Program NotesLocation (grandparent | parent | this page): RodMer Arts Home Page | Rod's Music | SwallowHill Bone Dance Program Notes
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The BasicsPiano
Steel Guitar
Muted Trumpet
Trombone
Bass
Rhythm
6 minutes
1995
The "bone dance" refers, of course, not to a danse macabre but to a trombone. Those of us ignorant, as I am, of all the trombone repertoire often think simplistically of trombones as either giving foreboding sonority in orchestral passages (such as in the Commendatore's theme in Mozart's Don Giovanni) or, on the other hand, as simply an oom-pah-pah bass in a Dixieland group. I wanted to play more with the trombone as dancing with the main melody - inspired in part from the wonderful music of the English group Penguin Cafe (who played at Harbourfront in Toronto in 1995 and who have long been a favourite of Merike's).
Like all the MIDI files here, it is in General MIDI form. The General MIDI patches (on the 0-127 numbering system) are:
| Part | General MIDI patch | ||
|---|---|---|---|
| name | # | ||
| Piano | Acoustic Grand Piano | 0 | |
| Clarinet | Clarinet | 71 | |
| Steel Guitar | Steel Guitar | 25 | |
| Muted Trumpet | Muted Trumpet | 59 | |
| Trombone | Trombone | 57 | |
| Bass | Pizzicato Strings | 45 | |
| Rhythm | Rhythm | Channel 10 | |
On my own synth I used the following patches:
| Part | Sound Module | Patch | ||
|---|---|---|---|---|
| name | # | |||
| Piano | Roland RD500 | Gr Piano A1 | 0 | |
| Clarinet | Roland JV880 | Clarinet 1 from Orchestra Expansion Board (OEB) | 102 | |
| Steel Guitar | Roland JV880 | Steel Guitar | A 35 | |
| Muted Trumpet | Roland JV880 | Harmon Mute 1 from OEB | 119 | |
| Trombone | Roland JV880 | Solo Tb 1 from OEB | 113 | |
| Bass | Roland JV880 | Pizzicato 1 from OEB | 74 | |
| Rhythm | Roland JV880 | Channel 10 Rhythm | ||
| Sec | Instruments | Type | Measures | Length | Comment |
|---|---|---|---|---|---|
| Intro | 1-11 | 11 | in 4/4 | ||
| Theme 1 (mostly in C minor) | |||||
| 1-A | trombone | A | 12- 19 | 8 | C minor |
| 1-B | trumpet | B | 20- 27 | 8 | modulating |
| 1-A | trombone & trumpet | A | 28- 35 | 8 | C minor |
| 1-C | piano & clarinet | C | 36- 43 | 8 | C major |
| 1-A | tutti | A | 44- 51 | 8 | C minor |
| Theme 2 (in G major) | in 3/8 | ||||
| 2-a | piano & trombone | intro | 52- 62 | 11 | C minor |
| 2-b | piano, tromb, clarinet | theme | 63- 70 | 8 | C minor |
| 2-c | piano, tromb, trumpet | intro var | 71- 82 | 12 | C minor |
| 2-a | piano & trombone | intro | 83- 92 | 10 | C minor |
| 2-b | piano, tromb, clarinet | theme | 93- 100 | 8 | C minor |
| Guitar bridge | 101-106 | 6 | in 4/4 | ||
| Theme 1 (mostly in C minor) | |||||
| 1-A | trombone | A | 107-114 | 8 | C minor - tango |
| 1-C | trumpet | C | 115-122 | 8 | C major |
| 1-A | trombone & trumpet | A | 123-130 | 8 | C minor |
| 1-B | piano & clarinet | B | 131-138 | 8 | modulating - in 6/8 |
| 1-C | tutti | C | 139-146 | 8 | C minor |
| 1-C | tutti (piano Th 2) | C | 147-151 | 5 | C major - truncated |
| Trombone bridge | 152-153 | 2 | |||
| Theme 2 | in 3/8 | ||||
| 2-a | piano & trombone | intro | 154-163 | 10 | in 3/8 |
| 2-b | tromb, trump, clarinet | theme | 164-171 | 8 | duet then trio |
| 2-c | piano & trumpet | intro var | 172-183 | 12 | |
| 2-a | piano, tromb, trumpet | intro | 184-193 | 10 | |
| 2-b | piano solo | theme | 194-201 | 8 | |
| 2-a | tutti | intro | 202-211 | 10 | |
| 2-b | rhythm & bass | theme | 212-227 | 16 | |
| 2-a | tutti | intro | 228-237 | 10 | |
| Trombone coda | 238-242 | 5 | |||
| Total measures | 242 | ||||
Intro
The intro begins with the trombone stating the main theme and then the steel guitar picking up a repeated figure that is mostly Bach-like (but perhaps a little rag-like too).
Theme 1 Section
After the rhythm and bass start in, we move into the Theme 1 Section in C minor (well it oscillates between C minor and C major). It goes like this. First the trombone states the theme. Then the muted trumpet plays an interlude. Then the trombone and its newly introduced friend, the trumpet, do a canon on the first theme. Then the clarinet plays an interlude. Then all three wind instruments play a canon on the first theme - the trombone starting, and the trumpet and clarinet following in order. The canon is not exact and doesn't go on very long. But you can hear the three voices entering and imitating each other.
Theme 2 Section
Now we switch abruptly into a Theme 2 Section in G major, and in a fast waltz time, where the piano carries the main theme with the trombone oom-pahing underneath and sometimes the clarinet embroidering above. In one interlude the muted trumpet carries the main melody - but elsewhere it is the piano that is driving this baroque-type dance.
Theme 1 Section (modified)
We then have a brief guitar bridge and then return to another Theme 1 Section. But it is not exactly like the original. For one thing, it is now playing in a tango rhythm. Once again we have the main theme in the trombone, then a trumpet episode, and then a two-part canon with trombone and trumpet. Now comes the clarinet interlude - but you may notice that the meter seems to have changed. As we return to the three-part canon (trombone, trumpet, and clarinet) we are now playing the first theme in waltz time (well, actually 6/8). And then as the canon starts to repeat we are joined by the piano that insists on playing Theme 2. I hope this sort of sneaks up on you (which it may if you don't read these notes).
Theme 2 Section again
There is a brief trombone bridge and then we move into another Theme 2 Section - which, it seems, is what the instruments really wanted to play all along. We begin with the piano (and trombone oom-pahing beneath). Then there's a brief duet (and then trio) of the wind instruments. Then piano and trumpet. Then piano, trombone and trumpet all loudly together. Then a quieter piano solo. And then the whole tutti frutti gang again. Then just the rhythm and bass. And then the whole gang one final time. Just to remind you who's boss, the trombone plays a brief coda (also reminding us of Theme 1, where it all began).
Well, you don't have to pick up every nuance of this structure as you listen. I wanted the piece to have a generally pop sound and to be easily accessible, but nonetheless with certain classical allusions.
** If you have a high-speed connection, forget about the MIDI files and just use the MP3 files (better). If you have a dial-up connection, consider the faster (but not as good) MIDI file only if the MP3 files seem to be taking too long to play or download.