a survey of chamber works for trumpet and electronics

A Survey of Chamber Works for Trumpet and Electronics

D.M.A. Document

Presented in Partial Fulfillment of Requirements for the Degree of Doctorate of Musical

Arts in the Graduate School of The Ohio State University

By

Isaac David Winland, M.M.

Graduate Program in Music

The Ohio State University

2018

D.M.A. Document Committee:

Timothy Leasure, Adviser

Marc Ainger

Bruce Henniss

Copyright by

Isaac David Winland

2018

Abstract

The field of trumpet and electroacoustic music has had limited research. The

purpose of this paper is to further the understanding of electroacoustic chamber

repertoire for trumpet through the study of works by Ingram Marshall, Karlheinz

Stockhausen, Igor Silva, and Natasha Barrett. Within each compositional study, the

author covers various trumpet techniques uncommon in most classical repertoire as

well as a brief analysis of each work. The compositions studied show an array of styles

composers use in the field of electroacoustic music. A “list of chamber works” compiled

by the author for trumpet and electronics is also included.

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Acknowledgments:

I would like to thank all of my music teachers, most notably my trumpet

professors: Timothy Leasure, Martin Saunders, Scott Johnston, Jack Schantz, Mark

Dulin, and Greg Wing who inspire me to pursue my love of music.

Also, a special thanks to professor Marc Ainger for being a sounding board

during the process of writing this document.

Lastly, I would not be here without the love and support of my family, friends, and

my wife, April.

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Vita

2007…………………………………………………………..Tyler Consolidated High School

2011…………………………………….………………………….B.F.A. Marshall University

2013………………………………………………………..……M.M. The University of Akron

2015 to present……………………………………Graduate Teaching Associate, School of

Music, The Ohio State University

Fields of Study

Major Field: Music

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Table of Contents

Abstract…………………………………………………………………………………….……..ii

Acknowledgments………………………………………………………………………………iii

Vita…………………………………………………………………………………………..……iv

List of Figures………………………………………….…………………………………..……vi

Introduction………………………………………….………………………………………..….1

Chapter 1: Ingram Marshall - Fog Tropes……………………….……………………………2

Chapter 2: Karlheinz Stockhausen - Pietà…..…………………………………………..…..9

Chapter 3: Igor Silva - zap_ping_ …….……………………..………………………………20

Chapter 4: Natasha Barrett - Crack………….………..…………………………..…………27

Chapter 5: Conclusion……………………………………………..………….………………35

Bibliography…..………………………………………………………………………………..36

Appendix A: Research Methods and Definitions for List of Chamber Works……..…….37

Appendix B: List of Chamber Works for Trumpet and Electronics……………………….39

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List of Figures

Figure 1: Marshall, Fog Tropes 1’30’’ to 2’00’’……………………………………………4

Figure 2: Marshall, Fog Tropes 4’00’’ to 4’30’’………………………..…………………..6

Figure 3: Marshall, Fog Tropes 1’45 - Trumpet 1…………………………………………7

Figure 4: Marshall, Fog Tropes 6’30’’ to 7’00’’……….……………………………………8

Figure 5: Marcus Stockhausen’s Quarter-tone Flugelhorn…….……………………..11

Figure 6: Staging for Pietà…………………….……………………………………………12

Figure 7: Stockhausen’s Diagram of Loudspeakers and Mixing Console…………13

Figure 8: Stockhausen’s Pietà - Pietà Number 23……..……………………………….15

Figure 9: Chart of Soloist starting passage on the same note………………………16

Figure 10: Stockhausen’s Pietà - Pietà Number 1…….………………………………..18

Figure 11: Stockhausen’s Pietà - Mute Technique Description….…………………..19

Figure 12: Diagram of zap_ping_ electronics….………………..………………………21

Figure 13: Silva’s zap_ping_ Measures 1-8…….………………………………………..23

Figure 14: Silva’s zap_ping_ Measures 207-224….…………………………………….23

Figure 15: Silva’s zap_ping_ Measures 30-40…………………………………….…….24

Figure 16: Silva’s zap_ping_ Analysis……………………………………………………25

Figure 17: Silva’s zap_ping_ Trumpet Notation…….…………………………………..26

Figure 18: Barrett’s Atomic Crack Trumpet and Electric Guitar, measures 1-10…30

Figure 19: Barrett’s Atomic Crack Score, measures 76-81…….…..…………………30

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Figure 20: Barrett’s Deep Ice Score, measures 1-5……..………..……………………32

Figure 21: Barrett’s Deep Ice Score, measures 166-172…..….…………..…………..32

Figure 22: Barrett’s Trumpet Notation…………………..……………………………….34

Figure 23: Barrett’s "Atomic Crack” Trumpet Solo measure 116-127…..………….34

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Introduction

The purpose of this paper is to further the understanding of chamber ensemble

with trumpet and electronics repertoire through the study of works by Ingram Marshall,

Karlheinz Stockhausen, Igor Silva, and Natasha Barrett. Each work was chosen to show

the advancement of electroacoustic composition through varying software and

electronic components. Furthermore, this paper will show the techniques necessary to

perform the trumpet parts of each piece along with a brief analysis of the works. The

sixth chapter covers the investigative process in collecting the data for the “list of works”

and an explanation of chamber ensemble and electronics.

The field of trumpet and electroacoustic music has had limited research. Other

than my own research on the topic, a limited number of papers and articles have been

written on certain works including a paper written by Michael Barth covering the solo

literature for trumpet and electronics.

For the history and composing techniques of electroacoustic music, the following

sources are given: Thom Holmes: Electronic and Experimental Music: Technology,

Music, and Culture, Peter Elsea: The Art and Technique of Electroacoustic Music, Curtis

Roads: Composing Electronic Music: a New Aesthetic, and The Oxford Handbook of

Computer Music.

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Chapter 1: Ingram Marshall - Fog Tropes

Ingram Marshall has received degrees from Columbia University and the

California Institute of the Arts, and studied under Vladimir Ussachevsky, Ilhan

Mimaroglu, and Morton Subotnick. Marshall also has many awards as a composer, as

well as being a Fulbright Fellowship and a Guggenheim Fellowship recipient. In 1971,

Marshall went on a study trip to Bali where he immersed himself in the music of the area

and also started working with the Balinese bamboo flutes. From the influences of his

trip, a listener can hear Marshall's "slowed-down sense of time and dreamy

evocativeness" in his compositions. In 1973, after graduating and teaching for a short

time at Cal Arts, Marshall moved to the San Francisco Bay area and worked as a

composer, performer, and producer. Once in the “Bay area”, the composer started

experimenting more with combining of live instrumental works with electronics.

“Fog Tropes” is possibly Marshall's best known work. The work was composed in

1981 for six brass instruments and tape and was premiered by John Adams and the

San Francisco New Music Ensemble. Alan Ulrich of the San Francisco Examiner

explained, “Fog Tropes” as "the swiftness with which he makes you stop asking ‘How’

and keeps you listening to the ‘What.’” “FogTropes” suggests sonic vistas of

incomparable beauty.” Marshall's first idea of Fog Tropes came from his tape piece 1

“Bio” http://www.ingrammarshall.net/long1

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http://www.ingrammarshall.net/long

named “Fog". The composition was created by using ambient sounds from the San

Francisco Bay. Marshall adds that the tape part of “Fog Tropes”,

" not only uses maritime sounds for its constructive materials, but vocal keenings and the unique sound of the Balinese gambuh, a long bamboo flute. Although the brass parts and tape sounds are distinct from one another there is an attempt to blend them so as to create a harmonious whole.” 2

Marshall’s composition was also used in the movie Shutter Island, starring

Leonardo di Caprio. Within Marshall's blog, he writes about hearing his piece in the

movie and the scene. Marshall wrote , 3

“I had some apprehension as I knew my music would start the actual movie, Shutter Island starring Leonardo di Caprio, but I had no idea what would appear on the screen. Well, Leo and his US Marshal pal, Mark Ruffalo, are on a small ferry boat in choppy seas heading out to their island destination, and the music syncs up nicely with the image… and suddenly cuts to him violently vomiting in the head--Fog Tropes continues with the French horns and trombones weighing in. So my musical debut in a major Hollywood film, seen and heard by millions, accompanies one of the biggest stars tossing his cookies. Great.” 4

Score (Fog Tropes, 1984 Peermusic III, Ltd. )

In the performance notes, Marshall gives many directions on how to play the

work. One of which is how to coordinate the tape part with the live players. The

composer says the work should be connected by the conductor or a musician giving

cues every thirty seconds which are clearly marked in the score. (Figure 1) Along with

Marshall's request that the tape sounds and live brass musicians be of equal balance.

