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McIntyre's development
as a musician is closely linked to his study of solo trombone repertoire.
Originally inspired to master the instrument via conventional jazz and
non-idiomatic improvisation, his technical and interpretive skills were
pushed to extremes upon experiencing important works of notation by
the late 20th century American and European Avant Garde. Now ensconced
within New York City's experimental music community at the beginning
of the 21st century, McIntyre is poised to cut a new path for his instrument
by synthesizing his skill set into a personal, creative, and interpretive
language. |
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>stuplimity no.3 for trombone with electricy >selections from morphi studies for solo trombone and sound >improvisations Approx. 50 min, requires stereo PA and mixing console CJM Sounds features McIntyre's compositions and improvising strategies for solo trombone, both unaccompanied and with soundtrack and interactive software sounds. Further information on the stuplimity series is available here |
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>Excerpt from stuplimity no. 3 (live, Minneapolis, 5/07) >impv2_iquit - improvisation (live, Minneapolis, 5/07) |
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>Rzewski's
Last Judgment (live, Minneapolis, 5/07) |
>Fredric Rzewski - Last Judgment for trombone solo or several echoing trombones not quite in unison >Philip Glass - 1+1 (realization by McIntyre) >Phil Niblock - A Third Trombone >Peter Zummo - Five People Taking Long Journeys Separately Approx. 50 min, requires stereo PA, one mic (SM 58), and mixing console The works featured in SoHo SoLo were created and first performed during the late 60's and 70's. The term "SoHo scene" referred to the lower Manhattan neighborhood where venues (The Kitchen, Experimental Intermedia), composers, and musicians gathered to present work in so-called "alternative spaces". Most of SoHo SoLo fits into the aesthetic of capital-m Minimalism, but not comfortably. A more accurate term that had currency at the time is "steady state", referring to a type of surface and structure which doesn't use conventional harmony (or rhythm in some cases) for formal purposes. Instead, the music has its own logic ranging from drone-based sonic excursions to simple rhythmic and pitch shifting processes. Last Judgment for solo trombone or several echoing trombones not quite in unison. The title of Fredric Rzewski's piece says quite a lot about its spirit. Written for an Italian friend who wanted to learn the trombone in order to play the Tuba Mirum solo in Mozart's Requiem, Rzewski "thought of this piece which is really too difficult even for a very good soloist, but could be done if enough players, both good and mediocre, teamed up together. The idea of the title is that it doesn't matter who gets to Heaven first, because they just have to wait so that we all go in together." Having organized ensemble version of the work, McIntyre is performing the work solo despite Rzewski's admission about its difficulty. If presenters are interested, McIntyre is willing to invite trombone brothers and sisters to join him. The score, which he engraved, is available free of charge here. With the exception of a minor 3rd interval inserted periodically, A Third Trombone is a signature "drone" piece by Phil Niblock, composer, filmmaker, and head of Experimental Intermedia. XI (as the space and its label are commonly known) is located in Niblock's Centre Street loft where he has lived and presented concerts for over 35 years (always for a $4.99 donation). Philip Glass' 1+1 is one of this well-known composer's most conceptual works. Two extremely basic rhythmic units are combined "in continuous, regular arithmetic progressions." The suggested "instrument" for 1+1 is "any table-top... amplified..." which the player performs "by tapping... with his finers or knuckles." For his trombone realization, McIntyre plays the rhythmic units by hitting his tongue inside the mouthpiece, creating popping sounds that elicit overtone resonances. This "arrangement" was first performed for the composer in September 2006 during the MATA Festival Benefit in NYC. |
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