mahaberio

Sorry for the mundane and routine equipment thread, but I thought someone on this forum might be able to help. I'm currently playing a piece for solo trumpet that calls for three mutes, a cup and two of which I'm unfamiliar with. The two I don't know are a "whispa mute" and a "carbon mute." I've found the Spivak "whispa mute" online and I was wondering if it is a just a standard practice mute that can be substited with another practice mute (if so, recommendations?). Does anyone know what one might use for a "carbon mute?"

Thanks,
Matthew

wiseone2

The Whispa mute is a stuffy practice mute. It has a muffled stuffy sound that some composers like. The stone lined Manny Klein mute has a similar feel and sound. The carbon mute could be a Ray Robinson straight mute. It is a softer mute than the H&B st. mute.
Wilmer

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dambly

What's the piece, if I may ask?

mahaberio

The piece is Northern Stars by Makiko Nishikaze (www.makiko-nishikaze.de). It was a big project to track it down and get a copy as it is unpublished and the composer doesn't even have a copy anymore. I'm currently looking at two pieces by her, this one, and Invisible Serenade for voice and trumpet. Invisible Serenade uses very little pitched content but rather uses experimental sounds from both the trumpet and the voice (i.e. blowing air through the trumpet in different ways, "slap-tonguing" etc.). Northern Stars is much more pitch-oriented but the "rhythms" are based on relative time proporations rather than beats. It uses fairly minimal microtonality and feels highly aleatoric.

-Matthew

dambly

Matthew,

Aha! That explains the familiar "carbon mute" marking! I played the premiere of the piece on Makiko's thesis concert at Mills College. (I have recently been in touch with her about re-introducing the work -- glad you have found it and are performing it!)

I can report that in this case "carbon mute" should actually read "cardboard mute," as in any of the very lightweight paper straight mutes that people sometimes use to play softer straight mute passages, e.g., Fêtes.

The Spivak Whispa mute proved to be much more diffuse and softer than any other practice mute I could find (and I have found many), so that's why she specified that one.

I have some clarifications/corrections that may or may not be in your copy. If you'd like to discuss further, let me know.

Best,

-Tom

mahaberio

Tom,

Thanks and I'll definitely be PMing you! What a coincidence.

-Matthew

ecarroll

Matthew and Tom,

You've just made my day. Thank you both and hang a gold star on TM.

A hint about the Spivak "Whispa" mute: the little felt pads can be removed which causes another sound variation. I have two. . . one with, one without (what, me eccentric? Tom, tell 'em it's not so!)

Cheers,
EC

dambly

Thanks to you, Ed, for hosting a forum where it's possible to make connections like this!

Regarding the "Spivak" Whispa mute (made by Shastock): It has come in handy for me countless times in contemporary chamber music settings where a muted 'ppp' or softer (!) dynamic was specified. I even found that you can move those little felts around, leaving the little holes half open to adjust response (now who's more eccentric?).

Check out these links for some background on Charlie Spivak:

Spivak bio on Solid!

Spivak info at Band Museum

-Tom

ecarroll

Honestly? Markus Stockhausen. His is panted baby blue and looks like hell (laughing)

Best,
EC