”Fog Tropes (Brass Version)” http://laphillive.net/philpedia/music/fog-tropes-brass-version-ingram-2

marshall

http://ingrammarshall.blogspot.com/3

Ingram Marshall. “Shudder Island.” Monday 22, 2010. 4

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http://ingrammarshall.blogspot.com/

http://laphillive.net/philpedia/music/fog-tropes-brass-version-ingram-marshall

http://laphillive.net/philpedia/music/fog-tropes-brass-version-ingram-marshall

He also gives the softest and loudest sections of the piece to help the ensemble

accomplish the goal of balance. Marshall states the echoic effect is very important, and

"a delay of about 200ms with sufficient feedback to create a reverberation of several seconds is desirable... It (a reverb unit) can be dispensed with if the piece is performed in an unusually reverberant space with a discrete echo of several seconds, but in the average concert hall it is quite necessary.” 5

Figure 1: Marshall, Fog Tropes

1’30’’ to 2’00’’

The piece is scored in concert pitch for two trumpets, two horns, two trombones,

and tape and is roughly ten minutes long. Marshall does use traditional music notation

of notes and note lengths, but at times has the instruments playing in different time

signatures with separate tempos. He sets up "modules" that lasts 15 to 30 seconds to

help the ensemble and conductor play as one with the tape.

Ingram Marshall Fog tropes: brass sextet and tape. 2010.5

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Analysis

“Fog Tropes” is made up of many simple parts coming together to form a

concept. Marshall uses sparse instrumentation and overlapping phrases to help reveal

his idea of fog. (Figure 1) The horns continue a phrase from before in which they are

instructed not to play together while the trombones are playing an overlapping figure

between themselves and not playing in time with the horns. Marshall rarely uses all the

instruments at the same time. (Figure 2) The first time the audience hears all

instruments (including tape) playing simultaneously is in the fourth minute marking.

Marshall states in the program notes that the 4’00’’ marking is the loudest section of the

work with a dynamic of fortississimo and the instrumentalists holding a Fmajor7 chord

with no rhythmic activity. Marshall uses the Fmajor7 chord as a motive throughout the

piece. Every time the musicians play the Fmajor7 chord (although in different

inversions) a decrescendo follows. The Fmajor7 chord is the only forte chord other than

the ending chord which is an A major7 in the instrumental parts, but with a low F “fog

horn” in the tape part.

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4’00’’ to 4’30’’

The electronics within "Fog Tropes" are used with an accompanied nature and do

not take on a lead role. Marshall uses the "tape" to show the atmosphere of the work.

Within the tape part, he used recordings of fog horns, winds, sea birds, and other

ambient sounds. These aspects help the listener connect to the acoustic instruments in

the overall "feel" of the work.

Trumpet Technique

The trumpet’s function in Marshall’s “Fog Tropes” is to be part of the ensemble

and add to the overall feel of the piece. The trumpets have one major function different

from the other brass musicians; to sound like boat horns going past. The effect is

accomplished by playing a “sighing figure” where trumpets play the first note and

diminuendos on the second note, also lowering the second note a half or whole step.

(Figure 3) The effect is used throughout the entire work. Another highlighted moment for

the trumpets occurs at 6’30’’ marking. (Figure 4) Marshall brings the trumpet out of

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character and uses the trumpet as a lead line repeating the same four quarter notes.

The repeating phrase seemingly grows stronger each time through the use of a higher

tessitura within the other instrumentalists and fermatas. With these aspects, the 6’30’’

module is the first time in the piece the audience hears a strong sense of time and

rhythm.

Overall, from a playing perspective, the trumpet parts are relatively easy for most

classically trained musicians. However, the part does require delicate playing with an

accurate use of soft dynamics.


1’45’’ - Trumpet 1

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6’30’’ to 7’00’’

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Chapter 2: Karlheinz Stockhausen - Pietà

Karlheinz Stockhausen (1928-2007) is one of the most influential composers of

the 20th Century. Stockhausen continually pushed the bounds of music through the use

of electronics in his compositions. He started composing in the early 1950s and quickly

grew fame with “KREUZSPIEL” (1951), “SPIEL” for orchestra (1952), and “KONTRA-

PUNKTE” (1952/53). Stockhausen composed “376 individually performable works” and

was involved in the majority of his works as conductor, performer, or “directed the

performances as sound projectionist.” From 1977 to 2003, Stockhausen worked on

completing his cycle of operas Licht (The Seven Days of the Week) which is roughly 29

hours of music. All of these works have had a world premier with “SONNTAG” and

“MITTWOCH” (Sunday and Wednesday) being premiered after Stockhausen’s death. 6

“Pietà” is from the larger work “Dienstag aus Licht" (Tuesday from Light) and

occurs in the second act of the work. “Pieta’” was first performed on September 29,

1991 at the Alte Oper Frankfurt with Markus Stockhausen (flugelhorn), Annette

Meriweather (soprano), and Karlheinz Stockhausen (sound projection). “Pietà” begins

around the 28’03’’ marking in the opera. The world premiere of the full opera “Tuesday

from Light” was on May 28, 1993 at the Leipzig Opera with the same soloists. 7

http://www.karlheinzstockhausen.org/pdf/short_Short_Biography_English.pdf6

Karlheinz Stockhausen. Pièta: für Flügelhorn, Sopran und Elektronische Musik, oder für Flügelhorn und 7

Elektronische Musik : vom Dienstag aus Licht : 1991, Werk Nr. 61 1/2. Kürten, Germany: Stockhausen-Verlag, 1995. IX.

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Stockhausen started composing “Pietà” while living with his son Markus in a log

house on a lake in Sweden. “Markus had a quarter-tone flugelhorn specially

constructed out of a Besson flugelhorn, built around 1930-1940. We experimented as I

composed, and daily tried out and improved the newly written passages.” Markus 8

Stockhausen added that they spent ten days in the cabin together where “He (Karl

Stockhausen) composed on a daily basis and I made suggestions for melodious

fragments with quarter tones that he then incorporated into the compositions… Peace

was among us. It was beautiful, intimate time, perhaps the last opportunity to be so

close.” In the “Pietà” score, Stockhausen adds pictures of the performances and 9

certain aspects like the stage setup, mute belt, and Markus Stockhausen’s flugelhorn to

help with the performance aspects of the work. In Figure 5, Stockhausen shows how the

wireless microphone is added to the quarter-tone flugelhorn.

Karlheinz Stockhausen. Pièta. IX. 8

“With Karlheinz Stockhausen”. http://www.markusstockhausen.de/trompeter-musiker-komponist/227/mit-9

karlheinz-stockhausen/?lang=en

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http://www.markusstockhausen.de/trompeter-musiker-komponist/227/mit-karlheinz-stockhausen/?lang=en


Figure 5: Marcus Stockhausen’s Quarter-tone Flugelhorn 10

“Pietà” fur Flügelhorn, Sopran und Elektronische Musik oder fur Flügelhorn und

Elektronische Musik vom Dienstag aus Licht was written in 1991 and is “Werk Nr.: 61

1/2” in Stockhausen’s catalog. Stockhausen gives an introduction, performance

practice, and notation notes before the score of “Pietà” in both English and German. He

also adds a translation of the instructions from the score. The piece is scored for

flugelhorn, soprano, and electronics, but Stockhausen only gives the first two pages of

the electronics notation before the flugelhorn plays on page 3 of the score. After,

Stockhausen writes just the notation of the flugelhorn and soprano with markings for the

electronics. The flugelhorn is written in the key of Bb and the Soprano in concert key.

The lyrics and instructions within the score are in German.

Within the “Introduction” of the score, Stockhausen goes into detail about some

of the aspects of performing the piece, including staging of the beginning where:

Karlheinz Stockhausen. Pièta. IV.10 10

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“In the 2nd INVASION, namely, one of MICHAEL-trumpeters is wounded. A woman - the soprano - appears, and sits down. The trumpeter laid across her lap in a way similar to that in which Christ is seen on the lap of his mother Mary in PIETA paintings and sculptures. The soul of the trumpeter then rises out of his body, hovers behind the soprano, stands very large as a spirit behind her and plays - on flugelhorn - the duet with her while she constantly looks at the body on her lap or sings upwards towards the heavens” 11

Stockhausen continues with how to perform the piece apart from the LICHT opera, and

gives further instruction to the trumpet player pending on the ability to play lying down or

not.

Figure 6: Staging for Pieta’ 12

After the introduction, Stockhausen writes the “Performance Practice” section of

the score. He goes into great detail about the sound equipment and draws diagrams of

the loudspeaker placement and the mixing console. (Figure 6) He states that the best

room for performance is in a cubical area about 14 meters high, and the auditorium

Karlheinz Stockhausen. Pièta. IX.11

ibid. coverart. 12

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should have a flat floor with a little reverb. Also, if the auditorium has a balcony, “then

listeners should be seated neither on nor below it.” 13

Figure 7: Stockhausen’s Diagram of Loudspeakers and Mixing Console 14

As seen on the mixing console (Figure 7), Stockhausen uses spatial relationships

in the electronics. He also adds that a monitor should be placed behind the flugelhorn

player in order to keep the soloist together with the electronics and (as seen in the

mixing console diagram) every sound is channeled through the monitor. Stockhausen

adds that the flugelhorn and soprano should be very familiar with each other’s parts, so

that the piece can be performed memorized, and be able to “synchronize themselves

through upbeats of soft inhaling noise.” 15

In the “Notation” section of the score, Stockhausen writes notes on the

electronics music, soloists, time notation, and instructions for amplification.

