1
Spl i ttoneM ul ti phoni cson theTrumpet Excer ptf r om:Our ob or osandApoc r y phalChr y s opoe i a:Ae s t he t i c sandTe c hni q ue s PaulHembr ee,PhD |Compos er& Comput erMus i ci an 1823Or char dPl .Ur banaI L 61801 paul . j . hembr ee[ at ]out l ook. com |paul hembr ee. com 1. 1 I ntroducti on I nmovement st woandt hr eeofOur ob or os ,t hehar moni cs t r uct ur ei s i ndebt edt ot her ot at i onoft hecol umnars t r uct ur eofcel l si nt hevi r t ual i ns t r umentdes cr i bedabove( i nt he0r s tmovement ,t her ei snotenough over l apoft hei ns t r ument sandel ect r oni cs oundsf ort hi st obeneces s ar y) . Theacous t i ci ns t r ument spl ayf r om as el ect i onofpi t chesavai l abl ei nt he har moni c0el da5or dedbyt heel ect r oni ci ns t r ument .I naddi t i ont o i n6uenci ngmyacous t i cmus i cs t r uct ur al l y,myel ect r oni cmus i chasi n6uenced myacous t i cmus i ct i mbr al l y. I npar t i cul ar ,Ihaves oughtt oexpandt he r eper t oi r eoft i mbr esavai l abl eonmynat i vei ns t r ument ,t het r umpet ,us i ng di s t or t i onl i kes ounds ,r emi ni s centoft hes k i t t e r( r i ngmodul at i on)andc r us h ( s ampl i ngr at edeci mat i on)e5ect si nt hevi r t uali ns t r ument . Thi smel di ngof el ect r oni candi ns t r ument alt i mbr epr i mar i l yoccur si nt heopeni ngoft he s econdmovement ,whi ch,asawhol e,i st het r umpet“f eat ur e”movement . 1. 2 M ul ti phoni cson OtherI nstruments Overt hepas tf ew year s ,Ir es ear chedt her el at i vel ynew t er r ai nofbr as s s pl i t t onemul t i phoni csasawayt o0nddi s t or t i onl i kes ounds . Mul t i phoni cs i ngener alar ei ns t r ument alt echni ques ,0r s tdevel opedonwoodwi nd i ns t r ument s ,t hati nvol vet heappar entpr oduct i onofmor et hanone f undament alf r equency,s i mul t aneous l y,onamonophoni ci ns t r ument . Oboi s t Pet erVeal e( b.1959)pr ovi desaconci s edes cr i pt i on: As i ngl enot eon[ awi nd]i ns t r umentcons i s t sofal ar genumberof par t i al s( al ongwi t hani ns epar abl enoi s ecomponent ) ,whos e combi nat i onmakesupt hes peci 0ct i mbr eoft hei ns t r ument–i t s s pect r um.… Ast hes epar t i al sr epr es entexactmul t i pl esoft he f undament alnot et heyar ehear dasas i ngl enot e.… I ft hepar t i al sdo notr epr es entexactmul t i pl esofaf undament alf r equency,weheara 1 compl exchor dwhi chi scal l edamul t i phoni c. 1 Pet erVeal eandCl aus St e5enMahnkopf ,Thet e c hni q ue sofob oepl ay i ng :ac ompe ndi um wi t h
2 Br unoBar t ol ozzi( 1911–1980)andRegi nal dBr i ndl e( 1917–2003) compar edt hei ns t r ument alt i mbr esofmul t i phoni cswi t hel ect r oni ct i mbr esi n t hei ri n6uent i albook,Ne w Soundsf orWoodwi nd( 1967) .I nbr as smus i c,s pl i t t onemul t i phoni cshavebeenmor epr eval enti nt hel i t er at ur ef orandabout t het r ombone,per hapsbecaus ei t sl ar germout hpi ecemor eeas i l yal l owsf or t wos i debys i debuzzpoi nt st of or m ont hel i ps( s eebel ow) . St uar t Demps t er ' s( b.1936)bookTheMode r nTr omb one( 1979)pr ovi desagood des cr i pt i onoft het echni que,al ongwi t hamet hodofl ear ni nghow t opr oduce i twi t hr egul ar i t y: Thes pl i tt onei sanot here5ectt hatcl ut t er st het ext ur e. I ti sj us t whatt henamei mpl i es :as pl i t–i nt hi scas e,bet weent wopar t i al ss o t hatel ement sofbot hpar t i al sar ehear d. Thi si sameansofpr oduci ng mul t i pl es ounds–a“mul t i di vi der ”-notbyus i ngt hevoi ce,butbyt he l i psbr eaki ngupi nt ot woembouchur es .. . .Theper f or mermus thunt f ort hebal ancepoi ntbet weent het wopar t i al s ;t hi scanbehear d,or mor epr oper l yper haps ,f el t . Onewayt ol ear nt hi st echni quei st ol i p s l urbackandf or t hont het wopar t i al s ,s l owi ngdownunt i lt hebal ance 2 poi nti sf ound.
