SHIFT ING SHIFTING SIGNIFIER for rage thormbones LOUIS GOLDFORD
for Rage Thormbones
SHIFTING SIGNIFIER Louis GOLDFORD (2017) — PERFORMANCE SETUP —
PLAYER 1: tenor trombone + plunger + bassoon reed + harmon mute PLAYER 2: euphonium + bassoon reed // trombone + alto sax mouthpiece/reed + bassoon reed + harmon mute Possible amplification of quiet events, i.e. 2 microphones + engineer at mix position 2 headsets for playback of cue tracks
(Cue tracks may be played over a wireless transmitter such as the Sennheiser EW 300-2 566-608 MHz or similar in-ear monitoring system.) In lieu of wireless capabilities, two synchronized phones (or iPods, etc.) may be used for simultaneous playback of the same cue track. In such cases, a running 10 seconds at the start of the cue track has been provided (described below).
functions like a time signature (see pp. 3, 16, 18, 22, 26)
timeline in seconds
cue tracks
PLAYER 1 positions
1
audience
1
PLAYER 2 positions
2
The dimensions of this score are:
768 x 1024 pixels (especially suitable for viewing on an iPad)
— THE 1st TEN SECONDS (i.e. COUNT-IN) GOES A LITTLE SOMETHING LIKE THIS —
5” count-in
etc.
PLAYER 2
PLAYER 1
1”
2
(May perform inside/towards IPR side arches.)
(May perform inside/towards IPR side arches.)
Ideal spatial arrangement of the two players:
2
waveform (mockup) / sonic description
for Rage Thormbones
SHIFTING SIGNIFIER
10” at start of cue track 5” count-in before downbeat
for 2 low brass specialists — (1) trombone + bassoon reed + plunger + harmon mute; (2) euphonium + bassoon reed // trombone + alto saxophone mouthpiece + bassoon reed + harmon mute
Draft #2
768 x 1024 pixels (especially suitable for viewing on an iPad)
Louis GOLDFORD (2017)
2x tongue pitchle
1”
ss decel...
etc. “shh” head shake against mouthpiece
t.r.
t.r.
“shh” come sopra
PART 2
euphonium
bassoon reed
plunger
trombone
PART 1
The dimensions of this score are:
tuning slide state #1
come sopra tuning slide state #2
buzzy / quasi
come sopra
etc.
2x tongue pitchless decel... com
e sopra
“shh” come sopra
t.r.
t.r.
t.r.
t.r. etc.
short, semi-pitched tongue rams on bassoon reed, sparsely ad lib... come sopra
©2017 Louis Goldford (BMI). All rights reserved.
3
“shh” come sopra
“shh” come sopra
t.r.
low pedal tone + trigger slide up/down
t.r.
“pleading for life” voice-like crying rapid half valves / very little “reedy” sound ad lib. low multiphonic m2—M3 plunger tremolo
low pedal tone + trigger slide up/down come sopra
o
“pleading for life” come sopra
low pedal tone come sopra
come sopra
+
t.r.
“pleading for life” come sopra
“shh”
t.r.
low pedal tone + trigger slide up/down come sopra
“shh” come sopra
come sopra
quasi split tone distortion come sopra
pursed lips / 2x tongue mouth on-off mouthpiece / slide in-out
“pleading for life” come sopra
“broken buzzer” dull, pitchless tuning slide position
o
come sopra
come sopra
+
low multiphonic come sopra
quasi split tone distortion
“shh” come sopra
etc.
“shh”
etc.
come sopra
o
come sopra
4
low multiphonic + come sopra
low pedal tone come sopra
come sopra
pedal tone / trigger / slide up/down come sopra
pursed lips / head shake in front of mouthpiece
t.r.
pursed lips / 2x tongue t.r. come sopra
t.r.