Stockhausen goes into some detail of how to play certain aspects of the flugelhorn part

Karlheinz Stockhausen. Pièta. X.13

ibid.14

ibid.15

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in order for the correct pitch to be accomplished. In addition, he states the tempos that

are marked in rectangular boxes be exact and that tempo changes are immediate if no

other time alternating symbol is marked. 16

Analysis

Stockhausen writes his work without a time signature or key signature, but using

traditional rhythmic notation and bar lines. Each musical bar contains between 3 to 7

beats per measure with the quarter note getting the beat. The work begins with

electronics from the larger opera, and then the flugelhorn plays (ca. 33’18”) a virtuosic

cadenza before the duet part with the soprano. (ca. 35’39’’) As seen in Figure 8,

Stockhausen’s use of the trumpet is more rhythmically active than that of the soprano.

This rhythmic activity continues throughout the entire piece. Also, the first time the

soprano sings, Stockhausen writes a unison pitch for the soloists. The author’s opinion

is the unison note is intentional to solidify the correlation between “the wounded

Michael’s trumpeter” and “Eve” in the opera and to keep the soprano on pitch with the

trumpet. Figure 9 is a chart that marks when the soloists begin a passage together on

the same note. In almost every passage where the soloists begin on the same note, the

unison pitch becomes a foundation for the following passage.

Karlheinz Stockhausen. Pièta. XI.16

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Figure 8: Stockhausen’s Pietà

Pietà Number 23

Stockhausen has a major shift in idea beginning in measure 81. The soprano

part becomes more rhythmically active with many octave leaps and starts singing a

wordless voice part. The soprano octave leaps are generally wind glissandi. This 17

section ends in measure 129 with the flugelhorn playing a short ten measures alone.

The flugelhorn plays almost erratically between fast and slow.

The next section is marked by the octave leaps of C# in succession from

flugelhorn and soprano in measure 130. The trumpet plays a similar rhythmic figure as

before both soloists play chromatically for the next twelve measure. The chromaticism

ends a “development” section. The soprano begins to sing lyrics again starting on the

fourth beat of the 144th measure.

The electronic tape portion of “Pietà” acts as a pedal for the instrumentalists, and

overall is not as involved as the other tape parts is within the entire opera. The soloists

throughout the piece do play the same note as the tape pedal occasionally. The other

“Wind Glissando” is a term Stockhausen uses in this section. 17

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electronic aspects of the work come from the microphones on the soloists that help with

the dynamic of the softer techniques used within the piece. “Pietà” has been recorded

without the electronic aspects. Without the electronics, the recordings are not as long as

with electronics and seam to lose the overall feeling of despair the audience can feel

from the constant drone.

Figure 9: Chart of Soloists starting passage on the same note

Pieta Measure #

Note Information

1 23 Eb Quick Starting Pitch

2 28 Eb - F

3 35 Eb

4 41 Ab - G

5 51 Gb Similar to 28 with switched rhythmic activity

6 70 F - Gb - F

7 77 F - Gb - F Similar to 28

8 84 C#

9 130 C# Off set by eighth (echoed)

10 150 D Soprano above Flugelhorn (quick starting pitch)

11 154 C#

12 169 Ab Soprano above Flugelhorn

13 180 B

14 187 B-D Starting Note for Soprano in m. 188

14 195 B Soprano above Flugelhorn

15 211 Bb

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Trumpet Technique

As stated before, the flugelhorn is one of the soloists of “Pietà”. The part is

extremely difficult for many reasons: extended techniques, range, mute technique,

multiple tonguing, pedal tones, quarter-tones, and breath control. Stockhausen does

give some advice to the flugelhorn in the “introduction” and “notation” sections of the

score. Within the introduction, he states that the piece is for a quarter tone flugelhorn,

and adds that eighth tones can be played with alternate fingerings. He adds that the

range of the flugelhorn part is roughly 5 octaves. Stockhausen states:

“By way of a special half-valve technique, vowel sounds and vowel transitions are played by the flugelhorn which sometimes resemble a movingly ‘weeping’ human voice. Many new coloured noises (wind) - as differentiated in pitch as normally played pitches - Render the work a unique, new sound world: kissing-noises into the mouthpiece, new kinds of tremolo, tongue-trills, soft tonguing-technique, use of plunger mute.” 18

The opening figure of the flugelhorn (Figure 10) uses many of these techniques.

The part begins with the flugelhorn playing with a plunger mute and in the lower range

of the instrument, but within the next measure has the soloist leaping two and half

octaves. Additionally, within the first four measures, the flugelhorn is required to flutter-

tongue, advance plunger technique (shown on the bottom of the score), “fast tongue trill

with next adjacent natural tone usually a major second” (Zungentriller), glissandi,

multiple tonguing (ta ke, ta ke), and soft tonguing (weicher ZungenstoB).

Karlheinz Stockhausen. Pièta. X. IX.18

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Pietà Number 23

In the “notation” section of the score, Stockhausen states that some notes are

notated as phonetic signs and are not played “normally”, but rather with the tongue on

the mouthpiece or by blowing in/out of the trumpet through the mouthpiece. “The

phonetic signs should be articulated according to the phonetic alphabet.” Stockhausen

also gives a reference to a book to help the soloists know the phonetic alphabet. For a

note that requires breathing in and out of the horn, he states the flugelhorn must finger a

half-step lower in order to get the correct pitch. Furthermore, Stockhausen goes in-

depth with his markings for the plunger mute. (Figure 11) Normal plunger notation only

involves a symbol for open (o) and a symbol for closed (+). Stockhausen goes into

detail, even adding that the player should wear a mute belt which can be seen

previously in Figure 6. He adds phonetic signs below in order to show how the plunger

should be used as well as whether to have a quick transition between signs or a slower

transition. At the end of the notation section for the flugelhorn, Stockhausen states that

for “pronunciation of all text and for all timbres of the flugelhorn the recording… with

Annette Meriweather and Markus Stockhausen can serve as a model.” 19

Karlheinz Stockhausen. Pièta. X. XI.19

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The technique required makes “Pietà” very difficult. Most of these techniques are

rarely covered within the normal educational system of teaching trumpet and are

normally only addressed if they are within a piece the student is playing. Also, the

quarter-tone flugelhorn is an odd abnormality to the normal trumpet, and requires a

different way of playing and practicing.


Mute Technique Description

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Chapter 3: Igor Silva - zap_ping_

Igor Silva is originally from Porto, Portugal and is devoted to composing

electroacoustic music and new media music. Silva has studied composition at Escola

Superior de Música, Artes e Espetáculo where he finished with a bachelor’s and a

master’s degree in music. Silva has also finished a master’s degree in live-electronics at

Conservatorium van Amsterdam in 2017 and is a PhD candidate at Vrije Universiteit

Brussel and Koninklijk Conservatorium Brussel.

“zap_ping_" for trumpet, percussion, electronics and video was composed in

2014 and was commissioned by duo.pt. The score was sent to me via email from Igor 20

Silva. The work is roughly fifteen minutes in length and requires only two

instrumentalists to play. The electronics are controlled through a MIDI foot pedal by the

percussionist. Within the score of the work, Silva lists several important aspects for

performing the work including: special notation for both instrumentalists, electronics,

video, required equipment, and a diagram of stage set up. (Figure 12) Silva also states

the importance of keeping “the volume of the entire piece considerably loud, but not

painful!" 21

A percussion trumpet duo from Portugal.20

Igor Silva. zap_ping_. 3.21

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http://duo.pt

Figure 12: Diagram of zap_ping_ electronics 22

Three Apple computers are used in the electronics/video of the work. One

computer runs the audio interface through Max/MSP with a MIDI pedal and MIDI splitter

connected. The MIDI portion of the first computer connects to the other two computers

that are running programs for video. The two video computers use webcams to live

broadcast the two soloists during the performance, and the stream is turned on and off

through the MIDI pedal that is used throughout the piece. The webcams are placed on

mic stands in order to get the desired location. Furthermore, Silva states the resolution

of the video should be 1024 X 768 and "the concert hall should be as dark as possible

and a few music stand lights (with filters) should be used so the performers can see the

score." Other electronics involved in the work are loud speakers, subwoofer(s), audio 23

monitors for musicians, electric guitar and a microphone to amplify the trumpet.