Fi gure1.Demps t erpr oduci ngas pl i t t onemul t i phoni c; 3 buzzpoi nt smar ked. addi t i onalr e mar k sont hewhol eob oef ami l y.( Kas s el :Bär enr ei t er ,1998) ,69. 2 St uar tDe mps t e r ,Themode r nt r omb one :ade !ni t i onofi t si di oms .( Ber kel ey:Uni ver s i t yof Cal i f or ni aPr es s ,1979) ,9. 3 DaveW i l ken.“Li pVi br at i onofTr omboneEmbouchur es ,Leno,Par t3of3. ”YouTube. ht t p: //yout u. be /gmBDG_wAeS4?t =3m31s( r et r i evedOct ober25,2013) .
3 Har ol dLl oydLeno' s( 1925–1998)di s s er t at i on4 f eat ur eshi ghs peed vi deoofDemps t er ' sl i psdur i ngt hepr oduct i onofs pl i t t onemul t i phoni cs , r eveal i ngt hatt her ear ei ndeedt wo,s i debys i debuzzpoi nt si nvol vedi nt he pr oduct i onoft hes es ounds . Eachbuzzpoi ntos ci l l at esatadi 5er ent f r equency,andeachs eemst oexci t eadi 5er enthar moni coft heai rcol umn wi t hi nt hei ns t r ument . Xenaki swasoneoft he0r s tcompos er sofnot at edmus i ct oempl oy 5 s pl i t t ones ,i nhi st r ombonewor kKe r e n( 1986) . Tr aci ngachai nofi n6uence t oXenaki s ,t r omboni s tandr es ear cherJamesLebenspos t ul at est hatXenaki s wasmadeawar eoft het echni quebyt hes ol oi s twhopr emi er edt hewor k, BennySl uchi n,whohadi nt ur nl ear nedi tf r om hi st eacher ,t r omboni s tand 6 compos erVi nkoGl obokar( b.1934) . 1. 3 Spl i ttoneson theTrumpet Spl i t t onesont het r umpetar el es swel lr es ear chedandl es spr eval enti n t henot at edt r umpetl i t er at ur e. Ext endedt echni quemanual sbyPaulSmoker 7 8 9 ( b.1941),At t i l i oTr i buzi,W i l l i am Dent on andAmyCher r y10,di dnot r evealanyment i onoft heexi s t enceofs pl i t t onemul t i phoni csont het r umpet . Theydi dment i ons i ngi ngwhi l es i mul t aneous l ypl ayi ng,whi chpr oduces s i mi l ar ,butl es saggr es s i vel ydi s t or t eds ounds .I t al i anGabr i el eCas s one( b. 1960)ment i onst het echni que,butwi t houtpr ovi di nganexampl eoft he 11 t echni quei nt r umpetl i t er at ur e. Cas s one,i nas i mi l arwayt oDemps t er , r ecommendsl ear ni ngt het echni quebybendi nganot edownwar dunt i li t s pl i t sont ot henexthar moni c,addi ngt hat“t hel i psmus tbekeptver yt i ght l y 4 Har ol dLl oydLeno,Li pVi b r at i onChar ac t e r i s t i c sofSe l e c t e dTr omb onePe r f or me r s .Thes i s( D. Mus .Ar t s )( Uni ver s i t yofAr i zona,1977) . 5 I anni sXenaki s ,Ke r e n:pourt r omb ones ol o.( Par i s :Edi t i onsSal aber t ,1989) . 6 JamesC.Lebens ,Ananal y s i sofKEREN f ors ol ot r omb oneb yI anni sXe nak i s :r andoml yg e ne r at e d mus i cwi t hi nas y mme t r i c alf r ame wor kandpe r f or manc ec ons i de r at i ons .Thes i s( D.Mus .Ar t s ) ( Uni ver s i t yofW as hi ngt on,1993) ,913. 