Michael Baldwin

marginalization

- for trombone, percussion, piano -

marginalization (2011) – trombone, percussion and piano Written for the KEY Ensemble [Kevin Fairbairn, Ellery Trafford and Yen-Lin Goh] Performance Notes: General Notes:

! This work is to be performed without the aid of a conductor. ! In all cases where a glissandi is found, do not re-articulate the end note. ! Trills are to be performed as fast as is possible. ! Various barlines are used to illuminate different structural components of the work. They should have no effect on the material surrounding them. ! Microtones:

1.! There is no use of three quarter-sharps and –flats for the ease of performance. 2.! No specific type of voice leading is being suggested by the microtones used. 3.! An up or downward arrow indicates an eight-tone. 4.! All microtones are to be played as close to equal temperament as is possible.

! Total duration is approximately 5min30sec.

Instrument Specif ic Notes: Trombone 1. Mutes required: Bubble (harmon) mute – with stem Piece of medium-weight cloth 2. Notehead Symbols:

Air sound. An arrow pointing left indicates an ingressive airflow, creating a high pitched whistle tone that can be adjusted by fluctuation one s tongue placement. An arrow pointing right indicates an egressive airflow, creating a pure air sound. When blowing through the instrument egressively the general range inflection of the air sound will be indicated. Press lips firmly against mouthpiece and use a small aperture to blow through creating a high whistle-like sound. The diamond shaped notehead is a sung pitch. Unless a specific dynamic has been indicated for the sung pitch, all sung pitches are to be equal in presence to the played pitch. In cases where there is no played pitch, the sung pitch is to sound as close to the trombone timbre as possible.

3. Air Quality:

Mostly air (some pitch must always remain.) Half air and half pitch – This will produce a somewhat diffuse sonic result where there is an equal mixture of pitch and air sound. Pure pitch – If no indicator of air quality is signified then the performer is to play with no air mixture.

A bracket extending outward from an air quality marker is an indication to maintain that air quality for the duration of the bracket. An arrow from one quality to another indicates a smooth transition from one quality to another.

4. Additional Symbols:

Flutter tongue – An aggressive, and harsh effect produced by rolling the r with the front portion of the tongue. Growl – A darker, and less aggressive effect produced by growling the throat. Timbre (trigger) trill – Quickly activate and deactivate the trigger, creating a timbre trill. Sung pitch waver – Slightly bend up and down on the indicated sung pitch. Played pitch waver – Slightly bend up and down on the indicated played pitch. Alternate positions – A dashed tie is used to indicate maintenance of the prescribed pitch, with the alternate positions prescribed through numbers. (Pg. 10-11 uses a different means of prescribing slide positions, as will be explained below) An arrow indicates a smooth transition from one state/effect to another. (In the case of a transition from ingressive to egressive airflow, an arrow with the word to indicated is used to show transition.)

5. Mute/Trigger Stave:

A brief note on decoupling in this work: The work employs parametric decoupling at varying degrees. The most common application is the decoupling of pitched material and mute/trigger actions. These two elements are to be treated as individual identities that are superimposed on top of one another. The mute/trigger stave adopts a spatial notation, with specific rhythms indicated only at times of absolute necessity. Both parameters have been placed onto one stave in order to save space in the score, as both parameters never happen simultaneously. When specific rhythms are indicated, rhythmic durations for the spatialized notes will be indicated. All material related to the mute will be indicated with via text and downward facing stems. The top line indicates a complete closure of the bell/mute The middle line indicates a partial closure of the bell/mute The bottom line indicates a an open bell/mute A small waver in the contour line indicates a small micro fluctuation within the region indicated. All material related to the mute will be indicated with via text and upward facing stems. The top line indicates a complete deactivation of the trigger The middle line indicates a partial deactivation of the trigger The bottom line indicates a complete activation of the trigger

A small waver in the contour line indicates a small micro fluctuation within the region indicated. A dashed horizontal line will also act as a marker of change from mute to trigger and vice versa.

