Works for Low Trumpet
Using an upper-lip embouchure to perform ultra-low tones in Uninduced Approximation during a performance in 2009
As a jazz- and classically-trained trumpet player turned composer, I sought to develop extended trumpet techniques I could use in my improvisations and compositions. A primary focus in this area was my cultivation of an extreme low register with continuous 12-tone pitch ability down to F#2 on the Bb trumpet. I used this technique as the basis for two compositions of my own, and it was later written into compositions by others for me to perform in, including works by Rick Burkhardt (Una Corda, Object/Lens), Keith Moore (Citizen’s Arrest), and Robin Bargar (Program Music I). I also used it regularly in a variety of improvisatory performance situations, such as with the experimental jazz quartet Nebula: The Music of Diffused Gassers (listen here and here).
Following are two compositions I wrote and toured around using this technique.
Uninduced Approximation (1991)
Composed in 1991 for low trumpet and computer-generated sounds, Uninduced Approximation explores how a composed response mixes with overall conversation dynamics to reveal details in unexpected moments.
Program Note for Uninduced Approximation
METALSTOCKHARDWARESOLOW (1991)
METALSTOCKHARDWARESOLOW is an algorithmically-generated work for low trumpet and custom mute construction. Utilizing custom software to generate pitch and rhythm events, this information was fed into a MIDI synthesizer and then the MIDI was fed into a music notation program to create the score for me to play.
Video recording of a performance of METALSTOCKHARDWARESOLOW from spring, 1993