SAUNDERS
White
for Double-bell Trumpet solo
ISSUU Version
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Version
REBECCA SAUNDERS
for Double-bell Trumpet solo White
ISSUU Version
For perusal only
ISSUU Version
For perusal only
In painting, white is the most extreme bright and light achromatic colour to the point of absolute luminosity, devoid of all shade and greyness.
White is notable ardent and is the colour of fury, white with rage.
A substance burning with the intensity of white hear, glows with a white light.
White is the cacophony of noise.
White also embodies an exquisite fragility.
White is dedicated to Marco Blaauw with my thanks for those wonderful collaborative sound-searching sessions.
Rebecca Saunders
Commissioned by musica viva / Bayerischer Rundfunk for the world premiere on 26 February 2016 at the Herkulessaal Munich, as part of the musica viva concert series
White(2015,revised12/2016) for Double-bell Trumpetsolo
Explanatory Notes
Mutes
Bell1 senza, bell2 wawa/harmon mute
ISSUU Version For perusal only
Fastermutechangesshowningraphcontinuumabovestave.
Forasmoothtransitionbetween harmon and wawa -stemin (wawa) or3/4out (harmon) -atalltimes.
Varymutechangestoachievenotatedresults,e.g.toenhance al niente effectatendofaSplit-tonephrase,theharmonmaybemoreeffective.Useof HV (half-valve)canbeveryeffective alternativetosomeslowandlyricaltimbraltransitionsorfor split-tones.
Effects
SH Flz Jaw
Tr. H.V
Tr. 1/4
Tr. tr. o/+
Shake.Wideamplitude,wildshake.
Fluttertongue,frontorback,dependingoncontext.
Widevibratowithjaw,trill-osscillationwithloweroctave.Withfingertrillismorecontrolled.
Half-valvetrill.
Trillupordown1/4-tone. Ord.trem.ortrill. Trillfingersdirectlyinfrontof wawa mute.
Theaboveexpressivetechniques(SH, Flz, Jaw etc.) canbeinterchangedasnecessarytocreateanevenmoreflowingandexpressiveline.
Irregulartrillwith1or2fingersinfrontofthe wawa mute.Varydistancebetweenbellandfingersandvaryalsothespeedoftrillasshowningraphics.
Combinedwithfluttertongueforafragileandfluctuatingsound.
Glissandoupordowntheharmonicseries,rough.Varyfingerings.Lowesttonescanbewellbelow2ndpartialofharmonicseries.
SmoothglissandousingHV.
�Split electronic birds
�Glissandouptheovertonesofgivenfingering.
Staccatodouble-tonguing,max.speed. --- �"'"'"" Continuousandeventransitionfromonetimbretonext.
Crescendoanddecrescendoasiffrom,andto,nothing.
1/4-tonesareapproximateandhaveanespressivequasi-melodicandtimbralfunction.Infastrhythmicpassagesexactquarter-tonescanbeleftoutoralteredtoachievefast dancingtempo.
Valveglissando.Lengthentubeatgivenfingeringtoalterpitch.
vib.
Assumewithout.Useexpressivelyandasextraeffectontopnotes.
A split-tone isresultantfastossicillationbetweentwoneighbouringovertonesofoneseries,causedbydifferenceintensionbetweenupper-andunder-lip:Blockupperlip,then lower-lipaimsforhighernoteofinterval,andupper-lipaimsforlowertone.Othernotesresonatewiththeinterval,givingimpressionofachord.A,,dirty"sound,tuningisunstable, e.g.thefifthmayde-tunebecomingatritone.Someintervalscanonlybelocatedwithvalvelengthened,givinganovertoneseriesdownonesemi-tone.
Takingsplit-tonestohighestovertonesgivesasoundcombiningaquasi-electronicpulsing,whitenoiseandseagullcalls.Dynamicsbetween ppp and mp.
Veryexplorative.Takemoreorlesstimeifandwhereyouneed!Verylittlebreathisneeded-Enjoy!
Blockupperlip,filteringoutord.tone,creatinga split tone. Arpeggioslowlyupovertoneseriesfromalowerandcomfortable split-tone intotheupperrealmofthe Electronic Birds sounds.Thepitchistoohighforastablesplit-toneresultinginacomplexsound,whichgoesbetweentheextremesof pulse and gliss.
Differentiationofcolourandeffectthroughfollowing:
1.expandingandrestrictingthesizeofthecavityofmouthandthroat- cavity
2.increasingandreducinglippressure- pressure
3. addingfurthertechniques: tk, accents, tube air
cavityrestrict pulse pressure max. pressure air "tube" min.pressure tk_
cavityexpand gliss. add accents
Generalnotes on White
Highstaccatopulse.