6. Pages 10-11:

These two pages make use of multi-parametric decoupling once again, but in a different fashion. Here the slide position, air sound/contour and flutter tongue are indicated on three, rhythmically independent, staves. Flutter tongue stave – The specific location of flutter tongue activation is specified on this stave. Air sound stave – Egressive airflow articulation and contour is indicated on this stave, with the top line being a high inflection, and the bottom line indicating a low inflection. Slide position stave – Slide positions are indicated with their own rhythmic profile. An arrow from on position to another indicates a smooth transition from one position to another, while no arrow indicates a rapid shift from one position to another.

Percussion 1. Instrument List:

- Un-pitched -

Glass Bowl (GLASS) Wood Block (WB) Wood Plank (WOOD) Suspended Cymbal (CYM) Snare Drum (SD) Toms – high, medium and low (TOM) Bass Drum (BD)

- Pitched -

Glockenspiel (GLK) Marimba (MAR)

2. Implements:

Sand Paper (any weight) Sewing Needle Soft Yarn Mallets Metal Mallets (Hand – palm, fingertips, rubbing and various muting)

Both abbreviation and implement to be used is indicated in the score. If no implemented is indicated then the last implement prescribed is to be used.

3. Percussion Setup:

The setup provided above is to be spread out as far as is possible in order to make the changes from one instrument to another maximally challenging/uncomfortable. The prescribed setup may also be adjusted as the performer sees fit. The only stipulation is that the sense of discomfort is still perceived.

4. Symbols:

Tremolo – All tremolos should be executed as fast as is possible. Rubbing – Frantically grope glass with palm of hand. Do not produce any easily recognizable rhythmic impulse. v.s. (very slow) and v.f. (very fast) – Indications of how fast to scrap sandpaper across wood plank. Let Vibrate – let the note vibrate beyond its rhythmic duration. If the note is to be dampened it will be indicated with a damp mark at the precise moment it is to be damped.

5. Dampening:

There are various types of dampening employed throughout this work.

1.! A sharp dampening of the instrument struck. 2.! A specific note, or group of notes, to be dampened. 3.! Finger dampening – Dampen the specified notes with one s fingertips.

6. Page 10:

This page makes use of an alternate bass drum notation. Here the bass drum is split into two staves, with each stave corresponding to a hand. The top stave (left hand) is responsible for indicating when to dampen the bass drum, and at what location. This stave will also indicate any type of additional pressure to be applied to the skin in order to adjust the pitch. The bottom stave (right hand) is responsible for indicating the articulatory actions, and at what location on the bass drum. Both staves make use of the same position indicators.

The top line is the top (furthest position from the performer) of the bass drum. The middle line is the center of the bass drum. The bottom line is the bottom (closest position to the performer) of the bass drum.

Additionally, there are three horizontal indications that work in conjunction with the vertical positions indicated by the stave.

R – The right of the bass drum. M – The middle of the bass drum. L – The left of the bass drum.

Any physical transition from one position to another is indicated with an arrow. A lined contour stemming from the note head indicates an inflection change via hand pressure (exclusive to left hand). All tremolos are to be executed by rubbing the skin of the drum with one s palm as fast as possible.

Piano 1. Notehead Symbols:

Silently depress indicated pitch(s). Cluster – Unless the exterior notes have been marked with an accidental, the clusters are general regions on the piano.

2. Additional Symbols:

Inside the piano – All material enclosed within these brackets are to be performed inside the piano. Sliding on the string – Slide one s fingertip across the indicated string for the full duration specified. Dynamics associated with this action are to be taken more as physical indications instead of literal aural results. Nail – Activate the indicated string with one nail. A note with a tie extending into a rest is to be held for the full duration indicated, and have a sharp/noticeable release. Grace-rest – A grace-rest is used only in conjunction with specific pedal markings that happen devoiced from a pitch. They are to come as close as possible to the proceeding pitch or rest. There are three types of tremolo used in the piano part. These tremolos are not measured/rhythmic tremolos. Instead they are taken to be general speeds (slow, medium and fast). Tremolo that are less than three slashes will only be found during inside the piano sections.

3. Dampening:

As with the percussion part, there are various types of dampening employed in the piano part.

1.! General dampening of a string. At times, the specific pitch to be dampened will be indicated. 2.! A dampening mark with an (in piano) indication is an instruction to dampen the pitches inside the piano and strike the keys on the outside keyboard. 3.! (cluster) – Dampen the strings activated after a cluster.

