Jeremy Rosenstock
trumpet -> ear -> drum for trombone, tuba, and percussion
2
Program Notes
This piece takes its name and inspiration from the "ear trumpet," an early form of hearing aid shaped like its namesake instrument. These devices have been created for centuries using a variety of materials, ranging from metal and wood to seashells and animal horns.
In this context, the ear trumpet (and corresponding ear) is dispered amongst the ensemble. Where the trombone and tuba carry obvious similarities to the trumpet, percussion represents the ear with abalone shells; not only were shells used as early ear trumpets, but abalones are commonly called "sea ears."
Lastly, a snare drum (played using abalones) signifies the ear's interior. The drum collects and amplifies the sounds of the shells, much like sound waves accumulate at the ear drum for cerebral and emotional comprehension. Through this consideration of the ear, this piece explores the relationship between natural objects and acoustics. While seashells and the overtone series may have perfect, abstract forms, these platonic ideals only exist in the mind of the spectator. In reality, these forms are continuously disturbed and distorted by any number of interactions with nature and humanity. By studying the differences between the real and imagined, we may progress away from idealist abstractions towards a more honest relationship with the material world. This piece was composed for the TACETi Ensemble as part of the 2021 International Composer Institute of Thailand.
Trombone Overtone Series
Tuba Overtone Series
Trombone/Tuba Key
3
4
Trombone/Tuba Key (continued) Slow beating (used in combination with a quarter flat sign). Between two tones (i.e. trombone and tuba), the result should be around 1 beat per second. This will occur due to a difference of 1 Hz or approximately 5 cents between tones.
Medium-slow beating (used in combination with a quarter flat sign). Between two tones, the result should be around 2 beats per second. This will occur due to a difference of 2 Hz or approximately 10 cents between tones.
Medium-fast beating (used in combination with a quarter flat sign). Between two tones, the result should be around 6 beats per second. This will occur due to a difference of 6 Hz or approximately 30 cents between tones.
Fast beating (used in combination with a quarter flat sign). Between two tones, the result should be around 10 beats per second. This will occur due to a difference of 10 Hz or approximately 50 cents between tones.
Pitch direction of microtone in relation to previous microtone (used in combination with quarter flat sign).
Trombone/Tuba Performance Notes All accidentals (excluding the quarter sharp and quarter flat signs) are borrowed from Helmhol -Ellis JI Pitch Notation, as designed by Marc Sabat and Wolfgang Von Schweini . All cent values are in deviation from equal temperament. The Bass Tuba part may be played by either a F or Eb tuba. If played on an Eb tuba, all pitches can be found on an open valve; if played on an F tuba, all pitches can be found on valve 1. Similarly, most pitches in the Tenor Trombone part can be found in slide position 1.
Regarding tuning, there should be no beating between the 3rd partial of the Bass Tuba's Eb valve and the 2nd partial of the Tenor Trombone's Bb slide position. There are no cent deviations included for quarter sharp signs in the score (outside of those in the "Trombone/Tuba Key"); quarter flats are all labeled with specific cent deviations, related to the above beating instructions. Almost all pitches in this piece are derived from the first 16 partials of the Bass Tuba's Eb overtone series and the first 9 partials of the Tenor Trombone's Bb overtone series.
Percussion Key
5
Any ongoing action. Actions continue until next negating action or described/notated end of action.
Any action involving circular motion.
Revolutions per second (used in combination with circular motion). All revolutions between abalones should be centered around the respective exterior depths of each shell. Revolutions may be a single number or a range (i.e. "2-4"). Note that "1/2 rps" is equivalent to 1 revolution every two seconds.
Transition from "snares on" to "snares off," or vice versa.
Percussion Performance Notes The percussionist will need two abalone shells and one snare drum. All shells should be polished, about 6” in length, and from mature Red Abalones (Haliotis rufescens).
Amplification may be necessary for all percussion sounds; a microphone should be placed in front of the snare drum and abalones. All information on the morphology/terminology of the Red Abalones is included on the "Shell Morphology" of the next page.
