Scott, Deb - Supplemental Studies for Mastering Extended Techniques in Three Late Twentieth-century Works for Solo Trombone (UNT 2004)

SUPPLEMENTAL STUDIES FOR MASTERING EXTENDED TECHNIQUES

IN THREE LATE TWENTIETH CENTURY WORKS FOR SOLO TROMBONE:

LUCIANO BERIO’S SEQUENZA V, FOLKE RABE’S BASTA

AND MARK PHILLIPS’ T. REX ,

TOGETHER WITH THREE RECITALS OF SELECTED WORKS BY WAGENSEIL,

GRØNDAHL, GOTKOVSKY, AND OTHERS

Deb Scott, B.M., B.M.E., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

May 2004

APPROVED: Vern Kagarice, Major Professor Thomas Clark, Minor Professor and

Associate Dean for Academic Affairs Joseph Klein, Committee Member and Chair of Composition Studies Brian Bowman, Brass Coordinator Graham Phipps, Director of Graduate Studies James C. Scott, Dean of the College of Music Sandra L. Terrell, Interim Dean of the Robert B.

Toulouse School of Graduate Studies

Scott, Deb, Supplemental Studies for Mastering Extended Techniques in Three Late

Twentieth-Century Works for Solo Trombone: Luciano Berio’s Sequenza V, Folke Rabe’s Basta

and Mark Phillips’ T. Rex, Together with Three Recitals of Selected Works by Wagenseil,

Grøndahl, Gotkovsky, and Others. Doctor of Musical Arts (Performance), May 2004, 80 pp., 1

table, 32 figures, 37 exercises, bibiography, 29 titles.

Many, if not most, student trombonists have perhaps had little or no previous experience

with “extended techniques”—novel or unconventional modes of sound production. To address

this deficiency of experience, this document sets forth a progressive sequence of descriptive

explanations and supplementary studies, which are specifically designed to assist trombonists in

mastering the particular extended techniques that will prepare them to perform three of the most

popular late Twentieth-Century pieces for trombone that include extended techniques—Luciano

Berio’s Sequenza V, Folke Rabe’s Basta, and Mark Phillips’ T.Rex.

Following the introductory chapter, the body of the document consists of three chapters,

each of which deals with one of the three solos, presenting descriptive explanations of relevant

extended techniques interspersed with performance commentary (solicited from prominent

trombonists) and supplementary studies (composed by the author). The studies presented in each

chapter are specifically geared toward mastering the extended techniques as they relate to the

music of each particular solo. They are also especially focused toward learning the more

difficult passages of music in each solo.

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ACKNOWLEDGEMENTS

For their patience and support throughout the doctoral process, I would especially like to

thank G.W. Scott, Dr. Dale W. Davis, and Dr. Vern Kagarice.

I would also like to express my gratitude to Tony Baker, Stuart Dempster, Neils-Ole Bo

Johansen, and Benny Sluchin for generously sharing their knowledge of teaching and playing the

trombone as it pertains to the solos in this study.

Thanks also to Universal Editions for granting permission for the reprints of excerpts

from Sequenza V throughout chapter 2, © 1968 by Universal Edition (London) Ltd., London/Ue

13725, and also to Edition Reimers AB, Stockholm © 1968, for granting permission for the

reprints of excerpts from Basta in chapter 3.

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TABLE OF CONTENTS

ACKNOWLEDGEMENTS............................................................................................................ ii

LIST OF FIGURES ....................................................................................................................... vi

LIST OF EXERCISES................................................................................................................. viii

CHAPTER 1 INTRODUCTION ................................................................................................... 1

Purpose........................................................................................................................................ 1 Need ............................................................................................................................................ 1 Resources .................................................................................................................................... 3 Method ........................................................................................................................................ 5 Procedure .................................................................................................................................... 7

CHAPTER 2 SUPPLEMENTAL STUDIES FOR LUCIANO BERIO’S SEQUENZA V ........... 8

Introduction to Sequenza V ......................................................................................................... 8 Preparation and Performance Commentary by Professional Trombonists ................................. 9

Tony Baker, Professor of Trombone, University of North Texas............................................ 9 Stuart Dempster, Trombone Professor Emeritus, University of Washington......................... 10 Niels-Ole Bo Johansen, Dean of the Royal Academy of Music, Århus, Denmark ............... 10 Benny Sluchin, Trombone Soloist and Member of Ensemble InterContemporain, Paris....... 10 David Taylor, Bass Trombone Soloist .................................................................................... 11

About the Costume ................................................................................................................... 12 Tony Baker............................................................................................................................ 12 Stuart Dempster .................................................................................................................... 12 Niels-Ole Bo Johansen.......................................................................................................... 12 Benny Sluchin....................................................................................................................... 13 David Taylor ......................................................................................................................... 13

Guidelines for Practicing the Supplemental Studies for Sequenza V ....................................... 14 Mastering the Technique of the Plunger............................................................................... 15

Plunger Type..................................................................................................................... 15 Plunger Technique/Banging on the Bell ........................................................................... 15

Mastering the Technique of Sung Vowels (u-a) ................................................................... 17 Practicing the Technique of Sung Vowels............................................................................ 17 Mastering the Technique of Buzzed Vowels (u-a-i)............................................................. 20 Practicing the Technique of Buzzed Vowels ........................................................................ 21 Mastering the Technique of Flutter-Tonguing...................................................................... 22 Practicing the Technique of Flutter-Tonguing...................................................................... 22 Mastering the Techniques of Continuous Sounds ................................................................ 25

Vocal Inhale ...................................................................................................................... 25 Inhaled Buzz ..................................................................................................................... 26 Circular Breathing............................................................................................................. 26

Practicing the Technique of Continuous Sound.................................................................... 27 Audible Inhaled Sounds.................................................................................................... 28

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Mastering the Technique of Tremolo ................................................................................... 29 Practicing the Technique of Tremolo ................................................................................... 30 Mastering the Technique of Multiphonics............................................................................ 31 Practicing the Technique of Multiphonics............................................................................ 33

Multiphonics in Unison..................................................................................................... 33 Multiphonics with Seconds............................................................................................... 35 Multiphonics with Glissandos .......................................................................................... 37 Developing More Independence with Glissandos ............................................................ 43 Multiphonics with Articulated Short Played Notes .......................................................... 48 Multiphonics with Buzzed Vowels................................................................................... 51

CHAPTER 3 SUPPLEMENTAL STUDIES FOR FOLKE RABE’S BASTA ........................... 52

Introduction to Basta................................................................................................................. 52 Guidelines for Practicing the Supplemental Studies for Basta ................................................. 53

Practicing the Technique of Tremolo ................................................................................... 54 Mastering the Technique of Harmonic Glissando ................................................................ 56 Practicing the Technique of Multiphonics............................................................................ 60

CHAPTER 4 SUPPLEMENTAL STUDIES FOR MARK PHILLIPS’ T. REX ....................... 64

Introduction to T. Rex ............................................................................................................... 64 Extended Techniques in Movement 1....................................................................................... 65

Mastering the Technique of the Lip Glissando..................................................................... 65 Practicing the Technique of Lip Glissando........................................................................... 65

Extended Techniques in Movement 3....................................................................................... 66 Mastering the Technique of Lip Trills .................................................................................. 67 Practicing the Technique of Lip Trills .................................................................................. 67 Mastering the Technique of Lip Trills in Adjacent Positions............................................... 68 Practicing the Technique of Lip Trills in Adjacent Positions............................................... 68 Mastering the Technique of Trills Using the F-Valve .......................................................... 69 Practicing the Technique of Trills Using the F-Valve .......................................................... 69 Free Improvisation 1 ............................................................................................................. 70

Partially Disassembled Trombone Sounds and Air-Only Sounds .................................... 70 Extended Techniques in Movement 4....................................................................................... 71

Free Improvisation 2 ............................................................................................................. 71 Free Improvisation 3 ............................................................................................................. 71

Rips ................................................................................................................................... 72 Fall Aways ........................................................................................................................ 72 Stabs.................................................................................................................................. 73 Growls............................................................................................................................... 73 Glissandi ........................................................................................................................... 73 The Doppler Effect ........................................................................................................... 74

CHAPTER 5 CONCLUSION..................................................................................................... 76

SOURCES CONSULTED............................................................................................................ 78

Books ........................................................................................................................................ 78 Articles and Dissertations ......................................................................................................... 78

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Scores........................................................................................................................................ 79 Interviews and Letters............................................................................................................... 79 Videorecordings........................................................................................................................ 80

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LIST OF FIGURES

Figure Page 1. Luciano Berio, Sequenza V for Trombone Solo, 1968........................................................... 17

2. Luciano Berio, Sequenza V for Trombone Solo, 1968........................................................... 19



















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26. Folke Rabe, Basta for Trombone Solo, 1982......................................................................... 54







viii

LIST OF EXERCISES Exercise Page

2.1 Practicing the Technique of Sung Vowels.........................................................................18

2.2 Practicing the Technique of Sung Vowels.........................................................................19

2.3 Practicing the Technique of Buzzed Vowels.....................................................................21

2.4 Practicing the Technique of Flutter-Tonguing...................................................................23

2.5 Practicing the Technique of Flutter-Tonguing...................................................................24

2.6 Practicing the Technique of Continuous Sound.................................................................27

2.7 Practicing the Technique of Tremolo................................................................................30

