Cool! Kenn Kumpf wrote in his trombone solo piece "As-yet Untitled Trombone Piece for Mike Svoboda" similar effects. He used not only harmon mute manipulations, but also a combination of singing while playing and tongue position. At some point, there is a feeling of chanting of Tibetan monks.
@@WilliamLang Also Kevin Toksöz Fairbairn released CD album (Fancy Music label) last year with some interesting Trombone pieces! You should check it! ;)
Hi William! Been watching some of your videos; they are superhelpful for me as a composer! I have some questions: 1. is there a way of getting the higher formants out of the harmon-mute? For instance "e", "ee" and "y". 2. I saw your video on air sounds; is there any way of forming the spectral shape of the air-noise with your ambouchure, or does the spectral shape stay more or less the same no matter how you shape your mouth? And is it effective to use "s", or "sh" sounds in various shapes?
Hi! You can get some interesting sounds combining torments with the harmon - especially the harder "ee" sounds. For air, think of the trombone as kind of a megaphone - it's good an adding resonance to any air sounds that you can make on your own. I personally love using "s" and "sh" and "ch" as musical air choices.
Hi ! thank you for sharing your knowledge. How do you see to write this changes of the mute indicating how many fingers are covering the mute , 4 is close , 3 , 2 , 1 and 0 open . is this very confusing for players ?
i think that could work well. some players might intuitively prefer the opposite (instead of 0 being open, or no fingers on the stem, 0 could also mean no fingers lifted!) but as long as you're clear and communicate well, it should be fine
Cool! Kenn Kumpf wrote in his trombone solo piece "As-yet Untitled Trombone Piece for Mike Svoboda" similar effects. He used not only harmon mute manipulations, but also a combination of singing while playing and tongue position. At some point, there is a feeling of chanting of Tibetan monks.
googling right now! thanks for the heads up
@@WilliamLang Also Kevin Toksöz Fairbairn released CD album (Fancy Music label) last year with some interesting Trombone pieces! You should check it! ;)
Great! I had noticed the effect but hadn't grasped it in terms of harmonics or partials. Very helpful!
Wow this is super helpful as a composer, thank you
Awesome!
Hi William! Been watching some of your videos; they are superhelpful for me as a composer! I have some questions:
1. is there a way of getting the higher formants out of the harmon-mute? For instance "e", "ee" and "y".
2. I saw your video on air sounds; is there any way of forming the spectral shape of the air-noise with your ambouchure, or does the spectral shape stay more or less the same no matter how you shape your mouth? And is it effective to use "s", or "sh" sounds in various shapes?
Hi!
You can get some interesting sounds combining torments with the harmon - especially the harder "ee" sounds. For air, think of the trombone as kind of a megaphone - it's good an adding resonance to any air sounds that you can make on your own. I personally love using "s" and "sh" and "ch" as musical air choices.
Hi ! thank you for sharing your knowledge. How do you see to write this changes of the mute indicating how many fingers are covering the mute , 4 is close , 3 , 2 , 1 and 0 open . is this very confusing for players ?
i think that could work well. some players might intuitively prefer the opposite (instead of 0 being open, or no fingers on the stem, 0 could also mean no fingers lifted!) but as long as you're clear and communicate well, it should be fine
💜
:O