6
Shell Morphology
Index: 1. Length 2. Width 3. Apex 4. Depth (deepest part of shell, approx. location) 5. Pore
Exterior
Shell Morphology (continued)
Interior Index: 1. Columella 2. Anterior Margin
7
8
trumpet -> ear -> drum Jeremy Rosenstock
q = 60
Tenor Trombone
°B 3 ™ Œ 4 ™
<b ˙
-31 f
? 3 ™™ 4 b ˙™
Bass Tuba
2-4 revolutions per second (rps)
f
Percussion
4
°B Œ
>œo ™ J
3 ™™ / 4 ¢
<b ˙
œo ™ J
‰
œo ™ J
mp
f
Percussion only plays mm. 1 during repeat
rapidly tap abalone exteriors in circular motion
‰
accel., freely
œo ™ J
3-4"
œo
U
f
f
f
? b˙™
f
¢/
mp
>œo ™ J f
‰
œo ™ J
œo ™ J f
‰
œo ™ J
accel., freely
œo
3-4"
U
™™ f
7
°B ˙™
∑
œ mœ ™ J
2˙ 2
f
-14
f
& Œ b˙
∑
3 4
˙™
˙™
∑
3 4
∑
Œ b˙
∑
Œ b˙
f
f
freely (sim.)
œ
¢/
9
f
2Œ 2 b˙™
f
∑
piú mosso
2 2
œ
3 4œ
as before, but in non-circular motion mf
mp
14
rit.
°B m ˙™
∑
mœ
Ó
mœ
Ó
4-5"
U
2 2
mf
& Ϫ
∑
< bœ ™
<b œ 2-4 rps
¢/
œ
-œo
Ó
<b œ
Ó
-œo
œo
4-5"
U
?2
2
mf
œo
o
4-5"
U
2 2
A 10
q = 60
°B 2 <b œ ™ 2 19
‰
<b œ ™ 11 J 16
U Ó
f
Ϫ
‰
11 16 ‰ ™
∑
<b ˙
f
? 2 bœj œ ™ 2
‰
U Ó
‰
Ϫ
mœj
3 4
11 m œ ™ 16 J
∑
1/2-1 rps
œo
∑
<b œ ™ 11 J 8
o œ
o > j œ
11 16
mp rub pore(s) against abalone exterior 23
˙
3 4
f
f
2 ™ ¢/ 2 Œ
3 4
f
11 bœj œ ™ 16 J
f
°B 3 4
3 4
3 4
11 16
3 4
mf same as before, with rubbed abalone exterior near columella on drum membrane (snares on)
œ
‰
Ϫ J
Œ
œ
2 2
∑
13 16
œj
œ
2 2
∑
& 16
o > j œ
o œ
2 2
‰
f
?3 4
∑
11 m œj œ ™ 8 J
‰ bœj œ
Œ
j œ
Ϫ J
‰
13
f
o 3œ ¢/ 4 mp
11 8
o > j œ mf
o œ
13 16
11
26
œ™ °B 13 ™accel.
™ 16 J
œ
‰
Œ
™™
Ϫ J
‰
Œ
™™ j™ bœ
‰
mœj
œ
Œ
mœ ™ J
‰
j Ϫ
‰
œ
Œ
5 4
Œ
5 4
mf
13 & 16 ™™bœj œj™
‰
j <b œ
œ
j <bœ
œ
Œ
j <bœ
j bœ
œ
mf
13 ™ ¢ / 16 ™
™™
5 4
across accel.: transition from abalone exterior near columella to interior (anterior margin/columella) on membrane
29
q = 60
°B 5 m ˙™ 4
>˙
5-6"
U
ff
5 & 4 <b ˙ ™
5-6"
U
˙
5 / 4 ¢
rubbed abalone's interior fully on membrane
ff
ff
f
<b ˙ ™ f
ff 2-3 rps
m ˙™
U >˙
5-6"
U
Ó ff
1/2-3 rps
o œ
f
ff
12
32
°B
B
U6"
2 2
w
µœj sim.
B˙
m.s.b.
m.f.b.
-10
-30
˙
U8"
U8"
mf
U & ˙ >ff
°B
U
2 2
Ó
>˙
w
mf
¢/
39
6"
1/2 rps
U6"
2 2
∑
Ó
quietly remove abalones from membrane; keep one in hand
µœj
˙
m.f.b.
B˙
o ˙ o
-o ˙
U6"
o ˙
mf drag anterior margin on membrane
f.b.
B˙
m.s.b.
˙
∑
-50
&
¢/
Ó
>˙
∑
w o ˙
1/2-1 rps
o œ
p as before, but in center
42
f.b.
