TIMBRAL EXPLORATIONS FOR WIND & PERCUSSION INSTRUMENTS. Accompanying Document for Breath of the Mountains. A Thesis by BENJAMIN PARKS DAWSON

Transcription

1 TIMBRAL EXPLORATIONS FOR WIND PERCUSSION INSTRUMENTS Accomanying Document or Breath o the Mountains A Thesis by BENAMIN PARKS DAWSON Submitted to the Graduate School at Aalachian State University in artial ulillment o the requirements or the degree o MASTER OF MUSIC May 017 Hayes School o Music

2 TIMBRAL EXPLORATIONS FOR WIND PERCUSSION INSTRUMENTS A Thesis by BENAMIN PARKS DAWSON May 017 APPROVED BY: Ben Hertmann, D.M. Chairerson, Thesis Committee Hiu-Wah Au, Ph.D. Member, Thesis Committee Victor N. Mansure, D.M.A. Member, Thesis Committee Coordinator, Hayes School o Music Graduate Studies Max C. Poole, Ph.D. Dean, Cratis D. Williams School o Graduate Studies

3 Coyright by Benamin Parks Dason 017 All Rights Reserved

4 Abstract TIMBRAL EXPLORATIONS FOR WIND PERCUSSION INSTRUMENTS Benamin Parks Dason B.A., Thomas Edison State University Chairerson: Ben Hertmann, D.M. This thesis is divided into to arts: a comosition element and a research element. The comosition element consists o a thirteen-minute ork or ind ensemble titled Breath o the Mountains. The research element consists o the exloration and discovery o unusual sounds and extended techniques (in collaboration ith instrumental erormers) that ere individually recorded and then described in this document. These to elements ere combined by incororating selected sounds and techniques in the comosition Breath o the Mountains. iv

5 Acknoledgments Secial thanks to the olloing instrumentalists, ho oered descritions o extended technique erormance methods and erormed or the recordings: Samuel Plato, lute Nick Poell, oboe Rachel Davis, bassoon Andre Paluszak, clarinet Andres Orench, alto saxohone Tim Hamilton, trumet Daniel Harris, French horn Caleb McMahon, trombone S.. Higgins, tuba Andre Henry, ercussion Secial thanks to Scott Wynne, Director o the Gilley Recording Studio at Aalachian State University, and Henry Neal, Studio Manager at GRS, or the use o recording equiment. Lastly, I ould be remiss to conclude ithout giving recognition and areciation to my comosition advisor, Dr. Ben Hertmann, or his suort, encouragement and instruction throughout the riting o this thesis, and over the ast to years in general. v

6 Table o Contents Abstract...iv Acknoledgments...v Section 1. Introduction...1 Section. Comosition o Breath o the Mountains... Section. Descritions and Utilization o Extended Techniques... Section. Summary... 1 Reerences...17 Aendix. Attached Audio Recordings... 1 Vita...0 vi

7 SECTION 1: INTRODUCTION Breath o the Mountains as ritten or the Aalachian Wind Ensemble ith the intent o creating a large musical ork to exlore and highlight unusual instrumental timbres. The iece as imroved and exanded by the inclusion o extended techniques and unusual sounds or ind and ercussion instruments. Extended techniques are methods o roducing sounds rom an instrument that all outside o the realm o standard erormance ractice. Seventy-one (71) extended techniques roduced by nine ind instruments and our ercussion instruments ere recorded ith the assistance o erormers rom the Hayes School o Music. The recorded techniques ere then evaluated or inclusion in the comosition Breath o the Mountains and have been documented in this accomanying aer. 1

8 SECTION : COMPOSITION OF BREATH OF THE MOUNTAINS Breath o the Mountains is a to-movement ork or ind ensemble. Each movement is beteen ive and seven minutes in length. The intent or this ork as to rite a iece o substantial length hile researching and incororating extended instrumental techniques. The to movements are searate by design, each containing their on searate themes; hoever, they both contain a alette o extended techniques that tie the ork together. In the irst movement the extended techniques are generally incororated subtly ith to notable excetions: bloing through instrument at the beginning and luttertongue in the middle. In the second movement, the extended techniques are eatured and resented much more rominently, as the iece ends ith a smear technique in the clarinet. The extended techniques in the iece relect the concets o ind and movement; an examle o this is the bloing through instrument technique that oens the ork. This connection is also noticeable in techniques such as using brushes on drumheads and erorming smears on the clarinet. The irst movement is titled Willia, hich means a sudden violent gust o cold land air common along mountainous coasts o high latitudes. (Merriam- Webster) The second movement is titled Zehyr, hich is a breeze rom the est or a gentle breeze. (Merriam-Webster)

9 SECTION : DESCRIPTION OF EXTENDED TECHNIQUES This document accomanies the ull score o Breath o the Mountains. The urose o this document is to list and describe the extended techniques that ere discussed and recorded ith the collaboration o student erormers rom Hayes School o Music. Extended techniques rovide a set o sounds that cannot be roduced by common erormance ractice o musical instruments. In researching extended techniques, books, articles, and ebsites ith instructions on execution ere consulted (Bron, Cherry, 01; Easton, Elliot, 008; Estes, Gross, 18; Horne, 000; Hugill, Kennedy, 01; Moller, Nelson, Parker, 01; Pollard, 01; Rees, 01; Reheldt, 177; Tictactux, 007) and instrumentalists ere then contacted to discuss and record selected techniques. For this research, seventy (70) extended techniques or ind and ercussion instruments ere recorded, ith thirty-one (1) included in Breath o the Mountains. The recorded instruments ere lute, oboe, trombone, clarinet, rench horn, bassoon, tuba, saxohone, trumet, bass drum, susended cymbal, snare drum, and timani. The techniques/eects are documented based on hat as recorded or each instrument; hoever, other instruments can erorm many o these resective techniques as ell. As each technique is listed (Section ), examles o measures that contain that technique ithin Breath o the Mountains are also rovided. An accomanying comact disc ith sound iles is available.