2.8 Practicing the Technique of Multiphonics: Unisons..........................................................33

2.9 Practicing the Technique of Multiphonics: Unisons..........................................................21

2.10 Practicing the Technique of Multiphonics: Seconds.........................................................36

2.11 Practicing the Technique of Multiphonics: Seconds.........................................................37

2.12 Practicing the Technique of Multiphonics: Glissandos.....................................................38

2.13 Practicing the Technique of Multiphonics: Glissandos.....................................................39

2.14 Practicing the Technique of Multiphonics: Fourths and Fifths.........................................40



2.17 Practicing the Technique of Multiphonics: Developing More Independence with Glissandos..............................................................................................................44 2.18 Practicing the Technique of Multiphonics: Developing More Independence with Glissandos..............................................................................................................46 2.19 Practicing the Technique of Multiphonics: Developing More Independence with Glissandos..............................................................................................................47

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2.20 Practicing the Technique of Multiphonics: Articulated Short Played Notes.....................48 2.21 Practicing the Technique of Multiphonics: Articulated Short Played Notes.....................49 2.22 Practicing the Technique of Multiphonics: Articulated Short Played Notes.....................50 2.23 Practicing the Technique of Multiphonics: Buzzed Vowels.............................................51



3.3 Practicing the Technique of Harmonic Glissando.............................................................57



3.6 Practicing the Technique of Multiphonics.........................................................................60

3.7 Practicing the Technique of Multiphonics.........................................................................62

4.1 Practicing the Technique of Lip Glissando........................................................................65

4.2 Practicing the Technique of Lip Trills...............................................................................67 4.3 Practicing the Technique of Lip Trills in Adjacent Positions............................................68

4.4 Practicing the Technique of Trills Using the F-Valve.......................................................69

4.5 Practicing the Technique of Rips.......................................................................................72

4.6 Practicing the Technique of Fall Aways............................................................................72

4.7 Practicing the Technique of the Doppler Effect...............................................................74

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CHAPTER 1

INTRODUCTION

Purpose

Many, if not most, student trombonists have had little or no experience with “extended

techniques” which are novel or unconventional modes of sound production. Moreover, there are

no practical performance guides available to prepare one to perform a standard late twentieth

century solo that includes extensive use of extended techniques. Therefore, the purpose of my

document is to address and remedy this deficiency.

To fulfill this purpose, I have set forth in this document a progressive sequence of

supplementary studies, which I specifically designed to assist trombonists in mastering the

particular extended techniques that will prepare them to perform three of the most popular late

twentieth century pieces for trombone that include extended techniques—Luciano Berio’s

Sequenza V, Folke Rabe’s Basta, and Mark Phillips’ T. Rex.

Need

In the latter half of the twentieth century, many composers and performers experimented

with extended techniques in order to expand the arsenal of sounds available for instrumental and

vocal composition and performance. As a result, in the past thirty years, late twentieth century

music that includes extended techniques has comprised a significant part of the trombonist’s solo

repertoire.

However, most trombonists are rarely exposed to the methods of performing extended

techniques. The course of training for a trombonist generally does not include exposure to

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extended techniques. Students usually learn traditional techniques such as tone production,

articulation, and conventional notation and, consequently, are probably rarely if ever exposed to

any extended techniques such as multiphonics, buzzed vowels, or partially disassembled

trombone sounds (creating sounds with only part of the instrument). It may not be until a student

or teacher decides to include a late twentieth century piece in a performance that the student first

encounters a need for extended techniques.

To further complicate the matter, only a handful of method books exist that offer

information about or have specific etudes for mastering extended techniques, and no method

books exist that offer a collection of etudes geared toward mastering extended techniques in a

specific late twentieth century solo. Therefore, an etude book with studies directed toward

preparing the trombonist to perform popular late twentieth century pieces that include extended

techniques is clearly needed.

The three solos for which I have developed supplementary studies—Sequenza V by

Luciano Berio, Basta by Folke Rabe, and T. Rex by Mark Phillips—have been identified as three

of the most popular late twentieth century trombone solos that include extended techniques in the

past thirty years. A database of solos from recital programs printed in the International

Trombone Association Journal since its inception (1973-1997) revealed that Sequenza V and

Basta were the avant-garde works that were most frequently performed throughout the quarter-

century study.1 My own analysis of the ITA Journal programs for the remaining years not

included in the databases, 1998 to 2002, found that both of these pieces continued to be

performed more than any other late twentieth century solo with extended techniques except for

1 David Guion, “Twenty-five Years of Trombone Recitals: An Examination of Programs Published by the

International Trombone Association,” ITA Journal 27:1 (Winter 1999): 22-29.

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an entirely new late twentieth century piece composed by Mark Phillips in 1996, T. Rex, which

became even more popular than the other two.

Consequently, this document is designed to address the need for supplementary materials

for these three prevalent late twentieth century solos. It presents studies that will facilitate the

process of mastering the extended techniques needed in the three pieces, and is intended to fulfill

a notable need in the field of trombone performance.

Resources

For many years, a book by Stuart Dempster, The Modern Trombone: A Definition of Its

Idioms (1979), has been regarded as the primary source for discussing extended techniques.

Even now, after nearly a quarter century, it continues to function as a fine reference work for

defining almost every conceivable extended technique. Nevertheless, although it offers some

playing tips and a few examples, its primary focus is that of providing descriptions of late

twentieth century extended techniques rather than providing exercises for mastering the

techniques.

Etudes for learning some of the extended techniques are scattered through a number of

other sources, but supplemental studies specifically geared to prepare a musician to perform one

of the more popular late twentieth century pieces that includes extended techniques do not exist.

Nevertheless, the major relevant resources that I found to be generally useful are indicated in the

following list, annotated to indicate their relative usefulness or limitations for my document:

Baker, David. Contemporary Techniques for the Trombone Vol. I and Vol. II (1974). This two-volume text has extensive exercises to assist in learning multiphonics. It is also very helpful with against the grain or harmonic glissando exercises. However, other extended techniques are brief or not included. Moreover, this text is out of print, but a reprinted version of this text is available in six volumes.

Hey, Jr., Dean Edgar. Etudes for Trombone Using Avant-garde Techniques (1973).

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This dissertation provides exercises for most, but not all, of the late twentieth century extended techniques used in the three solos. The exercises are grouped by technique and are general in nature, rather than preparatory studies that would help one learn a specific piece of music.

Schiaffini, Giancarlo. The Trombone (1982). This text includes good descriptions of flutter-tonguing and buzzed vowel sounds. Although it offers a few examples, it does not provide any etudes. It is currently out of print.

Sluchin, Benny. Contemporary Trombone Excerpts: Practical Introduction to Contemporary Trombone Techniques (1996).

Many extended techniques are described in this text. Excerpts of contemporary solos with explanatory text including Sequenza V are printed at the end of the text.

Waits, Greg. Advanced Flexibility Studies (1991).

This jazz method book is devoted entirely to harmonic glissando and is, therefore, a good source for mastering that technique.

Watrous, Bill, and Alan Raph. Trombonisims (1983).

This method book provides many good harmonic glissando exercises and also includes some short exercises for multiphonics. All other techniques mentioned have only brief descriptions. This annotated list demonstrates two points about the resources that are available. First, there

are indeed a number of sources currently available that deal adequately with the general topic of

extended techniques for the trombonist. Second, for students seeking specific guidance in

preparing the three pieces, the sources collectively exhibit various limitations in their treatments

of extended techniques.

For the most part, short informational descriptions of the extended techniques are more

prevalent among the sources than practical exercises to facilitate the development of

performance skills. In the case of David Baker’s Contemporary Techniques for the Trombone,

the book includes useful and extensive exercises for preparing two of the techniques; however,

this book is currently difficult to obtain. In the case of Hey’s dissertation, although exercises are

provided for learning avant-garde techniques, the etudes are not supplementary studies to

specific solos but instead are general in nature. Although a number of the sources offer useful

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descriptions or exercises to learn the techniques, much of the material is inconveniently scattered

in different places throughout the various sources.

A final limitation is that, although several sources mention Sequenza V and a few even cite

excerpts from the solo as examples of extended techniques, none of them presents a sequence of

progressive exercises designed to develop the high level of skill required to perform this

challenging work. Furthermore, not a single source even mentions—much less includes—any

practical exercises either for Basta or for T. Rex.

Thus, although these resources were at least generally suitable and useful for this study, there

were no sources that directly pertained to specifically preparing the musician to perform the three

most popular late twentieth century trombone solos that include extended techniques.

