ET, Extended Trombone is a research project funded by the University of Edinburgh's Development Trust Research Fund (DTRF). The project aims to take extensive samples of extended playing techniques developed by John Kenny to produce a library of trombone sounds. From this research and library creation we will develop new works for trombone and computer.
The trombone is a special instrument. Extremely simple in design, it is essentially a flared metal tube of variable length but the range of sounds possible is enormous; depending on the type of metal used, the bore of the tube and especially the lips driving the machine. John Kenny has been developing extended techniques for the instrument across his entire career and it is time to make solid documentation of this work so that it can be disseminated easily across the world.
Sound library and sound categorisation techniques are useful tools in Sound Design and composition. A major development in recent years is the prevalence of computer technology in live performance with instruments. Martin Parker has been developing work in this area for a number of years and seeks ways to extend the trombone further by implementing real-time computer based processing on the live/archived signal. The intention is to develop new music based on the gathered library of techniques and to produce software that can travel with the library, allowing performance where neither the composer nor original performer need to be present.
Configurable composition, Extended instrumental technique, sound libraries, MaxMSP
Russolo and Noise
Russolo's orgiastic celebration of the modern city in his Art of Noises Manifesto of 1913 (Russolo 1986) included one of the first attempts to classify sound. He wished to establish a paradigm for interpreting and using noise. His taxonomy was analogous to musical harmony. By defining categories of whispers and rumbles, Russolo situated his noises within a hierarchy. Like music in a specific key where some tones can be used more than others, Russolo's catalogue of sounds permits compositional, structural thinking.
Six Categories of noises for the Futurist Orchestra
1 - Roars, claps, falling water, driving noises, bellows
2 - Whistles, snores, snorts
3 - Whispers, mutterings rustling, grumbles, grunts, gurgles
4 - Shrill sounds, cracks, buzzings, jingles, shuffles
5 - Percussive noises using metal, wood, skin, stone, baked earth
6 - Animal and human voices; shouts, moans, screams, laughter, rattlings, sobs
(Russolo 1986)page 10
Investigation of this list offers several ways of considering the material compositionally. Human sounds (6) could be combined to create a narrative layer. Percussive sounds (5) suggest repetition and rhythm, while sounds from category four are reserved for dramatic interludes. Category one's roars, claps and bellows can heave away in the distance creating a context for gestural revelry with a foreground made from category two.
Varése and 'Organised Sound'
Russolo was not a composer but a painter. Listen to Corale (Russolo 1913) and compare this with Hyperprism 1924 (Carter, Boulez et al. 1995) Track 4
Varése was a visionary who aspired to 'music as organised sound'
"I long for instruments obedient to my thought and whim, with their contribution of a whole new world of unsuspected sounds"
Varése June 1917 quoted in (Russcol 1994)page 43
Hyperprism, features compartmentalization of sound. Sonic objects are let loose to reverberate in their own space. Sounds emerge as themselves rather than as part an emotive musical discussion lead by harmonic drama such as was exemplified in late romantic music. There is a library of sound in Hyperprism and this is what Varése allows us to hear, a sonic structure steadily and boldly articulated.
Webern and klangfarbenmelodie
While Varese was bent on moving beyond the conventional orchestra towards a controlled timbral ensemble, other composers such as Webern, a graduate of the Second Viennese School were engaged in the dissection tonality in favor of compartmentalized serialization of pitch.
Serial composition involves the composition of a series of tones, usually following the rule that no pitch in the series can be repeated until all others have been exposed. This thinking lead composers to create libraries of allowable tone rows and permutations based on the original seed. If a line of notes was taken from this library of allowable structures then the piece would maintain its harmonic integrity. A simple tone row library would involve something like the following;
Prime formats
Prime Form (P-0) C# Bb Eb E C B F# F D G Ab A
Retrograde (R-0) A Ab G D F F# B C E Eb Bb C#
Inversion (I-0) C# E B Bb D Eb Ab A C G F# F
Inverted Retrograde (IR) A Bb B E C# C G F# D Eb Ab F
Transpositions;
Retrograde Inversion (RI-0) F F# G C A Ab Eb D Bb B E C#
Retrograde Inversion (RI-4) A Bb B E C# C G F# D Eb Ab F
Webern's work stands out as a breathtaking example of serial composition. As with Varése we are permitted to hear the library in action. Consider the first movement of Opus 10, (Webern 1951) where a device known as klangfarbenmelodie articulates the pitch set.
Stockhausen?€™s Points
Beyond Webern?€™s open and unconcealed library, Stockhausen?€™s libraries were veiled by a layer of complexity but none the less, they are performed and listening for the library is one way of navigating the work.
Microsound and algorithmic(automated) library thinking
The smaller the unit of sound, the greater opportunity there is for control. Xenakis showed the possibility for granulation as a way towards creating endlessly varying textures from controlling a potentially infinite array of discrete points. This method of control is known as granulation.
See Curtis Roads Microsound for more information (Roads 2001)
SEMPRE Day Conference
Composition and Computer-Assisted Music-Making, ABSTACT
Title
ET - Extended Trombone, making music with sound libraries
Abstract
Are search engines musical? Can we use them in combination with sound libraries as a direct route to creating sonic structures? Is it possible to perform a sound library?
Sound library and categorisation systems are essential tools in sound design and computer-based composition. Categorised thinking about sound in order to create compositional structures is not a new idea, the work of Edgar Varèse illustrates the potential for “library thinking” well.
Conventionally, a library of sounds will be searchable by keywords relating to a particular sound and this is useful for getting the right (or nearly right) sound for a particular task. We have found that search results reveal structures that can be musically useful, especially in improvised and live performance contexts. John Kenny has been developing extended techniques for the trombone across his entire career and we have been working together to develop a sound library of some of these effects. We have been using the library to create live performance structures and have also been experimenting with using live musical input to search the library and display results. Working in this way permits the roles of the two musical agents (performer / computer) to switch responsibility from leader to follower whenever this is required.
Keywords
Configurable composition, Extended instrumental technique, sound libraries,
MaxMSP, improvisation with computers
Resources
Martin Parker; http://www.tinpark.com
John Kenny; http://www.carnyxscotland.co.uk
Bibliography
Russolo, L. (1913). Coral Musica Futurista The art of noise, LTM Publishing / DRA
http://www.emusic.com/samples/m3u/song/10876185/13556569.m3u
Tufte, E. R. (1990). Envisioning information. Cheshire, Conn. (P.O. Box 430, Cheshire 06410), Graphics Press.
Varèse, E. (1924). Hyperprism, for small orchestra and percussion. London,, Curwen.
Webern, A. (1929). Symphonie, für Klarinette, Bassklarinette, 2 Hörner, Harfe, 1. und 2. Geige, Bratsche, und Violoncell, op. 21. Wien,, Universal Edition.
Biography;
Martin makes music, designs sound and creates interactive visuals involving computers and live musicians. He studied composition at the University of Manchester and completed a Ph.D in Composition at the University of Edinburgh in 2003. He performs widely as a soloist with laptop and is a member of concert remixing duo SNAIL. Some of his music is available on Ein Klang records; http://www.einklangrecords.com.
More information is available here; http://www.tinpark.com and here http://sd.caad.ed.ac.uk/mscsounddesign