Cincinnati Mix for Solo Trombone and Electronics

PATRICK WICKLIFFE

Table of Contents

PATRICK WICKLIFFE

CINCINNATI MIX

Title Page i

Program Note and Performance Instructions ii–iii

Technical Requirements iv

Score 1–4

Total Duration: 3’30

Program Note

Cincinnati Mix is my first electroacoustic work. In it I employ, by suggestion of Loadbang trombonist William Lang, a small series of extended techniques to complement a fixed media accompaniment. These include flutter tongue, air technique, vibrato technique, mouth and sibilant technique, guided improvisation, and microtonal techniques bending pitch upward or downward by either a quarter tone or three-quarter tone.

I am not accustomed to high modernism, but I have been quite invested in ‘extension’ ideas as developmental building blocks. The accompaniment is characterized by a slowly undulating microtonal pad, jutting off in directions from a D major triad to other triads and back. Each pad decreases in length, creating a constricted through-composed form in three distinct sections, each punctuated by a repertoire of sounds.

Several categories of sound created in Max/MSP include a wavetable configuration in several guises, extended use of amplitude modulation, ambient sounds presented in phases and altered via granular and animated synthesis, and bowed percussion. I have made a point of alternating the sound pocket created by this repertoire with melodic cells utilizing the full range of the instrument.

I offer this piece as a ‘temporal’ occupant, interacting in a variety of ways with the accompaniment to form an intentionally abstract sonic picture, influenced in large part by the sound philosophies of John Cage and by the Synchronisms of Mario Davidovsky.

Performance Instructions

The three pads, represented by a solid beam, are measured in time increments, for the trombone material to occupy a space appropriate to the accompaniment. Each of these components are calibrated to the accompaniment in important ways. Therefore, it is recommended that the performer employs a stopwatch or other time measurement devise. The designation of 60 bpm illudes to the length of the second for this purpose. Graphic representations in electronic sounds are approximate to those time measurement indications and attempt to visually represent sounds as notated in the score.

Arrows up or down refer to the direction of the microtonal bend.

Please note, the air technique referred to at approximately 21” is through a normally positioned mouthpiece, while a similar indication at 1’30 is to through reversed mouthpiece. Likewise, the indication at 2’30 returns to the normally positioned mouthpiece.

During guided improvisation (2’05-2’25), differentiate between sounds created by lip/tongue sputtering and sibilants (“tu-ka tu-ka”). These sibilants may take another form at the discretion of the performer, should they be deemed more articulate. As stated in performance directions during this passage, the order of box number or individual component within any box may be chosen at the performer’s discretion but should draw a distinction between two planes of activity: the mouthpiece smack which should be present enough to be perceived as ‘frequent’, and all other techniques.

If necessary, it is of course acceptable to occupy more space dedicated to the removal and replacement of the mouthpiece or the Harmon mute than that which is suggested. Please, however, adjust by picking up wherever the phase has left off in relation to the accompaniment, as it is by definition a fixed media component.

Technical Requirements

PC/Mac Computer

Patch available as technical rider at https://www.patrickwickliffe.com or via request at Patrick Wickliffe Music

*Preferably 2-Channel Output Audio Interface (tested with M-AUDIO MTRACK Duo)

*Preferably 2-Channel Audio System: both loudspeakers placed on either side of the performer, and at a reasonable distance so long as the performer is able to hear the patch

If necessary, light amplification for trombone – 1 TIMESETL Piezo Contact microphone recommended

Headphone/earphone for performer to listen to click track, or a stopwatch or other appropriate time measurement device placed on music stand in front of performer, or off to the side

*Please note, a 1-Channel setup will suffice as a necessary limitation, in which case the loudspeaker should be placed on either the left or right of the performer, and at a reasonable distance so long as the performer is able to hear the patch.

DPA Mini mics 40/60 – articulation

RME processors for electronic, used a lot in touring, good also for playback