10 Extended Techniques Utilized by Multile Instruments Bloing through Instrument Flute (track 1), Oboe (track ), Bassoon (track ), Clarinet (track ), Alto Saxohone (track ) (Flute measures 10, clarinet m. 10, saxohone m. 10) By bloing into the instrument normally, but ith less orce than usual, a hisering sound can be achieved. Fingering itches on the instrument hile bloing aects the tone color o the sound. On the oboe, the reed can be removed to allo or greater volume. Trumet (track ), Trombone (track 7), Tuba (track 8) (Trumet m. 1 10, trombone m. 1 10, tuba m. 1 10) Bloing through the instrument ithout making itch roduces a gust o air. Trilling the valves hile bloing roduces a rustling eect. The brass instruments are used to roduce large us o air in Breath o the Mountains, roviding a suort or the contours and variety o the oodind air. (Trombone Bloing While Moving Trigger, track ) The layer can blo into the instrument hile ushing the trigger in and out. (Trombone Bloing While Fluttering Tongue, track 10) Bloing into the instrument hile luttering the tongue inside the mouthiece ithout making a itch creates a lo, buzzing sound.

11 French Horn (track 11) (m. 7) To amliy the sound, the layer can remove the mouthiece rom the horn, turn it backards and lace it near the leadie, and blo through the end that is normally inserted into the horn. Fluttertongue Flute (track 1), Bassoon (track 1), Clarinet (track 1), Alto Saxohone (track 1), French Horn (track 1), Tuba (track 17) (Flute m. 07, 0,, bassoon m., clarinet m. 1, alto saxohone m. 8, tuba m. 7) Fluttertongue can be achieved hen the layer rolls an R sound ith his/her tongue hile laying the instrument normally. This results in a rough and agged sound. Grol Trumet (track 18), Trombone (track 1), (Trombone m. 7) Producing a grunting sound in the back o the throat hile laying a notated itch creates a grol. A grol, similar to a luttertongue, has a buzzing, rough sound. A grol can be a luttertongue substitute or layers ho cannot roll an R.

12 Scoo/Pitch Bend Flute (track 0) (itch bend) (m. ) A itch bend is roduced by turning the lute hile laying so that the embouchure hole moves closer to or arther rom the mouth, causing the itch to loer or raise, resectively, by aroximately a hal ste. Bassoon (track 1), Alto Saxohone (track ) (scoo) (Alto saxohone m. 110) A scoo is a glissando-tye eect here the layer lays the notated itch, but starts the itch a hal ste lat, by loosening the a and embouchure. The layer then raises the itch, sliding into the notated itch. French Horn (track ) (hand scoo) (m. ) The hand scoo is roduced by the layer stoing the horn ith the hand in the bell, and then ulling it out hile laying a itch. While the hand is inserted in the bell, a itch loer than the one notated is roduced. As the hand is ulled out, the sound raises to the ingered itch, as i sliding into the note.

13 Sla Tongue Bassoon (track ), Clarinet (track ), Alto Saxohone (track ) The layer resses his/her tongue against the mouthiece and creates suction. This suction is released hen the itch is layed, creating a smack to the attack o a itch. Multihonics Oboe (track 7), Bassoon (track 8), Clarinet (track ), Alto Saxohone (track 0) By using non-standard ingerings, more than one itch can be roduced at a time, giving a comlex collection o tones, hich may have a bell-like, ringing sound. Singing hile Playing Flute (track 1), French Horn (track ), Trombone (track ), Tuba (track ) (Trombone m. 18) A erormer can sing a itch hile laying another itch. The to notes clash ithin the instrument, creating a rough sound similar to multihonics. Key Slas/Clicks Flute (track ), Clarinet (track ), Alto Saxohone (track 7) When the layer quickly slas keys don ithout bloing, air moves through the instrument, creating a short, transarent sound. 7

14 Oboe (track 8), Bassoon (track ) By slaing the keys on the instrument ithout bloing, a dry, rattling eect can be created. Tongue Sla French Horn (track 0), Trumet (track 1), Trombone (track ), Tuba (track ) (Trombone m. 8) As a result o the layer hitting his/her tongue against the back o the teeth hile bloing into the instrument, a thudding sound can be created. There is a slight amount o itch involved, as a result o the vibration through the instrument, but the ercussive eect is the rimary element o this technique. Brush Hits/Scraes Snare Drum (track ), Bass Drum (track ) (m. 1, 81,, 1, 0) Scraing ith ire brushes creates an atmosheric texture hen the layer uses a stirring motion. The drum can also be hit ith the brushes. The brushes give a less ocused sound than a drumstick or mallet, and the sound is not as loud as hen laying ith drumsticks. 8