Method

To accomplish my purpose of preparing students to perform the three selected late

twentieth century trombone solos (with their extensive range of extended techniques), I

carried out a sequence of four interrelated steps, each one building on the previous step:

First, I completed a thorough analysis of the scores of the three late twentieth century

works, isolating and identifying exactly which extended techniques were employed in each

composition. The result of my analysis is specifically indicated in Table 1:

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Table 1

Extended Technique

Luciano Berio’s Sequenza V

Folke Rabe’s Basta

Mark Phillip’s T. Rex

Multiphonics X X X Tremolo X X Harmonic Glissando X X Flutter-tonguing or Growl

X X X

Plunger/Harmon Technique and Banging on the Bell

X X

Buzzed Vowels X Sung Vowels X Continuous Sound X Trills X X Lipped Glissando X Slide Vibrato X Valve Trills X Partially Disassembled Trombone Sounds

X

Rips X Fall Aways X Stabs X Doppler Effect X

Second, I engaged in the process of locating, collecting, and thoroughly assimilating the

general information about the relevant extended techniques that was currently available in the

published authoritative research sources, including the various specialized methods books,

standard reference works, scholarly studies, and pertinent articles.

Third, to further augment my knowledge of extended techniques for the trombone, I

conducted a series of interviews and e-mail conversations with various trombonists who are

known to excel in late twentieth century performance that utilizes extended techniques, thus

enabling me to gather and synthesize pedagogical and performance ideas that contributed

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significantly to my purpose (See the “Interviews” classification in the attached “Sources

Consulted”.).

Fourth, on the basis of the results from the previous steps, I was in a position to carry out my

primary purpose: to develop the specifically designed progressive sequence of supplementary

studies—based primarily on the music from each given piece—for cultivating the skills required

to perform the three late twentieth century trombone pieces.

These four interrelated steps constituted a methodological sequence of activities that enabled

me to carry out my purpose.

Procedure

Following this introductory chapter, the document includes three more chapters, each

consisting of supplementary studies interspersed with explanatory text and performance

commentary for one of the three late twentieth century works (much like an etude book): first,

Luciano Berio’s Sequenza V; second, Folke Rabe’s Basta; and, third, Mark Phillips’ T. Rex.

The studies presented in each chapter are specifically geared toward mastering the extended

techniques as they relate to the music of each particular solo. They are also specifically focused

toward learning the more difficult passages of music in each solo.

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CHAPTER 2

SUPPLEMENTAL STUDIES FOR LUCIANO BERIO’S SEQUENZA V

Introduction to Sequenza V

Much of the challenge in performing Sequenza V lies in learning Berio’s unusual musical

notation. As much as possible, I have opted to translate it into a more traditional notation. The

use of more conventional notation should facilitate the performer’s initial approach to the piece.

Thus, for instance, where Berio writes numbers to indicate dynamic markings, I have

used the familiar traditional counterpart, while preserving Berio’s number in parenthesis. Also,

to make the solo more user-friendly, I have elected to translate his proportional notation into

metered etudes as a general guide for length of notes. Moreover, although I have left Berio’s

plunger notation intact, I have inserted traditional open and closed signs (“o” and “+”) to aid in

the process of learning his particular plunger notation. Berio notated Sequenza V with solid

notes to be played and hollow notes to be sung. Since no notation has yet to become fully

accepted, I have chosen to represent vocal sounds by diamond-shaped note heads, but the played

pitches are notated with the traditional oval note head. (See Exercise 2.1 for examples.)

The series of etudes in this chapter, designed to facilitate the process of learning Berio’s

notation, are intended only to serve as a departure point for the piece. Therefore, once an initial

competence in performance is achieved, then the performer may more easily make the transition

to Berio’s own more eccentric conventions of notation.

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Preparation and Performance Commentary by Professional Trombonists A group of accomplished professional trombonists have responded to my request for

performance recommendations in approaching the challenging range of extended techniques in

Berio’s Sequenza V. Because of their stature as prominent trombonists, and because of the

authoritative nature of their recommendations, I shall first present their individual commentaries

in full below. Then, when considering specific instances of extended techniques in the piece, I

shall either quote or paraphrase relevant remarks from the several contributors.

Tony Baker, Professor of Trombone, University of North Texas

The most difficult part of the piece, at least for me, is the pacing of it. The effects such as the multiphonics are difficult in and of themselves, but just pacing the piece in a way that seems coherent is challenging. The tendency would be to just blow through it like it’s some sort of modern etude. I think that if the piece isn’t paced in the right way, and if certain things are not moved or pulled back, it hurts the flow of the piece and how it comes across. It is not a piece that has universal appeal anyway, but if it seems like it is simply being blown through, it hurts even more how it is received. I also find that trying to communicate my program or what I understand to be the program of the piece is important. The idea of the clown, Grock, who asks a question, “Why” in the first half is entertaining, while the second half is more introspective. Like almost any other piece of solo literature, music that is very challenging needs to be approached in small bits at a time, practiced at a much slower tempo. I recommend approaching the piece in a very patient methodical way. (At least that’s the way it has worked for me.) I tell students that they have to take their time with it and expect it to take months until they can get through the piece in a satisfactory way.

I think the Sequenza V is one of the very best modern solo pieces that we have for the trombone, and I think it is a piece that, when done right and done well, has the effect that it needs to have. It is a strange piece in that it is not tuneful in any way, but when people know what the program is and when you really put your heart in to communicating that program, the piece is understood and goes beyond the extramusical effect. It really seems like a form of expression that’s musical but somehow above and beyond that.2

2 Tony Baker, Professor of Trombone University of North Texas. Interview by author, 21 October, 2003,

tape recording, Stephen F. Austin State University, Nacogdoches, TX.

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Stuart Dempster, Trombone Professor Emeritus, University of Washington

There are several critical things needed for the performance of the Sequenza V. One needs to learn to hold the mute loosely and also be able to "throw the trombone about" to execute the theatrical indications. This usually means that the student needs to relearn how the trombone is held, a lengthy discussion that I will not get into here. One also needs to be familiar with the notation. For instance, one can, advantageously perform Jacob Druckman's Animus I for an opportunity to use the notation in an easier setting. Anyone learning the Sequenza V should sort out the different activities that one needs to do and learn them separately. Basically, there is normal playing, use of the voice (and inhaling), plunger, and theater. Learn each separately, then combine any two, then three together, and finally everything together.3

Niels-Ole Bo Johansen, Dean of the Royal Academy of Music, Århus, Denmark

Don’t let all the complexity scare you; it’s just a piece of music. One of the most difficult parts of the Berio is the coordination and actually finding out what is to be played and what is to be mimed. I prepare it as if I am playing a “straight piece”. Go for musical expression first and technical perfection second. Make daily drills out of every technical problem. Create your own split-tone etudes. Work slowly and never play mistakes. Work methodically. Set up goals. Get the overall picture of the piece. Work with it as you would with a straight piece. Play contemporary music as musical pieces, not as technical stunts; find the musical expression. There are lots of “goodies” in each and every piece. It is the most rewarding piece written for the trombone, and it will change your opinion of music.4

Benny Sluchin, Trombone Soloist and Member of Ensemble InterContemporain, Paris

I start by playing the piece through (this may take several days), to get an idea of the difficulties and help in preparing the work for later. This step, should take place much earlier that the scheduled performance (if possible). I then can develop certain exercises for the solo piece, which may help in the process of the preparation. For me the difficult part is the final step, when one already has an idea of how to deal with the different passages (easy or not), and has to assemble all of it and give musical meaning to the piece. 5

3 Stuart Dempster, Seattle, to author, Nacogdoches, TX, 2 December 2003. 4 Niels-Ole Bo Johansen, Århus, to author, Nacogdoches, TX, 27 October, 2003. 5 Benny Sluchin, Paris, to author, Nacogdoches, TX, 1 January, 2004.

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David Taylor, Bass Trombone Soloist

This music looked so different and intimidating to me, I just left it lying around the house in places where I didn’t feel the need to sit down and study for long stretches.6

I didn’t even begin to think about the theatrical aspects until I absorbed very big chunks of the piece. Not quite true; the theatrical element was probably one of the main things that drew me into the music. I just stayed away from it until I had a clearer understanding of the relationship of the acting to the music.7

Yes, get the notes right, no, don’t sacrifice the vibe for the notes. Keep the wholeness going, practice the technique and forget it. It’ll add to the joy. Maybe we could all loosen up a little. Visualize the whole piece “like your laughing baby’s drool falling on the boss’ wife’s new white sofa.” What I’m finding is, if you’re totally involved in the structure of the music you’re playing, and the music you are playing is the sound you truly love, the real you will surface. That might be a definition of style. It takes courage, but if you are a trombonist in this day and age, you already have courage.8

6 David Taylor, “Risk” ITA Journal 31, no. 3 (July 2003): 44. 7 Taylor, 44. 8 Taylor, 45.

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About the Costume

Tony Baker

I actually go out and rent a clown costume. I don’t wear make-up, but I wear a wig and clown shoes. I always do this with some trepidation, because I’m never sure just how much theater needs to go into the piece. The clown, Grock, would not have worn the kind of costume that I wear; it would have been something much closer to a tuxedo with a beanie and a little bit of make-up. Since the people that I perform this piece for tend to be American audiences and since American clowns tend to have a different look, that is the look that I have adopted for it. I guess from my experience whenever I’ve performed the piece without any kind of make-up or costume, it hasn’t had the affect that it needs to. Because of the piece that it is, it can be taken very academically if the audience does not have the visual imagery to go with it. I’m not saying that that is true for every audience, for every person, but I just find the piece gets a much more enthusiastic and much more informed response when I do don the costume. If I’m in a position to perform this again, I’ve asked myself if I will do the costume, and I don’t know. I’ve had so much success in the costume with the piece, that it would be hard for me not to wear the costume next time.9