7 PaulA.Smoker ,A c ompr e he ns i v epe r f or manc epr oj e c ti nt r umpe tl i t e r at ur ewi t has ur v e yofs ome r e c e nt l yde v e l ope dt r umpe tt e c hni q ue sande -e c t sappe ar i ngi nc ont e mpor ar ymus i c.Thes i s ( D. M. A. )( Uni ver s i t yofI owa,1974) . 8 At t i l i oN.Tr i buz i ,Ex t e nde dt r umpe tpe r f or manc et e c hni q ue s .Thes i s( M. A.i nMus i c)( Cal i f . St at eUni ver s i t y,Haywar d,1992) . 9 Wi l l i am L Dent on,Ex t e nde dt r umpe tt e c hni q ue s :ame t hodf ort he i re x pl or at i onandmas t e r y. Thes i s( D. M. A. )( Uni ver s i t yofSout hCar ol i na,2006) . 10AmyK Cher r y.Ex t e nde dt e c hni q ue si nt r umpe tpe r f omanc eandpe dag og y .Thes i s( D. M. A) ( Ci nci nnat i ,Ohi o:Uni ver s i t yofCi nci nnat i ,2009) .ht t p: //r ave. ohi ol i nk. edu/et dc/vi ew. cgi ? acc_num=uci n1242326372. 11Gabr i el eCas s one,TheTr umpe tBook( Var es e,I t al y:Zecchi ni ,2009) ,162.
4 cl os edandt hel owerj aw s houl dbepr oj ect ed. ”12 Heal s or eveal ss omeoft he pr ej udi ceagai ns tt het echni queont het r umpet ,ment i oni ngt hatt hi si s“t he s oundof t enpl ayedbyacci dentbybegi nni ngbr as spl ayer s , ”t hes ound col l oqui al l yknownas“f r acki ng”–acci dent al l ybuzzi ngatas peedbet ween t wopar t i al s ,whi chnor mal l yr es ul t si nanoi s yexpl os i onofs ound,f ol l owed 13 bys nappi ngont ot henear es tpar t i al . I nmybr i efs ur veyofnot at edt r umpetmus i c,Iwasonl yabl et o0nda handf ulofpi ecest hatus et het echni que,not abl yLi zaLi m' s( b.1966)Ehwaz 14 ( 2010) andEduar doMogui l l ans ky' s( b.1970)br ut al l ydi Vcul tLi mi t e s( 200615 2008) , whi chr equi r est hepl ayert obuzzont wot r umpet s ,bot hwi t h mul t i phoni cs ,s i mul t aneous l y. Thes ewor kswoul dnotbepos s i bl ewi t hout t hei rvi r t uos opr emi er epl ayer s ,Tr i s t r am W i l l i ams( b.1978)i nt hecas eof EhwazandVal ent í nGar vi e( b.1973)i nt hecas eofLi mi t e s . I ti swor t hment i oni ngt hats pl i t t oneshaveexi s t edout s i deoft he r eal m ofnot at edmus i c,i ni mpr ovi s at i onsandnonnot at edmus i cbyj azzand exper i ment almus i ci ans . Tr umpet erandcompos erW adadaLeoSmi t h( b. 1941)ment i onst hati nj azzt het echni queor i gi nat esf r om BookerLi t t l e( 1938 –1961)andMi l esDavi s( 1926–1991) . LeoSmi t hal s onot est hats pl i t t ones al s ooccuracci dent al l yduet of at i gue: Mul t i phoni csi seas y[ s i c] ,i t ’ swhenyourl i pget st i r edandt hel i t t l e i nnerpar tget sr el axedal i t t l ebi tandi tbuzzesorvi br at esal i t t l ebi t di 5er ent .… W hi l eBookerLi t t l ewast al ki ngaboutbei ngabl et odo t hat ,heneverqui t ea5ect edi t . . .Theguyst hatmadei tmos tavai l abl e, 16 t het hr eeguysont hePl uggedNi ckel dat e[ 1965]t hatMi l esDavi s 17 di d.Heus edmul t i phoni csont her e.
