¢

œ J ‰ n˙ ™

œ œ <n>œ œ œ nœ b œ b œ

& Ó

bbb ˙˙˙

Ó nn˙˙˙ #w p j œ œj nœ œ œ œj nnw w

j b œ œ œ œj œj b œ œ œ œj œj b œ œ ? bw bw bb w w bb w w

{ B. Tbn.

°? ¢

nœ

œ™

Œ ˙

Pno.

nœ ˙ Œ

œ ≈ œ œ œ™

œ bœ œ œ œ

bœ

Pno.

Ó Ó & Ó n˙˙ n˙˙ n˙˙˙ ˙ ˙ bw bw #w j œ œ œ œj œj b œ œ œ œj œj b œ œ œ œ ? w bw bw w

{

32 33 34 *2 Gliss. very gradually; do not re-articulate the C#

bbb ˙˙˙

œj œj b œ œ bw bw 35

œj

4 | Je re m y How a rd Be c k

38 A tempo, steady q = 66 - 72

Slower, colla parte B. Tbn.

°? ¢

˙

œ ‰ Œ J

> b œ b œ œ ∫œ ™ b œ J

nœ w

(pp) 3

A tempo, steady q = 66 - 72

Slower, colla parte

& Ó

bbb ˙˙˙

˙˙˙

bbb ˙˙˙

(pp) p

Pno.

j bœ œ œ œ ? bw bw

{

œj œ b œ ˙™ bw

œj b œ œ œ œj œj b œ œ œ œj bb w w bb w w

(breve) (breve)

Slower, colla parte

°? B. Tbn. ¢

A tempo, steady q = 66 - 72

U bœ

œ Ó

& Ó

n˙

3 2

A tempo, steady q = 66 - 72

Slower, colla parte

Pno.

U bœ

b˙™

n˙ œ

Slower, colla parte

(breve)

U ˙˙˙

Ó bbb ˙˙˙ ‰ b œ œ œ œj œj b œ œ œ œj U j j ‰ bw bw ™ bw bw bu w bœ œ œ œ

U ? œ b œ ˙™ bu w

{

bbb ˙˙˙

3 2 3 2

A tempo, steady q = 66 - 72

B. Tbn.

°? ¢

3 œ b ˙ 2

œ ™ nœJ œ œ b œ œ ™

œ Ó

> ‰ #w

4 4

A tempo, steady q = 66 - 72

3 &2 ‰ Pno.

j j j j nœ œ œ œ œ œ œ ™ w <n>w w ?3 Ó ww ww 2 w™ w

{

>™ 4 ≈<n>œj™ #w œJ œ œJ œJ œ œJ œJ œ œJ 4 > | mf p 4 ‰ 4 œ™ w™ > 46

?Œ

A N Y T H I N G Y O U A R E AT TA C H E D TO , G I V E T H AT | Score | 5

(Keep x pulse very steady)

°? B. Tbn. ¢

œ <n>˙

bœ ™ ˙

4 4

‰

œ ‰ #˙ J

3 n>˙ ™ 2

4 4

(Keep x pulse very steady)

œ œ ™ œ bœ œ ™ œ ˙

? 4 ‰ ™ b œR œ œ 4

3 2

p Pno.

> œ nœ 3 nw™ œ > 2 œJ œ œJ œJ œ |f 3 j 2 œ œ™ w™ > 49

˙™ ˙™

? 4<#>w 4 w ?4 4

{

B. Tbn.

4 4

∑

50 °? 4 <#> w ¢ 4

3 2

œ » J ‰

œJ œJ œ ™ p

4 4 4 4

‰ #œj œ

> > œ œ 44 œ >œ J J

>œ >œ œ >œ Œ J J

3 2

ff 3

? 4 ‰ ™ b œR œ & ‰ 4

œœ ™™ œ™

3 2 Œ

Pno.

loco

4Ó 4

‰ œœ ™™™ œœ ™

sffz

(p)

?4 4 œ

mf “^” *4 b œ œ– – b œ— ‰ J Ó

bœ œ œ ™ 3 œ bœ œ ™ œ œ 2

3 2

œ œ œ ™ œ œ 4 œ ™ bœ œ 4

œ œ™ 3 2

p ff

?4 4 <n>w w 50

{

3 2b w™ 51

4‰ j 4 nœ ˙™ w 52

*3 Tongue-stop: abruptly stop the air with the tongue against the top teeth *4 [Piano] Like an oﬀ switch: this note abruptly cuts oﬀ bass trombone *5 Breath accents: pulse air with the diaphragm (do not articulate with the tongue)

3 2

6 | Je re m y How a rd Be c k

™ 4 ˙ 4

°? B. Tbn. ¢

3 2 Ó

nœ

bw bw

3 &2 Ó

4 4

∑

>œ œ

œ œJ nœ ™

f p Pno.

