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William Dougherty    

Three Formants   for  five  trombones  

    Full  Score         www.williamdougherty.org        


This work  was  written  specifically  for  les  trombones  de  bâle  and  was  premiered  in  Basel,  Switzerland  on  June  19th,  2014.

Performance  Notes   The  Score  is  in  C     Accidentals  apply  for  the  entire  measure  in  which  they  appear  and  are  octave  specific.   The  entire  work  should  be  performed  without  vibrato.     =¼  tone  flat  

= flat,  1/6  tone  flat  (c.  33  cents  flat)  

=  ¼  tone  sharp                                                                    

= ¼  tone  sharp,  1/6  tone  flat  (c.  19  cents  sharp)  

                   

=  sharp,  ¼  tone  sharp                                                                                            =  ¼  tones  flat,  1/6  tone  flat  (c.  83  cents  flat)    =  1/6  tone  flat  

=  c.  14  cents  flat  (natural  third)  

 

General Notes       ord.  =  ordinario  (normal  manner  of  playing)    

= gradually  change  technique  or  method  of  playing    

           

= diminuendo  to  nothing  

= crescendo  from  nothing  

                       

   

 

 

 

 

           =  Rhythms  are  written  to  show  the  precise  point  where  crescendi,  diminuendi,  and  other  dynamic  events  occur  –  in  this  example,  the                crescendo  begins  at  the  “and”  of  beat  two  and  peak  of  the  “and”  of  beat  four  –  it’s  of  the  utmost  importance  to  adhere  to  these  dynamic              indications.  


= At  the  peak  of  this  gesture,  the  tongue  should  be  used  to  stop  the  flow  of  air  abruptly.  

= All  glissandi  are  indicated  by  a  line  between  two  pitches  and  should  be  played  starting  the  glissando  from  beginning  of  the  first   pitch  to  which  the  line  is  connected  (for  the  note’s  full  duration)  ending  at  the  arrival  pitch.  All  glissandi  should  be  performed  as   gradually  as  possible  over  the  allotted  time.  The  duration  of  the  glissando  is  indicated  by  headless  notes  in-­‐between  the  starting   pitch  and  arrival  pitch.  These  headless  notes  are  one  beat  (quarter  notes)  or  less  in  duration.  These  headless  notes  do  NOT   indicate  a  rearticulation.  In  this  example,  the  glissando  starts  immediately  on  the  C  and  lasts  for  four  and  a  half  beats.  The   headless  eighth  notes  are  present  only  to  indicate  the  precise  position  of  the  crescendo.                                      

 

 

 

 

 

= indicates  a  split  tone  on  the  trigger  IV  position  between  the  7th  and  6th  partial  where  D1  is  the     fundamental  

 

 

 

 

 

 

             =  diamond  noteheads  indicate  a  sung  pitch  while  playing  

=  The  didgeridoo  effect  is  performed  by  a  quick  alteration  of  the  vowel  formants  in  the  mouth  while   playing,  creating  a  didgeridoo-­‐like  sound.  The  rhythm  above  the  staff  indicates  the  desired  rhythm  of  the   vowel  changes.  


Phonetic Vowels       [  u  ]  =  indicates  phonetic  vowel  formants  to  be  made  with  a  plunger  mute  –  [  u  ]  mute  closed     [  ɑ  ]  [  o  ]  [  e  ]  =  indicates  phonetic  vowel  formants  to  be  made  purely  with  the  oral  cavity                       [  ɑ  ]  as  in  “hot”  in  American  English                     [  u  ]  as  in  “boot”  in  American  English                     [  o  ]  as  in  “go”  in  American  English                     [  e  ]  as  in  “play”  in  American  English                 =  When  an  arrow  leads  from  one  vowel  to  another,  gradually  transition  from  first  vowel  to  the  second.  In  this  example,  gradually  transition  from  an               [  a  ]  vowel  to  an  [  u  ]  vowel.                  


