Review

Tim Risher
Inclinations:

Orlando, FL, United States
Publisher: Wehr's Music House
Date of Publication: 1996
URL: http://www.wehrs-music-house.com

Primary Genre: Trombone Ensembles - 9+ trombones (choir)

Tim Risher is a Central Florida and Florida State University graduate who at the time of publication was producing Radio Diffusions, a new music program for America’s National Public Radio network. Inclinations is for 12 trombones and is divided into two movements, Stillness and Change. Risher organizes the 12 parts into four trios. The lead voice of each trio, trombones 1, IV, VII and X are given in tenor clef, the other eight parts are all given in bass clef. The lowest voices of each trio are labeled bass trombone though a tenor player with a good low range can play any of the four. Given the fact that he uses 12 parts the range requirements in general are surprisingly reasonable. No tenor part goes above b-flat1, and as previously stated, the bass parts are not so technically demanding that they require a double trigger instrument. Layering in a minimalist fashion is the compositional tool used most often in the piece. While the result is interesting, especially in the first movement, all parts do contain a good deal of repetition, written out in the first movement and then by use of copious single and double measure repeats in the second movement. Stillness flows quite nicely. It opens with an interesting cascading legato eighth note line divided among voices and then adds a more rhythmic line as counterpoint. One of the later layers, a repeated 16th note, half step motive tends to be too heavy. The second movement, Change, opens with a rhythmic motive similar to the second motive in the first movement and then slowly adds more voices, which increase rhythmic complexity. A short layering section in 3/4 meter leads back to the first theme and the conclusion of the movement and work. Two problems exist with parts and score.  First, each part is five pages long requiring inopportune page turns both during and between movements. Second, a mistake exists in the score between letters H and I where measures are inadvertently repeated. Both of these may have been fixed in later editions.  A short poem in German is written in the score at the end of each movement. One could assume that the movements were based on these but no explanation exists in the score or parts. Given these problems I still recommend this work. Twelve part works can be unfeasible for younger groups but this one is attainable and provides an interesting introduction to minimalist writing.

-Tom Zugger
Capitol University