1:00
o
low multiphonic + come sopra
between tuning slide positions
elephant trumpet rough split tone t.r. Ab2
t.r.
t.r. Ab2
“pleading for life” come sopra
come sopra
“broken buzzer”
t.r. Ab2
t.r. Ab2
t.r. Ab2
t.r. Ab2
5
“broken buzzer” come sopra
[
= 140
]
quasi
pedal tone / trigger come sopra
3
t.r. Ab2
[
= 140
]
quasi
3 t.r. Ab2
“pleading for life” voice-like crying rapid half valves / very little “reedy” sound ad lib. (come sopra)
“broken buzzer” come sopra
wild high note rips / extreme rapid slide movement / intermittent breaths ad lib.
t.r.
t.r. Ab2
elephant trumpet come sopra
low multiphonic
t.r. Ab2
t.r. o
6
+ come sopra t.r.
rough split tone glis sando (down ~1/4 ton e)
t.r.
split tone cresc.
2:00
t.r.
distorted / granular reed rearticulation
come sopra
o
t.r.
+ low multiphonic come sopra
o
t.r.
+ t.r.
come sopra
split tone cresc.
t.r.
t.r.
t.r.
switch slide positions (ad lib.)...
7
come sopra (here to 2:46)
switch slide positions (ad lib.)...
come sopra (here to 2:46)
come sopra...
“shorting circuit�
split tone Bb2 + Flz.
+ reed re-articulation / extreme distortion
8
3:00
low pedal Bb / trigger tremolo / slow gliss. up-down
“dying�
shorter phrases / more distortion from AIR / Flz.
air-reed sound ad lib.
ad. lib changes of central pitch from which to gliss., breath as needed...
reposition: 25 seconds to
position 2 with trombone / alto saxophone mouthpiece / harmon stem in... 9
tight plunger / higher pedal / slide temolo
up-down
“engines starting� trombone / alto sax mouthpiece / harmon lowest
possible pedal note / initiate w/teeth-on-reed sound
10
4:00 “reving up” ad lib. slide positions and trigger; abrupt changes in low/indeterminate pitch
“door stopper”
ad lib. WaWa/cresc.
may need to amplify in this section
come sopra engine/reving 11
may need to amplify in this section
[
= 76
]
disintegrating split tone add lip pressure until pitch granulates
quasi
o o++o o++o o++ o o++
etc.
o o++o o++o o++ o o++
etc.
come sopra
come sopra disintegrating split tone
come sopra door stopper 12
5:00
Flz. low pedal / slow WaWa cycles cresc.-descres. rumbly 2:1 split tone low & indeterminate
Flz. low pedal come sopra
13
come sopra: tight plunger / higher pedal / slide temolo
up-down
come sopra reving F slide and voice gliss. down (one articulated event)
Flz.
tongue behind teeth / WaWa in-out / no pitch / mouth off mouthpiece
come sopra: Flz. 14
low pedal / slow WaWa cycles / cresc.-descres.
Flz. Tongue behind teeth / air-pitchless / plunger / slide in-out mouth OFF mouthpiece
Tongue behind teeth / random slide pitch / plunger / pulse train / mouth ON mouthpiece
6:00
Flz.
come sopra: Flz.
low pedal / slow WaWa cycles / cresc.-descres.
ad lib. toungue ram “thunks” + plunger
o o++o o++o o++ o o++
etc.
come sopra
similie tongue ram “thunks” + TRIGGER
come sopra pulse train / pitched
o o++o o++o o++ o o++ come sopra
etc.
come sopra 15
ad lib. alternate tongue rams freely between plunger + trigger...
ad lib. intermittent reed squeeks / short, quiet impulsive events / interact with tongue rams above...
1�
etc.
etc. Tongue behind teeth / air-pitchless / plunger / slide in-out come sopra Flz. mouth OFF mouthpiece
7:00
1�
ad lib. short/high/sparse/quiet rips, mimicking reed squeeks below...
come sopra engine/reving 16
ad lib. circular breath as needed...
come sopra: tight plunger / higher pedal / slide temolo
up-down
come sopra door stopper more aggressive WaWa: come sopra: low pedal / slide tremolo / up-down wah / plunger tight plunger, etc.
come sopra: aggressive WaWa
come sopra engine/reving
come sopra engine/reving
come sopra: aggressive WaWa
come sopra: tight plunger, etc.
come sopra engine/reving 17
come sopra: tight plunger, etc.
any rumbly low 2:1 split tone
1”
increase pitch by 1/4 tone
etc.