Pet erEvans( b.1981)hasexpl or eds pl i t t onesasacompos i t i onal r es our ceext ens i vel yandi nat r ul yi di omat i cf as hi oni nt henonnot at edpi ece 18 TheChamb e r ,f r om hi sal bum Nat ur e /Cul t ur e . Iwasabl et owor kwi t hEvans 12Cas s one,TheTr umpe tBook( 2009) ,162. 13I bi d. ,162. 14Li zaLi m,Ehwaz( Jour ne y i ng ) ,f ürTr ompe t eundSc hl ag z e ug( München:Ri cor di ,2010) . 15Eduar doMogui l l ans ky,Li mi t e s ,f ort r umpe tands mal le ns e mb l e( Sel f publ i s hedonl i ne:20062008) .ht t p: //www. mogui l l ans ky. i nf o/l i mi t es . ht ml( May22,2015) . 16Mi l esDavi s ,W ayneShor t er ,Her bi eHancock,RonCar t er ,andTonyW i l l i ams ,Thec ompl e t e Li v eatt hePl ug g e dNi c k e l1965( New Yor k:Col umbi aLegacy,1995) . 17W adadaLeoSmi t h,i nconver s at i onwi t hFr ankJ.Ot er i ,“W adadaLeoSmi t h:Decodi ng Ankhr as mat i on, ”Ne w Mus i cBox ,May1,2012. ht t p: //www. newmus i cbox. or g/ar t i cl es /wadadal eos mi t hdecodi ngankhr as mat i on/( June6, 2013) . 18Pet erEvan,Nat ur e/Cul t ur e ,( London:Ps iRecor ds ,2009) .
5 dur i ngaUC SanDi egor es i dencyoft heI nt er nat i onalCont empor ar y Ens embl e,whi chs er vedt ocon0r mt hatmyexper i ment sonmyown i ns t r umentwer ei ndeedf ai r l yuni ver s al l yappl i cabl et oot heri ns t r ument sas wel laspl ayer s . Dur i ngt her es i dency,Evansr ecor dedmypi eceBl ueSk y Cat as t r ophe( 2010/13) ,whi chwasl at erpr emi er edbycompos er t r umpet erSam W el l s . Bl ueSk yCat s t r opheasanappendi xt ot hi sdocument . Ther es eemedt obes omecons i s t encyi nt het uni ngoft hedi 5er ent par t i al swi t hi nt hes pl i t t ones ,t hei rdi Vcul t y,andt hedynami csr equi r edt o pl ayt hem,asaf unct i onoft hei rr ange. Themos tpr act i cals pl i t t ones ,at wr i t t enpi t ch,s oundi ngamaj ors econdl oweronBbt r umpet s ,ar es howni n 0gur e2. 32s pl i t t onesar et heeas i es tt ol ear n,andt henar r owi ngoft he i nt er valcanbemi t i gat edwi t hpr act i ce;t hes amei st r uef ort he43s pl i t t ones ,butt oal es s erext ent . Theeas i ers pl i t t onesr equi r er at herr es er ved dynami cl evel saswel l ,maki ngpr oj ect i ondi Vcul ti nens embl es et t i ngs . Thi sr es ear chenabl edmet owr i t eapr ogr es s i onofs pl i t t oneder i ved har moni esi nt heopeni ngmeas ur esoft hes econdmovementofOur ob or os , f r om meas ur e33t o47. Thet r umpetpar ti sr epr oducedi n0gur e3;dur i ng t hepr emi er et hepar twaspl ayedbyt r umpet erRachelAl l en. I naddi t i ont o s pl i t t onemul t i phoni cs ,t het r umpetpl ayeri sas kedt os i ngandpl aydur i ng t he0r s tt womul t i phoni cs ,i nt r oduci ngf ur t herbeat i ngt hes ound. Hal f val ve gl i s s andiar eus edaswel l ,whi chs oundpar t i cul ar l yi nt er es t i ngi nt heway t hatt hegr i t t ys oundoft hes pl i t t onesi s0l t er edbyt hepar t i al l ycl os ed val ves . Thi spr ogr es s i onofmul t i phoni cswasus edt ogener at eat oner ow t hatwasi nt ur nus edasas ubs t i t ut ef ort heci r cl eof 0f t hspi t chs paceact i ve i nApoc r y phalChr y s opoe i adur i ngt hi smovement . Thewoodwi ndi ns t r ument s( nots howni n0gur e3)i nt hi ss ect i on execut es i ngandpl aymul t i phoni cs ,whi char egener al l yl es ss t r i dentt han woodwi nds pl i t 0nger i ngmul t i phoni cs ,al l owi ngt her es er vedchar act eroft he t r umpetmul t i phoni cst os peakt hr ought het ext ur e. Thes t r i ngi ns t r ument s execut eavar i et yofnar r ow gl i s s andii nconj unct i onwi t hanopens t r i ng,a ver ys i mi l ars oundt os i ngandpl aymul t i phoni cs . Ampl i 0cat i onwasal s o us edt oai di nt hebal anceoft heens embl e. Theel ect r oni cs oundspr ovi ded byApr oc r y phalChr y s opoe i adur i ngt hi ss ect i onus et hes k i t t e re5ect ,whi ch cr eat esbeat i ngpat t er nss i mi l art ot hos ei nt hewi ndmul t i phoni csand wander i ngs t r i ngdyads .