4. Additional Notes:

A dynamic marking of pppp(touch) is an indication to strike the keys as softly as possible. The performer should flirt with the possibility that the notes will not speak or come out in a clumsy manner. One double trill is used in this piece. When executing a double trill the three notes are to be performed in an irregular fashion, giving a slight weight to the pivot note.

5. Pedaling:

An unconventional way of indicating pedal changes has been adopted in this work. Each pedal on the piano is attached to a number as such: 1=sus, 2=sos and 3=una corda. The full duration of the pedal activation has been indicated in the score with a bracket indicating the triggering and release of pedals. An arrow pointing downwards indicates a strong and aggressive activation of the pedal, creating a residual amount of noise content. An arrow pointing upwards indicates a sharp and percussive release of the pedal, creating a residual amount of noise content. The pianist is to sharply slide their foot off of the pedal in order to let the pedal strike against the piano in a percussive manner. In a case where placement of the activation or deactivation is unclear, a dashed line is employed for clarity. Silently depressed notes will be slightly amplified as a residual effect of the pedal changes interacting with one another.

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83

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Trombone

Percussion

Piano

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*

Ø

A.i.

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WOODsand paper**

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***

****

P

2

1

‰ = 52

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* trombone: Inhale through mouthpiece, change position of tongue at will and create a high, breathy whistle-tone. An arrow pointing in the opposite direction indictes an egressive airflow through the mouthpiece. The general range of an egressive gesture will be indicated via placement of notehead on stave. ** percussion: v.s. = very slow, v.f. = very fast. These indications relate to the speed at which the sand paper is to be dragged against the wooden plank. Any type of sand paper will suffice.

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1

2

3

(in piano)

*** piano: A pedal marking with an arrow attached to the activation or deactivation of the specified pedal indicates a sharp donward or upward motion This will result in an audible strick against the piano's sound board. This will cause the depressed note(s) to speak, and in combination with other pedals, create variable clusters of pitches. PEDALS: 1 = sustain, 2 = sostenuto, 3 = una corda.

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**** piano: Any note or collection of notes within brackets are to be played inside the piano. Stems that have an upward arrow indicate a sliding across the string with the ball of any finger over the full duration specified. Do not retake, creating a new articulation, instead only one smooth motion is to be used. If a particular portions of the hand (or finger) is to be used, it will be specified. Dampening of specific strings will also be called for.

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3

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****** piano: Scrape string with nail. Keep string dampened with the right hand. All to be within one motion. Do not rearticulate by retaking the note.

***** trombone: Press lips firmly against mouthpiece and use a small aperture to blow through creating a high whistle-like sound.

timbre (trigger) trill

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CYMsewing needle

cluster - palm

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Insert bubble mute - no stem

# P #

F f

2

1

2

3

1

(sharp)

(sharp)

marginalization

Michael Baldwin (2011)

C Score

Copyright © 2011 Michael BaldwinAll Rights Reserved

for trombone, percussion and piano

written for KEY Ensemble

Duration: 5min30sec

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Perc.

Pn.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

6

J‡æP ‰ ‰

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(insert stem)

P

rub with fingertips

2

1

3

Tbn.

dampen with fingers

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Play An with flesh of fingertip.

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3

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Mute ®

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q

83

83

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85

85

85

82

82

82

84

84

87

87

83

83

Tbn.

Perc.

Pn.

~~~~~

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SDpalm

Have two soft yarn mallets in hand through the next five measures.Pick up other implements without releasing either mallet.

TOMsoft yarn

FPp

ƒ

A.iii.

ƒ2

* percussion: The direction of the arrow indicates either a clockwise or counterclockwise circular motion. Rub palm across the skin of the drum in the motion indicated.** percussion: a horizantal arrow indicates either a left to right, or right to left horzantal brushing motion accross the skin of the drum.

*

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v.f.dampen with finger

CYMBD

palm

WB

soft yarn

sand paperWOOD WB TOM

soft yarn

!p Í ! P ç Ø

Í ƒSenza sord.

1

3

1

2

3

2

1

**

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CYM

BD

Let mallet naturally bounce after striking. Glissando via hand pressure at the center of the head.

p P "

"remove mute

ç

1

3

2

1

Dimond shaped notehead is to be sung.

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Frantically grope glass with palm of hand. Do not produce any easily recognizable rhythmic impulse.

palm GLASS

Í F "

P

Prepare cloth mute in left hand in order to facilitate changes from trigger to mute.

3

1

2

1

à ! . ‰ Œ jœn œœbq

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GLKsoft yarn

2

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2

3

1

cluster - palm

ç

3

3

g

q

83

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82

82

82

84

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84

87

87

87

83

83

83

Tbn.

Perc.

Pn.

to

to

