Cantus for Trumpet and Electronics, Trumpet in C

CANTUS

ERIC N ATH A N

FO R T R UM P E T A N D E L E C T R O N I C S

Thank You

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SCORE IN C Instrumentation: Trumpet in C (harmon mute required) Electronics* * CD stereo playback

Total Duration: 7 minutes! Performance Note: Trumpet: ! Trumpeter should play into a microphone that is sent through a reverb patch with a reverberation time of at least three seconds. Microphone levels may be turned down when the harmon mute is removed. The reverb may be added through the mixing board, or any reverb generator on an amplifier. ! The 2nd valve slide should be removed from the trumpet for the first portion of the piece. When the 2nd valve slide is removed, many of the fingerings in this movement will result in microtones. For each microtone, the closest sounding tempered pitch is notated (diamond-shaped note-head) ! All glissandi in the movement are achieved by extending the 3rd valve slide (unless otherwise noted) Electronics: Setup requirements: 1 Microphone routed to a reverb controller (reverb may be added from the mixing board) 1 pair of stereo speakers CD Playback device Note: The electronic CD part does not contain cues – when the CD is started, it will continue until the end of the piece. !

Composed for John Adler CD timings are given for rehearsal purposes

CANTUS

For Trumpet and Electronics

»§º

Meditative h

Eric Nathan (b. 1983) ASCAP

poco accel. + wa wa wa wa wa wa wa wa wa (simile) etc, ad lib. 3 5 & c  Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œœœ 2nd valve slide removed P p *See performance note at bottom of page Fingering: 3 wa wa 3 Harmon mute (stem in) wa

Trumpet in C

& c

Electronics

ª

7

Elec.

&

& ˙.

23

& Ó :43

&

1

1 2

1

a tempo

1 1 1 1 1 1 2 2 2

3

˙. :20

œ w p

(Broken glass/de-tuned piano sounds)





Fingering: 3 slow gliss. (3rd slide extended) (w/3rd slide)

Ó Œ #œ  :29 #w

(synth sound)

w

w P

slow gliss.

w

w

#w w

gliss.



w w

w

(de-tuned piano sounds end)

ª

Elec.

Œ 

&

23

poco accel. 1 1 1 1 2 2

>o b‚ ‚ bœ ‚ œ ‚ bœ ‚ œ ‚ œ ‚ œ ‚ œ 5 3 3 p ƒ 1 2

f

13

C Tpt.

˙.

:12

13

Elec.

 cresc. poco a poco

a tempo 1

ª C Tpt.

w (b œ)

+ b w & f

7

C Tpt.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ simile

#œ.

b˙ p 1

(de-tuned piano sound)

j #œ ˙

> ˙ n˙ P 1 3

w

œ b œ- ‚ . œ- ‚ . œ- ‚ . b œ- ‚ . ‚ ‰ Ó J p  1 1 2

1 1 1 2 2

1 1 2



?

(low rumbling sounds)

 &

PERFORMANCE NOTE: - When the 2nd valve slide is removed, many of the fingerings in this movement will result in microtones. - For each microtone, the closest sounding tempered pitch is notated (diamond notehead) - All glissandi in the movement are achieved by extending the 3rd valve slide (unless otherwise noted) - The trumpeet should play into a microphone with a reverb delay of at least 3 seconds. Microphone levels may be turned down when the harmon mute is removed. ©2008 - All rights reserved.

PLEASE REPORT ALL PERFORMANCES TO WWW.ERICNATHANMUSIC.COM

-CANTUS-

2

C Tpt.

1 3

& bw p &

p

1

37

& Ó b˙ 1:10 P

37

Elec.

&

ª 46

C Tpt.

&

46

Elec.

&

55

Elec.

w

w

(high ringing synth sound)

f

p



&

1 1 2

1

nw

1 1 2







Í

F 3

w

poco rit. 1 1 2 (b œ)

1 1 2





3 gliss.3

˙- . # œ w

w





Ÿ~~~~~~~~~~~~~~~~~~

1 3



f 3

3 gliss.

˙ #˙

w

˙ ˙

w

(synth sounds)

˙

w



p w

w

w w

f

2 3

·

nw p

w> ‚ Œ ˙ F Í 1 3

2 3

˙. Œ p

w (b œ)

p

(Broken glass/de-tuned piano sounds)

3 2 2 3 3 3 gliss.