15 Timbral Eects/Techniques Utilized by Single Instruments Flute et Whistle (track ) By covering the embouchure hole entirely ith the mouth and bloing into the lute ith great orce, the erormer can achieve a loud, shrill histle that loers in itch. Oboe Reed Alone (track 7) Removing the reed rom the instrument and bloing into it creates a high-itched sound hich resembles a duck call. Alternating beteen covering the end o the reed ith the hand and removing the hand hile laying, creates a ah-ah eect and varies the itch slightly. Clarinet Teeth on the Reed (track 8) As a result o the layer lacing his/her teeth on the back o the reed and bloing into the instrument, the clarinet can roduce a high-itched, shrill, screaming sound. Smear (track ) (m. 7) The clarinet can slide beteen itches. This can be accomlished ith the ingers, the embouchure, or a combination o both. The oen-hole keys on the clarinet rovide the

16 layer ith great control o the itch hile ulling his/her ingers o the keys, alloing the sound to blur smoothly beteen to itches. Trumet (B lat) Playing Without Second Valve Slide (track 0) When laying ithout the second valve slide, a concert E itch ill sound. The tone is much rasier and throatier than hen the valve slide is in its normal osition. Pedal Tone (track 1) (m. ) When sounding a lo concert E (as ell as some other lo itches), the trumet can um don to octaves rom the notated itch. The sound is very eak and rough. The layer can accomlish this technique by using a relaxed embouchure. The itch is not greatly noticeable it is covered by the gravelly texture o the sound. French Horn Fingernail Ta (track ) A layer can drum ith his/her ingernails on the bell o the horn, creating a ercussive, tinny sound. Trombone Ri (track ) Playing a lo note and moving the slide in to bring the itch u creates a sliding eect knon as a ri. 10

17 Tuba Mouthiece Po (track ) (m. 8) By slaing the hand against the mouthiece (still attached to the tuba) the layer can create a thudding sound similar to a tongue sla, but louder because the orce entering the mouthiece is much greater and thereore gives greater resonance. Buzzing Without Main Tuning Slide (track ) Playing ithout the main tuning slide creates a buzzing sound. There can be some variance in itch, deending on ho the layer sets his/her embouchure, but the valves are not a actor since the slide is gone. Thereore, the buzzing eect is the most noticeable asect o this technique. Snare Drum Rim Shots (track ) (m. 1, 77) The snare drum can be struck simultaneously on the head and the rim. This creates a ocused, hi-like hit. I a large amount o stick is alied to the drumhead, the sound becomes deeer; ith less stick on the head, the sound is brighter and more intense. Stick Shots (track 7) Placing the end o one drumstick against the drumhead and then hitting the drumstick ith another stick can create a reaction hit. The sound o one stick hitting another is amliied through the drum. The angle o the stick against the head can be adusted, 11

18 hich creates a deeer or shalloer sound, deending on hich direction the stick is turned. Bass Drum Suerball Scrae (track 8) (m. 7) Scraing along the head o the drum ith a Suerball creates a rumbling, atmosheric-like eect. A Suerball is a rubber ball that has been laced on a ooden doel, looking like a normal mallet but having much more riction otential due to the stickiness o the rubber ball. The riction created by rubbing the rubber ball against the drumhead creates the rumbling sound. Susended Cymbal Triangle Beater Scrae (track ) (m. 08, 17, ) Scraing ith a triangle beater along the radius o the susended cymbal creates a metallic sound. Any metal obect can be used to scrae the cymbal and make the sound. Triangle beaters, available to most ercussionists, make a good tool. 1

19 Playing ith Bo (track 0) (m., 00) By boing the edge o the cymbal ith a double bass bo, a hining, guttural sound can be achieved. In some ays it has a similar sound to a traditional cymbal roll, but is a lot scratchier. Timani Crotal on Head (track 1) (m. 0, ) By lacing a crotal on the head o a timani drum, to things can be accomlished. First, the crotal (hich roduces a high, bell-like itch) has much more resonance than normal, due to being laced on the drumhead. Second, the timani edal can be adusted hile the crotal is resonating, creating a sliding, glissando sound. Cymbal on Head (track ) Like a crotal, a cymbal being laced uside don on the drumhead and struck can resonate ith the timani, and thereore can have the eect o itch change hen the timani edal is adusted. Due to the dierence in size and material, a cymbal has a much loer and broader sound than that o a crotal. Striking Node (track ) (m. ) When hit in the center o the drumhead (the node), the timani gives a much duller, emtier sound than hen hit on other areas o the head. 1