Performance Layout:          

Tbn. 1  

     

Tbn.  2  

Tbn. 5  

AUDIENCE

         

Tbn. 3  

Tbn. 4  

         


Instrumentation   5  Trombones  (with  F  triggers)               Duration:  9  minutes                       William  Dougherty   Spalenvorstadt  19   Basel  4051,  Switzerland     tel:  +41  (0)  76.237.2858   e-­‐mail:  william.f.dougherty@gmail.com   website:  www.williamdougherty.org  


for%les%trombones%de%bâle

Three!Formants

Score!in!C

for*five*trombones

 Trombone*1    (Mike)

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 Tbn.*1  25

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pp


4

   36

Tbn.*1 (Mike)

  

ff

 

ɑ

Tbn.*2 (Steve)

Tbn.*3 (Jon)

  



Tbn.*4 (Juna)

   

u*]

pp

u*]

ff

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u*]

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ff

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ff

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ff

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pp

u*]

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ɑ

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u*]

ff

pp

pp

  ɑ

ff

u*]

 

 

ff

    

ɑ

pp

 

ff

ɑ

pp

ff

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[*u

u

pp

ff

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ɑ

u

u

a

ppp

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 

ɑ

u

ɑ

Tbn.*5 (Kevin)

ɑ

ɑ

u

u*]

 

senza*sord.

u*]



 

ppp

u

u*]

u*]

ɑ

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   

   

senza*sord.



senza*sord.

pp

u*]

ɑ

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senza*sord.

 

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ɑ

ff

ɑ

 

pp

ff

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ff

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

senza*sord.

pp

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 

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pp

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 

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ff

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pp

 

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 

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     

     

   

[*u

ppp

 

pp

ɑ

pp

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ppp

pp

     

    

[*u

pp

 

pp

   

u

ppp

u*]

ff

pp

pp

ɑ

ɑ

       

ff

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pp

  

pp

ff

 

pp

 

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ff

ɑ

u*]

ɑ

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  

u*]

ɑ

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u*]

u*]

ff

   

ff

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 

[*u

pp

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 

u*]*

ɑ

pp

ɑ

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     u*]

ff

   

pp

ɑ

pp

pp

  

ff

[*u

u*]

 

pp

pp

ɑ

[*u

 

pp

   

ff

  

pp

  

pp

 

pp

ff

[*u

 

u

Tbn.*4 (Juna)

 

a

 

ppp

ɑ

 

u*

ɑ

[*u

H

ɑ

Tbn.*3 (Jon)

[*u

pp

 

[*u

 

Tbn.*2 (Steve)

ff

pp

 

   

pp

pp

u*]

ɑ

ɑ

[*u

pp

ɑ



 

41

Tbn.*1 (Mike)

ff

[*u

  

 

 

ff

pp

u*]

 

pp

[*u

pp

 

pp

 

  

ɑ

  

u*]

ff

[*u

pp

Tbn.*5 (Kevin)

pp

pp

ɑ

  

pp

  

[*u

 

ff

u*]

ɑ

pp

u*]

G

 

u*

ɑ



 

pp

   

ff

ff



ff

 

pp

   

  

 ff

 

pp

 


    46

Tbn.*2 (Steve)

    

Tbn.*3 (Jon)

    

Tbn.*4 (Juna)

 

Tbn.*1 (Mike)

Tbn.*5 (Kevin)

ff

 Tbn.*1   52

(Mike)

 

 



pp

 

Tbn.*4 (Juna)

  

   

 

 

pp

     ff



   

ff





  

   

ff



   

  

 





 



ff

pp







  

pp

pp

ff

J



pp



 

ff

  pp

pp

  

 

ff

ff

 

   

  

  

ff

pp

  

pp

ff

 

 pp

pp

 

ff

ff

 pp

 

ff

  

     

      

     

  

pp

pp

pp

   



  

   

ff



pp



pp

   

pp



ff





  

ff



  

pp

  

ff



pp

  

ff

ff

  

pp

 

 

pp

 

ff

pp

 

pp

  

 

ff

ff

ff

pp

ff

   

ff

   

pp

pp

  

pp

ff

ff

5

pp

pp

     





pp

  

 

   

ff



  

pp

ff

ff

   

pp

   

ff

pp

 

ff

pp

ff

pp

   

pp

   

   



ff

 



ff

ff

   

pp

ff

  

pp





   

ff

pp

pp

 

pp

 

ff

pp

           ff

ff

pp

ff

 

ff

pp



    

pp

 

pp

  

ff



 

   

ff

pp

pp

ff

ff

Tbn.*3 (Jon)

          

Tbn.*2 (Steve)

 

ff

pp

     

  

pp

ff

Tbn.*5 (Kevin)

I

  

pp

  

ff



pp


6

 Tbn.*1  (Mike) 



58

Tbn.*2 (Steve)

Tbn.*3 (Jon)

   

 



 

pp

 

  

ff

   

ff

 

pp

Tbn.*4 (Juna)

ff

Tbn.*5 (Kevin)

pp

  

 

ff

Tbn.*2 (Steve)

  



    pp

Tbn.*3 (Jon)

Tbn.*4 (Juna)

Tbn.*5 (Kevin)