Igor Silva. zap_ping_. 5.22

ibid.23

�21

The score of the work is in concert key and shows the trumpet staff, two staffs for

percussionist, and one line for the electronics. The piece uses many different time 24

signatures that change frequently, but mostly use the quarter note as the beat. Silva

also rarely uses time signatures such as 3/8 or 7/8, but instead will write 1/4+1/8 or

3/4+1/8. Furthermore, he will use the length of time in seconds bracketed over the score

for when no time signature is given.

Analysis

Silva's “zap_ping_” is written with the trumpet, percussion, and electronics to

mesh as one with the instrumentalists many times copying the sound of the electronics.

Figure 16 is an analysis of the form of the piece. Because the work does not lend itself

to being analyzed in a formal sense, I was able to take the recording of the work

(provided by the composer via YouTube) and make time stamps that match with

measure numbers during section changes.

The beginning material is the basis behind most of the composition and is used

as a theme of sorts. Shown in Figure 13, the material at the start is consistently going

from chaos to silence. To add to the chaos, the video is also flipping between the live

video feed of the instrumentalists and what seems to be random pictures or video clips

before going completely dark in the silence. The pictures are added into the video in a

subliminal message kind of way. The "beginning" theme happens seven times with

minute differences and roughly lasts around 30-40 seconds each time. The main

difference between the “beginning” theme and the others are that the percussion and

trumpet will not play together and will play every other measure with the electronics.

Score does not give any camera information.24

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The most notable section starts in measure 207 or 9’53''. The instrumentalists (both with

electronics) have a call and response section with the "beginning" theme. First the

players trade two bars, then one bar, then finally one beat. (Figure 14)

Figure 13: Igor Silva's zap_ping_

measures 1-8


measures 207-224

�23

Another frequently happening aspect is the "percussions transition material." The

first occurrence of the material happens in measure 37 right before the first style change

of the work. (Figure 15) The "transition material" is a rhythmic figure of sixteenth notes

played on the bass drum and low tom. The material happens nine times within the piece

and always signals a change is coming.

The electronic aspects within this piece play a large role. In a way, Silva splits the

electronics into two separate performers: audio and video. The "audio" performer acts

as accompanist to the other performers. The "video" performer, which at times includes

audio (TV commercials), is an outside aspect that gives the music a visual

representation. The "video" is also included within the main sections of the work, giving

the audience a better insight to the idea of the composition. The video themes can be

seen from the start of the piece in the “beginning” theme, as well as the "blurry,

psychedelic" moments of the composition.


measures 37-40

�24

Figure 16: Igor Silva's zap_ping_ Analysis

Time Stamp

Measure Number

Information Drum Transition?

0:00 1 Beginning

0:39 18 Voice in Electronics. "Well ...in American mostly for entertainment"

1:05 37 First Drum Transition Theme yes

1:58 54 Beginning theme, C m. 52

2:12 62 Improve Drums, D

2:41 80 Beginning theme, E

2:57 88 Beginning of Next Section, eighth notes in percussion, F

3:15 95 Trumpet Lyric Line

3:59 115 Beginning theme, G

4:21 127 Computer lead

4:50 135 Psychedelic Video, Slow Mo, Blurry m.132

6:30 150 Beginning theme, H

6:56 170 1st TV Commerical, I m.165

7:05 171 Beginning theme, but with Voices in the electronics

7:44 193 Guitar Solo! , K, Same Blurred Video m. 179, 181, 192

8:53 201 End of Guitar Solo

9:53 207 Call and response with Trumpet and Drums, both with electronics

10:25 239 2nd TV Commercial m. 236

10:38 243 Same Blurry Video, N m. 241

11:31 250 Bass drum entrance

12:30 252 Drum Transition Material yes

12:39 254 Next Section with sixteenth notes in percussion and electronics, O

13:38 275 Trumpet sixteenths

14:37 301 Beginning theme, P

14:49 309 Ending, Coda? m. 308

�25

Trumpet Part

The trumpet within “zap_ping_” is acting as part of a trio ensemble along with the

percussion and electronics. Silva mostly uses the trumpet with "wah-wah/plunger mute"

and with cup mute. The "wah-wah" mute is played by using a harmon mute with stem

and covering/opening the stem hole with the hand causing a "wah" sound. The part is

heavily improvised, but not in traditional jazz improvisation. The improvisation within the

work is mostly to copy the sounds of the electronics in the chaotic sections. In Figure

17, Silva gives the trumpet player three alternative notations he used for the part that

primarily deal with improvisation.


Trumpet Notation

The trumpet part, in general, is fairly difficult. The range of the work is mostly up

to the performer because of the improvisation, but the written range is from the Db

above the treble clef to the A below the staff. Surprisingly, the pieces does not call for

any multiple tonguing technique because every phrase is slurred, but does required

good finger technique and flexibility.

�26

Chapter 4: Natasha Barrett - Crack

Natasha Barrett is a composer, performer, and researcher from the United

Kingdom and currently lives in Norway. Her works have been performed and

commissioned by many ensembles and groups from around the world. Barrett has also

received many prizes and awards for her compositions. Barrett states, "I compose

acousmatic music, electroacoustic music for live soloists and ensembles, and sound-art

installations... Even when composing for acoustic musicians, digital technologies are my

core tools." 25

As a researcher, Barrett has worked on 3-D gestural-spatial audio imagery,

motion tracking, and holographic 3-D sound reproduction. On Barrett's website she 26 27

writes,

"I am inspired by acousmatic sound and the aural images it can evoke, particularly in terms of the evocative implications of space and the projection of 3-D sound-fields. Over the past 20 years I have become a specialist in the creative application of very high-order ambisonics and precision spatio-musical forms.” 28

“Crack” is for electric guitar, percussion, trumpet, and computer and is written in

three movements: "Atomic Crack", "Deep Ice", and "Crack Horizon". The score and

audio from a performance was sent to me directly from Dr. Barrett via email. She sent

http://www.natashabarrett.org/about.html25

speculationsinsound26

http://www.natashabarrett.org/27

http://www.natashabarrett.org/about.html28

�27

http://www

http://www.natashabarrett.org/about.html

http://www.natashabarrett.org/about.html

the score in four files: performance notes and separate files for each movement. The

piece calls for four performers with one on each instrument including the computer. The

piece was commissioned as a part of the Intregra Project, which was a project with the

"desire to empower composers and performers to work with live electronics technology

in a musical and user-friendly way." The project was a collaboration between many 29

new music ensembles and was supported by the European Commission.

Within the performance notes of the score (which had been updated in 2011),

Barrett has directions to each instrumentalist that include definitions of the abnormal

notation. She also adds a "suggested instrument layout" for the percussion. Within the

guitar section of the notes, Barrett includes aspects of the electronics for the main

loudspeaker and various other electronic sound related information. In addition, the

guitar part uses an "ebow" and a spoon. The trumpet section mostly has alternative

notation definitions. The largest section of the performance notes is for the computer

performer. Barrett includes directions for the mixer, loudspeakers, microphones (for

each instrument), amplification and signal routing, on-stage monitors, location of the

computer and mixing desk, and motion sensors and interface.

The electronics in this piece are run through the program Max/MSP and,

according to Barrett, "is substantial and requires its own performer in addition to the

person mixing the sound." The computer is also slightly controlled at times by the 30

percussionist who is connected through motion sensors. Barrett adds that the

synchronization and interaction of the electroacoustic part is substantial, and says:

Minquito. “Integra, a novel approach to music with live electronics”. Nordic Sounds. no. 4. 12/11/2006. 29

https://www.lambertococcioli.com/?s=Barrett

Natasha Barrett. Crack. Performance Notes. 6.30

�28

"to achieve this interaction, a series of sensors are connected to the percussionist arms and the output of these sensors used to calculate attack instance, attack velocity and motion direction for the two arms in the vertical plane.” 31

Therefore, the percussionist acts as the director of the group and many entrances of

other instruments (including the computer) depend on their movements and playing.

The musical score has 8 staffs: trumpet, electric guitar, high (perc), crotales

(perc), metal (perc), wood (perc), skin (perc), and computer. The score is also written in

concert key with no key signature. The time signature is mostly in 4/4 throughout all the

movements with the quarter note always receiving the beat. Barrett also does not write

any notation other than cues for the computer staff. Furthermore, the piece is atonal and

involves the use of quarter tones.

Analysis

The beginning of the first movement, “Atomic Crack”, is largely based upon the

note B. (Figure 18) Most of the phrases start with the note B in various octaves and all

other notes surround the starting pitch until measure 40. The atmosphere Barrett is

trying to set is a “crack” on the atomic level. The entire movement is to show how a

small crack can grow and become unstable. Barrett states, “As ‘Atomic Crack’ develops,

the perspective widens to take in the energy connected with the creation of crack

clusters.” 32

http://www.natashabarrett.org/cracking.html31

ibid.32

�29

http://www.natashabarrett.org/cracking.html

Figure 18: Barrett’s Atomic Crack

Trumpet and Electric Guitar, measures 1-10

Barrett’s use of short phrases and use of silence helps solidify her idea of

“cracking”. (Figure 19) The movement ends with solo unaccompanied trumpet. The

electronic portion of this work is made up entirely of live processed sound played by the

instrumentalists running through the computer program. No recorded sound is used. 33

Figure 19: Barrett’s Atomic Crack

Score, measures 76-81.


