Shifting Signifier

SHIFT ING SHIFTING SIGNIFIER for rage thormbones LOUIS GOLDFORD

for Rage Thormbones

SHIFTING SIGNIFIER Louis GOLDFORD (2017) — PERFORMANCE SETUP —

PLAYER 1: tenor trombone + plunger + bassoon reed + harmon mute PLAYER 2: euphonium + bassoon reed // trombone + alto sax mouthpiece/reed + bassoon reed + harmon mute Possible amplification of quiet events, i.e. 2 microphones + engineer at mix position 2 headsets for playback of cue tracks

(Cue tracks may be played over a wireless transmitter such as the Sennheiser EW 300-2 566-608 MHz or similar in-ear monitoring system.)

In lieu of wireless capabilities, two synchronized phones (or iPods, etc.) may be used for simultaneous playback of the same cue track.

In such cases, a running 10 seconds at the start of the cue track has been provided (described below).

functions like a time signature (see pp. 3, 16, 18, 22, 26)

timeline in seconds

cue tracks

PLAYER 1 positions

1

audience

1

PLAYER 2 positions

2

The dimensions of this score are:

768 x 1024 pixels (especially suitable for viewing on an iPad)

— THE 1st TEN SECONDS (i.e. COUNT-IN) GOES A LITTLE SOMETHING LIKE THIS —

5” count-in

etc.

PLAYER 2

PLAYER 1

1”

2

(May perform inside/towards IPR side arches.)

(May perform inside/towards IPR side arches.)

Ideal spatial arrangement of the two players:

2

waveform (mockup) / sonic description

for Rage Thormbones

SHIFTING SIGNIFIER

10” at start of cue track 5” count-in before downbeat

for 2 low brass specialists — (1) trombone + bassoon reed + plunger + harmon mute; (2) euphonium + bassoon reed // trombone + alto saxophone mouthpiece + bassoon reed + harmon mute

Draft #2

768 x 1024 pixels (especially suitable for viewing on an iPad)

Louis GOLDFORD (2017)

2x tongue pitchle

1”

ss decel...

etc. “shh” head shake against mouthpiece

t.r.

t.r.

“shh” come sopra

PART 2

euphonium

bassoon reed

plunger

trombone

PART 1

The dimensions of this score are:

tuning slide state #1

come sopra tuning slide state #2

buzzy / quasi

come sopra

etc.

2x tongue pitchless decel... com

e sopra

“shh” come sopra

t.r.

t.r.

t.r.

t.r. etc.

short, semi-pitched tongue rams on bassoon reed, sparsely ad lib... come sopra

©2017 Louis Goldford (BMI). All rights reserved.

3

“shh” come sopra

“shh” come sopra

t.r.

low pedal tone + trigger slide up/down

t.r.

“pleading for life” voice-like crying rapid half valves / very little “reedy” sound ad lib. low multiphonic m2—M3 plunger tremolo

low pedal tone + trigger slide up/down come sopra

o

“pleading for life” come sopra

low pedal tone come sopra

come sopra

+

t.r.

“pleading for life” come sopra

“shh”

t.r.

low pedal tone + trigger slide up/down come sopra

“shh” come sopra

come sopra

quasi split tone distortion come sopra

pursed lips / 2x tongue mouth on-off mouthpiece / slide in-out

“pleading for life” come sopra

“broken buzzer” dull, pitchless tuning slide position

o

come sopra

come sopra

+

low multiphonic come sopra

quasi split tone distortion

“shh” come sopra

etc.

“shh”

etc.

come sopra

o

come sopra

4

low multiphonic + come sopra

low pedal tone come sopra

come sopra

pedal tone / trigger / slide up/down come sopra

pursed lips / head shake in front of mouthpiece

t.r.

pursed lips / 2x tongue t.r. come sopra

t.r.

1:00

o

low multiphonic + come sopra

between tuning slide positions

elephant trumpet rough split tone t.r.

Ab2

t.r.

t.r.

Ab2

“pleading for life” come sopra

come sopra

“broken buzzer”

t.r.

Ab2

t.r.

Ab2

t.r.