2” remove plunger
door stopper 6” to remove alto sax mouthpiece
and harmon mute...
any rumbly low 2:1 split tone
8:00
split tone #1
increase pitch by 1/4 tone split tone #5
split tone #3
split tone #2
split tone #4 18
split tone #9
split tone #7
split tone #8
split tone #6
split tone #13
9:00
split tone #11
split tone #12
split tone #10
split tone #15
split tone #14
split tone #17
split tone #16 19
split tone #19
split tone #9
split tone #18 ad lib. circular breathing as needed...
split tone #14
split tone #12
10:00
split tone #10
ad lib. circular breathing as needed...
ad lib. circular breathing as needed...
split tone #13
split tone #11
split tone #16
split tone #10
split tone #9
split tone #18
split tone #17
split tone #15
split tone #19 20
split tone #1
split tone #2
split tone #3
split tone #11
split tone #14
split tone #5
split tone #12
split tone #4
split tone #13
split tone #16
split tone #17
11:00
split tone #7
split tone #15
split tone #6
split tone #18
split tone #2
split tone #19
split tone #9
split tone #8
split tone #3 21
split tone #1
split tone #10
split tone #11
split tone #10
8” to add bassoon reed + harmon (stem in)...
split tone #9
12:00
split tone #8
valve trill / HEAVIER distortion
+ bassoon reed / MEDIUM distortion state E6 as 15° of a low F2 fundamental
as necessary 1”
come sopra
come sopra: valve trill
split tone #6
split tone #3
etc.
dull / semi-pitched / LOW distortion
come sopra: dull / semi-pitched / LOW distortion
come sopra: valve trill
22
come sopra: valve trill
open; pursed lips “human cries” high indeterminate downward glissandi...
split tone #10
“shh” pursed lips come sopra
o
plunger slapping bell come sopra
split tone #10
+
o +
o
ad lib. distortion events
+
o
split tone #10
+
any split tone cresc. come sopra
+
plunger slapping bell
tongue ram “thunk” come sopra
+
o
tongue ram “thunk” come sopra
o+ 23
F pursed lip tongue intermittment + plunger
elephant trumpet rough split tone Flz. come sopra
plunger slapping bell come sopra
D open / half-valve lips shaking slide / talking
tongue ram “thunk” come sopra
split tone #3
13:00
pursed lips / 2x tongue come sopra
o+
D open / half-valve lips shaking slide / talking come sopra
+
o o o
o+
+ +
+o
+
F pursed lip tongue intermittment + plunger plunger slapping bell come sopra
elephant trumpet Flz. come sopra
+o
+
come sopra
split tone #6
o+
Flz. Tongue behind teeth / random slide pitch / plunger pulse train / mouth ON mouthpiece / come sopra
ad lib. filtering high partials / MEDIUM-to-HIGH varying amounts of distortion...
come sopra
come sopra
24
pursed lips on/off mouthpiece (come sopra) single or double event as an attack
disintegrating split tone add lip pressure until pitch granulates come sopra
between mammalian cry + shorting circuit sound: trigger-half trigger crossfade / Flz. varying amounts of HEAVY distortion on low F2
come sopra
between mammalian cry + shorting circuit sound: come sopra
10� to add bassoon reed + harmon mute (stem in)
25
isolate / hold heavy distortion on high harmonics, as if a power chord was feeding back through a delay network
with bassoon reed / harmon mute (stem in) randoms filtering, slide movement, rearticulation mimicking morse code in 2nd player just seconds prior
etc.
14:00
1�
Flz. / morse code reed rearticulation come sopra each iteration should gradually rise in pitch and speed up towards final abrupt cut...
with bassoon reed / harmon mute (stem in) randoms filtering, slide movement, rearticulation mimicking morse code in 2nd part just seconds prior antiphonally with 1st player
each iteration should gradually rise in pitch and speed up towards final abrupt cut... 26
27
November 2017 | New York City