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UNIVERSITY of CALIFORNIA Los Angeles Extended Techniques And UNIVERSITY OF CALIFORNIA Los Angeles Extended Techniques and Vocal Simulations in Frank Ticheli’s First Voice for Solo Bb Trumpet A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Trumpet Performance by Courtney Dion Jones 2015 © Copyright by Courtney Dion Jones 2015 ABSTRACT OF THE DISSERTATION Extended Techniques and Vocal Simulations in Frank Ticheli’s First Voice for Solo Bb Trumpet By Courtney Dion Jones Doctor of Musical Arts in Trumpet Performance University of California, Los Angeles, 2015 Professor Jens Lindemann, Chair Unaccompanied works for trumpet that emerged during the latter half of the twentieth century (mainly since 1970) pushed the limits of technical facility well beyond what was heard in solo concerti or collaborative consorts of earlier eras and set new standards and expectations of what could be performed on the instrument. Frank Ticheli was a leader in these innovations; his compositions not only expanded the range and tonal qualities of the instrument, but also introduced more specialized techniques (such as speech simulation through vocal realizations and new modes of melodic writing involving disjunctive melodic patterns). Some of these techniques can be attributed to influences from jazz and contemporary idioms, as reflected in ! ""! ! notational conventions familiar to jazz artists, but they also use innovative approaches to performance practice and new philosophical orientations. The present research explores these developments through a detailed analysis of Frank Ticheli’s composition The First Voice for Solo Bb Trumpet, augmented by interviews and correspondence with Ticheli himself. The intention of this research is to broaden the technical capabilities of 21st century performers, as well as shed light on the ideological and philosophical concepts on which the aforementioned developments are based. From a musicological perspective, this dissertation is primarily analytic and interpretive. However, it is hoped that trumpet players who use it for its pedagogical value will develop an increased confidence in performing The First Voice for Solo Bb Trumpet and other contemporary compositions in related genres. ! """! ! The dissertation of Courtney Dion Jones is approved. Mark Carlson $%#"&!'()*+,"-. Courtney Lyder Jens Lindemann, Committee Chair University of California, Los Angeles 2015 ! "#! ! DEDICATION This dissertation is dedicated to my family and to those who continued to help me see that light at the end of the tunnel. Thank you for your love and support! ! #! ! TABLE OF CONTENTS Part One I. Introduction ......................................................................................................................1 Brief History & Major Contributors ........................................................................2 Voices of the People: The Influence of African-American Tradition .....................4 New Concepts & Emerging Styles ..........................................................................5 II. Simple Notation ..............................................................................................................7 Definition of Terminology.......................................................................................7 Part Two III. Composer Profile .........................................................................................................13 From East to West..................................................................................................13 Revelations.............................................................................................................15 Part Three IV. Performance Guide and Analysis ................................................................................18 Written Notation ....................................................................................................18 As the Sound of a Trumpet Speaking with Me......................................................25 Tell Me of the Things That Shall Take Place ........................................................34 V. Conclusion ....................................................................................................................46 Part Four VI. Dialogue with the Composer .......................................................................................48 APPENDIX A – Biographical Sketch ...................................................................48 APPENDIX B – Conceiving Ideas ........................................................................56 APPENDIX C – Catalog of Sounds ......................................................................76 APPENDIX D – The First Voice...........................................................................97 VII. Bibliography.............................................................................................................148 ! #"! ! LIST OF FIGURES Figure 1: The Bend ..............................................................................................................7 Figure 2: The Doit................................................................................................................8 Figure 3: The Fall ................................................................................................................8 Figure 4: The Flutter-Tongue ..............................................................................................9 Figure 5: The Glissando.......................................................................................................9 Figure 6: The Growl ..........................................................................................................10 Figure 7: The Half-Valve...................................................................................................10 Figure 8a: Hand over Bell “Closed” ..................................................................................11 Figure 8b: Hand over Bell “Opened” ................................................................................11 Figure 9: The Shake...........................................................................................................11 Figure 10: The Smear ........................................................................................................12 Figure 11: F ! Sharp .........................................................................................................19 Figure 12: Fermata.............................................................................................................19 Figure 13a: Breath Mark “Normal Breath” .......................................................................19 Figure 13b: Breath Mark “Quick Breath”..........................................................................19 Figure 14: Flutter-Tongue..................................................................................................20 Figure 15: Air-Flutter.........................................................................................................20 Figure 16: Valve-Tremolo .................................................................................................20 Figure 17: Trill...................................................................................................................21 Figure 18: Half-Valve........................................................................................................21 Figure 19: Echoing.............................................................................................................21 Figure 20: Flap-Tonguing..................................................................................................22 Figure 21a: Harmon Mute “Stem In” ................................................................................22 Figure 21b: Harmon Mute “Stem Out”..............................................................................22 Figure 22a: Mute in Hand “Inside of Bell”........................................................................23 ! #""! ! Figure 22b: Mute in Hand “Outside of Bell”.....................................................................23 Figure 23: Broken and Connected Line.............................................................................23 Figure 24: Multiphonics.....................................................................................................24 ! #"""! ! MUSICAL EXAMPLES Example 1.1 .......................................................................................................................25 Example 1.2 .......................................................................................................................26 Example 1.3 .......................................................................................................................27 Example 1.4 .......................................................................................................................28 Example 1.5 .......................................................................................................................29 Example 1.6 .......................................................................................................................30 Example 1.7 .......................................................................................................................32 Example 2.1 .......................................................................................................................35 Example 2.2 .......................................................................................................................36
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