Ab2

t.r.

Ab2

5

“broken buzzer” come sopra

[

= 140

]

quasi

pedal tone / trigger come sopra

3

t.r.

Ab2

[

= 140

]

quasi

3 t.r.

Ab2

“pleading for life” voice-like crying rapid half valves / very little “reedy” sound ad lib. (come sopra)

“broken buzzer” come sopra

wild high note rips / extreme rapid slide movement / intermittent breaths ad lib.

t.r.

t.r.

Ab2

elephant trumpet come sopra

low multiphonic

t.r.

Ab2

t.r. o

6

+ come sopra t.r.

rough split tone glis sando (down ~1/4 ton e)

t.r.

split tone cresc.

2:00

t.r.

distorted / granular reed rearticulation

come sopra

o

t.r.

+ low multiphonic come sopra

o

t.r.

+ t.r.

come sopra

split tone cresc.

t.r.

t.r.

t.r.

switch slide positions (ad lib.)...

7

come sopra (here to 2:46)

switch slide positions (ad lib.)...

come sopra (here to 2:46)

come sopra...

“shorting circuit�

split tone Bb2 + Flz.

+ reed re-articulation / extreme distortion

8

3:00

low pedal Bb / trigger tremolo / slow gliss. up-down

“dying�

shorter phrases / more distortion from AIR / Flz.

air-reed sound ad lib.

ad. lib changes of central pitch from which to gliss., breath as needed...

reposition: 25 seconds to

position 2 with trombone / alto saxophone mouthpiece / harmon stem in...

9

tight plunger / higher pedal / slide temolo

up-down

“engines starting� trombone / alto sax mouthpiece / harmon lowest

possible pedal note / initiate w/teeth-on-reed sound

10

4:00 “reving up” ad lib. slide positions and trigger; abrupt changes in low/indeterminate pitch

“door stopper”

ad lib. WaWa/cresc.

may need to amplify in this section

come sopra engine/reving 11

may need to amplify in this section

[

= 76

]

disintegrating split tone add lip pressure until pitch granulates

quasi

o o++o o++o o++ o o++

etc.

o o++o o++o o++ o o++

etc.

come sopra

come sopra disintegrating split tone

come sopra door stopper 12

5:00

Flz. low pedal / slow WaWa cycles cresc.-descres. rumbly 2:1 split tone low & indeterminate

Flz. low pedal come sopra

13

come sopra: tight plunger / higher pedal / slide temolo

up-down

come sopra reving F slide and voice gliss. down (one articulated event)

Flz.

tongue behind teeth / WaWa in-out / no pitch / mouth off mouthpiece

come sopra: Flz. 14

low pedal / slow WaWa cycles / cresc.-descres.

Flz. Tongue behind teeth / air-pitchless / plunger / slide in-out mouth OFF mouthpiece

Tongue behind teeth / random slide pitch / plunger / pulse train / mouth ON mouthpiece

6:00

Flz.

come sopra: Flz.

low pedal / slow WaWa cycles / cresc.-descres.

ad lib. toungue ram “thunks” + plunger

o o++o o++o o++ o o++

etc.

come sopra

similie tongue ram “thunks” + TRIGGER

come sopra pulse train / pitched

o o++o o++o o++ o o++ come sopra

etc.

come sopra 15

ad lib. alternate tongue rams freely between plunger + trigger...

ad lib. intermittent reed squeeks / short, quiet impulsive events / interact with tongue rams above...

1�

etc.

etc.

Tongue behind teeth / air-pitchless / plunger / slide in-out come sopra Flz. mouth OFF mouthpiece

7:00

1�

ad lib. short/high/sparse/quiet rips, mimicking reed squeeks below...

come sopra engine/reving 16

ad lib. circular breath as needed...

come sopra: tight plunger / higher pedal / slide temolo

up-down

come sopra door stopper more aggressive WaWa: come sopra: low pedal / slide tremolo / up-down wah / plunger tight plunger, etc.

come sopra: aggressive WaWa

come sopra engine/reving

come sopra engine/reving

come sopra: aggressive WaWa

come sopra: tight plunger, etc.

come sopra engine/reving 17

come sopra: tight plunger, etc.

any rumbly low 2:1 split tone

1”

increase pitch by 1/4 tone

etc.