Stuart Dempster

My “costume”, such as it is, is simply tails. However, I have an old ratty set that I bought for five dollars thirty years ago in a “next to new” type sale that benefited the orchestra or something. I often wear my birks, but reverse the right with the left. I have occasionally even used a bow tie that lights up. The abstraction of the clown, to me, is more appropriate rather than using whiteface paint, and so on. I think you can wear what you think Grock would wear if you were he or, actually, if he were you! As for props, I don’t use any except a stool (as Berio suggests). I recommend followspot (based on work with Berio) but also suggest red and blue lighting option.10

Niels-Ole Bo Johansen

I wear the prescribed tails - ordinary symphony musician’s dress.11

9 T. Baker. 10 Stuart Dempster, Seattle, to author, Nacogdoches, TX, 14 November, 2003. 11 Neils-Ole Bo Johansen, Århus, to author, Nacogdoches, TX, 21 December, 2003.

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Benny Sluchin

I do not use a costume for the piece even though the clownish character is an integral part of the piece. The composer did not indicate any special dress other than the indicated concert attire, and I feel it is not necessary to add anything to the music.12

David Taylor . . . the organizer suggested I dress in all black. I opted for white tie (i.e., with long formal coat), because Berio requests it, and because I didn’t want my performance dictated to by an audience. I know many trombonists have experimented with various costumes, stage makeup, wigs, hats, etc. That’s cool, but I was aware my playing style would be stretching the material enough without that extravagance. A week before the concert, I figured that if I added a pair of white socks with my regular high-top black shoes to the formal attire, it would add a little circus atmosphere to my concept, and because of the modesty, draw this particular crowd in.13

12 Sluchin. 13 Taylor, 45.

14

Guidelines for Practicing the Supplemental Studies for Sequenza V:

• The notational explanations and performance directions at the front of the Sequenza V solo should first be thoroughly read before proceeding.

• Because these etudes are arranged in a somewhat progressive order of difficulty, working

from the first etude onward is advised.

• Repeat signs are inserted to be used as a teaching guide. Do not progress to the next set of repeat signs until you have mastered the first set.

• Berio’s plunger markings are included beneath each etude, but the plunger should not be

added until the etude has been mastered without the plunger. • Brackets are used to indicate the part of the etude that is parallel to the solo. • All etudes are intended to be played at the metronome marking of a quarter note=ca. 60

unless otherwise indicated. However, the performer should keep in mind that the rhythms and tempo indicated are only a general guide and that there remains much room for interpretation and change. In section B of the solo, each of the figures between bar lines should be played at a tempo where the performer expels one full breath.14

• Vocal pitches are represented by a diamond-shaped note head. Played notes utilize

traditional notation. • Berio’s system of numbered dynamics has been translated to a system of traditional

symbols ranging from pp to fff. However, the numbers have been included as well. • After mastering each etude, the reader should proceed to playing/reading the

corresponding figure in Berio’s notation provided at the beginning of each exercise. • Practicing extensively with multiphonics is very tiring on the vocal cords. Drink plenty

of water.

14 Luciano Berio, Sequenza V (Universal Edition nr. 13725 mi, 1966), ii.

15

Mastering the Technique of the Plunger

Plunger Type

Berio directs that the plunger should be a metal plunger that is to be rattled inside the

bell.15 The Glenn Miller Tuxedo plunger made by Humes and Berg is used by many

trombonists, including Dempster16. The removable cup that is a part of the cup mute made by

Harmon is made of metal and creates a much louder rattling sound against the bell. David

Taylor suggests yet another device:

. . . I taped coins to my personalized, carved-plunger to simulate the rattling effect Berio requests. (Using a rubber plunger with taped coins has become a performance tradition, especially if the metal plunger can’t be found.)17

Plunger Technique/Banging on the Bell

The weight of the trombone should be supported with the left hand as it uses the plunger.

It is important to grasp the plunger in a way that allows the player complete control of its fully

open and fully closed positions. Johansen suggests modifying the Tuxedo Plunger with plaster

or other material so that it is easier to grasp.18 A similar solution could be applied to the cup part

of the Harmon mute. If a rubber plunger is used, some players prefer to cut a hole in the center

to fit a finger. Experimentation with the rattling effect might disclose another possibility. For

instance, jingles from a tambourine could be attached to a plunger.19 Plunger markings are used

throughout the supplemental studies. Quickly moving a plunger from its fully closed to fully

open position creates what some refer to as the “wah” or “wa” effect. This is the same technique

15 Berio, ii. 16 Stuart Dempster, Seattle, to author, Nacogdoches, TX, 14 November, 2003. 17 Taylor, 46. 18 Johansen, 21 December, 2003. 19 Vern Kagarice, professor of trombone University of North Texas. Interview by author, 23 November,

2003, University of North Texas, Denton, TX.

16

that is used with the Harmon or Wah-Wah mute when the stem is inserted. Practicing with the

plunger should be undertaken only after the player feels confident with his or her preparation of

each study.

Approach using the plunger as you would an etude that you’re preparing for a lesson, really slowing it down, maybe even putting a metronome to it just to learn how to coordinate doing that.20

One can readily see how to make the vowel, such as u or ua, with the voice . . .and then play it on the instrument. When playing, the mute is used as an aid to achieve these vowels (by moving from + to o), and the results of the two methods of production are very similar.21

20 T. Baker. 21 Stuart Dempster, The Modern Trombone: A Definition of Its Idioms (New York: Accura Music, Inc.,

1994), 15.

17

Mastering the Technique of Sung Vowels (u-a) When singing vowels as vocal pitches, the head should turn quickly to the right side away

from the mouthpiece.22 In Figure 1, the vocal vowel to be sung on the high-A is not specified.

In Exercise 1.1, I have used an “u”, but other sounds such as “wha” work nicely.

Below, as throughout the document, I shall first present a “Figure,” reproducing a

passage from the score of the work under study, followed then by an “Exercise”—a

supplemental study designed to facilitate the performer’s mastery of the passage.

Practicing the Technique of Sung Vowels

Figure 1

Copyright 1968 by Universal Edition (London) Ltd., London/Ue 13725, used with permission.

22 Berio, ii.

18

Exercise 2.1

19

Figure 2


Exercise 2.2

20

Mastering the Technique of Buzzed Vowels (u-a-i)

Buzzed vowels have also been referred to as vowel distortion.23 Sequenza V requires

three vowel sounds to be played as a tone through the instrument by changing the shape of the

oral cavity and embouchure to coordinate with the vowels to produce the effect of the vowel

sounds. The “u a i” notated by Berio refers to the Italian pronunciation of vowel sounds “ooh ah

ee” (as in Luciano). Buzzing these vowels through the trombone when used in conjunction with

a plunger should closely approximate the word “why.”

To perform this technique, the shape of the mouth cavity and the placement of the tongue

are both important. The vowel, “a” (ah), is easily produced, for it is already an established

practice in brass playing with which most performers are familiar. For the “i” (ee) sound, keep

the mouth tightly closed and the lips extremely pursed or slightly rolled out but keep the teeth

open. The “u” (ooh) is similarly produced except that the tongue is all the way back.24

“In this glissando, work for a snappy ‘why’ like that in Queens English.”25

23 Giancarlo Schiaffini, Il Trombone/The Trombone (Milano: G. Ricordi & C., 1982), 21. 24 Dempster, Modern Trombone, 14. 25 Johansen, 21 Decemeber, 2003.

21

Practicing the Technique of Buzzed Vowels

Figure 3


Exercise 2.3

22

Mastering the Technique of Flutter-Tonguing

The flutter-tongue is performed by playing the indicated pitch, but interrupting the air

flow with a fluttering tongue. One may either flutter the tongue in the mouth cavity with a

Spanish or Italian rolled “r” sound, or move the tongue fluttering to the back of the throat,

creating a “growl” sound. Still others choose to execute the technique with their voice.26 In

flutter-tonguing, the creation of a raucous sound is more important than the means by which it is

achieved.