20 Alternate Clarinet Setus Mouthiece Alone (track ) By bloing through the mouthiece alone (ith no instrument body) a clear, highitched screaming sound can be achieved. The itch can be altered by either 1) lacing a inger into the bottom o the mouthiece or ) using a inger to artially cover the bottom o the mouthiece. Mouthiece + Barrel (track ) (m. ) By adding the barrel o the clarinet to the mouthiece, the layer can roduce a slightly loer itch than that o the mouthiece alone. By lacing a inger in the bottom o the barrel to urther alter the air stream, other itches can be roduced. When a inger is laced all the ay u to the mouthiece (through the barrel) a high, shrill harmonic can be activated. Mouthiece + Loer oint + Bell (track ) Attaching the mouthiece and loer oint to the bell o the clarinet creates an instrument that can lay a limited amount o itches. It roduces a similar sound to a traditional clarinet, but is slightly duller and more nasal. Alternate Alto Saxohone Instrument Setus Mouthiece Alone (track 7) Like the clarinet, bloing into the mouthiece alone creates a standard itch hen the mouthiece is removed, and the layer can insert his/her inger into the bottom o the 1

21 mouthiece to alter the itch. The airlo can be altered to make the itch slightly higher or loer. The change is very smooth and gives the eect o sliding. Mouthiece + Neck (track 8) This technique is very similar to that o Mouthiece Alone. The deault itch is loer than that o the clarinet, and hen the layer inserts his/her inger all the ay u into the mouthiece, the itch ums to a much higher itch, to octaves above the deault layed itch. Trumet Mutes While not an extended technique, the use o a mute roduces a timbre much dierent than that o an instrument by itsel. When being layed ith a mute in the bell, the instrument sound is iltered and greatly reduced in volume. Harmon Mute (track ) (m. 18) The Harmon mute roduces a ocused and iercing sound. It brings a tinny and shimmering quality to the instrument. Straight Mute (track 70) (m. ) The straight mute has a similar sound to the Harmon but roduces the much louder sound o the to mutes. 1

22 SECTION : SUMMARY The obective in riting Breath o the Mountains as to research extended techniques or ind and ercussion instruments, and then to incororate the techniques into a sizeable comosition that ould eature selected extended techniques. O the seventy (70) techniques and sounds recorded, thirty-one (1) ere included in Breath o the Mountains. Many o these extended techniques are subtle, adding texture to a musical hrase that could stand on its on ithout an extended technique. A valuable eature o these techniques is the ability to exand the sound alette o the ork ithout draing undue attention. Other techniques are in the oreront, hich seaks to their ability to become leading melodic assages or motivic elements. The versatility o extended techniques to inuse a richer texture into a comosition as demonstrated in Breath o the Mountains. A uller exression o color, texture, and setting can be achieved ith the inclusion o nontraditional sounds in a musical ork. 1

23 REFERENCES Bron, ohn Robert. "Clarinet Glissando." ohn Robert Bron. Accessed Aril 1, 017. htt://.ohn-robert-bron.com/clarinet-glissando.htm. Originally ublished by Music Teacher magazine, 007. Cherry, Amy Kristine. "Extended Techniques in Trumet Perormance and Pedagogy." PhD diss., University o Cincinnati, 00. Accessed anuary 0, 017. htts://etd.ohiolink.edu/ Easton, ay C. "Extended Saxohone Techniques." ay C. Easton: Extended Saxohone Techniques. Accessed February, 017. htt://.ayeaston.com/comosers/sax_techniques.html. Elliot, Doug. "Sla Tonguing." Online Forum. uly 8, 008. The Trombone Forum. htt://tromboneorum.org/index.htoic=00.0;a Rely. Estes, Kevin. "Categorized Extended Technique List." Google Sites. Accessed February, 017. htts://sites.google.com/site/timaniextendedindex/categorizedextended-technique-list. Gross, ohn. Multihonics or the Saxohone: A Practical Guide ; 178 Dierent Note Combinations. Germany: Advance Music, 18. Horne, Robin Mason. "Extended Techniques Resource Page." Larry Krantz Flute Pages: Extended Techniques Resource Page Accessed March, 017. htt://.larrykrantz.com/et/et.htm. Hugill, Andre. "Bassoons: Extended Techniques." The Orchestra: A User's Manual. Accessed February 07, 017. htt://andrehugill.com/orchestramanual/bassoon_extended.html. Hugill, Andre. "Flute: Extended Techniques." The Orchestra: A User's Manual. Accessed March, 017. htt://andrehugill.com/manuals/lute/extended.html. Hugill, Andre. "Oboes: Extended Techniques." The Orchestra: A User's Manual. Accessed March, 017. htt://andrehugill.com/orchestramanual/oboe_extended.html. Hugill, Andre. "Saxohone: Extended Techniques." The Orchestra: A User's Manual. Accessed February, 017. htt://andrehugill.com/manuals/saxohone/extended.html. 17

