….the other side of air (2008)

Marc Yeats - Composer

….the other side of air (2008)

For brass quintet:

Trumpet 1 in C (mutes: cup mute / straight mute (metal) / harmon mute) | Trumpet 2 in C (mutes: cup mute / straight mute (metal) / harmon mute) | French Horn | Tenor Trombone (mutes: plunger / straight mute (metal) / harmon mute) | Tuba (mutes: straight mute (metal))
Duration – 17:00.

Performance Note:

This score includes three types of performance approach and hence three forms of notational presentation. The work is broadly divided into two performance areas – sychronised and non-synchronised performance. Synchronised performance involves standard notation, performance and ensemble technique. Non-synchronised performance invites individual players to perform their parts as accurately as they can within the given metronome markings but does not demand exact synchronisation of down beats as in synchronised performance. In these cases cues are given by various instruments to commence sections of music at specified metronome markings or at various collection or cue points along the way. Rehearsal marks with dotted bar lines can also be used as collection points to begin rehearing from within larger sections of music. Pauses and collection points are provided at the end of non-synchronised sections of notation to enable a secure down beat from which to proceed.

Non-synchronised notation presented in the score is an approximation of where musical events fall in relation to each other. This representation is not intended to be exact but secure a notational relationship that implies the ideal. Whilst these areas of the score are presented in such a way as to visually imply a lack of synchronised performance, the instrumental parts are barred as normal. This is to enable rhythmic clarity and correct pulse emphasis within interpretation of the individual lines of music. All rehearsal marks and cues are matched between the score and the parts. Finally, there is a section of music that demands a few players performing their material proportionally as notated within the bar. In this instance the graphic position of the note-head implies its rhythmic position and should be executed thus. Phrased note heads should be executed legato – staccato note-heads, of short duration. Accents and articulations apply as normal. All other performance notes and techniques are explained within the score as they arise.