Contemporary Techniques?

[trumpetmike]

To all you Contemporary music nuts out there, how did you get started with the techniques that this sort of playing can demand?
I have asked in the literature section about whether any books exist that aid with the sort of techniques that have only started to be utilised by composers in the past half century or so – things like doodle tongue, multiphonics, half valve playing, that sort of thing.
So far I have found none.
Knowing that there are other players out there in TH-land who do a lot of this style of music, how were you taught it?

For that matter (speaking with my teaching hat on now!) how do you go about teaching it?

I learnt how to do some multiphonics by hearing someone do it, trying it and finding out that I could do it, very badly! My teacher at the time was not into the modern styles of playing, so was very little help. He was an awesome teacher, but readily admitted that this was outside of his field, so wouldn’t teach it. I haven’t really got much better at them.

So, any good contemporary technique exercises out there?
Any good tips for teaching it?

Anybody know any good pieces to look at with my students which introduce these techniques? A couple of them heard Rex Richardson do a master class recently, in which he did some multiphonics playing, and they now want to learn how to do it. One of them is already getting some, but it would be nice if I could find a piece that would encourage him further – our own compositions will only go so far!

So, anybody know any good books?
Or, indeed, any CDs that are essential listening for this sort of music. I have quite a few, but am always interested in more.

Thanks in advance guys and gals

[ZeroMan]

Listen to recordings made by trumpeter Greg Kelley. He uses (some may say overuse) extended techniques in his playing. While you listen to him, keep in mind that Mr. Kelley also uses amplifcation and processed sound effects to help add to the effects he can make with just his technique.

Jazz trumpeter Lester Bowie, may he rest in peace, used a lot of extended techniques in a very creative and fun manner in his playing.

A decent guide to contemporary trumpet techniques and notation is David Hickman's Contemporary Trumpet Studies. Some of those on the cutting edge, like the aforementioned Greg Kelley, may consider the material in that book to be dated...

... which brings us to the main problem with literature associated with contemporary and extended techniques. You are looking for pedagogical guides to techniques associated with the cutting edge of music. Their very novelty currently precludes the availability of written instructions on how to perform and practice them. Indeed, one is still hard pressed to find methods on 80 year old plunger techniques. I think there are resources out there, and some of them have yet to be published by the major music publishers.

_________________
Peace & Love,

Thos.

[ This Message was edited by: ZeroMan on 2003-12-08 20:15 ]

[cwerickson]

Robert Nagel wrote a book called "Contemporary Studies" which is full of great etudes, and one in particular discusses some of the techniques in question... it's still really cheap, too, at $3.50 US! It won't answer all your questions, but it's a good start.

Tina

[Derek Reaban]

trumpetmike,

There is a chapter outlining contemporary rhythms in the book by Robert Starer called Rhythmic Studies. I don’t have the book in front of me, and currently I’m through Chapter 2 of the book, so I can’t give any specifics right now. I think it gives a brief description on how to interpret “open score” notation (as opposed to the more traditional “closed score”). I’ll have a look at that Chapter when I get home this evening to see if you would want to consider getting the book (it’s $6.95 from Amazon.com and is fantastic for internalizing pulse and aiding in identification of ALL rhythmic patterns).

As far a multiphonics, I remember being amazed the first time I heard them. I was in high school and I was at a summer music camp. I walked into a large rehearsal room, and there was a bass-trombone player moving up and down chromatic scales in quarter notes while employing multiphonics. I vividly remember that he had selected a vocal pitch that allowed the resultant to develop so that he was moving up and down chromatically in TRIADS! That just blew my mind! Now that I think about it, they must have been one of the triad inversions. I’m guessing that he was playing (as an example with trumpet nomenclature) a second line G and singing a fourth space E. This would cause the C to sound (i.e. 5 – 3 = 2, fifth partial – third partial equals second partial).