�30


“Deep Ice", the second movement, is based on the sound of ice which has been

submerged in water, causing the ice to crack. Barrett recorded the sounds of the ice and

slowed the recording by the 128 semitones. The “data extracted from this

transformation is used to create a framework for the instrumental part.” The movement 34

begins with more excitement than the previous. The percussion becomes the lead voice

of the ensemble, playing many different sounds between the wood and metal

instruments, along with being very rhythmic. (Figure 20) The percussion lead continues

until measure 34, which marks the beginning of the trumpet solo continuing until

measure 59. After this point, Barrett uses rhythmic intensity to show the lead line

throughout the instruments. From measures 96-147, Barrett has a style change where

she starts to introduce longer notes that last over many measures within the

instrumental parts. The next large section of the work begins in measure 166 and uses

the same idea as the first movement. As seen in Figure 21, again Barrett uses short

phrases and silences within the work to show the “cracking” process. The percussion

continues to take over the lead role within the ensemble until measure 224. All the

acoustic instruments stop playing in measure 224, while the computer continues to play

until the end of the movement.


�31


Figure 20: Barret’s Deep Ice

Score, measures 1-5

Figure 21: Barrett’s Deep Ice

Score, measures 1-5

The last movement of the work, “Crack Horizon”, is the shortest of the three

movements and, in essence, is a percussion feature while the other instruments hold a

“pedal” for the solo. Barrett’s only statement on the last movement is “Crack Horizon

takes such a wide angle that the percussionist articulates points on a distant field and

�32

acts as a disturbance to the continuity of the sustaining instruments.” The trumpet, at 35

the beginning of the last movement, is instructed to go off stage to another microphone

and only play air sounds. The guitarist is also instructed to put the instrument on a stand

and walk off stage towards the end of the work as the percussion continues.

As stated previously, Barrett uses the electronics as the main source of most of

her electroacoustic compositions. Within the first movement of "Crack", the electronic

portion is derived by the other instruments and gives the electronics a slightly under

written quality compared the second movement. Barrett's "Deep Ice" uses the

electronics in a completely different way. The instrumentalists are still playing through

microphones that are converting sound through live processing, but Barrett also uses

prerecorded sound used within the live processing of the acoustic sounds. The idea and

sound of water is clearly present throughout the second movement and at times seems

like the sound is coming from underneath water. This atmosphere helps with the overall

idea that Barrett is conveying.

Trumpet Part

The trumpet plays a large role in “Crack” and is used as a solo instrument in the

work as well as having a part within the ensemble. Barrett asks the trumpet to do many

different articulations: air note, flutter tongue, half-valve, and percussive tongue slap.

Within the performance notes of the piece, Barrett explains the different articulations as

well as the alternative notation she uses for each one. (Figure 22) The piece also

involves the trumpet performer to gliss with a valve slide and the use of a variety of

mutes. The range of the trumpet is a little more than two and a half octaves. The


�33


difficulty of the part is playing the rhythm accurately. As shown in Figure 23, Barrett uses

very technical rhythmic figures while having the trumpet play adjunctly. Furthermore,

within this excerpt, the trumpet is the only instrument playing, therefore, has no

accompaniment to help play the passage. Another aspect to the part is the use of

quarter tones.

Figure 22: Barrett’s Trumpet Notation

Figure 23: Barrett’s "Atomic Crack”

Trumpet Solo measure 116-127

�34

Chapter 5: Conclusion

Because computer technology is continually becoming more efficient and

affordable, the world of electroacoustic music and composition is constantly changing. A

new set of musicians, composers, conductors, and teachers are learning through

technology and most have had access to some sort of technology since birth. As the

younger generation of musicians and composers continue to grow into a larger role in

the music community, electronic music as a whole will become more the future of music.

A Survey of Chamber Works for Trumpet Electronics is to be used as an

introduction to show the variety of works for trumpet and electronics through variations

of electronics components, chamber ensembles, and extended techniques for trumpet.

The works by Marshall, Stockhausen, Silva, and Barrett cover an array of trumpet and

electroacoustic composition techniques, but not all of the assortment of techniques that

are being used throughout all electroacoustic works.

The trumpet technique required for many works in the literature goes beyond the

standard teaching and further research should be done on how to include this “new”

medium into the standard repertoire. It is my hope that the information given will

encourage trumpet players to explore the electronic repertoire.

�35

Bibliography

Barrett, Natasha. Crack.

“Bio” http://www.ingrammarshall.net/long

“CRACK.” http://www.natashabarrett.org/cracking.html

“Dr Natasha Barrett.” http://speculationsinsound.squarespace.com/natashabarrett/

”Fog Tropes (Brass Version)” http://laphillive.net/philpedia/music/fog-tropes-brass- version-ingram-marshall

Marshall, Ingram. “Shudder Island.” Monday 22, 2010. http:// ingrammarshall.blogspot.com/2010/02/shudder-island.html

Marshall, Ingram. Fog tropes: brass sextet and tape. 2010.

Minquito. “Integra, a novel approach to music with live electronics”. Nordic Sounds. no. 4. 12/11/2006. https://www.lambertococcioli.com/?s=Barrett

natashabarrett.org/about.html

Silva, Igor. zap_ping_.

Stockhausen, Karlheinz. Pièta: für Flügelhorn, Sopran und Elektronische Musik, oder für Flügelhorn und Elektronische Musik : vom Dienstag aus Licht : 1991, Werk Nr. 61 1/2. Kürten, Germany: Stockhausen-Verlag, 1995.

“With Karlheinz Stockhausen”. http://www.markusstockhausen.de/trompeter-musiker-komponist/227/mit-karlheinz-stockhausen/?lang=en

�36

http://www.ingrammarshall.net/long

http://laphillive.net/philpedia/music/fog-tropes-brass-




Appendix A: Research Methods and Definitions for List of Chamber Works

In the beginning of my research for chamber works for trumpet and electronics, I

found there was no comprehensive database. Folkmar Hein’s International

Documentation of Electronic Music is the closest database I was able to find, but lacked

many of the works which I had already found. Because of vast amount of works found

through various search methods, I decided to create a list of chamber works for trumpet

and electronics.

The research started by using the Google search engine and typing in any

assortment of trumpet, chamber, and electronics into the search. The search led me to

an assortment of composers, ensembles, college websites, and audio/video websites,

like YouTube, in various languages. For any list that has been made in the past, like that

of the International Documentation of Electronic Music and World Cat Library, I

searched each individual composer for an online presence, as well as a list of works.

This aided in making sure the composer did write certain pieces as well as providing

more information on works, such as recordings or length of the composition. The search

formulated the list of works for this medium with the understanding to further the

advancement of trumpet music through chamber works with electronics. The list below

(Figure 24) only contains the composer, title, instrumentation, and year written.

Definition of Electronics as it pertains to the List of works.

For this document, electronics is defined as any music that involves

electroacoustic compositions, live electronic processing, tape music, amplification of

�37

acoustic instruments, and any music providing an electronic component. The only

exception was if the electronic element was an instrument that normally uses

electronics such as electric guitar/bass or keyboard.

Definition of Chamber Ensemble

For this document, a chamber ensemble is defined as any group not labelled as a

large group (orchestra or band) and a group of less than 15 players, unless in a case

where any one composer lists their work as chamber music.

�38

Appendix B: List of Chamber Works for Trumpet and Electronics

# Composer Last Composer First Title Instrumentation

Year

1 Alves Bill Rubber Time trumpet, electronic percusion, precision, synthesizer

2 Azguime Miguel Mammoths Over the Rainbow

trumpet, flute, prepared piano, percussion, live electronics

1998

3 Balke Jon Kvartett trumpet, percussion, piano

4 Barkl Michael Music for two trumpets and tape delay

two trumpets 1978?

5 Barrett Natasha Crack Process trumpet, percussion, electric guitar, live electronics

6 Barrett Richard Temptation sax, tpt, vc, synt, perc

1986

7 Barrett Richard world-line piccolo trumpet/quartertone flugelhorn, percussion, electric lap steel guitar and electronics.