13
s.b.
°B µœj B w
µœj
∑
Bw
∑
3 2
∑
3 2
-5
&
∑
w
w
¢/
pick up other abalone with non-dragging hand
C °B 3 µœj w 2 46
3 &2 Ó 3 / 2 ¢
3 2
b˙
w >
U8"
U8" 1/2 rps
o ˙
U8"
f rub abalone exterior on rim; stop previous action in membrane center
µœj
w
b˙
2 2
∑
2 2 b˙
w™ >
Ó
2 2 Percussion
2 > 2 œ f lightly drop non-dragged abalone on membrane; allow for wobbling (sim.)
14
51
°B
∑
&
∑
µœj
˙
b˙
Ó
˙
b˙
m˙
b˙
<b ˙
3 2
∑
j 2 µœ ˙ 2
3 2
∑
2 Ó 2
3 2
¢/
57
∑
& b˙
∑
Ó
∑
µœj
b˙
˙
b˙
<b ˙
˙
b˙
m-˙™™™
Ó
˙
b˙
2 2
R
∑ ∑
<b ˙
∑
/ ¢/
<b ˙
2 2
3 > 2 œ
°B
b˙
Ó
> œ
> œ
62
°B <bœj m œ
&
œ
<b œ
mœ
Ó
Ó
œ
<b œ
∑
¢/
Ó
3 4
10"
U
Ó
œ
U
> œ
∑
D
?
U8"
3 4 3 4
sempre a tempo
66 q = 40 accel.
°B 3 4
œ
15
10"
q = 40
2 m˙ 2
∑
Ó
4-6"
U
3 4
f
?3 4 bœ
bœ m œ
b œ bœ
b œ 2<b ˙ 2
Ó
2 Ó 2
> œ
?
4-6"
U
3 4
f
3 / 4 ¢
∑
4-6"
U
3 4
16
69
°B 3 4
accel.
q = 40
4+3 m ˙ 8
∑
¿™
4-6"
U
sung
3 4
ff
?3 4b œ
mœ
bœ
bœ
bœ
<b œ
4+3 8
b˙
Ϊ
4+3 o 8 ˙
∑
silently flip dropped abalone so interior on membrane
72
accel.
°B 3 4
œ
bœ
<b œ
U
3 4
4-6"
1-3 rps snares on
3 ¢/ 4
4-6"
o Ϫ
U
snares off
o œ
3 4
mf f tap exteriors, with one abalone on membrane
q = 40
œ
mœ
bœ
3 2˙
∑
3 4
? 3 b˙
∑
3 4
f
?3 4
3 / 4 ¢
∑
2
3 o 2˙
snares on
o œ
3 4
74
accel.
q = 40
°B 3 4
B 4+3
∑
8
<b ˙
¿™
17
4-6"
U
3 4
ff
? 3 bœ 4
mœ
&
bœ
<b œ
œ
bœ
Ϊ
4+3 8 m˙
4-6"
U
?
3 4
4-6"
3 ¢/ 4
snares off
4+3 8
E 77
accel.
°B 3 4
?3 4
∑ seemlessly accelerate from quarter to eighth notes
bœ
3 / 4 ¢
∑
bœ
bœ
Œ
<b ˙
<b ¿ ™
b ˙™
q = 40
f
bœ m œ &
m œ 4b œ b œ œ b œ b œ < bœ A -49
U
3 4
U8"
2 2
ff
0œ <b ˙
U8"
B +41
snares on
o ˙
o
Ϫ ff
U8"
2 2
2 2
accel.
18
œ
83
°B 2 2
∑
6-8"
U
3 m>œ 4 bœ
f
U ∑
>˙ ff
descend overtone series, as if tripping down a staircase; land together on respective fundamentals 6-8"
m 2 bœ & 2 J ‰ œJ ‰ <b œJ ‰ 0œJ ‰ f
2> ¢/ 2 œ L
-12
> œ R
3 4
?
bœ
> œ
single hits (exteriors hi ing membrane), holding abalones by columellas f
bœ
U
> œ
> œ
6-8"
U
<b >œ
U ∑
b>˙ ff
U ∑
> 3 œ7 4
transition from single hits (first cell) to quasi-drum roll (second cell); end piece on free drum roll ff