24 Hugill, Andre. "Trombones: Extended Techniques." The Orchestra: A User's Manual. Accessed anuary 1, 017. htt://andrehugill.com/orchestramanual/trombone_extended.html. Kennedy, Sean M. "An Aroach to Standardizing Pedagogy or Extended Techniques on Tuba." PhD diss., Texas Tech University, 01. Accessed February, 017. htts://ttu-ir.tdl.org/ttu-ir/bitstream/handle//8081/kennedy- PROECTPROGRAMS-DMA-01.dsequence=1. Moller, Mats. "Flute Extended Techniques 1." Scribd. Accessed March, 017. htts://.scribd.com/doc/88/flute-extended-techniques-1. Nelson, Brandon. "Extended Comosition Techniques or the Horn." Brandon Nelson. August, 01. Accessed February 1, 017. htts://bnelsonmusic.ordress.com/01/0/0/extended-comositontechniques-or-the-horn/. Parker, Steve. "Sla Tongue." Steve-arker.net. Aril 0, 01. Accessed Aril, 017. htt://steve-arker.net/entries/general/sla-tongue-. Pollard, Amy Marinello. "Solving the Problems o Extended Techniques: Annotated Perormance Guides to Soia Gubaidulina s Bassoon Works." PhD diss., University o Cincinnati, 01. Accessed February 1, 017. htts://etd.ohiolink.edu/rs_etd/document/get/ucin178/inline+. Rees, Carla. "The Kingma System Bass Flute: A Practical Guide or Comosers and Perormers." Basslute.co.uk. 01. Accessed Aril, 017. htt://.basslute.co.uk/0-itch/itch-bends-and-glissandi.html. Reheldt, Philli. Ne Directions or Clarinet. Berkeley: University o Caliornia Press, 177. Tictactux. "Thread: Clarinet Glissando." Online Forum. August 18, 007. Sax on the Web Forum. Accessed Aril, 017. htts://orum.saxontheeb.net/shothread.h11-clarinet-glissando. Message. "Willia." Merriam-Webster. Accessed Aril 0, 017. htts://.merriamebster.com/dictionary/illia. "Zehyr." Merriam-Webster. Accessed Aril 0, 017. htts://.merriamebster.com/dictionary/zehyr. 18

25 APPENDIX: ATTACHED AUDIO RECORDINGS Audio recordings can be accessed on the comact disc accomanying this document. Recordings can also be accessed online by vieing the sounds older at: htts://drive.google.com/drive/olders/0b_kuvivd7pwhzumme0dhv1yk0us=sharing 1

26 Vita Benamin Parks Dason as born in Bay City, Michigan, to David and Regina Dason. He as aarded the Bachelor o Arts degree rom Thomas Edison State University in 011, maoring in history. Mr. Dason subsequently ursued studies in music comosition ith Dr. Maria Niederberger at East Tennessee State University in ohnson City, Tennessee, and taught violin and iano in a rivate studio. In the all o 01, he acceted an assistantshi in the Hayes Graduate String Quartet at Aalachian State University and began study o music comosition and theory toard a Master o Music degree. The M.M. as aarded in May 017. In Setember 017, Mr. Dason commenced teaching music theory at King University, Bristol, Tennessee. Mr. Dason is a member o Pi Kaa Lambda and has served on the Boards o the Mountain Emire Children s Choral Academy and the Aalachian Men s Ensemble. He lays violin in the ohnson City Symhony Orchestra and the Symhony o the Mountains, here he also serves as sta arranger. 0

27 Breath o the Mountains or ind ensemble Duration: 1 minutes Benamin Dason

28 Instrumentation Piccolo Flute 1 Flute Oboe 1 Oboe Bassoon 1 Bassoon Contrabassoon Clarinet in Bb 1 Clarinet in Bb Clarinet in Bb Bass Clarinet Contrabass Clarinet Alto Saxohone 1 Alto Saxohone Tenor Saxohone Baritone Saxohone Trumet in Bb 1 Trumet in Bb Trumet in Bb Horn in F 1 Horn in F Horn in F Horn in F Trombone 1 Trombone Bass Trombone Euhonium Tuba Double Bass Timani Percussion 1 Percussion Percussion Percussion Percussion Percussion Setu The Timani layer ill need access to to () crotales as notated in the score; one itched at F, the other at G. The Susended Cymbal and Anvil can be shared beteen ercussionists; multile sets o each instrument are helul but not required. Percussion 1 Snare Drum Susended Cymbal Percussion Bass Drum Anvil Percussion Susended Cymbal Xylohone Temle Blocks Percussion Triangle Tom-toms () Susended Cymbal Percussion Marimba ( octave) Anvil Susended Cymbal Clarinet Smear Glissando rom one note to the next, creating a sliding eect. The smear should not begin until the end o the duration o the irst note, as indicated by ties hen needed. Selected Extended Techniques Trumet Pedal Tone Although there is a notated itch hen a edal tone is roduced, the sound ill be rasy and gravelly and the itch should not take recedence over the texture o the sound. Euhonium/Tuba Mouthiece Po With the mouthiece in the horn, the layer should quickly strike the alm o his/her hand against the to o the mouthiece, orcing air through the instrument and creating a thudding sound. Percussion Mouthiece/Barrel Alone Play through only the mouthiece and barrel, removing them rom the rest o the instrument. To roduce smears using this setu, the erormer should move his/her inky inger u and don inside the barrel. To achieve a harmonic (as notated in score) the inky must be ressed inside the barrel all the ay u to the mouthiece. French Horn Hand Scoo Start by stoing the horn and then ulling the hand out to arrive on the second notated itch hile laying. This is shon ith literal notation in the score. Percussion Crotal on Timani The score calls or to crotales to be struck (one at a time) hile on to o a drum. Ater the crotal is struck, the timani layer should move the timani edal u and don (at rescribed seed) to create a ave in the sound. The crotal sound should take recedence over the timani resonance. Saxohone Scoo Start less than a hal ste belo the second notated itch and slide u into it by adusting the embouchure. This is shon ith literal notation in the score. Trombone Multihonics The erormer should sing the to (small) note into the horn, hile simultaneously laying the loer (larger) note on the instrument. Suerball on Bass Drum A suerball mallet should be rubbed sloly and somehat heavily on the drumhead, in a continuous ashion as notated. The eect should be a lo, rumbling grol. Tongue Slas Quickly sto the tongue against the mouthiece hile bloing through the instrument there is a slight itch roduced, but the ercussive eect is rimary. This iece as ritten as the Masters Thesis comonent in artial ulillment o the Master o Music degree at the Hayes School o Music (Aalachian State University). Extended Techniques ere researched and recorded in collaboration ith student erormers at the University and documented (Timbral Exlorations or Wind Percussion Instruments). On May 1, 017, the iece as recorded by the Aalachian Wind Ensemble under the direction o Dr. ohn Stanley Ross, to hom much thanks is extended.