2” remove plunger

door stopper 6” to remove alto sax mouthpiece

and harmon mute...

any rumbly low 2:1 split tone

8:00

split tone #1

increase pitch by 1/4 tone split tone #5

split tone #3

split tone #2

split tone #4 18

split tone #9

split tone #7

split tone #8

split tone #6

split tone #13

9:00

split tone #11

split tone #12

split tone #10

split tone #15

split tone #14

split tone #17

split tone #16 19

split tone #19

split tone #9

split tone #18 ad lib. circular breathing as needed...

split tone #14

split tone #12

10:00

split tone #10

ad lib. circular breathing as needed...

ad lib. circular breathing as needed...

split tone #13

split tone #11

split tone #16

split tone #10

split tone #9

split tone #18

split tone #17

split tone #15

split tone #19 20

split tone #1

split tone #2

split tone #3

split tone #11

split tone #14

split tone #5

split tone #12

split tone #4

split tone #13

split tone #16

split tone #17

11:00

split tone #7

split tone #15

split tone #6

split tone #18

split tone #2

split tone #19

split tone #9

split tone #8

split tone #3 21

split tone #1

split tone #10

split tone #11

split tone #10

8” to add bassoon reed + harmon (stem in)...

split tone #9

12:00

split tone #8

 valve trill / HEAVIER distortion

+ bassoon reed / MEDIUM distortion state E6 as 15° of a low F2 fundamental

as necessary 1”

come sopra



come sopra: valve trill

split tone #6

split tone #3

etc.



dull / semi-pitched / LOW distortion

come sopra: dull / semi-pitched / LOW distortion

come sopra: valve trill

22



come sopra: valve trill

open; pursed lips “human cries” high indeterminate downward glissandi...

split tone #10

“shh” pursed lips come sopra

o

plunger slapping bell come sopra

split tone #10

+

o +

o

ad lib. distortion events

+

o

split tone #10

+



any split tone cresc. come sopra

+



plunger slapping bell

tongue ram “thunk” come sopra

+

o

tongue ram “thunk” come sopra

o+ 23

F pursed lip tongue intermittment + plunger

elephant trumpet rough split tone Flz. come sopra

plunger slapping bell come sopra

D open / half-valve lips shaking slide / talking

tongue ram “thunk” come sopra

split tone #3

13:00

pursed lips / 2x tongue come sopra



o+

D open / half-valve lips shaking slide / talking come sopra

+

o o o

o+

+ +

+o



+

F pursed lip tongue intermittment + plunger plunger slapping bell come sopra

elephant trumpet Flz. come sopra

+o

+



come sopra

split tone #6

o+

Flz. Tongue behind teeth / random slide pitch / plunger pulse train / mouth ON mouthpiece / come sopra

ad lib. filtering high partials / MEDIUM-to-HIGH varying amounts of distortion...

come sopra

come sopra

24

pursed lips on/off mouthpiece (come sopra) single or double event as an attack

disintegrating split tone add lip pressure until pitch granulates come sopra

between mammalian cry + shorting circuit sound: trigger-half trigger crossfade / Flz. varying amounts of HEAVY distortion on low F2

come sopra

between mammalian cry + shorting circuit sound: come sopra

10� to add bassoon reed + harmon mute (stem in)

25

isolate / hold heavy distortion on high harmonics, as if a power chord was feeding back through a delay network

with bassoon reed / harmon mute (stem in) randoms filtering, slide movement, rearticulation mimicking morse code in 2nd player just seconds prior

etc.

14:00

1�

Flz. / morse code reed rearticulation come sopra each iteration should gradually rise in pitch and speed up towards final abrupt cut...

with bassoon reed / harmon mute (stem in) randoms filtering, slide movement, rearticulation mimicking morse code in 2nd part just seconds prior antiphonally with 1st player

each iteration should gradually rise in pitch and speed up towards final abrupt cut...

26

27

November 2017 | New York City