Practicing the Technique of Flutter-Tonguing

This has been the most misunderstood line of the piece. Berio asked me for a pattern that would be very awkward and that is what I came up with. It is a ten-note pattern with the remaining two pitches appearing in the low range as rare loud notes. The idea is to start out playing the ten-note pattern twice (as indicated). Then the small dots in the staff indicate the continuing slide pattern while the dots on the line above the staff indicate which of those slide pattern notes you would actually sound out. The intent is that it would be a random pattern that would develop (with the rare loud pitches entered in, as indicated) to create a hysteria leading to the spoken "why".27

26 Dempster, Modern Trombone, 39. 27 Dempster, 2 December, 2003.

23

Figure 4


Exercise 2.4

24

I find the attempt to perform the fluttertongued pedal hilariously funny. This attempt is in the best spirit of the clown Grock, to whom Berio’s Sequenza V is dedicated. I am therefore somewhat undecided about what to do with the fluttertongued pedals in this piece, and often will try to both ignore and play the fluttertongue at the same time. This conflict may be even funnier that the simple fluttertongue attempt and, perhaps, all the more tragic.28

On the pedal A going from dynamic level 2 to 5, I play as written, starting the flutter at the end.29

Figure 5


Exercise 2.5

28 Dempster, Modern Trombone, 39. 29 Johansen, 21 December, 2003.

25

Mastering the Techniques of Continuous Sounds

Figure 6


Vocal Inhale

For the inhaled vocal sound (notated above in Figure 6 by the backward arrow), Berio

suggests that the length of the measure is determined by the amount of time that it takes the

performer to fully inhale. This vocal inhale is produced by a steady stream of air that is inhaled

rather than exhaled through the vocal cords, much like an audible gasp but with a steady stream

of air rather than a sudden influx. Practice singing the pitch and then inhaling the pitches in

Exercise 2.6 below. There should be no break in sound between the inhale and the exhale.30

Depending on your vocal range, it may be impossible to inhale a pitch at the same tone that you

sing it. If the notes are out of range for your voice, try inhaling them in a different octave.31

Dempster mentions that in his early performances he misunderstood the directions of the

backward arrow and performed and played an inhaled buzz instead.32 Johansen also performs

the backward arrow with a vocal inhale “singing backwards.”33 Vinko Globakar, who worked

closely with Berio on the development of the B section of the piece, recounts Berio’s efforts to

maintain a continuous sound:

And I remember that he wanted, at that time, to have a continuity in this second part so we went together to an electronical institute to see if they could build a device which

30 Berio, ii. 31 Stuart Dempster, professor emeritus of trombone University of Washington, Interview by author, 15

October, 2003, transcript by Deb Scott, Stephen F. Austin State University, Nacogdoches, TX. 32 Buddy Baker, “Why? How About Who, Where, What, When? The Development of Berio’s Sequenza V”

ITA Journal 22 no. 2 (Spring 1994): 31. 33 Johansen, 24 December 2003.

26

would hold the last part of the tone before one breathes so that the last part of the tone would have a kind of prolongation until the next attack of the player. (Because at that time I was not able to or I had not discovered the technique of playing while inhaling, and I did not practice, at the time circular breathing.) This is the reason why Berio employed the inhaling with the voice to cover the hold between the two structures.34 This recollection by Globokar provides perhaps two new interesting possibilities for the

performance of the inhalations: that of the inhaled buzz (which Globokar himself uses) and that

of circular breathing.

Inhaled Buzz

The exercise below, Exercise 2.6, can also be practiced with an inhaled buzz. To produce

an inhaled buzz, the resonance of the trombone is “set into motion” by the movement of air,

whether it be forward or backward.35 Playing while inhaling involves quite different lip

movements and air flow. A great deal of experimentation will be needed. I suggest starting with

moist lips and a set embouchure while a forceful vacuum of air is pulled in by the lungs. Some

players find it useful to roll the lips inward to find a response that works.

Circular Breathing

The process of breathing in through the nose while stored air from the cheeks blows out

to sustain a tone is called circular breathing. The most difficult part of this technique is

maintaining a smooth tone while switching from air in the cheeks to air from the lungs. The first

step is allowing the cheeks to puff out during playing. Next, simultaneously breathe in through

the nose as the cheeks are drawn in to continue sustaining the tone. To assist in learning the

process of puffing and blowing with the cheeks, Vern Kagarice suggests playing a first position

note while holding the horn with one hand. The free hand is then used either to feel for the

34 B. Baker, “Why?”, 33. 35 Dempster, Modern Trombone, 44.

27

cheek expansion or to squeeze air from the cheeks.36 Dempster recommends learning this

technique with a cup of water and a drinking straw, working for continuous bubbles.37 David

Baker suggests first learning to expel a stream of water from the cheeks while simultaneously

inhaling through the nose.38 Bill Watrous points out that several “sniffs” of air are needed to fill

the lungs.39 To practice this technique with the exercise below, tie the measures together and

repeat indefinitely with no breaks. Work toward the goal of breathing only in the measures with

the inhaled sign.

Practicing the Technique of Continuous Sound

Exercise 2.6

36 Kagarice.

37 Dempster, Modern Trombone, 44. 38 David N. Baker, Contemporary Techniques for the Trombone, vol. 4, A Method for Gaining Facility with

the Various Scales, Multiphonics, & Polytonality (New York: Charles Colin Music) 69. 39 Bill Watrous and Alan Raph, Trombonisms (New York: Carl Fischer, Inc., 1983), 34.

28

Audible Inhaled Sounds

The audible inhaled sound indicated here should be performed through the horn as a

regular air inhalation without a pitch. A slightly “whistley” sound is possible.40

“Perform this measure like you are breathing in before you have to say something

conclusive—in a disappointed manner—though quite audible.”41

Notice that the plunger is opened during this inhalation. The use of the plunger makes

only a subtle difference in the sound.

Figure 7


In Figure 8 below, Berio directs that this note is to be an audible sound of air that is

inhaled through the instrument. Dempster again recommends creating a “whistley-type” of

sound that varies the pitch somewhat as indicated.42 Johansen describes these sounds, “Stutter!

Panic—because of stuttering! Boiling over!”43 However, Sluchin has yet another view point,

“Make the slide movements with no sound audible!!”44

40Dempster, 14 November, 2003. 41 Johansen, 24 December, 2003. 42 Dempster, 14 November, 2003. 43 Johansen, 24 December, 2003. 44 Sluchin, 1 January, 2004.

29

Figure 8


Mastering the Technique of Tremolo

The tremolo has also been referred to as a same-note glissando,45 an enharmonic trill,46

or enharmonic changes.47 It is a method of performing the same pitch while alternating different

harmonics and therefore employing different slide positions. The B-flat in Figure 9, page 30 is

intended to be played by rapid harmonic changes between first and short fifth position. (The A

in this figure is meant to be sung. See Mastering the Technique of Multiphonics on page 31 for

more information.) Work for accurate pitch when changing positions on the same note. The use

of a tuner is recommended. See chapter 3, Exercise 3.1 page 54 and Exercise 3.2 page 55 for

more tremolo exercises.

“These same pitches have slightly different timbres (as they have different fundamentals

and different partial numbers.) No articulation is necessary and the changes occur naturally.”48

45 Dempster, Modern Trombone, 21. 46 Schiaffini, 19. 47 Benny Sluchin, Contemporary Trombone Excerpts: Practical Introduction to Contemporary Trombone

Techniques (Paris: Éditions Musicales Européennes, 1995), 22. 48 Sluchin, 22.

30

Practicing the Technique of Tremolo

Figure 9


Exercise 2.7

31

Mastering the Technique of Multiphonics

Performing multiphonics requires much more vocal volume than played volume. It is

important to learn to hear in one’s mind the duet of voice and trombone, as well as to be able to

control the independent voices in the mind’s ear and subsequently in the physical act of playing

and singing simultaneously. Practice multiphonics by singing the vocal pitches loudly through

the trombone while keeping the embouchure (and ear) set for the played note. In other words,

focus the ear, not only the pitch that you are singing (for it is the pitch that is more likely to

wander), but also on the played pitch. I also find it useful to use limited or no articulations when

performing multiphonics.

Many of the exercises begin with singing a pitch, followed by playing a pitch and then

combining the two. When trying to get the two pitches to sound simultaneously, experiment

with starting the singing and then adding the playing. If this procedure is not working for you,

switch the order: that is, start with the played sound and then add the vocal sound.

Because Berio recommends a “similarity of color and attack” between a vocal and played

sound,49 it is important that the performer sing loudly so as to balance the playing. It may even

be possible to place a microphone up to the throat and possibly another softer microphone on the

bell to help balance the combination of singing and playing artificially.50

When two tones of similar timber are performed together, resultant tones may occur, the

strength of which depends on the balance between the two tones. Consequently, the two pitches

of a multiphonics effect can sound like a complete chord of three or four notes. (More

information on how this phenomenon works is clearly presented in Benny Sluchin’s article,

49 Berio, ii. 50 Vinko Globokar, “Possibilities for Development of Brass Instruments.” Brass Bulletin 5/6 (1973): 26.

32

“Playing and Singing Simultaneously.”51 For more comprehensive multiphonic exercises, I

recommend Contemporary Techniques for the Trombone, vol. 4 by David Baker, published by

Charles Colin52.)