6 1. 4 W ri ttenpi tch Spl i t toneson Bband C Trumpets
Fi gure2.Squar enot eheadsar eus edt oi ndi cat et he har s hbeat i ngs oundas s oci at edwi t ht hes emul t i phoni cs , i nas i mi l arf as hi ont oBar t ol ozzi ' snot at i onf or mul t i phoni cswi t hbeat i ngs oundsi nwoodwi nds . Al t er nat i vel y,Xenaki s 'Ke r e nus espar ent het i cal not eheadst odepi ctt hes pl i t t o( l ower )pi t ch,wi t ha r egul arnot eheadf ort hemai n( upper )pi t ch.
7 1. 5 Excerptf rom Ouroboros
Fi gure3.Spl i t t onet ext ur ei nt het r umpet ,Our ob or os , m.33–47.
Trumpet in C or Bb (Do not transpose)
Blue Sky Catastrophe 1,2,3.
4
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Faster yet q 112
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Faster, in time q 96 9
2010-11, Revised 2013
Take your time q 88
Paul Hembree
sfp
sfp
sim.
("ringing" tones)
19
pp
mf
p
sf
1. Fingerings are provided throughout for consisteny. The three circles from the top indicate valves 1, 2, & 3. A filled circle indicates a depressed valve, half filled indicates half depressed (seek out the amount of partial depression that provides maximum timbral contrast with regular tones), an open circle indicates an open valve. Lines between valves indicate gradual changes in depression. 2. Downward pointing triangular noteheads indicate pedal tones. 3. Square noteheads indicate double-buzz multiphonics (after Bruno Bartolozzi's New Sounds for Woodwind, 1967; "broken" sounds in woodwind multiphonics are indicated with square noteheads, and most often, double-buzz multiphonics on brass instruments sound "broken" as well). The top note can usually be thought of as the main pitch in double-buzz multiphonics; both notes may be considerably out of tune, which is acceptable. 4. Diamond noteheads indicate a half-valve sound with a stable pitch. 5. Trill with gradually increasing depth of valve depression on auxilliary tone. 6. The boxed "3's" with an arrow and accidental indicate adjustment of the 3rd valve slide; with a natural sign, it indicates normal position (in), with a quarter-flat sign, it indicates adjustment down (out) by a quarter-flat (after Robert Erickson's Kryl (1977)).
2
25
sf fp
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48 p
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(e=e) q. 74
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42
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sim.
30
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7. Plus-signs below the staff indicate covering the stem of the harmon mute, circles below the staff indicate uncovering the stem of the harmon mute. Small noteheads serve as an extra visual cue for the adjustment of dynamics and hand-muting with the goal of producing tones that sound "distant."
3
55
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sff ffp
61
Same tempo q 112
67
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tongue cutoff
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77
mf
sff ffp
( harmon mute with stem)
sffp
(e=e) q 112
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73
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4
A little slower q 96
!
81
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85 pp
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89
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! remove mute 93
98
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102
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Faster, in time q 96 accel.
p
107
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125
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" Take your time q 88 fff
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fltz. 118
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Faster yet q 112
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136
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Faster, in time q 96
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