p

a tempo

3

1:34

w

f

ƒ

& œ · b‚ · P F 1:51

55

1 1 2

Ÿ œ b -‚ œ œ -‚ œ . œ w

w-

1 3

~~~~~~~~~~~~~~~~~~~~~~

ª C Tpt.

˙.

1 1 2

w (b œ)

ª C Tpt.

b œ- ‚ . b œ- ‚ . œ- ‚ . œ- ‚ . ‚ ‰ J  p 1 1 2

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

30

Elec.

> œ n˙. F

1

30

1

f

U 1 3

nw

1 1 0 2 > b‚ œ œ‚ œ œ ˙. 1 1 2

f

,

p

p

p

-CANTUS64 C Tpt.

&

64

Elec.

&

ª

f

œ # œ . ‰ Œ -· b · p F

gliss. 3

bw

(synth sounds)

2 2 3gliss.3

2:14

· Ó p

Elec.



(de-tuned piano sound)

3 2 3

1 1 3 2 2 3

0

1 1 2

(insert 2nd valve slide)

77

pulses of increasing intensity and urgency

& &

p

Elec.

»¡™º

> . > j‰ œ b œ œ ‰ Œ ‰ œœ  & œœ œœ œ > > ß p f &

ª

2 3 3

3

Ï

1 (growl) 1 >œ > j‰ æ j‰bœ ‰ ‰ bœ œ ‰ J œ œ œ œ . œ œ œ >œ > pç p > >sub. p ç ç f 1 3 1 3 2 2

Electronic part gains intensity and urgency, expanding in range until climax at mm. 125 poco a poco cresc.

> œ & œ Œ b˙ æ ç p

91 C Tpt.

2:57



2 3 3

10

(2nd valve slide inserted, senza sord) Agitated (feel in 4) q *Trumpet microphone level should be turned down slightly 1 1 1 3 1 1 1 3 2 1 1 87 2 2 2 2 3 2 3 3 3

87

2 3 3

10

77

ª

C Tpt.

1 1 2

electronic part continues

ª C Tpt.

> > bœ ‚. ‚ ‰ Ó Œ bœ ‚. ‚ ‰ Œ J J f f 1 1 2

gliss. (to open) > . >œ > . j j œ ˙ . ‰ Ó b œ ‚ ‰‰ ‰ b œ ‚ ‰ & œ ‚. ‚ œ ‚. ‚ J J ‚ œ œ ‚ œ. ‚ œ. œ #˙ w > > > f > p ß f P p  f>

71

C Tpt.

>œ3 1 3 œ œœ Œ

3

˙ æ

1 (flutter tongue)

gliss. 2 2 3 3

>œ >œ >œ b >œ b >œ >œ œ > > > œ œ ‰ bœ œ œ œ œ J ‰ Œ œ J 3 3 ç f Í 1 1 1 1 2 2 3 3

0

0

0

2 3

2 3

2 3

-CANTUS-

4

C Tpt.

C Tpt.

ª

2 2 3 gliss. 3

&Ó

F

ª 109

C Tpt.

&Œ

ª 115

C Tpt.

&Œ

ª 125 C Tpt.

1 1 2 3

1 1 2 3

1 3 2

Ó

Œ ‰J

Œ ‰ J P

ƒ

& w j bœ

œ P

8

f

Œ Œ

»§º



Ó

P

Ó

Œ

U

‰

(wait until electronic sounds fade to ambient drone)



*Increase reverb delay on trumpet microphone

8

Œ

F

j

˙. F

4:33

œ 

Œ

Πf

p

U *(wait for electronic part)

w

w

U

˙

*Trpt echo in electronic part

Ó

˙

œ

œ

niente

3 gliss.

œ ˙.

j bœ

f

Œ ‰J‰JŒ f F f f F f ¿ 1 2 3 4 5 6 7 Œ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’’’’ improvise - wild outbursts of varying length and increasing urgency Ï

Meditative (Feel in 2) h

ƒ

bœ

1 ad lib. random intervals 1 12 b >œ . b >œ ¿ ¿ ¿ ¿ b >œ ¿¿ ¿ ¿ ¿ ¿ œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ‰ Œ ¿ ¿ ¿ ¿Œ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ƒÍ ƒ p ƒ

(Sounds of broken glass particles/de-tuned piano)

ª C Tpt.

Ó

4:12

&

139

ƒ

Œ



&

125

Elec.

˙

1 1 2 3

improvise musical gestures on the trumpet according to contours given below (spastic, violent outbursts)

104 C Tpt.

>œ > > .> .> . œ œ œ œ Œ b œ œ œ œ œ œ œ œ œ œj ‰ ‰ J Ó J > p ç F 3 p f

œ >œ ‰ œ . & J ç p ª > 99 bœ & Ó nœ œ f 2

2

95 3gliss.3

Œ #˙. p 3

(wait for electronic part to fade away to drone) 3 gliss. 3

U



j œ

œ ˙. F

#˙

Œ

1

bœ

U

1 G.P. lip gliss. w/1st slide (b œ ) ( œ )

˙

p



-CANTUS147 C Tpt.

&‰

147

Elec.

& Ó

ª 153 C Tpt.

&Œ

ª

œœ F

U

j œ . œ œ œ œ œ œ œ b œjœ œ

œ ˙ U

‰

j bœ œ

œ œ

U b œ . œ- Œ Œ n œ- œJ œ- œp F F3 G.P.

3

~~~~~~~~~~~~~~~ w &w

( œ ) (œ )

#œ

Œ

nw p (3rd slide extended) U



electronic trpt. echos continue

> bœ w ƒ 

U

G.P.







(U) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ w w w *use fermata if you arrive p in mm. 160 before *

( )

electronic part



U

3 1 3 2

1 2



1 3 2

1 2

˙- œ- œ- œ- œ- . œ- œ œ- . ˙ p 3

c. 6:00

Trill enters in electronic part ( )

ª 169

There is no discernible pulse in the electronic part in this coda section, and so the performer can play freely as long as the final note cuts off before, or immediately after, the "low rumbling sounds" enter. It is acceptable to have a slight pause between the final trumpet note and final electronic gesture)

1 2 3

& ˙ b˙

3rd slide gliss

169

Elec.

œ

U

1 2 3

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w & bœ In performance, it is sometimes hard to hear the trill entrance. Ø (Note: However, after a few practice repetitions, the performer will get a feel for how to pace these final phrases.

160

C Tpt.



3rd slide gliss 3 3

niente

5:44

Elec.

w

electronic trpt. echo

160 C Tpt.

j œ

5 wait for electronic part to fade to drone

&

1 2 3

w



U



1 1 3 3 3rd slide gliss

nw P

U

bw





Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

U



6:20

?

low rumbling sound

p

f

U