> ? 3 œ bœ œ ™ œ œ œ œ œ ™ œ œ 4 œ ™ bœ œ œ œ œ ™ œ bœ œ ™ œ œ 2 4

œ p

f 3

{

?3 ‰ œ œ 2 bw ™

4 w 4b w

‰ œ œ w

A tempo q = 66 Keep pulse very steady (breve)

°? B. Tbn. ¢

œ J

U nw

4 ˙ 4

3 2

‰ Œ b˙

œ ‰ Œ J

3 4

“^” n œ– œ—

œ– 3 ‰ #œJ — Œ 2

U & w

˙˙ n˙

4 ˙˙ 4˙

Œ 43

(breve)

Pno.

U ? œbœ ™ œ œ œ ™ œ œ 3 œ ™ 2

sffz

bœ œ œ ™ bœ œ 4 bœ ™ J J 4

bœ œ J

œ 3 4

? U w w u

{

3 ‰ ‰3 b œj œ 2 b w™ 57

4 ‰ ‰3 nœj ˙ ™ 4 w 58

3 4

A N Y T H I N G Y O U A R E AT TA C H E D TO , G I V E T H AT | Score | 7

to Harmon mute (stem in)

°? B. Tbn. ¢

3 4

∑

˙˙ ™™ ˙™ 3 &4

4 4

∑

˙ ™™ ˙˙ ™

˙˙ ™™ ˙™

4 4

∑

bb w w w

Pno.

? 3œ ™ & b œ œ 4 bœ œ

œ œ œ œ

œ œ

œ ™ bœ œ œ™ bœ œ

œ bœ œ œ bœ œ

j œ œ

3 ‰ ‰ œj ˙ ˙™

œ œ ™ 44 œ b ˙ œ œ™ œ b˙

œ œ

?3 ˙ 4 ˙

{

œ™ œ™

nœ œ

4 w 4 w

Harmon mute, stem in *6

°? B. Tbn. ¢

+ n˙

o œ J

˙ ™™

Ó f

n œ– # œ— Œ ‰ J &

> bnb œœœ ‰ bœ

n œ– n œœ– —

œœ– — Ó œœ– —

œœ– – œ —Ó ‰ ‰ œ— J 3

Pno.

b˙ & œ œ b˙ 3 ? ‰ ‰ b œj ˙ ™ 63 bw

œ œ

{

b˙ b˙

w w

œ œ

œ œ Œ

b˙ b˙ n˙ ™

w *6 Start completely closed, and open extremely gradually. constant as the color changes.

e diminuendo should keep the dynamic

œ œ

8 | Je re m y How a rd Be c k

close extremely gradually (sim.)

o #˙

°? B. Tbn. ¢

+ remove mute œ Œ Ó J

3 œ 2

4 2

“>”– œ # œ— Œ &

“>”– œ # 3 ‰ ‰ œJ —Œ 2

loco

>œ ≈ nœœœ

n œ– n œœ– — J ‰ Ó

œ– œœ– œ— — Œ

loco

n>œ n œœ Œ nœ

œ ™™– œœ ™–? 4 —2 œ ™—

sfz Pno.

& œ b˙ œ b˙

sfz

œ œ

b˙ b˙

3 2œ œ

œ œ

b˙ b˙

4 2

˙™ ˙™

(p) 3 ‰ ‰ b œj ˙ ™ bw

{

? w w 66

3 2 w™ w™

4 2

open *8

n~ B.Tbn.

69 °? 4 ∑ ¢ 2

n~ #~ ∑ [ah] p electronic

[ah]

? 4 n) 2 Œ

(sim.)

#)) Œ

‰ nœJ w ™

‰ œJ w ™

Pno.

j ?b œ ™ 4 & 2 œ œ p ff ?4 ^ ‰ Œ 2 j œ. 69 “‘

{

œ œ™ J

W loco

“œ” œ ™™ œœ ?

œœ ^ j‰ Œ œ 70 . “‘

Ó Ó

& p

*7 [Piano] Silently depress A§ (and F# in 70) and allow to ring. *8 Sing into mouthpiece. Blend with piano resonance. Sing in the octave that is most comfortable.

A N Y T H I N G Y O U A R E AT TA C H E D TO , G I V E T H AT | Score | 9

ord.

U˙

°? B. Tbn. ¢

∑

3 2

Ó p

Pno.

? #n))Ó œ ˙ #˙ ≈ J™ ™ ?