As far as multiphonics are concerned, something that I make students do is

separate the two parts of the multiphonics. They practice by playing the note and then singing the note. I then have them practice holding the played note and the sung note before moving to the next idea.53—Tony Baker

Singing below the played note was the hardest concept for me. It’s a very

concrete sound in this piece, and because of the bass trombone’s physical properties, I always found multiphonics most effective if I sang above the played pitch.54 . . . it’s the inclusion of the word “generally,” rather than the “MUST” instruction Berio sometimes states, that gives me some freedom, or at least the confidence not to obsess over technique which might prevent a flexible form.55—David Taylor

Perhaps the most important thing to keep in mind is that one must “shout” the

voice through the instrument while at the same time allowing a “breathy” lip sound to go through.56—Stuart Dempster

51 Benny Sluchin, “Playing and Singing Simultaneously on Brass Instruments,” Brass Bulletin 37 (1981):

20-28. 52 Six smaller volumes of Contemporary Techniques for the Trombone are now published by Charles Colin

Music in New York in place of David Baker’s older two volumes. Neither issue contains a publisher’s date. 53 T. Baker. 54 Taylor 44. 55 Taylor 43-44. 56 Dempster, Modern Trombone, 6.

33

Practicing the Technique of Multiphonics

Multiphonics in Unison

Figure 10


Exercise 2.8

34

Figure 11


Exercise 2.9

35

Multiphonics with Seconds

Figure 12


36

Exercise 2.10

37

Figure 13


Exercise 2.11

Multiphonics with Glissandos When performing glissandos, work for slow steady glissandos, emphasizing changes in

beats57 and harmonics.

57 The term “beats” as used here refers to a gurgling sound that occurs when two similar or different

simultaneous sound waves compete for the use of the same amplifier, in this case, the trombone.

38

Figure 14


Exercise 2.12

39

This is one of many instances in Sequenza V where a glissando must break for a partial

change. Notice how the plunger can cover the “feathering” of the glissando.58 The change of

harmonic should be done very quickly, both to and from the same pitch, as in F in sixth and then

first. The glissando should maintain a slow tempo and sound like one glissando as much as

possible.

Figure 15


Exercise 2.13

58 Dempster, Modern Trombone, 18.

40

Multiphonics in Fourths and Fifths

When performing multiphonic open fourths or fifths, work for a locked interval, an

interval absent of beats or waves, to create as many overtones as possible.

Figure 16


Exercise 2.14

41

Figure 17


Exercise 2.15

42

This measure, which is an important moment near the end of the solo (possibly signifying

the end of Grock’s life), should be treated as a full cadence. The final chord should be held as

long as possible.59 If your slide has a spring, it is possible to use it to your advantage, here on the

C-flat, by bringing the slide in all the way.60 Otherwise, practice lipping up to the C-flat in first

position.

Figure 18


Exercise 2.16

59 Berio, 2. 60 Stuart Dempster,14 November, 2003.

43

Developing More Independence with Glissandos

When articulating a note while singing (such as the Eb, C, and F in Figure 19), it is

important to realize that the sung note must be “tongued” as well. The sung note should be

interrupted only as long as it takes to articulate the played note. As for the first glissando,

Johansen recommends using one long glissando from D to 6th or 7th position, then switching

quickly into third for the E-flat while the mute “covers” the change. For the second glissando,

start in sixth position on the F and use the mute again to “cover” a quick harmonic change,

ending on C.61

61 Johansen, 24 December, 2003.

44

Figure 19


Exercise 2.17

45

The glissando below, Figure 20, can be performed as a harmonic glissando from first

position B-flat to 7th position high A-flat or from first position B-flat to first position A-flat. For

more information on harmonic glissandos, refer to chapter 3, page 56. Another option is to

feather the glissando as in previous examples. (Dempster recommends performing it in any way

possible.62)

62 Stuart Dempster,14 November, 2003.

46

Figure 20


Exercise 2.18

47

These vocal pitches are designated by Berio as approximate pitches, since they have a

slash through them. The idea in this excerpt is that the played note begins as the bottom voice,

slowly rising upward above the vocal pitches. Notating a possible pitch scenario during the

glissando (as below) will help the ear learn to hear this difficult juxtaposition of vocal and played

sounds.

Figure 21


Exercise 2.19

48

Multiphonics with Articulated Short Played Notes Since it is impossible to sustain a sung tone while playing short notes, the sung

pitches will have to be articulated along with the initial attack of the played notes. Practice

articulating the vocal tones to correspond with the attacks of the played tones while, at the same

time, keeping the sung note as smooth as possible.

Figure 22


Exercise 2.20

49

Figure 23


Exercise 2.21

50

Figure 24


Exercise 2.22

51

Multiphonics with Buzzed Vowels Combining buzzed vowels sounds with multiphonics means that the sung pitch should

also have a shaped vowel sound. (Refer to chapter 2, page 20 for more information on buzzed

vowel sounds.)

Figure 25


Exercise 2.23

As the supplementary studies in this chapter suggest, Berio’s Sequenza V is certainly one

of the most difficult compositions in the solo trombonist’s repertoire. However, the careful study

and practice of the explanations and exercises in this chapter should facilitate the performer’s

initial approach to—and eventual mastery of—the challenging extended techniques in the piece.

52

CHAPTER 3

SUPPLEMENTAL STUDIES FOR FOLKE RABE’S BASTA

Introduction to Basta One of the main extended techniques that Folke Rabe used in the composition of Basta is

that of harmonic glissando. This is one of the few extended techniques that has not already been

dealt with thoroughly in the course of the first chapter while treating the extended techniques in

Berio’s Sequenza V. Studies for the performance of the extended techniques of tremolo and

multiphonics, which occur in Basta, have been previously presented in the context of considering

Sequenza V in chapter 2. In this chapter as well, etudes for tremolo and multiphonics are again

included; but, in this context, they are treated as they particularly relate and specifically apply to

Basta. Consequently, the supplemental studies in this chapter are significantly fewer and briefer

than in the previous chapter. However, at appropriate points below, I shall refer the reader to

relevant passages in the previous chapter that are usefully applicable to Basta as well as to

Sequenza V.

53

Guidelines for Practicing the Supplemental Studies for Basta:

• Because these etudes are arranged in a progressive order of difficulty, working from the first etude onward is advised.

• “When learned slowly, Basta is actually a simple piece.”63 Many of the supplemental

studies in this chapter are simply passages from Basta that are slowed down.

• Repeat signs are inserted to be used as a teaching guide. Do not progress to the next set of repeat signs until you have mastered the first set.

• All etudes are intended to be played at the metronome marking of a quarter note=ca. 60

unless otherwise indicated. However, the performer should keep in mind that the rhythms and tempo indicated are only a general guide and that there remains room for interpretation and change.

• The process of preparing to perform this piece should be preceded by thorough studies in

flexibility. (For further studies, I recommend Buddy Baker’s Tenor Trombone Method for trills, Greg Wait’s Advanced Flexibility Studies for harmonic glissandos, and Robert Marstellar’s Basic Routines for lips slurs.)

• Vocal pitches are represented by a diamond-shaped note head. Played notes utilize

traditional notation. • Where Rabe indicates soft dynamic markings for the multiphonics, I have chosen to

change some of them to loud dynamic markings within the supplementary studies in order to remind the player that he/she must sing loudly even during soft dynamic markings.

• After mastering each etude, the reader should proceed to playing/reading the

corresponding figure in Rabe’s notation provided at the beginning of each exercise.

63 Niels-Ole Bo Johansen to Deb Scott, 20 October 2003.

54

Practicing the Technique of Tremolo

The reader is advised to revisit chapter 2, page 29, for textual information about

performing the extended technique of tremolo.

Figure 26

Copyright 1982 by Edition Reimers AB, Stockholm, used with permission.

Exercise 3.1

55

Figure 27


Exercise 3.2

56

Mastering the Technique of Harmonic Glissando

While lip slurs are performed in the same slide position without any articulation, a

harmonic glissando is produced by rapidly moving the slide while crossing partials--again, with

no articulation. This technique is sometimes called against the grain playing. Bill Watrous uses

the term lip-break articulations.64 The most common harmonic glissando is ascending. Partials

are lipped upward (as in lip slurs) simultaneously while the slide is extended. Because of the

nature of the harmonic series, there are more harmonic glissando possibilities in the upper part of

the range on the trombone.

By using the technique which I label “against the grain playing” a multiplicity of advantages may accrue: 1. Dramatic effect approximating a valve action. 2. Speed and technique often not possible using the tongue. 3. Rips and slurs not unlike those produced by the french horn in certain

contemporary works. 4. A smooth legato, not obtainable with any modification of basic tonguing

techniques. 5. Many others limited only by the player’s imagination.65

A lot of people approach against the grain playing by simply knowing where the starting position and the terminal position are and then trying to get all the notes in between. Whenever I do it that way, I can’t stand how out-of-tune it is on the way to the terminal position. I’m probably making it a lot harder than it needs to be; I acknowledge that, but that’s a challenge for me. First I figure out where the notes are in tune without the metronome, I’ll isolate each of the different passages or motives, and figure out just where things lie. And then, I will put it to a metronome at a much slower tempo making sure that I’m very in-time and very in-tune.66

This position movement affects the intonation and produces a very rough effect. This rough effect can be further heightened by realizing, as one moves from the lower to higher register, that each change is accompanied by a slight downward “same partial” glissando, further upsetting the intonation structure…The harmonic glissando is, in some ways, more effective the slower it is done, but most composers seem to prefer the fast

64 Watrous and Raph,14. 65 David Baker, Contemporary Techniques for the Trombone, vol. 2, Against the Grain Playing, Scales and

Chords (New York: Charles Colin Music), 3. 66 T. Baker, 21 October 2003.