 

 p

 



   

 

pp

pp

  

  

ff

 

pp



  

 

  

ff

  

ff

pp

ff

   



   

    pp

  

  

     

     

pp

pp

ff

ff

pp

  

pp

pp

ff

ff

f

   

pp

ff

pp

   

ff



ff

ff

  

   

  

  

pp



pp

ff

   

  

ff

ff

pp

pp

 

      



  

pp

pp

mf

pp

f

ff

  

f

f

mf

   

f

p



pp

  



  

      

 

pp

pp

    

mp

pp



pp

p

mp

   

mf



pp



pp

pp

 

pp

    mf



mp

 

pp

pp

pp

pp

 

   

  

ff

mf

  

pp

 mp

   

pp

    

   pp

    

pp

 



  p



mp

pp

L

64

Tbn.*1 (Mike)

  

K

ff

ff

ff

       

pp

pp

  

pp





ppp





pp



      p pp













 



    



ppp

 





  

ppp





     

    ppp

 





 

 

 



   

   

 







 

 

 

 

   

  







 

 

   





 

  

  

   



 

 

 

 



 





   

  









  

  

   

  







  



ppp

 

   





 

 



  





 

     





  

  

 

sempre ppp



 

I

 sempre ppp



 


M

   70

Tbn.*1 (Mike)

 

Tbn.*2 (Steve)

 

Tbn.*4 (Juna)

Tbn.*5 (Kevin)

    

  

pp

mf

(Mike)

    (******)

3

pp

   

IV

ppp

mp

   



pp

 



mf

 

pp

 

 

 

   





pp

mf

      

ppp

   

mp

  

(***********)

pp

 



(******)

 

ff

3

pp

  

[5+4]

(************)

pp

  

(******)

ff

 

 

[6+5]

 (******)  

(********)

(******)

I

 



[6+5]

 (******)  

(******)

pp

IV

Tbn.*4 (Juna)

Tbn.*5 (Kevin)

 

[7+6]

(********)

pp

 

 

(******)



(******)

 

ff



IV ord.

pp

pp

 

[7+6] (********)

 (******)  

(******)

ff

 

 

  pp

3

 

O



 

[7+6]

 

(********)

(******)

pp

 (******)  

  pp

 

[7+6]

 

(********)

(******)

pp

  

 (******)  

[5+4] (************)

(******)

pp

ff

 pp

    pp

 

 

(********)



 

 ff

 

(******)

ff



(******)



(******)

ff

[7+6]

pp

 



didgeridoo*effect (******)



(******)

ff

IV

ff

IV

ff



(******)

ppp

ord.    

ff

 

   

pp

pp

mf

(******)



(******)

p

[5+4]

3



(******)

I

IV

 

 

(******)

pp

pp

[6+5]

I

 

3

7



I

ppp

3

   

f

pp

p

ff

 

(******)

pp

 

 (******)  

(********)



IV

 

ppp

I

 

[7+6]

mf

pp

   

 

IV

 

3

 Tbn.*1 

Tbn.*3 (Jon)

mp

mf

 

N



 3

I

f

f

3       

ppp

3

 p

IV     

76

Tbn.*2 (Steve)

pp

Tbn.*3 (Jon)

    

I

 I

pp

 pp

 


8

didgeridoo*effect

 Tbn.*1   82

(Mike)

 



ppp

Tbn.*2 (Steve)

Tbn.*3 (Jon)

[6+5]

   

 (******)  (******) 



 

(******)

ppp

  

  

  

[5+4]

 (******)

(******)

 

ff

  

(******) (******)

pp

 (******)

ff

Tbn.*4 (Juna)

 



(******) (******)

  

(******)

  

pp

pp

(******)

ff

3

 

 

Tbn.*5   

(Kevin)

 Tbn.*1   88

(Mike)

[6+5]

  

  

(******) (******)

pp



 

(******)



    VI



 

[7+6] (********)

(******)



[6+5]

  



  



pp

Tbn.*5 (Kevin)

  



*5

 

[5+4]

 (*********) 

 (******) 

(******)

pp



  

  

VI

  (***********)

ff

 



(******)

pp



(******)

IV

  

  



IV

 

 

[6+5]

 

(***********)

(*******)

[5+4]



 

(********)

[5+4]

4



 

(******)

pp



(******)

pp





(******)

  

(******)

  

(******)

pp



[6+5]

III

   

  

(*********)

(******) (******)

pp



 

(******)

(******)

ff

  

ff



  

ff

III

pp

    pp

 

ppp

didgeridoo*effect

 

