Versus (6Pos)

Versus (6Pos) (Versus was written in Oslo in 2008 at the Norwegian Academy of Music and has was revised for publishing in 2014. The 6 trombones are divided into two rival groups, each consisting of two tenors and one bass trombone, much like a standard symphonic trombone section. The title refers to the battle between the two duelling groups similar to the chase choruses often found in jazz music. “Anything you can do, I can do it better” is the sort of sentiment found here. Versus is composed in three main sections; a slow introduction, a funk section and a final Allegro Molto. The entire piece is based on a nine note scale ranging from C to C, using all the notes with the exception of C#, F and A. There are two syncopated rhythmical figures that appear throughout the piece knitting the contrasting sections together. The opening section explores the harmonic and melodic characteristics of the nine note scale while establishing the root of C. The main theme is introduced at rehearsal letter B which culminates in an A major chord in bar number 38. After a transition, the funk section begins in measure number 61. This section is based on a whole-tone scale, and features a main theme shared by the basses and improvisation like arguing between the two pairs of tenors. This middle section reaches its climax in bar 93, where we finally transition back into the same tonality as introduced in the opening for the piece. The main theme returns in the final Allegro Molto, but this time the lead trombone player from the other group is the main protagonist. The Coda begins at rehearsal letter H, starting with a chase between the two bass trombonists. After a very brief return to previous material in bar 141, we are finally given an epic last glissando into a triumphant C major chord at the end of the piece. Performance notes. The setup of the trombones should be from left to right facing the stage: 1-2-3-6-5-4. It is recommended to play with a conductor. All glissandi throughout the piece should be performed slowly and evenly, starting the glissando immediately after the starting pitch has been established. My trombone professor, Ingemar Roos, often spoke about how to make every small micro-tone heard in a glissando, and this is an important part of this work. The funk section should have a comfortable tempo and a light character, in the style of David Taylor and big-band funk. The transition into letter F is composed so that the triplets in trombones 5 and 6 equal the 16th notes of the previous tempo. In bar 110, trombone 2 should continue articulating while playing a slow glissando with the slide. Id like to thank my composition professors Ragnar Søderlind and Kjell Habbestad at the Norwegian Academy of Music for their valuable guidance and input. Id also like to thank all the trombonists who have practised and performed Versus in Oslo, Fossano and in La Coruña. Id like to extend a very special thanks to Mr. Joseph Alessi for programming and conducting this work at the Alessi Seminar in Fossano, Italy in 2012.)