This blog contains the materials for my Face|Resection project. All materials are free to view and download. If you would like to purchase a coil bound hardcopy, email me (matt.j.barbier [at] gmail.com).  

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Clint McCallum- Bowel Resection

Posted by mattbarbier on Monday, February 1, 2016,

Section 3: Clint McCallum- Bowel Resection


Clint McCallum's Bowel Resection is a solo trombone work from 2011 that takes the concepts from the circular breathing and articulation sections and the pushes them to their limits while demanding a stable execution. This section explores the practical application, and expansion, of the previous exercises in the frame work of McCallum's solo.


The defining challenge of Bowel Resection is the fact that it presents a singular demand- the wor...


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facesplitter

Posted by mattbarbier on Monday, February 1, 2016,

Section 2: Nicholas Deyoe- facesplitter


Nicholas Deyoe's facesplitter is a work for solo trombone composed in 2011, and collaboratively revised in 2014 by Matt and Nicholas. The performing musician is asked to integrate the human element of her playing into the piece as part of an irregular mechanical function, finding a way to regulate those human elements into the work's sonic framework. Deyoe describes the piece as 'inorganic and concrete covered,' setting the challenge to create a s...


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Bach Cello Suites

Posted by mattbarbier on Thursday, January 21, 2016,

Disclaimer: Although this section is utilizing the Bach cello suites for their effectiveness in learning to control lip-multiphonics, they are intended as a teaching and practice tool. This is meant to fit into the traditional use of Bach's cello suites in trombone pedagogy and is not intended to imply that the author is advocating their use in public performance. Aside from the debate on the value of performing the cello suites on trombone, many of the possible lip- multiphonics used will c...


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Advanced Split-tone applications

Posted by mattbarbier on Thursday, December 31, 2015,

On the whole, the following exercises are based off of 3:2 split-tones [tones split from the 3rd partial down to the 2nd]. This is because they can often be a solid base when exploring various manipulations of the split-tone. 3:2 provide a reliable groundwork for two primary reasons.

First, given that the 3:2 split-tone is the lowest traditional split-tone, there is nowhere for the split to fall if pushed out of focus and lost when exploring these extensions. With higher split-tones, ...


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Split-tone Basics

Posted by mattbarbier on Thursday, December 31, 2015,

Section 1A: What is a split-tone?


A split-tone is a type of lip multiphonic achieved by splitting the embouchure between two adjacent partials, creating a dyad-based multiple sonority on a brass instrument. Lip multiphonics differ from voice multiphonics in that they are multiple sonority created entirely by the player's lips- as opposed to the more common voice multiphonics, which is a combination of singing and playing. This book focused primarily on split-tones as they are main techniq...


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Downloadable pdfs of all material are below


faceresectiontextfinal.pdf faceresectiontextfinal.pdf
Size : 7568.985 Kb
Type : pdf
faceresectionvolume1.pdf faceresectionvolume1.pdf
Size : 2664.849 Kb
Type : pdf



 

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