“œ”– U #œ—? ™ r ‰ œ ˙™ &‰ J U Œ

˙˙ ™™

3 2

{ w™

B. Tbn.

°? 3 # ‚œ ¢ 2 -

» Œ

U Ó

n œ œ œ b œ b œ nœ œ #œ #œ œ nœ #œ Œ Œ

U Ó

3 4

4 2

∑

3 5

ppp ff

*10

Pno.

+ Æj U ? 3 #œœ ‰ Œ ‰ œ ™ 2J . ff mf ?3 j ‰ Œ U 2 73 œ. ˙ *P

(silently depress)

≈ #œj™ w

Œ œ

˙™

U U 6 3 )™ Œ 4Ó

ord.

œ 24 >

U Ó

{

3 4 75

4 2 ˙™ >

*9 Add voice to the played pitch. e slide moves very slowly to C#. Voice remains steady on D§. Pitch beating will begin fast and then slow down. *10 Damp string inside the piano, near the pegs, with the right hand, then play the F# on the keyboard. Depress damper pedal immediately after striking the note.

1 0 | Je re m y How a rd Be c k *11

Bb œ

°? B. Tbn. ¢

*12

Ÿ~~~~~~~~~~~~~~~~~~~Bb ^œ. w œ

4 2

˙ ‰ Œ pp

) ?4 w 2

6j œ‰Œ Ó J

» Ó

Ó œ ™ nw w ‰

‰ ™ œr œ ˙

œœ ‰ Œ J

j3 œœ

˙™

p Pno.

?4 2

{

j‰ Œ Ó œ

j‰ Œ œ

w™ 76

Ó w™ 78

*15

sub. Faster q = ca. 80

U Ú

°? B. Tbn. ¢

3 Œ /2

> ¿

UÓ

sub. Faster q = ca. 80 3

? j œ œ

U Ó œ

Pno.

U Ó

{ w™

3 /2 Œ f + 3w 2> 80 * P

*13

*14

> œ

>œ

U &Ó U ˙

79 *11 F-attachment trill: Start trill speed slow and speed up. *12 F-attachment trill: Very fast (constant speed). *13 Flick the una corda or sostenuto pedal (not the damper pedal) with the foot. *14 Slap the body/frame of the piano with the left hand (the right hand is still muting the C§ string). *15 Remove the F-attachent tuning slide. A loud "pop" should result.

A N Y T H I N G Y O U A R E AT TA C H E D TO , G I V E T H AT | Score | 11

Slower q = 50 (breath accents)

81 in the air °? Let the silences hang ∑ B. Tbn.

> 4 œ 2

>œ

3 4

¢ 7:4q 5:4q

Slower q = 50 Let the silences hang in the air ord.

Pno.

Ó ™– & w — w > ™ ord. ? ‰™ r

“>” w – – w w–

loco

>˙– Ó

3 4

4 2

∑ *

3 4

(f)

{

œ œ

4 2∑

82 p

T-2

B. Tbn.

T-3

°? 3 Bb>-‹ >‹ >‹ >‹ >‹ ¢ 4

4 2

5:3q

3 &4 Œ

T-1

> µ ‹ >‹ >‹ >œ >œ >œ >œ B>‹ >‹ >‹ J ‰ mf

“>” ≈ œj™ œ loco ^ Œ ‰ œJ 24 #W

4 2

Œ w™

“^” œ– ‰ J ? 24 sffz

Pno. fff

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4 2

4 2 ˙

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W 84

w™ 85

1 2 | Je re m y How a rd Be c k molto accel. T-2

#œ B. Tbn.

°? ¢

4 2 ∑

˜Y

Y ææ

Œ mf

molto accel.

loco

^ ?4 W 2W

‰ #œ #œ

œ œ

j œ >œ

œ œ

Pno. mf ff fff

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W W

sub. a tempo (q = 50)

Freely T-1

(breath accent)

*16

B. Tbn.

°? <˜>æ>‹ ‰» J ¢ ff ë

µUY Œ

*17

µµ ~Y

*18

# OY

U Ó

(fade out voice only)

(tone with noise)

(only air)

o p

no cresc.

sub. a tempo (q = 50)

Pno.

◊>ÿ n œj & <#>#œœ ‰ Œ <#> œJ (loco) ?

Freely

U ∑

Ó U Ú

∑

{ 88

*16 See footnote *9 in bar 72. (Slide moves gradually downward; voice pitch remains constant.) *17. Introduce more and more noise into the tone (with the embouchure). May 13, 2016 *18. Fade tone seamlessly to air noise (no pitch). Floral Park, NY