2012

8 Barrett Richard wake alto flute, violin, percussion; bass clarinet, trumpet, piano contabasscello, bass guitar

2014

#

�39

9 Barrett Richard šuma trumpet(s), recorder(s), harp, accordion, cello, electronics

2013

10 Barrett Richard close-up trumpet(s), recorder(s), harp, accordion, cello, electronics

2013

11 Barrett, Impett, Parker

Richard, Jonathan, Evan,

IBP3 Keyboard, trumpet, trombone

2001

12 Becker Günther Scanning 2 tpt, hn, 2 trbn 1970

13 Bennett William WHITEHOUSE 10 amp ins (cl, tpt, trbn, p, hp, perc, vn, vc, db, elec)

2009

14 Biggs Christopher A Letter to the Moon

Trumpet, prepared piano, percussion, computer

2016

15 Biggs Christopher Fractures of Echoes

2 soprano sax, 2 trumpets, 4 trombones, 2 tuba, 5.1 audio, and video

2013

16 Biggs Christopher Decade Zero brass quintet, computer

2016

17 Bönn Georg 36 samples of harmony

flute, oboe, horn, trumpet, violin, viola, double bass, and tape

1995

18 Boudreau, Duguay

Walter, Raôul, Golgat(h)a 2 tpt, 2 hn, 2 trbn, 1 tuba, sam, org, 5 perc

19 Bredemeyer Reiner Der gute Gott von Manhattan von Ingeborg Bachmann

fl, acc, sax, ob, bn, p, tpt

1977

Composer Last Composer First Title Instrumentation

Year#

�40

20 Breitenfeld Roland Halbe Zeiten trumpet, percussion (2 big tom-toms, 2 hi-hat) and tape

21 Brncic Gabriel Ergon Rondeau

4 tpt, amp vc 2000

22 Brown, Perkis, Stone

Chris, Tim, Phil Duo perc, tpt

23 Brün Herbert Sonoriferous Loops

flute, bass, trumpet, 3 percussion

1964

24 Buller John Le Terrazze fl, ob, cl, bn, 2 hn, trbn, tpt, perc, vn, va, vc, db

1974

25 Burlas Martin Kriz a kruh (the cross and the circle)

2 tpt 1989

26 Cardi Mauro Le Parole da sola

vocalist, trumpet, electric guitar, percussion, contra-bass, electronics

2007

27 Cardi Mauro Un gioco a incastro


2007

28 Cardi Mauro Noi siamo la materia che sussulta


2007

29 Cardi Mauro The Spark to the Flame

flute, clarinet, trumpet, percussion, viola, cello

1996


Year#

�41

30 Cerrone Christopher How to Breathe Underwater

trumpet, male voice, trombone, and bass clarinet

2011

31 Chafe, Morrill Chris, Dexter, Duo Improvisation

celletto, tpt 1988

32 Chagas Paulo Oddort T, 2 Bar, B, actress, actor, sax, tpt, trbn, vn, db, p, 2 perc

1989

33 Chagas Paulo Transparência 3 tpt 1992

34 Cizek, Musil, Bruckner

Martina, Wolfgang, Silvia,

Glissanthemen p, tpt 1994

35 Cocco Enrico Un poetico e notturno silenzio

tpt, hn, trbn, tuba, cl, perc, p, (risonante)

1992

36 Dambrain Cédric Blazek two trumpets, theremin, electronic keyboard, live electronics

2006

37 Dashow James Morfologie hn, tpt, Flügelhorn

1993

38 Dashow James Songs of Despair

soprano, flute, clarinet, bassoon, trumpet, trombone, violin, cello, harp, 3 percussion,

39 de Wit Harry Song for the Pigeons

prep p, hn, tpt, inss

1993

40 Decoust Michel hn, tpt, trbn 1971

41 Deniosos Anargyros 4 X 4 pic-fl, tpt, p 1987

42 Deniosos Anargyros Light fl, cl, tpt, db, p,perc

1986

43 DeSantis Dennis Until word is cornered all math is fiction

trumpet, organ, voice

2001


Year#

�42

44 Dolden Paul The Heart Tears for Saxes and Brass

4 saxes, 4 trumpets, 4 trombones, and tape

1998

45 Dolden Paul Rave #1 trumpet, electric guitar, vibraphone, piano, acoustic or electric bass, tape

2005

46 Duchnowski Cezary monad 2 voice, trumpet, computer

2003

47 Dunn David Efflux trumpet, violin, cello, electronics

1971

48 Eckert Gerald offen - fin des terres

flute, clarinet, bass trumpet, two percusion, piano, violin, contrabass and two tapes

2002

49 Ellis Merril Mutations: for brass quintet and electronic tape

Brass Quintet 196?

50 Elmsly John Gestauqua : for brass quintet and tape

Brass Quintet 1989

51 Emmerson Simon Reflections tpt, cl, s-sax, perc, p

998/999

52 Everett Steven Sea.Rock City : for trumpet, trombone and HMSL programming language

trumpet, trombone

1989

53 Fenner Burt Prelude for brass, timpani, and stereophonic tape

brass, timpani 1973

54 Ficarra Evelyn Brasserie tpt, hn, trbn 1991

55 Finney Ross Lee Three Pieces: strings, winds, percussion and tape

strings, winds, percussion

1975


Year#

�43

56 Fitz Kelly Our Chrysanthemums will float in Zürich

tpt, trbn 1993

57 Fômina Silvia Angehaltene Zeit , Este camino que llevo

T, vc, acc, tpt, trbn

2010

58 Forhsee Jon Port of the Sheltering Sky for trumpet percussion and electronics

trumpet, percussion, piano

59 Friedl Reinhold Xenakis [a]live! bass clarinet, trumpet , tuba, violin, cello, double-bas, piano, percussion (all amplified)m electronic

2004

60 Friedl Reinhold no:no bass clarinet, trumpet , tuba, ciolin, cello, double-bas, piano, percussion (all amplified)m electronic

2005

61 Friedl Reinhold Global Concern

music with fashion and dance, clainet, trumpet, tuba ciolin, cello, double-bass, piano, sampler, percussion

2003

62 Fulkerson James Music for Brass instruments VI

trumpet with four trumpets

1982

63 Fulkerson James Now II trumpet, trombone, amplified clavichord, sound modulator

1969


Year#

�44

64 Fulkerson James Track Follows trumpet, trombone, fixed media, live electronics

1983

65 Garcia del Valle Méndez

Jorge Waterdreams two trumpets, two trombones, electronics

2006

66 Gehlhaar Rolf Origo clarinet, trumpet, cello, percussion, keyboards, all amplified

1987

67 Gehlhaar Rolf Infra oboe, 2 clarinet, trumpet, trombone, two violin, viola, cello, double bass, all amplified

1985

68 Gibson John Out of Hand trumpet, trombone, and computer

2008

69 Gilbert Peter the bold arch of undreamt bridges

flute, clarinet, sax, bassoon, trumpet, violin, viala, cello, percussion, live electronics

2006

70 Giroudon, Mayoud

James, Jacques Tromperie tpt, perc 1987

71 Globokar Vinko Blinde Zeit flute, trumpet, percussion , piano, violen, alto, cello

1993

72 Graebner Ric Dozens through the Window

trumpet, percussion, viola, guitar, and tape

1990

73 Grandi Giancarlo Studio cl, tpt 1992

74 Hackbarth Ben Lines of Communication for trumpet, violin, piano, and electronics

trumpet, violin, piano

2004


Year#

�45

75 Hackbarth Ben Points of Reference

three trumpets 2002

76 Harrison Jonty Ripieno s-sax, tpt, vc, synt, MIDI-mar

1988

77 Harrison Jonty Ottone brass quintet 1992

78 Hartlieb, Tahriri Florian, Madjid Be here now p, tpt, cl, trbn 2009

79 Hartman Hanna Shanghai Fireflies

perc, tpt 2010

80 Hartman Hanna BLACK trumpet, horn, tuba, amplified Starch

2011

81 Harvey Jonathon Smiling Immortal

chamber ensemble of 11 players

1977

82 Harvey Jonathon Bhakti chamber ensemble of 15 players

1982

83 Harvey Jonathon Bird Concerto with Pianosong

solo piano, chamber orchestra

2001

84 Harvey Jonathon Two Interludes for an Opera

chamber ensemble of 22 players

2003

85 Harvey Jonathan Smiling Immortal

fl, ob, hn, tpt, perc, p, str-qt

1977

86 Harvey Jonathan Valley of Aosta fl, ins (ca), sax, tpt, str-qt, 2 hp, p, perc, synt

1988

87 Hearne Ted But I voted for Shirley chisolm (overture) : version for 11 instruments and fixed electronics

trumpet, flute, clarinet, trombone, piano, electric guitar, drum set, electronics, two violins, viola, and cello

2012

88 Hearne Ted Crib Dweller trumpet, bass clarinet, elec. guitar, trombone, horn

2007

89 Herriott Jeff A Glance at the Sun

trumpet, percussion

2008


Year#

�46

90 Hirsch Michael Die Klage des Pleberio

Bar, fl, cl, tpt, acc, hp, e-gui, p, vib, 2 vn, 2 vc, (CD-player)