57

version. Also, all these harmonic glissandos can be done from the top down instead of the bottom up, but the latter is generally preferred.67

Practice slowly and listen. Be sure to lock the note in tune before increasing the tempo. Also remember to narrow the air stream and work for pitch and accuracy before volume.68 Once you establish a sequence of exercises, memorize them. Practice them daily to refine them. When you can play them well consistently, start to expand the scope. Play them higher, then lower. Increase the tempo. Vary the dynamics. Whatever you do, continue to challenge yourself.69 Practicing the Technique of Harmonic Glissando

Figure 28


Exercise 3.3

67 Dempster, Modern Trombone 21. 68 Watrous and Raph, 13. 69 Watrous and Raph, 14.

58

Figure 29


Exercise 3.4

59

Figure 30


Exercise 3.5

60

Practicing the Technique of Multiphonics

As stated earlier, the reader is advised to revisit chapter 2, page 31 for textual information

about performing multiphonics.

Figure 31


61

Exercise 3.6

62

Figure 32


Exercise 3.7

63

Essential to the successful performance of Basta by Folke Rabe are three extended

techniques: the harmonic glissando, the tremolo, and multiphonics. Techniques and exercises

for mastering tremolos and multiphonics have been previously presented as they relate to

Sequenza V. More exercises for these same techniques were presented in this chapter but this

time as they related to Basta. The definition of harmonic glissando as well as several exercises

for mastering the technique were presented in this chapter, not only because this technique had

not been previously introduced, but also because of its vital importance to the performance of

Basta.

64

CHAPTER 4

SUPPLEMENTAL STUDIES FOR MARK PHILLIPS’ T. REX

Introduction to T. Rex Currently, one of the most popular late twentieth century solos for trombone, Mark

Phillips’ T. Rex, requires many extended techniques that have not yet been addressed. However,

with a proper grasp of the mechanics for performing the techniques, with a creative imagination,

and with a program of practice to master them, the trombonist can present an impressive

performance of this challenging and appealing work.

Extended techniques are required in the first, third, and fourth movements of this

composition. Only one extended technique is used in the first movement, the lip glissando.

Three free improvisatory sections—one in the third movement, and two in the final movement—

are the parts that offer the greatest opportunity for deploying extended techniques in T. Rex.

Trills, flutter-tongued long tones, multiphonics, wah effect, partially disassembled trombone

sounds and air-only sounds are all techniques that are listed by the composer as ideas for

improvisation in the third movement. The final movement calls for rips, fall aways, stabs,

growls, glissandi, and the Doppler Effect. This chapter will focus on describing these techniques

and terms as they relate to T. Rex.

But the other thing to keep in mind is that especially in the improvisation instructions, I deliberately used terms with somewhat “fuzzy” meanings, without defining them— in order to elicit a higher level of creative imagination and experimentation from performers as they try to make the piece their own.70

70 Mark Phillips, Athens, Ohio, to author, Nacogdoches, TX, 15 January 2004.

65

Extended Techniques in Movement 1

Mastering the Technique of the Lip Glissando The lip glissando or bent tone is a technique that uses the embouchure to gradually lower

or raise a pitch while the length of the instrument or pipe does not change. This action is often

called lipping a note. Lip glissandos are most often used to lower a pitch. The trombonist

generally does not utilize this technique since a slight movement of the slide can emulate this

technique making it easier to perform. However, in the first movement, a lip glissando is called

for on a seventh position B natural. Because the slide can only barely move past seventh

position, it is necessary to lip the note as well. To practice this technique, the player should

slowly lip the B downward until the harmonic is altogether abandoned. Slowly opening the jaw

can help produce this technique. Next, the player should practice lipping the B as far as possible

on the same harmonic while simultaneously extending the slide as far as possible.

Practicing the Technique of Lip Glissando

Exercise 4.1

66

Extended Techniques in Movement 3 The composer’s notes about performing the third movement indicate that slow irregular

valve trills or alternate position trills can be used to enhance the effects of the third movement.

“On any of the held notes, you may substitute a slow irregular valve trill, an alternate position

trill, a combination of both, or use either in combination with ‘wah’ effect. Vary speed and

loudness. Be creative!”71 Use a Harmon mute or pixie mute with plunger to create wah effects

in conjunction with trills. Trills on the trombone can be performed several different ways, as

illustrated below. Practice the entire trill etudes below utilizing a Harmon or pixie mute with

plunger.

71Mark Phillips, T. Rex for Trombone and Tape (University of Missouri-Columbia: International Trombone

Association Manuscript Press, 1996), 5.

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Mastering the Technique of Lip Trills

The lip trill is executed by rapidly changing pitches between two harmonics in the same

position, such as G to A in fourth position (see Exercise 4.2). Practice trills slowly and steadily

at first, gradually increasing speed. The lip trills in the third movement should be performed

slowly anyway, therefore speed is not as much of an issue as it might normally be. Generally, lip

trills are easier to play in the higher register because the partials are closer together.72

Practicing the Technique of Lip Trills

Exercise 4.2

72 For more exercises in lip trills, refer to the flexibility chapter of Buddy Baker’s Tenor Trombone Method.

68

Mastering the Technique of Lip Trills in Adjacent Positions

Lip trills may also be performed by oscillating between adjacent partials in adjacent

positions, such as G in fourth position to F-sharp in third position. (See Exercise 4.3 below.)

This only works when the higher partial is in a longer position than the lower partial, thereby

creating a natural slur. As the trill gets faster, the movement of the slide gets gradually smaller

until it stays in third position for the fastest part of the trill. Therefore, at the end of the trill, the

pitches that are actually sounding are F-sharp and G-sharp. The discerning ear can hear the

gradual change, but it is nonetheless a useful technique. Again, since trills in the third movement

of T. Rex should be slow, the player has time to move between positions using natural slurs all

the way through the trill, as indicated below.

Practicing the Technique of Lip Trills in Adjacent Positions

Exercise 4.3

69

Mastering the Technique of Trills Using the F-Valve

Using the F-valve on a tenor trombone creates more pitch options for trills and also

makes them sound more like the trills performed on valved instruments. For instance, D can be

played in second position when the F-valve is depressed and trilled to 2nd position C-sharp on the

open horn. This action requires a quick valve motion. (The shorter the distance that the valve

action must move, the quicker this action can be.)

Practicing the Technique of Trills Using the F-Valve

Exercise 4.4

70

Free Improvisation 1 The free improvisation section at the end of the third movement lasts about fifty seconds,

allowing plenty of time for the performer to be creative. The performer is directed by the

composer to avoid creating melodies but rather to improvise “isolated events” that may include

multiphonics, valve trills, air-only sounds, partially disassembled trombone sounds, or flutter-

tongued long tones, especially in conjunction with the wah effect.73 Information about

multiphonics can be found in chapter 2, page 31; and the technique of flutter-tonguing is

discussed in chapter 1, page 22. The wah effect is also discussed in chapter 2, page 15 and valve

trills are mentioned earlier in this chapter on page 69.

Partially Disassembled Trombone Sounds and Air-Only Sounds

When it comes to disassembling the trombone and creating unusual sounds, the

possibilities are limited only by the imagination. The mouthpiece may be buzzed alone or

whistled by sealing the cup with the palm of the hand and blowing across the top of the shank—

similar to producing sound on a piccolo. Either end of the mouthpiece striking the hand creates a

thump. Two mouthpieces may be hit together to create a high-pitched triangle sound, or a

mouthpiece can be struck by a different object such as a triangle beater. The mouthpiece can be

amplified by inserting it into any number of objects, including the slide section, the bell section,

a tuning slide, a Harmon mute, the removed stem of a Harmon mute, or a jar—just to name a

few.

Pulling out the tuning slide of an F-attachment quickly, without holding down the trigger,

creates a vacuum and thus a rather loud “popping” sound. Playing the F-attachment side of the

trombone with the removed tuning slide creates a hollow “buzzy” tone when the trigger is

73 Phillips, T. Rex, 5.

71

depressed. The advantage of this sound is that the player can quickly switch between a normal

tone and the hollow tone, even creating an echo effect. A cuivré is known as the act of playing

loudly into the “hollow” F-attachment and then quickly releasing the trigger to create a startling

accent.74 Finally, many kinds of materials can be struck with various parts of the trombone to

create a wide variety of interesting effects.75

Extended Techniques in Movement 4

Free Improvisation 2 The second free improvisation section, which begins movement four, calls for unpitched

sounds and mouthpiece buzzing. The mouthpiece buzzing will produce pitches, but it is desirable

to interact with the accompaniment. Try to create effects rather than actual notes and pitches.76

Many ideas for unpitched sounds can be found in the above section. These ideas may also be

combined with wah effects from a Harmon or plunger mute.