29 Piccolo Flute 1 Flute Oboe 1 Oboe Bassoon 1 Bassoon Contrabassoon Clarinet in Bb 1 Clarinet in Bb Clarinet in Bb Bass Clarinet in Bb Contrabass Clarinet in Bb Alto Saxohone 1 Alto Saxohone Tenor Saxohone Baritone Saxohone Trumet in Bb 1 Trumet in Bb Trumet in Bb Horn in F 1 Horn in F Horn in F Horn in F Trombone 1 Trombone Bass Trombone Euhonium Tuba Double Bass Timani Percussion 1 Percussion Percussion Percussion Percussion Mysteriously q = 70 ) Y Y Y Mysteriously q = 70 / I. Willia Mysteriously q = Blaylock Press m m m 1) m m m m m m m m m 1) m ) m ) ) ) ) ) m *) m *) m *) m b n b n b n b b b b b n n n n b b b n n n n n n n n n n n n n b n n n m m m 1) m m m 1) m m m 1) m m m 1) m m m 1) m m m m Bass Drum stir ith brushes n b n n n b b n n n n b b n b n n n b b n n n n b b b n n b n b n n b n b n b b n b b b b b n b b n b n n n b b n n n n b b Y Y m *) Y / / Y Y Y Y Y Y Y Y Y Y Y Y Y stir ith brushes Y Y Y Y Y Y Y Y Y Y Y Y / / 1) or Dr. ohn Stanley Ross and the Aalachian Wind Ensemble Breath o the Mountains Y Y Y Snare Drum ) 1) Benamin Dason m Susended Cymbal ith bo 1) Blo through instrument ressing don keys, but ithout making a itch ) Blo through instrument ithout making a itch *) Remove mouthiece, turn around and blo through small end o mouthiece toards leadie, ith mouthiece aroximately one inch aay rom leadie n n b n n n n b n n n n b n b n n b n n n b n n n n n n n æ m

30 Picc. With energy q = Fl. Ob. Bsn. ) Y ) Y Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. solo, normale very reely, smear n With energy q = 0 Y Y ) ) ) ) ) ) ) With energy q = 0 æ Y Y Y Y relace mouthiece Y m relace mouthiece Y m Y relace mouthiece Y tongue sla ) Y Y Y relace mouthiece tongue sla ) tongue sla ) mouthiece o (in horn) ) mouthiece o (in horn) ) Y / / section ) r Y b r Y R R R R R R R Y Y Y Y Y Y ) Y Y Y Y Y ith sticks R.S. ith bass drum mallet / Perc. / Perc. / Anvil

31 Picc Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. n normale b Tim. Perc. Perc. Perc. æ / / ith yarn mallets m æ æ / / æ æ m Perc. /

32 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. m tutti m m m m m m m m m m m m m m m m Tim. / R.S. R.S. Perc. Perc. Perc. / / / Perc. /

33 Picc. A bit aster q = Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. A bit aster q = 10 < Hn. Hn. Hn. Tbn. Euh. Tim. A bit aster q = 10 / æ æ Perc. Perc. Perc. / / æ m / Perc. /

34 8 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. With strength q = A With strength q = 80 A R R m m m With strength q = 80 A æ æ æ æ m m m / æ æ æ æ / / m æ Perc. Perc. / / Triangle m

35 Picc. Fl n m n m Ob. Bsn Cl. m n Cl. 1 A. Sax. n m Tt. 1 Tt. Tt. Hn. Hn. R R R n R Hn. Tbn. n n R R Euh. n n n r 1 1 m n n r r 1 1 Tim. 1 Perc. Perc. Perc. / / m / / Perc. / 1

36 10 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. Perc. Perc. 1 n nn n n n m m n R n n / m 1 n nn n n n m 1 m m m m m m m m m m m m m m m m m m m m m m m m Susended Cymbal ith yarn mallets m m m m hand scoo, sto horn to achieve 1st note m b 1 b n b b m m b n nn n n n nn n n nn n n n n n m m m m m b 1 n n n R 1 r 1 n n n n and ull hand out to arrive on nd note r m 1 1 b / 1 b nn / 1 Xylohone / 1 bn b / 1 Marimba 1 R n n æ b n b n b m n n