You would certainly have to change the voicing for a trumpet, i.e. sing the lower part, but you need to figure out what combination would best produce a major chord to get the best effect. Probably sing the low G and play the second line E for example. I haven’t thought about this for years, so I’m just guessing on the pitches, but I can certainly verify that these pitches will produce the major chord (I just haven’t tried it on the trumpet). Maybe after I check the Starer book reference I’ll try the singing/playing example I explained here to see if it works as I think it should theoretically.


Interesting topic!


_________________
Derek Reaban
Tempe, Arizona

[ This Message was edited by: Derek Reaban on 2003-12-09 13:53 ]

[pfrank]

Not classical, but "jazz" players other than Mr Kelly (who has...very...flexable chops)

1. Albert Manglesdorff: trombone player who is the MAN for multiphonics. He used to do solo concerts all over the world. There is a trio of him and Jaco P. and A. Muzon at Montreaux that is enjoyable...
2. Chong Vu. (pronounced "kong') uses fox tones (double buzz) with reverb and delay. His band is fantastic too.
3. Jon Hassell: nobody on earth makes a more vocal sound on trumpet; it's like he can gliss like an Indian flutist or singer (he studied with an Indian vocalist and discovered his technique at that time) I wish someone could tell me how he makes that sound! J.H. did have a classical background and was in the ensembles of LeMonte Young and Terry Reilly (minimalist school) before he became interested in 3rd world music.

[Derek Reaban]

trumpetmike,

I tried the singing / playing technique last night (multiphonics). And once I managed to “separate” my mind into accepting that I could create two sounds at the same time, I actually got a strong major tonality coming out of my instrument. I sang a low G, then Ab, then A and played the E, F, F# above on the trumpet, very slowly. This was somewhat fleeting though, and I only really heard the major quality on those three notes. I think the big trick to making this work effectively is to get an interval relationship that will allow you to move up and down at least an octave without moving too high into your voices range (or possibly falsetto would work better, I didn’t try that). It was just darn hard for me to move up with my voice while playing. I’m certain that with time I could get it to sound pretty good (based on the three good chords that I produced), but I’d rather spend my time on things that I will actually use.

I think since my voice was covering the sound that I usually hear coming out the bell, it might be beneficial to try recording this to see what is actually happening. Maybe at least until you can be more comfortable sorting out the two pitches that you are producing as well as the associated resultant. I hope I’m never asked to do this in public!

It was amazing hearing it done extremely well on bass trombone, though!

I'll check the Starer book tonight.
_________________
Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[gus]

There is also a lot of cont. music that uses quarter tones.
The trombones have no problem but for us is a little bit
tricky. Marcinkiewicz manufacture a four valve trp. for
playing in quarter.

A german trp. ( Marco Blauw ) who plays this music has
a five valve trp, and If my memory do not betray me
has two bells por mulphonics.

For those who like to play some modern stuff, I can
recommend the Berio Call for brass quintet. That
is a good introduction.

Gus

[musiclifeline]

Matt Schulman does some interesting stuff with extended techniques... I think he might have some stuff on his web site...

Dave Douglas does some cool stuff (check out Serpentine with Han Bennink), and Tomasz Stanko gets a very fuzzy sound that approaches the fox tone/double buzz thing...

As far as exercises, your best bet is to come up with a sound you like and practice it.
Lester Bowie's advice on the topic was to learn to play a single note in 32 different ways. You'll surprise yourself with what you come up with. (A tape recorder is invaluable here, as I've noticed many things sound great from behind the horn but lousy out front.)

[robert_white]

You've got to check out "Space is a Diamond" by Lucia Dlugosweski. It was recorded by Gerard Schwarz in the '70's. I think an album of her works is available now on CRI. This piece is indescribable.

Bob

[mark936]

I accidently received an Aerbersold CD that was on topic, Kenny Werner, I think, around #104. (I ordered Lee Morgan.) It was so spacey and out there that after one attempt, I turned it back in. I'm too square.

It's exactly what you're discussing, though.