2005

91 Höller York Mitarbeit tpt, cl, vc, Kbd, (Blackdeath-) synt,

2013

92 Hülcker Neele Zu spät für das Privatleben

tpt, trbn, 2 perc, gui, vc

2014

93 Hvoslef Ketil Erkejubel 2 tpt, 2 trbn, synt, perc

1982

94 Ignatowicz Anna That's only Time

perc, tpt

95 Ignatowicz Anna It is only Time … (To tylko czas…)

trumpet, percussion, tape

1996

96 Impett Jonathan Gandharva tpt, cl, db, vc, Kbd, perc, e-ww

1988

97 Jodlowski Pierre De front (quatuor)

clarinet, trumpet, percussion, string quintet

1998

98 Kalitzke Johannes memoria 2 tpt, 2 trbn, perc, amp acc, amp lute, e-gui, Kbd (Glasharmonika, Sampler)

2003

99 Kampe Gordon Die Sonne wandert schnell - Gasthauskempermannvariationen

flute, trumpet, percussion, casio VL-1

2010

100 Kampe Gordon Zwerge flute, clarinet, trumpet, percussion, electric guitar, electric bass, piano , synthesizer, violin, viola, cello

2011


Year#

�47

101 Karel, Bruckmann

Ernst, Kyle, no sign ob, tpt, (analog elec)

2002 - 2004

102 Karel, Bruckmann

Ernst, Kyle, Object2 ob, tpt, (analog elec)

2005

103 Kirchoff Keith Irrational Rationalities


rev. 2016

104 Knight Morris Toccata : for brass quintet and audio

Brass Quintet 1989

105 Kolberg Kåre Varia fl, tpt, perc, Kbd, db

1980

106 Kretz Johannes Ariel for 10 instruments

trumpet, percussion, DX7, piano, string sextett

1992

107 Krzanowski Andrzej 3rd Programme actor, S, tpt, bar-sax, 2 acc, e-gui, 11 perc, (5 projectors)

1974

108 Kuhn Hans Peter Deep Field Line db, tpt 1993

109 Lanza Alcides Acúfenos V : for trumpet, piano, electronic and computer sounds : 1980-II

trumpet, piano 1982

110 Lanza Alcides Interferences

I : for two

groups of wind

instruments

and electronic

sounds : 1966-

II

trumpet, two flutes, oboe, clarinet, trombone, horn, tuba

1983


Year#

�48

111 Lazarof Henri Concertazioni : for solo trumpet, 6 instruments, and tape

trumpet/flugelhorn, flute, clarinet, harp, percussion, horn, violoncello

112 Lefebvre Claude Mosella org, 2 tpt 1984

113 Lévinas Michaël Les Rires du Gilles

pan fl, cl, hn, tpt, perc

1981

114 López López José Manuel, Jenseits … Diesseits

tpt, fl, cl, vn, vc, 2 perc

1993

115 Lyon Eric Coral 5 trumpets

116 MacDonald Alistair Strepho amp s-sax, amp tpt, MIDI-perc, amp p, amp vc

1989

117 Maiguashca Mesias Vorwort zu Solaris

cello, trumpet, percussion, saxophone, tape

1989

118 Malec Ivo Vox / Vocis / F vc, db, hp, Mez, perc, S, tpt, vn, va

1979

119 Man Roderik de Air to Air flute, trumpet, bassethorn, tape

1998

120 Marshall Ingram Fog Tropes Brass Sextet 1995

121 Martin Anne Le Souffle de l'Ange

trbn, tpt 2003

122 Matalon Martin De polvo y piedra

flute, clarinet, horn, two trumpets, trombone, two percussionists, accordion, piano, violin, two cellos, contrabass, electronic device

2013


Year#

�49

123 Matalon Martin La Rosa Profunda

flute, clarinet, bassoon, trumpet, percussion, electric guitar, viola, bass, electronics

1992

124 Matalon Martin Las siete vidas de un gato

flute, clarinet, trumpet, two percussion, piano, violin, cello

1996

125 Matalon Martin Monedas de hierro

flute, two clarinets, bassoon, trumpet, harp, two percussion, cello, bass

1993

126 Matalon Martin Rugged lines – ballet

fl, cl, b-cl, a-sax, tpt, 2 perc, p, db

1997

127 Matalon Martin Tunneling flute, clarinet, horn, trumpet, percussion, cello, contrabass, electronic device

2009

128 Matsudaira Yoriaki Alternation for Combo

tpt, perc, b, p 1967

129 Matthusen Paula The Big Money trumpet, video, saxophone, two violins, television, sampler

1998

130 Mayer Daniel Lokale Orbits / Duo 2

trumpet, cymbals, 8 channel tape

2013

131 Menezes Flo Contesture IV - Monteverdi altrimenti

trumpet solo, clarinet, trombone, piano, soprano sax, two percussion, two tapes

1992 - 1993


Year#

�50

132 Menezes Flo Contrafact brass quintet and live electronics

2013

133 Menezes, Ferraz Flo, Silvio Campos de pássaros - Messiaen Revisitado

p {4 hands}, synt, vn, sax, cl, trbn, tpt, 4 perc, elec

1994

134 Mobberley James Icarus Wept trumpet, organ, tape

1994-97

135 Moran Dexter TARR 4 tpt 1982

136 Moser Michael Resonant cuts 2 perc, db, tpt, b-cl, elec

2008

137 Moylan William Brass Quintet Brass Quintet 1979

138 Newson George Threw Away a Pearl

fl, ob, bn, hn, 2 tpt, trbn, perc

1968

139 Nilsson Bo Wendepunkt Brass Quintet 1981

140 Noca Riccardo Thirteen faces formula : version per tromp percussion ed elttronica

trumpet, two percussionists or three trumpets, percussion

2007

141 Nuñez Adolfo Concierto para sonido

fl, ob, cl, bn, hn, tpt, trbn, perc, vn, va, vc, elec

2008

142 Nuñez Adolfo Images Mez, p, french hn, tpt, trbn

1986

143 Olbrisch Franz Martin Cross Creek Road

trumpet, two flute, two cellos, two percussion, electric guitar, electric bass, tape

2006

144 Oliver John Before the Freeze

clarinet, trumpet, alto sax

1988

145 Oliveros Pauline Ear Rings: Inventionen 2000

trbn, vc, tpt, acc 2000

146 Orton Richard Timescape S, tpt, org, (early-music-) ens

1984


Year#

�51

147 Ott Joseph Timbres : for brass quintet and electronic tape

Brass Quintet 1973

148 Ott Daniel Blick Richtung Süden

five trumpet, 2 trombone

2009

149 Palmer John Reflections trumpet, piano, electronics

1993

150 Pappalardo Emanuele Studium Punctum

fl, cl, tpt, p 1992

151 Parmegiani Bernard Jazzex sax, tpt, perc, db

1966

152 Pérez Pena Alberto Medina Azahara bajo la Luna

tpt, synt, p 1993

153 Pinkham Daniel The descent into hell : for mixed chorus, soloist, brass, percussion, organ, and electronic tape

brass, chorus, percussion, organ

1980

154 Pinkman Daniel The Other Voices of the Trumpet

trumpet, organ, electronic tape

155 Powell Andrew Variations Towards a Theme

two trumpets without mutes, live electronics

156 Raaijmakers Dick Fanfares vc, 2 tpt, trbn, tuba

1995

157 Reese Kirsten Wirbligen Signale (Swirling Signals)

trumpets, horns, trombones, mobile speakers

2007

158 Reynolds Roger …the serpent-snapping eye…


1978

159 Roberts Paul Align perc, tpt, cl, p 1991

160 Rocha Iturbide Manuel Transiciones de fase

brass quartet and computer

1993

161 Rodriguez Ana Maria Le Stéréoscope des Solitaires , Das Stereoskop der Einzelgänger

dance, tpt, vn, va, vc, elec

2015


Year#

�52

162 Rodriguez Ana Maria shelter ob d'amore, db-cl, tpt

1999

163 Rodriguez Ana Maria últimas flores en forma de trompeta

tpt, sam 1998

164 Rolnick Neil B. The Persistence of the Clavé

celletto, tpt, com (MIDI system)

1992

165 Ronchetti Lucia Narrenschiffe 2 male V, fem V, 2 tpt, trbn, tuba, perc

2010

166 Rowland David Equale II: for 4 trumpets in B flat (or solo trumpet and tape) 1993

four trumpets 1995

167 Rüfer Rüdiger Doppelrondo tpt, p, drum, gui 1985/1986

168 Rypdal Terje Arktik e-gui, a-fl, tpt, synt, db, perc

1988

169 Sad Levi Jorge Teatro Astral trumpet, bandoneon, cello

2009

170 Sarwas Jakub Hybrid Conjunction

tpt, db 1999

171 Schwartz Elliott Telly; for 5 wind or brass players, 4 percussionist, 3 televisions sets, 2 radios, 1 tape

wind or brass players, four percussionist

1973

172 Schwartz Elliott Cycles and gongs : for organ, Bb trumpet, and tape

trumpet, organ 1977

173 Schwarz Diemo Les arbres ont bougé pendant la nuit

tpt, perc, V, com 2017

174 Seglem Karl Lysspyd tpt / Flügelhorn, a-sax / perc (crotales), t-sax, bar-sax

1990

175 Seidl Hannes Es geht besser , Version 1

fl, ob, tpt, perc 2011


Year#

�53

176 Shere, Hoyem Charles, Andrew Tongues : scenario for concerto for poet speaking in tongues, live electronics, taped sounds and chamber orchestra