~~~~~~~~~~ ~~~ ~~~~~~ ~~

e

e.

16

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4

g

q

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83

83

83

86

86

82

82

85

85

89

89

89

83

83

Tbn.

Perc.

Pn.

qd

eq

~~~~~~21

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m ‰3:2œr

œn .œm .

œm . œn . œn . œn .! ‰ ‰

7:4œrKK

3 1

(sepmre mm. 21-25)

P

p

soft yarn

ç(2)

B.i.

Mute

‰ = 40

‰ = 40

‰ = 40

.

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5:4œrK

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p

(Bn, F#) (Dn, An)scrape with tip of stick

CYM

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n ® ®

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!(Eb, Ab)

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Trigger

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n gœ

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÷ q

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BD

"

Cloth mute

Trigger

Cloth mute

3

5

g

q

83

83

84

84

82

82

82

83

83

83

85

85

85

83

83

Tbn.

Perc.

Pn.

qd

~~~~26

® .œKy

œ œj

ϵ

œm ‰ Ù

P j

œm> œn !

9:8œrKK

÷

(sepmre mm. 26-35)

p

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P ç P

(F#)

Mute ‰

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(Dn)

.

gœKl ®9:8œrK

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p

(ALL)

Trigger

2

1

2

.

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.

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÷ q

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SDpalm

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gœkK g ! œL

7:4œr3:2œr

œœmnœn ! œœnm ‰ ! !

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! F ! p P p

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(soft yarn)

(ALL)

Cloth mute

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6

g

q

83

83

82

82

84

84

82

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82

81

81

81

83

83

83

Tbn.

Perc.

Pn.

to

q x

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B.iii.

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!

Trigger

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ß

ß

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!

œmy

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Ù

5:4œrK

jœ q

jœœœbmn!

Ø f

BD

Let mallet naturally bounce after striking. Glissando via hand pressure at the center of the head.

P !

3

!

7

g

q

q

g

83

83

83

81

81

81

84

84

84

82

82

82

83

83

83

81

81

81

Tbn.

Perc.

Pn.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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®œL . œl . œm .

®œL . œl . œb . œJ .

® œb . œB . œJ .

3:2œrK3:2œrK

5:4œrK5:4œrKK

! .œn . œn . œn .

!œn . œn . œn .

® œn . œn . œn . Ù œn .5:4œrKK

3:2œrK3:2œrKK

! œn . œn . œn . ® œn . œn . œn .Ù œn . œn . ® œn . œn . œn . ®

3:2œrK8:7œrKK

œœœæ® ! ‰ ‰ q

F

F

F

C.i. ‰ = 66

1ƒ

‰ = 66

‰ = 66

!œn .

®œJ .

!7:4œrK

œm . ! ! œn . œn -7:4œrK

®œn œn . œm . œœbn . œœnm . œb .

5:4œrKK

®œb .

® œn . ® !7:4œrK

!

Ø

p

p

p

1

œn> œn( ) ® ® . .œn> œn( ) ® .œn>œb( ) ®

5:4œrK9:8œrK

œm> œn( )® ® . .œn> œb( ) ® .œb> œn( )

®5:4œrK

9:8œrK

œœbn . œn -! . ‰ Œ

œn> œb( )® ®

. .œb> œn( )®

.œn> œm( )®

5:4œrK9:8œrK

g

Í Í Íf f f

fffÍ Í Í

Í f Í f Í f

œK

œœnm

œœœnmn"

"

"

3

! .œn . œn . œn -

!œn . œn . œn -

®œn . œn - œn .