[6+5]

 

(***********)

(*******)



(*******)

  

ff



 

ff

ppp

(*******)

ppp

ppp

4

  

pp

pp

ppp

pp

pp

pp

  

didgeridoo*effect

pp

 

ff

pp



pp

I

  

 

didgeridoo*effect



[7+6]

 

(********)

(******)



(******)

 

ff

 

 (******)

(*********)

 

 

ppp

[5+4]



(*********)

pp

 (*******) 

(*******)



(*******)

ff

  pp



ppp

pp

 (******) 

Q

ff



pp



ppp

 ppp

didgeridoo*effect

  



didgeridoo*effect



 

(******)

ppp

ff



(*******)

ff

ff



[5+4]

 

ppp

[5+4]

ppp

pp

ff

 

pp

ppp

[6+5]

 

 

ff

5

ff



ppp

ppp

 

Tbn.*4 (Juna)

  

ff

didgeridoo*effect

 

 

(******)

ff



(*********) (******)

 

pp

(******)

 

ff

pp

ff

Tbn.*3 (Jon)

 

ff

pp

Tbn.*2 (Steve)

(******)

(**********) (******) (******)

didgeridoo*effect I

   4

pp

   

(***********)

  

 

didgeridoo*effect

pp



7

pp

[5+4]

pp

 

P

pp



didgeridoo*effect [6+5]

 (******)

ff

 (******)  

(************)

pp

[5+4] (************)

 (**********) 

pp

    pp

3

ff

3



 

[6+5]

7

ppp

(******)

pp

ff

I

pp

 ff



  

ff

  

ppp

 

 

V

  

 

[6+5] (********)

 

(*******)

pp

ff

 

  



(*******)

ppp

I

  

pp

 

[5+4] (***********)

 

(*******)

ff



(*******)

pp



V

pp


     7

94

Tbn.*1 (Mike)

 

[5+4]



(*********)

(*********) (*******)

pp

Tbn.*2 (Steve)

  



  

VI

ppp

 

  

[5+4]

 (*******)

pp

 



pp

Tbn.*5 (Kevin)

 (******)  (******)

 (*******)

   (*********)

 (*********)  (*********) 



ff

pp

 

100

(Mike)



ppp

 

Tbn.*2 (Steve)

 

ff



[7+6] (******)

 (*******) 



(******)



(******)

(*******)

Tbn.*3 (Jon)

   

 

Tbn.*4 (Juna)

 

 

(******) (*********)



 

   VI

pp

  



(*******)



(*********)

 

 





(********)

(*********)

pp

 







ff



VI

pp



  

[7+6]

(*******) (*******)

(*********)

 

(******)(******)

ff

[6+5]

VI

(******)



 

(*******) (*********)



ppp

  



[7+6]



(*******)



(*******)



ff

  

  

ff

pp

 



 

ppp

  

    

 

(******) (********)

   

pp



mf

   

 

ppp

mf



ppp

fff

ff

(******) (******)



VI

pp

  mf

pp

[7+6]

   pp

   

(*******)

fff





mf

ppp

Tbn.*5 (Kevin)

pp

 

 

   (******)

didgeridoo*effect

(******)

ppp

ppp

ff

mf

ppp

ff

VI

 



(*******)

pp



 (******)  (******)  (*********)

 (*******)

9

S

pp

 (*******) 

 

ff

[5+4]



[6+5]

ff

pp

pp

ppp

ff

  (******)



ppp

  

ff

ff

VI



pp

 

VI

ppp

 

pp

ppp

 Tbn.*1 

   

ppp

pp

(*******)

pp

ff



(******) (********)

 

didgeridoo*effect

[6+5]

 

didgeridoo*effect

ppp

 (*********) 

(*******)

ff

didgeridoo*effect

 

Tbn.*4 (Juna)

 

(*******) (*******)

ff

(*********)

ff

 

[6+5]

 (*********)



(********)

pp

pp

7

   

pp



[5+4]

VI

 

(*********)

ff

ff

Tbn.*3 (Jon)



(*******)

didgeridoo*effect

R

 ppp

  

 

  

ppp

mf

 

 


10

Tbn.*1 (Mike)



Tbn.*2 (Steve)

Tbn.*3 (Jon)

106



 



 

ppp

 

Tbn.*4 (Juna)



 



  



 



 



 

mf

 

mf



mf

mf

ppp

Tbn.*5 (Kevin)

 

ppp

  

 

 



 

   

William Dougherty, Three Formants for five trombones - Full Score  

William Dougherty, Three Formants for five trombones - Full Score

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