Free Improvisation 3

All of the suggestions for the third free improvisation section can be performed with or

without the flutter-tongue. (See chapter 2, page 22 for further information on the technique of

flutter-tonguing). The performer is also directed by the composer that any mute that is loud

enough may be added.77 Rips, fall aways, stabs, growls, glissandi, and the Doppler Effect are

indicated as extended techniques that can be used in this third free improvisation section. These

techniques are considered below.

74 Dempster, Modern Trombone, 50. 75 For more ideas about using the trombone and its parts to create unusual sounds, consult The Modern

Trombone by Stuart Dempster. 76 Tony Baker, 21 October 2003. 77 Phillips, T. Rex, 6.

72

Rips Rips are much like harmonic glissandos (see chapter 3, page 56) except that they are

always performed very quickly. The sound and feel of playing many quick ascending partials is

the basis for the term rip.

Exercise 4.5

Fall Aways Fall aways refer to a downward glissando that falls through the harmonics, the opposite

of a rip. In a fall away, the slide moves outward while the notes descend. The dynamic of a fall

away should remain constant or crescendo as opposed to the term fall or fall off (found in

movement two) which indicates a noticeable decrescendo or diminuendo.78

Exercise 4.6

78 Phillips, 15 January 2004.

73

Stabs The term stab indicated in the second improvisation section of the final movement, refers

to a note that would have the following characteristics: sharply articulated, short in duration, and

high in the trombonist’s tessitura.79

Growls Growls have been used extensively in jazz trumpet and trombone solos since the

inception of jazz. The term growl refers to the technique of rolling the tongue in the back of the

mouth while playing; it is quite similar to the flutter-tongue. See chapter 2, page 22 for further

information.

Glissandi A normal glissando involves moving the slide within the limited augmented fourth range

of a single partial while maintaining the same harmonic with the embouchure. (Harmonic

glissandi and tremolos have previously been discussed, respectively, in chapter 3, page 56, and

in chapter 2, page 29.)

79 Phillips, 15 January, 2004.

74

The Doppler Effect

The Doppler Effect emulates an object that is sounding while moving, which creates the

effect of a pitch change for the listener, like that made by a passing train or automobile. The

composer suggests in his performance notes that the effect be created by waving the horn from

one side of the stage to the other while performing an ascending-descending-ascending glissando

with the highest pitch of the glissando being coordinated with the time the slide hits center stage.

I find the effect to work better if the glissando is not the full length of the slide but rather a

shorter distance of approximately half the slide. Other possibilities include spinning in a circle

or moving the bell up and down.80

Exercise 4.7

80 Phillips, T. Rex, ii.

75

T. Rex is a trombone solo that in my experience appeals greatly to audiences. Most of the

extended techniques required to perform T. Rex were not introduced in the previous chapters

(which were concerned with the extended techniques utilized in Sequenza V and Basta).

Therefore, many new extended techniques—the lip gliss, trills, partially disassembled trombone

sounds, rips, fall aways, stabs, growls, glissandi, and the Doppler effect—were presented in this

chapter, along with exercises where pertinent for performing these techniques.

76

CHAPTER 5

CONCLUSION

The purpose of this document is a fairly ambitious one: to make a significant contribution

toward the performance capability of trombonists by facilitating the development of their

competence in playing the extended techniques that may be needed to perform late twentieth

century compositions for the soloist. In particular, I have concentrated on the extended

techniques that must be utilized in three late twentieth century pieces for solo trombone—

Luciano Berio’s Sequenza V, Folke Rabe’s Basta, and Mark Phillips’ T. Rex.

In this document, I have concentrated at length and in detail on the extended techniques

in the three late twentieth century solos, presenting them in the chronological order of their

composition: Sequenza V (1966), Basta (1982), and T. Rex (1996). I chose to deal with Sequenza

V initially, not only because it was the first of the three to be composed, but also because it

includes the broadest range of extended techniques. Thus, after explaining the various extended

techniques in the chapter on the Berio solo, I was then able simply to refer the reader back to the

appropriate sections in an earlier chapter when encountering the same extended techniques in a

later chapter. For the purpose of treating the range of extended techniques that are collectively

utilized in these three compositions, the order that I employed worked quite satisfactorily.

Finally, it should be noted that this document has been concerned with a process that,

although very important for the performer, is nevertheless ultimately a limited aspect of music.

That is, it has sought to facilitate the acquisition of the mechanics of technical competence in

performing the extended techniques represented in the three pieces. However, even after

achieving a degree of mechanical facility in playing these extended techniques, there remains yet

77

another challenging task, which is not within the scope of this study to address. That is, the

performer must engage in the profoundly challenging process of performing the extended

techniques in a manner that exploits the potential for expressive musicality that is merely latent

in the score, drawing on his or her uniquely individual artistic capabilities.

Thus, beyond the merely mechanical mastery of extended techniques, there always

remains the profoundly artistic challenge of executing them in the context of a composition in a

way that is aesthetically appropriate, appealing, and satisfying both to the performer and to a

musically literate audience. Of course, such artistry ultimately transcends technical competence.

Nevertheless, it is surely the case that technical mastery is indeed the essential foundation

on which the edifice of musical artistry must be erected.

78

SOURCES CONSULTED

Books Baker, David. Contemporary Techniques for the Trombone, vol. 2, Against the Grain Playing, Scales and Chords. New York: Charles Colin.

Baker, David. Contemporary Techniques for the Trombone, vol. 4, A Method for Gaining Facility with the Various Scales, Multiphonics, & Polytonality. New York: Charles Colin.

Dempster, Stuart. The Modern Trombone: A Definition of Its Idioms. Rochester, N.Y.:

Accura Music, Inc., 1979. Schiaffini, Giancarlo. The Trombone. Milano: G. Ricordi & C., 1982. Sluchin, Benny. Jeu et Chant Simultanés sur les Cuivres/Playing and Singing

Simultaneously On Brass Instruments. Paris: Editions Musicales Européennes, 1995.

Sluchin, Benny. Introduction Pratique aux Techniques Contemporaines du Trombone: Traits de Trombone du 20éme siécle/Practical Introduction to Contemporary Trombone Techniques: 20th Century Trombone Excerpts. Paris: Editions Musicales Européennes, 1996.

Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New York: W.W. Norton & Company, 1980. Waits, Greg. Advanced Flexibility Studies. Denton, TX.: Harold Gore Pub. Co., 1991. Watrous, Bill, and Alan Raph. Trombonisims. New York: Carl Fischer, Inc., 1983.

Articles and Dissertations Brevig, Per. “Avant-garde Techniques in Solo Trombone Music.” D.M.A. diss., Julliard School of Music, 1971. Globokar, Vinko. “Possibilities for Development of Brass Instruments.” Brass Bulletin 5/6 (1973): 15-34. Guion, David. “Twenty-five Years of Trombone Recitals: An Examination of Programs

Published by the International Trombone Association.” ITA Journal 27:1 (Winter 1999): 22-29.

Hey, Jr., Dean Edgar. “Etudes for Trombone Using Avant-garde Techniques.” D.M.A. diss., University of Miami, 1973.

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Sluchin, Benny. “Playing and Singing Simultaneously on Brass Instruments.” Brass Bulletin 35 (1981): 5-11, 36 (1982): 18-23, 37 (1982): 20-28. Stevens, Milton. “New Techniques Required to Perform Recent Music for the Trombone.” D.M.A. diss., Boston University, 1976.

Scores Berio, Luciano. Sequenza V for Trombone Solo. London: Universal, 1968. Phillips, Mark. T. Rex for Trombone and Tape. University of Missouri-Columbia:

International Trombone Association Manuscript Press, 1996. Rabe, Folke. Basta for Trombone Solo. Stockholm: Edition Reimers AB, 1982.

Interviews and Letters Baker, Tony, professor of trombone University of North Texas. Interview by author, 21 October, 2003, tape recording, Stephen F. Austin State University, Nacogdoches, TX. Bo-Johansen, Niels-Ole, Denmark, to author, Nacogdoches, TX, 27 October, 2003. _______________, Denmark, to author, Nacogdoches, TX, 21 December, 2003. Dempster, Stuart, professor emeritus of trombone University of Washington, Interview by author, 15 October, 2003, transcript by Deb Scott, Stephen F. Austin State University, Nacogdoches, TX. _______________, Seattle, to author, Nacogdoches, TX, 17 October, 2003. _______________, Seattle, to author, Nacogdoches, TX, 18 October, 2003. _______________, Seattle, to author, Nacogdoches, TX, 14 November, 2003. _______________, Seattle, to author, Nacogdoches, TX, 2 December, 2003. Kagarice, Vern, professor of trombone University of North Texas, Interview by author, November, 2003, in-person, Denton, TX. Phillips, Mark, Athens, Ohio, to author, Nacogdoches, TX, 15 January 2004.

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Videorecordings Luciano, Berio. Luciano Berio, produced and directed by Reuven Hecker, 60 min., Belshir

International and George Weiss Filmproduktion and Gravity Post Production, 2001. Videocassette.

Documents

Scott, Deb - Supplemental Studies for Mastering Extended Techniques in Three Late Twentieth-century Works for Solo Trombone (UNT 2004)