Ùœn -

5:4œrKK3:2œrK

3:2œrKK

! œm . œm . œm - ® œm . œm - œb . Ù œb . œb - ® œb . œb . œb - ®3:2œrK

8:7œrKK

œn . œn . œn - ® œn . œn . œn - ® œn . œn - œn . œn -®

œn . œn . œn -

3:2œrK3:2œrK

5:4œrK5:4œrKK

q

F

F

F

C.ii.

8

g

q

q

q

81

81

81

84

84

84

83

83

83

83

81

81

81

83

83

83

Tbn.

Perc.

Pn.

41 !œn .

®œJ .

!7:4œrK

œm . ! ! œn . œn -7:4œrK

®œn œn œm . ..œœbn

5:4œrKK

®œb .

® œn . ® !7:4œrK

g

!

"

p

p

p

œk .œ.œB

9:8œrK

œœbb œœ œœnm œœ

9:8œrK

..œœnm œb œ ..œœbn

5:4œr7:8œrK

œœœnbn œœœ œœœnmn

#

#

#1

3

!œn - œn - œn -

®œn - œn - œn -

Ùœn - œn -

®œn - œn - œn -

®3:2œrK

8:7œrKK

œn - œn - œn -® œn - œn - œn -

® œn - œn - œ- œn -® œn - œn - œn -

3:2œrK3:2œrK 5:4œrK

5:4œrKK

œn! ‰ ‰

! . œm - œm - œm - ! œm - œm - œm - ® œb - œb - œb -Ù

œb -

5:4œrKK3:2œrK

3:2œrKK

F

F

C.iii.

F

œK¨! .

œœbb¨! .

œœœnbn

¨! .

ß

ß

ß3

œn -gœBK

>..gœ

U

œm æ œm>! .U

œn œn>! .U

ƒ ç

çƒ

ƒ Î

C.iv.

1

2

7"G.P.

9

÷÷

82

83

81

81

83

81

81

82

82

82

83

83

83

82

82

82

81

81

81

Perc.

Pn.

to

to

to to to to to to to to

to

47

Ͼ>

æ>

Tbn.

MF

Right Hand (striking)

Perc. (BD) palm

Ù= 90

Left Hand(damping)

D.i.

Ù= 90

Ù= 90

.œ ® ® œ ® œ

æ> .œæ œ. œæ

- œ.11:8œrKR M Lp F

M

œ ! œ ! ! œ ®.œ

æ> œ. œ. œæ œæ œ.

13:8œrK5:4œrK

M L R M RÍ ƒ !P F

Flz.

Position

L M

! Ù æ5:4œrKK

.h hjh

® .œ ®5:4œrK

Ͼ !

II I

F

"

fII I VII II VI IV VII VII I III IVII I

Ù = 60D.ii.

f

® . æ æ ! æ ‰ æ5:4œrK

h> h h .h>jh h h ! h>

3:2œj5:4œrK

.

q

g

VII IV VI

ß F Í ƒF

æ ! .h ! .

...œœœbmn æP

œœœ!

III II

open

#3

! P

flesh

j

! .

œœœbmn

¨! .

1ç

‰ . æ !5:4œrK

h h h3:2œj

œ œ

œæ æ

œœœnmn

P

...œœœæ œœœ@ œœœ

7:8œrK

P

fleshopen

p p"

M L! f f! Í ! F P Íp

M L RM M L M R M L M R LÙ = 60

Ù = 60

à à à .à ®4:3œj

4:3œj3:2œj

œ ® œ ® œ ® œ ® œ ® œ ®7:8œrK

5:4œrK

œæ- æ œ. . .œæ

> œ.9:8œrKK

œïïïïœnm@P

œïïïïœæ œïïïïœ@ œïïïïœæ œïïïïœ

@ œïïïïœæ ......œïïïïœ@

17:12œrK

F P ƒ f

flesh

1 1 1!

æ ® æ ®h> h h>

3:2œr

œ ® œ ® œ œ ! œ11:8œrK

œæ> ® œæ ® œæ

œœœbmn@ œœœ

!Pƒ

!