For poet, piccolo, oboe (English horn), clarinet, bassoon, trumpet, horn (Wagner tuba), trombone, harp, piano, percussion, violin, viola, violoncello, double bass

1979

177 Silva Igor C zap_ping_ trumpet, percussion, electronics and video

2014

178 Smalley Roger Pulses brass, percussion and live electronics

1969 rev 1985-86

179 Souster Tim Equalisation brass quintet and live-electronics

1980

180 Stahmer Klaus Hinrich Quasi una sonata

vc, tpt, p, synt 1973

181 Steiger Rand template for improvising trumpeter and ensemble

solo trumpet, 2 flutes, oboe, clarinet, bassoon, horn, 2 percussion, piano, violin, cello, bass and electronics

2013

182 Stockhausen Karlheinz Tierkreis (Zodiac) Trio Version

trumpet, clarinet, flute and piccolo, piano

1981

183 Stockhausen Karlheinz Taurus-Quintett trumpet, soprano, bass clarinet, bass

1975

184 Stockhausen Karlheinz Halt (from Michael’s Journey)

trumpet, double-bas

1978


Year#

�54

185 Stockhausen Karlheinz Kreuzigung (Crucifixtion)

trumpet, bassethorn/clarinet, basset horn II, two horns, two trombones, tuba, electric organ

1978

186 Stockhausen Karlheinz Mission und Humelfahrt (Mission and Ascension) (from Michael’s Journey)

trumpet, bassethorn

1978

187 Stockhausen Karlheinz Solisten-Version Michael’s Reise

trumpet, 9 co-players

1984

188 Stockhausen Karlheinz Michael’s Jugend (Michael’s Youth) (Act 1 of Thursday from Light)

trumpet, tenor, soprano, bass, bassethorn, trombone, piano/elec. organ, 3 dancer mimes, tapes with choir and instruments

1979

189 Stockhausen Karlheinz Kindheit (Childhood) (scene of Michael’s Youth)

trumpet, tenor, soprano, bass, bassethorn, trombone, dance, tapes

1979

190 Stockhausen Karlheinz Examen (Examination)

trumpet, tenor, dancer, piano, bassethorn

1979

191 Stockhausen Karlheinz Michael’s Heimkehr (Michael’s Home Coming)

trumpet, tenor, soprano, bass, bassethorn, trombone, dancers, tapes

1980

192 Stockhausen Karlheinz Drachenkampf (Dragon Fight) (from Michael’s Home-Coming)

trumpet, trombone, elec. organ or synthesizer, 2 dancers, percussionist

1980


Year#

�55

193 Stockhausen Karlheinz Argument (from Michael’s Home-Coming)

tenor, bass, elec. organ or synthesizer, ad lib: trumpet, trombone, percussionist

1980

194 Stockhausen Karlheinz Vision (scene of Michael’s Home-coming)

trumpet, tenor, dancer, hammond organ or sythesizer

1980

195 Stockhausen Karlheinz DONNERSTA

GS-

ABSCHIED (MI

CHAELS-

ABSCHIED)

THURSDAY

FAREWELL (M

ICHAEL'S

FAREWELL)

variable

five trumpets or trumpet in 5 track recording

1980

196 Stockhausen Karlheinz Linker Backentanz (Left-Cheek-Dance)

trumpets, trombones, percussionist, synthesizer

1990

197 Stockhausen Karlheinz Oberlippentanz (Protest) (Upper-lip-dance)

piccolo trumpet, trombone or euphonium, 4 or 8 horns, two percussionist or solo for piccolo trumpet

1983

198 Stockhausen Karlheinz Willkommen (welcome)

trumpets, trombones, 2 synthesizers

1988


Year#

�56

199 Stockhausen Karlheinz Invasion - Explosion mit Abschied (Explosion with Farewell) (Act 2 of Tuesday from Light)

three trumpets, three trombones, 2 synthesizers with 2 assistants, two percussionists with two assistants, ad lib 6 tutti trumpets and 6 tutu trombones choir

1990

200 Stockhausen Karlheinz Bassetsu-Trio trumpet, bassethorn, trombone

1997

201 Stockhausen Karlheinz Trumpetent four trumpets 1995

202 Stockhausen Karlheinz Licht-Bilder (Light-Pictures)

trumpet with ring-modulation, bassethorn, flute with ring-modulation

2002

203 Stockhausen Karlheinz Klang - 6th Hour Schonheit

trumpet, bass clarinet, flute

204 Stockhausen Karlheinz Klang - 10th Hour Glanz (brilliance)

trumpet, bassoon, viola, clarinet, oboe, trombone, tuba

2007

205 Stockhausen Karlheinz Klang - 12th hour Erwachen (awakening)

trumpet, cello, soprano saxophone

2007

206 Strange Allen Velocity Studies V: Ngate

7 tpt 2007

207 Suberg Andreas H.H. De’ crocifissi venduti

S, tpt, perc, elec 2001

208 Suberg Andreas H.H. Delle pelle II Counter-T, tpt, perc, elec

2005

209 Suberg Andreas H.H. Delle scolture S, tpt, perc, elec 2001

210 Suberg Andreas H.H. gänzlich aufzugehen…

mezzo-soprano, flute, clarinet, trumpet, trombone, percussion, electronic sounds

1986


Year#

�57

211 Suberg Andreas H.H. Il trittico della passione , Delle scolture – Stigmata – De’ crocifissi venduti

S, tpt, elec

212 Suberg Andreas H.H. Signalstrom +- two trumpets 1999

213 Suberg Andreas H.H. TURM-Musik 8 Sp, tpt 2008/2009

214 Szabo Csaba Szonáta rézfúvós ötösre és magnetofonra = Sonata for brass quintet and magnetophone

Brass Quintet 2005

215 Tamminga Jorrit Knikkers piano, two trumpets, tape

1998

216 Tamminga Jorrit Mikroket two trumpet 1998

217 Tanenbaum Elias Improvisations for brass quintet and tape

Brass Quintet 1981

218 Tanenbaum Elias Structures for Brass Quintet: International Festival of Contemporary Music, Zagreb, Yugoslavia

brass quintet 1966

219 Usui Shiori Tuning into paranoia

double-bell trumpet, bass clarinet, and live electronics

2009

220 Valle Mendez Jorge Garcia del Waterdreams two trumpets, two trombones

2006

221 Vandenbogaerde Fernand Im Anfang war das Wort!

alto, trumpet 1972

222 Vandenbogaerde Fernand Modifications IV trumpet, trombone, ring modulator and 2-track tape

1970

223 Vandenbogaerde Fernand Quetzalcoatl two trumpets, horn, trombone, organ, percussion, tape

1987


Year#

�58

224 Vandenbogaerde Fernand Pentacle two trumpets, horn, trombone, tuba, 5 percussion, magnetic stripe, synth, electric bass, electronic percussion

1988

225 Varèse Edgard Déserts 2 flutes, 2 clarinets, 2 horns, 3 trumpets, 3 trombones, 2 tubas, 5 percussion, piano, tape

1950

226 Wells Sam Paul trumpet, two violins

2017

227 Wells Sam The Leaf Has Turned to Stone

two trumpets 2016

228 Wells Sam Fallingwater trumpet, vibraphone, piano

2015

229 Werner André …It wears, sir, as it grows…

hp, p, 2 tpt, sub-db-fl

1992

230 Wiemer Wolfgang Kontexturen S, B, tpt, perc, org

1973

231 Winkler Gerhard E Dünungen flute, oboe, clarinet, sax, trumpet, pos. trombone, piano, marim, violin, viola, cello, bass

1994

232 Winsor Phil Coronation : for four amplified trumpets

four trumpets 1966

233 Winsor Phil Anamorphoses br-ens (tpt-ens) 1990

234 Winther Terje Pre fl, cl, tpt, 2 perc, synt, va, vc

1986


Year#

�59

235 Winther Terje Respiral 2 cl, b-cl, tpt, hn, perc

1985

236 Wøllo Erik Pre sense two piano, clarinet, trumpet, tape

1989

237 Zapf Helmut Das Goldene Kalb

fl, ob, cl, tpt, trbn, vn, va, 2 vc, db, 2 perc, S

2006

238 Zapf Helmut evening song tpt, p, elec 2012

238 Zapf Helmut Klangfetzen str-qt, sax, tpt, e-gui, b-gui, perc

2012

240 Zapf Helmut square vn, db, tpt, b-cl 1998


Year#

�60

a survey of chamber works for trumpet and electronics

Documents