Slowgentleirregularpulse,mixedwithair. Fasthard-edgedquasi-electronictightpulsing,lessair.
Hearfullverticalairspectrumbeneaththehighquasi-splittone.
Addfastdouble-tonguearticulation,extendingpulsepalette. tk and pulse notpossiblesimultaneously.Exploreextremes.
Pure:lessair,lessverticalspectrum,lessdistortion. Fastshortglissesfallingdownhighpartials,likeseagullcalls. Explorehigherandlowerglisseswithandwithoutaccents.
1. Expressivegestures aredirect,dynamic,sexyandfurious!. Notatedefectsandmutechangesareaguideline.Vary,swapanddoubletheefectsandtechniquestoexpandandexplorethemelodicline.e.g.inaddition Jaw canbeused,adaptmutechanges oradd HV toextendthetimbralpalette.Donotfeelrestrictedbythenotation.Thelinemustflow! Quiet pianissimo momentsacutelyimportantfordifferentiationandstronginnercontrast.
2. Fast "On/Off" sections-thebellchanges wawa/senza and harmon/senza, and wawa o/+pulses, arenotatedonthegraphabovethestave.Thesecanbevariedslightly.
The 1/2-step graph showsonlypartialuseof4thvalveforpartialtimbralchangebetweenthetwobells.
3. Split-tones melodiclines.Quietsplittonesarebestplayedwith wawa or harmon, alsopossiblewithHV. plpp fragileandbeautifulwithmanypartials.At Forte electronic-sounding,stableanddirect. legato asmuchaspossible-melody!
4. Tempi givenareguidelines,muchdependingonthesolist,theacousticandsizeofperformancespace.Pausesandresonancesrespondtotheacoustic. Slowtempiarealwaysspaciousandlyrical.Fasttemponeedslightnessandspeed-116isaminimum-tolettherhythmicphrasesdance!
5. Amplification of Split-tones and Electronic Birds dependsontheacousticandsizeoftheconcerthall.
Agoodqualitymicrophoneonastandbeforethesoloistandspeaker/splaceddiscreetlybesidethesoloist-verysubtle!
Thesoundtechniciancanhighlightall Electronic Birds and Split-tone sectionsinthescoreandadjusttheamplificationaccordingly,sothatthetrumpetsoloisclearlyaudible:
1.Splittones(optionalampflication)2.ElectronicBirds,(mostly)compulsaryampflication.
Agoodsolutioninadryandlargeacousticisaslightreverbthroughoutthesolo,addingalittleamplificationonlyforthe electronic birds. Inaresonantacousticlikeachurch,orinasmallintimate space,ampflicationmaybeunnecessary.
Possiblealternativescenariostoamplificationcouldbeplayingintoagrandpiano,wherebythesustainingpedalisdepressedthroughout,orstandinginfrontofahalf-circleoftamtams.
Rs,12.2016finalversion
ISSUU Version
For perusal only
For perusal only
For perusal only
ISSUU Version
For perusal only
Rebecca Saunders
Rebecca Saunders (b. 19 67) studied with Wolfgang Rihm at the Musikhochschule in Karlsruhe, Germany, and for a doctorate in composition with Nigel Osborne at Edinburgh University. She lives in Berlin. Saunders’ numerous composition prizes include three Royal Philharmonic Society Music Awards, two BASCA British Composer Awards and the 2019 Ernst von Siemens Music Prize. Her works have been performed at festivals including the Huddersfeld Festival, the Berlin Biennale and the Darmstadt International Summer Course. In 2009 she became a member of the Berlin Academy of Arts. Saunders’ works include chroma, for chamber groups distributed throughout the performance space; void, a concerto for percussion duo and orchestra; and Yes, a spatial performance for soprano, 19 soloists and conductor.
Rebecca Saunders (*1967) studierte Komposition bei Wolfgang Rihm an der Musikhochschule Karlsruhe und promovierte an der Edinburgh University bei Nigel Osborne. Sie lebt in Berlin. Saunders wurde für ihr Schaffen vielfach ausgezeichnet, u. a. mit drei Royal Philharmonic Society Music Awards, zwei BASCA British Composer Awards sowie mit dem Ernst von Siemens Musikpreis 2019. Ihre Werke erklangen bei zahlreichen Festivals, wie dem Huddersfeld Festival, der Berliner Biennale und den Darmstädter Ferienkursen für Neue Musik. 2009 wurde sie zum Mitglied der Berliner Akademie der Künste ernannt. Zu ihren Werken zählen chroma für räumlich verteilte Kammergruppen, ein Konzert für Schlagzeugduo und Orchester mit dem Titel void sowie die Raumperformance Yes für Sopran, 19 Solisten und Dirigent.
Photo © Astrid Ackermann