ß P Í

open

flesh

P3

LR

h> h

.

œ! œæ

3:2œr

œïïïœbm .® !

ß f

flesh

1

10

q

g

83

84

84

84

82

82

82

81

81

81

84

84

84

81

81

81

82

82

82

81

81

Tbn.

Pn.

Perc.

~~~

to to to

58 h !

Ù8:7œrKK

jœœœbmn æP

1

Position

flesh

(!)p

E.i.

IV III VII II V VII I III

÷

...œœœ!

g

q‡> ! . ‰ ‰

g

œœœ@ j

œœœæ

ß

CYM

brush with hands

. .h h ® ®œb

æ

j

œBæ œk

æ

jœK æ

9:10œrK7:6œrK

˙b æ

˙næ

g

œœœbm > ..œœbn > œœ ! œœœbmn > œœœbmn æ5:4œr

7:4œr

MAR

Rub fingers across the bars, creating a thumb roll effect.

"

Ï Î "

openflesh

f ß ç1

3

1

1

œB œ œµ . œn . œµ .®

œK ¨! .

7:5œrK

Ͼ

Ͼ

‰ ‰j

œbœnæ

3:2œr

œœœ-

P

æ œœœ-æ œœœ-

æ3:2œj

Ø ç

open

flesh

#

p F #3

® ..gœkL

jϾ

JϾ

œœœmbn .! .

Ø

"

E.ii.

1

œ œ œ œ

æ̇

æ̇

œœœmbn .‰ . . ® ® ‰ ‰

9:8œrK9:8œrK

" Ø #

3

1

2

1

gœk !

jϾ

Jœnæ

œœœmbn .! ®

Ø

2

3

gœkm ! ! . œgnK

5:4œrK

Ͼ

Ͼ

q

œœœmbn .! . ‰

"

11

g

qg

q

g

81

81

86

86

86

84

84

82

82

82

85

85

85

83

83

83

Tbn.

Perc.

Pn.

Perc.

~~~~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~œg œg œg

3:2œr

œæ .œn æ5:4œrK

Ͼ

.œnæ5:4œrK

œn œn œb œb

œn œb œœbn

œn

® .

11:8œrKK

! "

#

$Ø (touch)

loco

E.iii.

3

2

Ó ‰ ‰œl ê

®7:4œrK

œæ ‰ Œ ‰ ‰ œb œb !7:4œrK

œæ ‰ Ó

Œ Œ ‰ ! œïïïïï

j

‰7:4œrK

soft yarn

Ï

Insert bubble mute - with stem

"

loco

1

3

Œ ‰ !œgnµ o

æœ+

æ Ù5:4œrK

÷

! ! ! . ! ‰ ‰ .5:4œrK

5:4œr

Ï

Í Î

1

2

3

! . gœbn gœ ®5:4œrK

‰ ! . œ7:4œrK

œïïïïïœ œïïïïœ œïïœ œïïïœ

œïïïœ œïïïœ œïïïïïœ œïïœ

œïïïïïœ

œïïïœ œïïïïïœ

13:16œrKK

BD

"

"

Ø (touch)

Let mallet naturally bounce after striking. Glissando via hand pressure at the center of the head.

3

Ó Jgœµb ê

q

j

œ ® Ó5:4œrK

q

Ó Jœn-

œœœmbn .! . Œ ® Œ

17:16œrK

Mute

"

"

"flesh

E.iv.

2

1

..gœ

! œb

P! œb ! œb ! œb ! œb

17:12œrK

‰ œn ‰

œïïïïïœ œïïïïïïœ œïïïïïœ œïïïïœ œïïœ

œïïïïïœ

œïïïœ œïïïœ

œïïïïïïïœ œïïïœ

œïïïïœ

œïïïïïœ

œïïïïœ

œïïïïœ œïœ

œïïïïïœ

œïïïïïïïïœ

œïïïïïïïïïïœ

œïïïïïïïïïïœ

œïïïïïïïïïïœ

œïïïïïïœ œïïœ

25:24œrKK

GLK

! " ! " !

"

Ø

bubble with stem

Ø (touch)

Dayton/Huddersfield - 2011

dampen with finger

3

12