PREFACE
This is the written supplement to pod-cast #2 for brass-players.
http://soundcloud.com/markusmusic-1/brass-instructional-1
Foreword
In the first podcast in this series, podcast #1, we examined the basic playing techniques for the first and second partials of the contemporary adaptation of the ancient carnyx performance practice for the modern trombone.
For examples of current research and recreations of the sound of the ancient carnyx, please consult the work of Trombonist John Kenny at [www.carnyxscotland.co.uk]
THE CARNYX FIRST AND SECOND PARTIAL (REVIEW)
In the first category of carnyx performance technique, all effects and tones are manipulations of the BUNDA (base). This foundation tone functions as a drone, with various techniques for colourisation.
These include, the:
- [MENHIR] ceaseless droning
- [BANATLO] dynamic swell from soft to loud to soft
- [RUSCO] sfortzando attacks
- [BOURACH] instrument shake effects
- [BRUGE HIR] multiphonics (harmonic)
- [BRUGE BANATLO] multiphonics (inharmonic)
- And many others...
THE CARNYX UPPER PARTIAL EFFECTS
The upper partials may be freely interchanged with pitch-effects on the BUNDA (fundamental), using the same method for colourisation applied to tones of the FIRST category.
Unique to the performance method of the SECOND category (derived from the upper partials of the instrument) are 'sound effects' that conform to specific segments of the overtone series.
These upper partial effects will function as small motivic ideas, that are to be repeated like a sounding-motto for each individual carnyx-playing ancient warrior.
For reference, we will continue to use the overtone diagram that maps the BRACU spectrum of the carnyx:
 |
| The B-harmonic series with notes. All bracket pitches are used as sub-sets in the pitch content of Kenny's 'Voice of the Carnyx'. |
WARRIOR WORDS
The words of the FIANNA-CYNNING [band leader] will instruct the brass-player what type of upper partial 'sound effects' to play.
This band-leader will exclaim these techniques, commands that will instruct the brass-player when, and with which technique, the UPPER PARTIALS should be affected.
Second category TECHNIQUES:
-[AWEN] a three note motto, chosen from any of the upper partials
-[CANTIGA] a sonorous melody comprising of pitches from an individuals AWEN motto
-[CORNU] an ascending partial rip with accent
-[CLOCH] a fast slide vibrato technique on a high partial
-[EQUIS] a descending partial fall with accent
-[GOBE] a forceful squeeze of the aperture whilst changing the vocal formant from 'e' to 'u'
-[SLUAGH GHAIRM]- a scream, through the instrument
Now, try this on your own.
These aforementioned techniques may also be required in an ensemble format.
CONCENTUS instructions:
The various techniques of the second category may require instructions for coordination with other carnyx players:
-[ALLU] diminish motto or motive
-[MOD] assemble motive in rhythmic unison
-[VIRU] deviate, do not play with ensemble rhythm
-[BATTU] conform to a subdivision of the beat
-[KYBOSH] end motto or motive
-[MENHIR] augment motto or motive
-[TAK / TAKA] conform motive to a specific rhythmic pattern
VOCABULARY [for reference]:
ALLU [scots]- to go
AWEN [welsh] - to blow
CONCENTUS [latin] - together
CANTIGA [latin] - song
CORNU [latin]- an ancient tuba
CLOCH [welsh]- bell
EQUIS [latin]- horse
GOBE [gaulish]- mouth
SLUAGH GHAIRM [scots]- battle-cry
MOD [scots]- assemble
VIRU [gaullish] - to deviate, veer
BATTU [gaullish] - to beat
SHINDIG [scots]- skip and jump
KYBOSH [irish]- to end
MENHIR [cornish]- long foundation
HANVAL [breton]- similar
TAK / TAKA [scots]- take
MARK OLIVERIO
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