f l o e s t a t e
G i b s o n M a h n k e
Instrumentation
Solo Alto Saxophone
Performance Notes:
1. Multiphonics - All multiphonics and fngerings are taken from Bärenreiter’s The Techniques of Saxophone Playing, written by Marcus Weiss and Giorgio Netti. All multiphonics have fngerings provided over the given notes. If a multiphonic does not have a fngering, it is utilizing the same fngering from the previous multiphonic. The given dynamics and air pressure changes should facilitate the change in notes between such multiphonics. If a note has “+8” above, add the octave key to the previous fngering. “-8” denotes the octave key should be removed.
a Fingerings - All fngerings are based of of the following chart
b Slap Tongue Multiphonic - iii fleshed, fair, erected indivisible calls for the use of slap tongue while playing a multiphonic. The efect should be a bell like sound The performer should make sure to sustain the note slightly after the slap tongue to fully achieve this efect.
2. Dotted Slurs - Dotted slurs, as used in i. Icebergs behoove the soul… simply delineate phrasing. The performer should feel free to articulate notes however they feel ft to achieve a smooth, connected texture.
3. Bisbigliando - i. Icebergs behoove the soul… calls for bisbigliando, also known as a color trill or timbral trill. This efect is notated as follows.
For more information on bisbigliando, see: https://youtu.be/viTPnp8iBrM?si=p5Y7RMNg oJTRQL0
4. Accidentals - All accidentals carry through the measure, even in measures that take up multiple lines. These such measures are delineated with measure names ending in “ a ” .
5. unpitched air ord tone
a iii fleshed, fair, erected indivisible calls for smooth transitions between unpitched air and ordinary tone. To accomplish this efect, slowly add or subtract air pressure throughout the phrase. It is fne if some notes do not speak at the beginnings and ends of phrases. The efect should be similar to that of a car engine slowly starting before sputtering to a halt.
6. Performance of Feather Beaming in iii. ...fleshed, fair, erected indivisible. - The fnal movement of floe state features phrases made up of accelerating and decelerating feather-beamed motifs (see image above). Each of the phrases has a second duration overhead The performer should time the accel /deccel so the exact number of notes given fts within the time duration. The phrase must start and fnish painstakingly slowly, sputtering to a stop at the end The performer should feel free to slightly lengthen or shorten time durations in order to obtain this efect. The only thing that needs be exact is the amount of notes performed within each phrase
If you have any questions throughout the process of preparing and performing this work, please feel free to email me at gibson.mahnke@gmail.com !
Duration: ca. 9’
Program Notes:
floe state takes inspiration from a variety of sources The frst topic examined is the idea of “fow state”, which is a term used to describe a mental state of being completely absorbed in an activity or task. For me, I feel like music often induces this state both as a composer, performer, and listener. I wanted to sonically recreate this mental state by using a combination of fuid lines and drifting motifc ideas. I also took inspiration from icebergs and foe. Floe is simply a sheet of foating ice. For me, this idea of ice slowly drifting across a surface is very similar to how the mind drifts while in a fow state. While in a fow state, the mind moves through a task in an unconscious, semi-hypnotic manner Similarly, foe drifts across the ocean in a natural, unbothered state. The fnal piece of inspiration for this piece was Elizabeth Bishop’s poem Imaginary Iceberg. This poem meditates on the beauty of the natural world and its impact on the human psyche Similar to the comparison between foe and fow state, it juxtaposes nature and humanity, inevitably pointing to a deep connection between the two. The fnal three lines of this poem make up the titles of each of the three movements in floe state, and are as such:
Icebergs behoove the soul (both being self-made from elements least visible) to see them so: feshed, fair, erected indivisible.
At its core, floe state is a meditation on the connection and overlap between nature and the human psyche, and works to present music that progresses and develops in an almost subconscious nature.
“floe state” was commissioned by Aria Morgan for premier at the 2025 North American Saxophone Alliance Region VI Conference
Gibson Mahnke 1 February 2025
A i m l e s s ( c a . q = 4 8 )
mf n f n mf n
mf n p n p n p n
4 " U
mf n f n mf n p n n
R e p e a t t h e p h r a s e wi t h a g r a d u a l r i t a r d a n d o a n d d e c r e s c e n d o At a p o i n t , y o u s h o u l d
l o s e t h e a i r s u p p o r t n e e d e d t o m a k e t h e m u l t i p h o n i c s s p e a k , a n d wi l l b e l e f t wi t h a n a i r y
e f f e c t a r t i c u l a t e d b y s u b t l e s l a p t o n g u e R e p e a t t h e p h r a s e b e t we e n 4 a n d 7 t i m e s , a l l o wi n g f o r a t l e a s t o n e f u l l r e p e t i t i o n wh e r e n o p i t c h e s s p e a k . Th i s fi n a l r e p e t i t i o n s h o u l d m o ve a t a g l a c i a l p a c e , l e a n i n g i n t o t h e s u b t l e n u a n c e s o f t h e a i r m o vi n g t h r o u g h t h e i n s t r u m e n t
3 D e c e m b e r 2 0 2 4 D e n ve r , C