37 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. Perc. Perc. B Hammer! n.... n R R b n b n m n n n m.... B Hammer! m m m R m.... n m.... n m b n b m m / æ m m m m n n n m m m m m m m m m m m m m m m b n b b m b - - n b b b b / b b b b m m Snare Drum m m m m m B Hammer! ith sticks / m m / b b æ R.S b b b b n b b b n b b æ Susended Cymbal ith yarn mallets 11

38 1 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. Perc. Perc b n bn nn n b n / æ 1 1 m n b n m m m R r 1 R 1 r 1 R R 1 R 1 1 R / 1 R 1 b R 1 b r b b R.S. b n n nn 1 1 æ æ 1 / 1 / r n n r n b r m r r n r R R r

39 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. m m m m m m m m m m m m m m n b n R n b n R b b R b b R m m m m m m m m m m n.... m m m m m R n n n.... R.... R n b R n n n n n n n n n n n n. m r. r m r Tim. Perc. Perc. Perc. Perc. m / / R n b R / m / æ æ æ æ

40 1 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. Perc. Perc..... R b R R n r r C rit. Conga q = 10 n n m m m m m m r n r r r n n n n 77.. C rit. Conga q = n m R r r n R C rit. Conga q = 10 r R.S. R.S. ith brushes / / r / / / Tom-toms ith gusto ith gusto izz. ith extreme gusto Temle Blocks ith gusto

41 Picc m m n 1 Fl. Ob. m m Bsn. big band hits m big band hits m big band hits m Cl. Cl. A. Sax. big band hits m big band hits m big band hits m big band hits m big band hits b m solo Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. n n R R n n Perc. / Anvil / r r Perc. Perc. Perc. / / n n n n m

42 1 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt l. l. l. æ æ æ æ n æ æ n m n m l. b æ æ n n n n n n nb m m m m m m m m m m l. æ æ n n n l. æ æ itch bend itch bend Hn. Hn. Hn. Tbn. Euh. m Tim. arco m m m Perc. Perc. Perc. / / / / Xylohone Perc.

43 Picc. Fl. m D n n m n m m m m 17 Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 n n n D tutti m m n m Tt. Tt. Hn. Hn. Hn. Tbn. Euh. n Tim. D Perc. Perc. Perc. / / Bass Drum m ith brushes æ / m Perc.

44 18 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 b m m m b m n n n n n m m m m m n scoo n solo b b b n n n n n n Tt. Tt. Hn. Hn. Hn. m m m Tbn. Euh. Tim. Perc. / m / Perc. Perc. Perc. Temle Blocks / / m

45 1 Picc Fl. Ob. Bsn. Cl. Cl. A. Sax. b b b b n n n n n gliss. m m m m m m Tt. 1 Tt. Tt. n Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. / / / Perc. / Perc.

46 0 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 E Gathering the inds b b b b b b b b b b b b b b n n n b b b b b b b b b b b b b b b b b b b b b b b b b E Gathering the inds b m b < n n m b m b m n n n m m m n n n b n n b b m m n n n b n m Tt. Tt. Hn. Hn. Hn. Tbn. Euh. b b b b b b b b b b b b b b Tim. b b b b b b izz. like you mean it! m E Gathering the inds / Perc. / Perc. Perc. Perc. / b b b / b b b m

47 1 Picc bb b Fl. Ob. bb b bb b bb b bb b b b b Bsn. Cl. Cl. b b b b b b b b m m m b b b m m m A. Sax. b Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. b b b b b b b b m b b b b m b b b b n m b b b b b b b b b m m m b b b b b b b m m m m m m m m m / Perc. / Perc. Perc. Perc. / bb b / b b b m m

48 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. bb b b b b b b b n n b b b bb b bb b bb b b b b b b b b b b b b b n n m m m ith sticks b b tutti n b n n b n n n n b b b n n n b b b n b b b b b b b n n b arco b b b b n n n n / n / / bb b b æ Perc. / Perc. Anvil b b b /

49 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. Perc. Perc. bb b bb b bb b bb b n n n bb b n n n b b b n n n b b b n n n b b b b b b b b n n n b n b n n b n b n n b n b n n b b b b b b n n n b b b b b b n n b n n b n m / bb b n n n molto rit. b b molto rit. A temo, Triumhantly q = 10 n b b n n n n n b n n n b b b n n n b b b n n n b b b b b n b b b n n n b b b b b b b b n n n / <b æ A temo, molto rit. Triumhantly q = n n b n n n n n n n n b n n n n n n n n b n n n n n n b æ A temo, Triumhantly q = 10 / / bb b n n n / æ b æ Susended Cymbal ith yarn mallets æ æ æ

50 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. Perc. Perc. n n n / b b n n n n / / / b b æ / b b æ æ m

51 Picc. II. Zehyr rit. Sloer q = 80 Distantly q = Fl. Ob. Bsn. Cl. m Cl. A. Sax. Tt. 1 subito m II. Zehyr rit. Sloer q = 80 Distantly q = 0 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. b Tim. II. Zehyr rit. Sloer q = 80 Distantly q = 0 / Perc. Perc. Perc. / / m / Perc. /

52 Picc Fl. Ob. Bsn. Cl. Cl. n tutti n solo A. Sax. Tt. 1 Tt. m solo Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. Perc. / / / / Perc. /

