Review

Ken Davies
Notasonata:

Gautier, MS, United States
Publisher: Kenvad Music
Date of Publication: 2007

Score and compact disc

Primary Genre: Solo Tenor Trombone - with media

Ken Davies’ cleverly titled Notasonata is a welcome addition to the slowly growing library of music for trombone and digital media, and a performer with an interest in that combination will definitely enjoy this composition. The style used by Mr. Davies reflects his background as a freelance classical and commercial music trombonist. Such a style can best be described as a combination of music written by composers like Jim Pugh and Richard Peaslee and the dark, synthesizer-heavy score to “The Terminator,” written by Brad Fiedel. 

The composer points out in his performance notes that, though “there are two themes, development and recapitulation sections (of sorts), the work is not a sonata.” Regardless, the outer and more technical sections employ thematic back-and-forth between the soloist and accompaniment, while the lyrical sections contain the strongest thematic material. Contrast in styles is heightened by the variety of articulation between the two sections. The overall difficulty of this work dictates that it would be appropriate for an upper level undergraduate trombonist, or higher. In writing well-suited to trombone, there are interesting and attractive moments when the soloist either must or could execute effective cross-grain slurs. Endurance should not be an issue as there are several measures of rest. Written entirely in bass clef, range extends from A-flat to b-flat1 and the tessitura is not overly demanding. Quarter note pulse of 120 is constant throughout; some extended sixteenth note passages may challenge technique. The compact disc contains two tracks, the second of which includes trombone soloist as demonstration. Chronological cues placed every thirty seconds in the solo part are also helpful. Other attractive aspects include a wide variety of accompanying effects and instruments and the spatial effects created between the speakers, e.g. left versus right moments, sounds passing from one side, through the center, and on to the other side. The only shortcoming of this composition is its length. A nine minute piece is not too lengthy, per se, but this one almost seems to run out of gas before the recapitulation. Nevertheless, this composition is a worthy and welcome addition to the repertoire.

-Casey Thomas
Iowa City, IA