Wolfgang von Schweinitz

JUZ (a Yodel Cry)

INTONATION STUDY for trombone solo

and pre-recorded echo sounds

op. 40

1999/2009

REVISED VERSION for Matt Barbier

PLAINSOUND MUSIC EDITON

Performance Notes ‘Juz’ (Swiss German for ‘yodel’) is an intonation study featuring the various just intervals derived from the first seven notes of the overtone series. The harmonic progressions gradually modulate through the three-dimensional pitch lattice of Septimal Harmonic Space (see tuning table on the next page). Whenever the trombonist is changing the position of the slide, it is tuned to the “echo” of some previous sound, which is played through two monitors posted center stage right behind the performer. These prerecorded echo sounds establish the possibility of keeping the intonation on track throughout the entire course of the performance. – The piece explores the peculiar timbre and musical potential of “tuned distortion”. This so-called non-linear distortion or “natural ring modulation” is created whenever the trombonist is singing into the instrument while playing, thus generating a multiphonic sound which consists of the two notes played and sung and their partials, plus all their mutual combination tones. If the two primary pitches are precisely tuned, then all the difference and summation tones will indeed reinforce and enrich the harmonic sound spectrum of the tuned interval, rather than distorting it. – An extended experimentation with this highly virtuoso performance technique will enable the musician to reach a stunning degree of control, precision and refinement in projecting the magical beauty of these tuned multiphonic sounds.

PLAYBACK of the prerecorded echo sounds Trombonists interested in performing JUZ are encouraged to produce their own sound-files with the 57 prerecorded echo sounds needed for the performance of this piece. But they may also use the sound-files produced by trombonist Matt Barbier in the large studio space of the composer. These (as well as a Max/MSP-patch for playback during the concert performance) can be obtained from Matt Barbier (e-mail: zythobone@gmail.com), the author (e-mail: schweinitz@plainsound.org) or from his website www.plainound.org. PERFORMANCE DURATION circa 48 minutes

NOTATION The notes that are to be played are notated with standard round note heads. The tube lengths with which these notes are to be played are specified with square note heads. The notes that are to be sung are notated with diamond note heads. The pitches are notated in the “Extended Helmholtz-Ellis JI Pitch Notation” (see legend below). An additional cent number for every note specifying its pitch deviation from the respective pitch in Equal Temperament is given in the tuning table on the next page. This pitch bend information is needed if a tuning machine or a microtonal synthesizer is used to check the intonation during the rehearsals – and especially during the recording session for the production of the 57 prerecorded echo sounds. The just intervals between the played and sung pitches are also specified by their frequency ratios, which offer some helpful information for the tuning tasks by denoting the partial unisonos and the combination tones that inform the timbre of these non-tempered intervals. ACCIDEN TALS EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION

f o r J u s t I n t o n a t i o n The exact intonation of each pitch is written out by means of the following harmonically defined accidentals:

E e n v V Pythagorean series of non-tempered perfect fifths (based on the open strings : ... c g d a e ...)

dmuU Ffow Lowers / raises the pitch by a syntonic comma (81/80) = circa 21.5 cents

cltT Ggpx Lowers / raises the pitch by two syntonic commas (81/80)*(81/80) = circa 43 .0 cents

< > Lowers / raises the pitch by a septimal comma (64/63) = circa 27.3 cent

• or << ¶ or >> Raises / lowers the pitch by two septimal commas (64/63)*(64/63) = circa 54 .5 cents

The attached arrows denoting the pitch alteration by a syntonic comma are transcriptions of the notation that Hermann von Helmholtz used in his book "Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik" (1863). The annotated English translation "On the Sensations of Tone as a Physiological Basis for the Theory of Music" (1875/1885) is by Alexander J. Ellis, who refined the definition of pitch within the 12-tone system of Equal Tempe-rament by introducing a division of the octave into 1200 cents. – The accidental for the pitch alteration by a septimal comma was devised by Guiseppe Tartini (1692-1770), the composer-violinist and researcher who first studied the production of difference tones by means of tuned double-stops.

3-dimensional pitch-class projection space

JUZ Tuning Table

SEPTIMAL HARMONIC SPACE

notated in the Extended Helmholtz-Ellis JI Pitch Notation

with cent numbers specifying the pitch deviations

from the respective pitches of Equal Temperament

!

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!

"

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t"-29.3

t"

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t"

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t"# $

-23.5

TSchisma

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m" "# $

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m" "

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-52.7

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<m"

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q ca. 40 - 48 adagio con rubato

JUZ (a Yodel Cry)INTONATION STUDY

for trombone solo and pre-recorded echo sounds

Wolfgang von Schweinitz

op. 40 (1999 / 2009)

for Matt Barbier

Trombone

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