53 Picc. Fl. Ob. Bsn. F With longing m m n solo B m m tutti n n m n n m 7 Cl. Cl. A. Sax. n b b b b b b b b b b m m m m n n Tt. 1 b b b b b F With longing Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. F With longing æ / m Perc. / Perc. / Perc. Perc. / æ m /

54 8 Picc. Fl n n n n n n n n n n n n n n n n n n n n n b b m m m b b b b b b b b b b Ob. Bsn. n n n n n n b b b n n n n n n n n n n n n Cl. Cl. n n n n m m n n b m m m n n b m m n m m n m m bb b b b b m n n A. Sax. b b b b b bb b b b n m n m m m Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. b b n n n n n n n n n n n n n n n n m b n n n n n n n n Tim. Perc. / / Perc. / n n n n Perc. / Perc. /

55 Picc. G Fl. Ob. Bsn. Cl. Cl. m m m m m solo A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. n n tutti G m % m m m m m m m m m G solo, ith harmon mute % n solo, sing to note and lay bottom Perc. Perc. Perc. / / / / Perc. /

56 0 Picc. Fl. Ob b m b m b m tutti m b Bsn. Cl. Cl. A. Sax. n m n n m b m b b n Tt. 1 mute o n b b n Tt. Tt. Hn. Hn. Hn. Tbn. E E E n n n Euh. Tim. / Perc. / Perc. / Perc. / Perc. /

57 Picc. H With angst Fl. Ob. Bsn. B b m m solo Cl. Cl. A. Sax. m solo n n n n Tt. 1 H With angst Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. Perc. Perc. H With angst / / stir ith brushes m stir ith brushes m / / lay notated rhythm normally, then return to stirring or tied durations / lay notated rhythm normally, then return to stirring or tied durations Susended cymbal, ith bo æ m

58 Picc Fl. l. æ m l. æ m æ b æ æ æ æ æ æ æ æ l. Ob. Bsn. B m n b b Cl. m m m Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. / strike F crotal on " drum, move edal reely at medium seed to create "ave" in the sound, until it dies out m Perc. / Perc. Perc. Perc. / / scrae ith triangle beater / m

59 Picc. Fl solo æ n b b n m m m Ob. Bsn. B n n b b b b m Cl. n n m m n Cl. solo l. æ æ n m m n A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. / Perc. / Perc. Perc. / / Perc. /

60 Picc. Fl. I A rustling begins b b b n Ob. Bsn. B m m Cl. n n m n m Cl. tutti n m n m n m n m A. Sax. Tt. 1 Tt. Tt. I A rustling begins tutti, edal tone n edal tone edal tone m n m n m Hn. Hn. Hn. Tbn. Euh. Tim. I A rustling begins Perc. Perc. Perc. / / scrae drumhead sloly ith suerball mallet / / m Perc. /

61 Picc. Fl. Ob. Bsn. Intensely dark tutti B n tutti n n Cl. Cl. n n A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Intensely dark ith straight mute ith straight mute n n ith straight mute n n n tutti l. n n n n æ æ b n n n n n n n n n n Intensely dark æ / m n n n n n n n n n normale (no crotal) l. æ æ b l. æ l. l. æ b æ æ b æ æ æ æ æ b b n n n n n Perc. Perc. Perc. / m / / Perc. /

62 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. Perc. Perc. rit. A temo, ith anger! q = 0 molto rit. Peaceully q = 0 1 æ æ n b b b b n n b b b b b b b b n n b b b b b b b b A temo, rit. molto rit. ith anger! q = 0 Peaceully q = mute o b b b b b / m solo æ æ æ n æ n n m m m m B tutti n n b b b b b b b b b n n b b b b n n n n b b b b n n b b b b b b b b b b b b b n n b b b b b b b b b b < n n n n n æ æ æ l. æ A temo, ith anger! q = 0 rit. hit center o drum on node, no reverberation molto rit. Peaceully q = æ / / / l. mute o mute o / æ n æ l. æ æ ith yarn mallets æ ith bass drum mallet m

63 Picc Fl. Ob. Bsn. æ n æ m n n æ æ n n B n m Cl. Cl. solo **) mouthiece and barrel alone solo bb b b b A. Sax. bb b b b Tt. 1 bb b b b Tt. Tt. Hn. Hn. Hn. Tbn. Euh. (stoed) Tim. Perc. Perc. Perc. / / stir ith brushes stir ith brushes / / Perc. / **) lay ith only mouthiece and barrel, creating smears by moving inky inger u and don inside the bottom o the barrel

64 8 Picc. Fl. Ob. Bsn. Cl. Cl. A. Sax. Tt. 1 Delicately, ith calmness rit. q = m n m n m n tutti m n m n m n ***) solo tutti m n m n tutti m n solo bb b b b n m n bb b b b m n m n bb b b b m n Delicately, ith calmness rit. q = gliss. n n n Tt. Tt. Hn. Hn. Hn. Tbn. Euh. Tim. Perc. Perc. Perc. Perc. Delicately, ith calmness rit. q = / / / / / ***) activate harmonic by ushing inger rom bottom o barrel, all the ay to the to o mouthiece scrae ith triangle beater ith yarn mallets m G crotal on drum as beore, sloly move edal as beore æ