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Multi-Percussion Duet - Gyro Composed By Tomer Yariv
Mallet Ensemble - Afta-Stuba! Composed by Mark Ford
Instrumentation: One Marimba Low A
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Program Notes: Afta-Stuba! is a sequel to my 1988 composition, Stubernic. Like Stubernic, Afta-Stuba! Is written for three players on one low A marimba. This composition can be performed after Stubernic or independently. A few Stubernic motives are utilized in Afta-Stuba!, and the main theme at bar 20 is derived from the first three notes of Theme of Stubernic. In this piece, each player plays in every register of the instrument at different times in the music. The work calls for the players to alternate positions behind the marimba, and even play the instrument from the front side. My goal for Afta-Stuba! was to combine quality music with a little fun to celebrate the potential of the marimba. t was premiered at the 2000 PASIC in Dallas, Texas with Christopher Deane, Shawn Hart and myself as performers.
"Premiered at PASIC 2000, "Afta-Stuba!," which is written for three marimbists performing on one low-A marimba, is a sequel to Mark Ford's "Stubemic." (Ford suggests that both pieces could be performed in sequence on the same program.) Those who have played "Stubemic" will recognize motives shared by both pieces. In fact, the main theme of "Afta Stuba!" derives from the first three notes of Theme of the previous composition. In "Afta-Stuba!" Ford exploits the spatial idiosyncracies of the marimba keyboard. The three marimbists must address the keyboard from all points of the compass in order to execute the tightly-written, closely coordinated, three-part counterpoint that characterizes the work. The result is a piece that provides as much fun for its performers as it does for the audience, and one that should be regularly heard on college percussion recitals. " - John R. Raush Percussive Notes, June 2001
Novelty Ensemble - Head Talk Composed by Mark Ford
Instrumentation: Coated PTS pretuned heads(10"bright, 22"bass drum, 10"dark, 12"mellow, 14"mellow, 16"dark), bottom snare drum heads(14", 15"), 5 sets of paper heads(14", 15"), bongo heads(6", 8") 14" coated head, pinstripe heads(10", 14", 16")
Mark Ford's Head Talk provides the percussion quintet with a dose of sophisticated comic relief. The equipment necessary is somewhat unusual: six pretuned heads--ranging in size from a 10 to a 22; a used 14 snare head; two bongo heads; one 14 coated head; two Pinstripe heads; and five performer-prepared papered-heads for the surprise ending (each performer smashing the drumhead over the head of the drummer!). The five performers must have or develop a controlled sense of humor and must theatrically play off each other. The performers sit on the stage in a semi-circle, and Head Talk starts with the pretuned heads being twirled on stage. The opening rhythmic motive has a definitive rock-samba groove to it, and each performer ends up imitating the opening motive. The composition lasts about nine minutes. From having taught this composition and having observed it being performed, one of the primary benefits of its preparation is the individual and collective sense of timing that Head Talk requires. Similar to the timing necessary in a superb marching percussion section, Head Talk locks in this concept and stimulates the ensemble to truly transfer this educational idea in a variety of other musical settings. This composition must be memorized for an effective theatrical performance (it should look improvised). From the audience's perspective, Head Talk is thoroughly entertaining. Ford furnishes detailed performer notes that enhance the performance of this work immensely. Head Talk has been successfully performed at a variety of PAS Festivals such as PASIC '94 in Columbus, at PAS-Brazil, also at the recent MidWest clinic, and at Ford's home university, East Carolina. It is appropriate for the solid college percussion ensemble. - Jim Lambert Percussive Notes, April 1996
Novelty Ensemble - Heads Up! Composed by Mark Ford
Instrumentation: 5 timpani or bass drum heads (32" to 20"), 3 frame drums (small, medium, large), bottom snare head, police whistle with neck strap, bass drum or timpani head with the plastic cut out of the center Program Notes: Heads Up! is a companion piece for my earlier composition Head Talk (1987). This new composition is an excursion into further possibilities of a five-member percussion ensemble with only standard drum heads. The Heads Up! ensemble is required to perform primarily on timpani heads (or bass drum heads) and frame drums as they move around the stage. My sincere appreciation to Mr. Ju and the Ju Percussion Group from Taipei, Taiwan who commissioned Heads Up! Mr Ju's invitation and the many ensembles and audiences around the world who have enjoyed Head Talk made me realize that there was still a little fun left in drum heads!
"Heads Up!" was commissioned by the Ju Percussion Group from Taiwan, who performed it at PASIC 2003. As Ford describes in his prefatory remarks: "Heads Up! is a companion piece for my earlier composition Head Talk (1987). This new composition is an excursion into the further possibilities of a five-member percussion ensemble with only standard drum heads. The Heads Up! ensemble is required to perform primarily on timpani heads (or bass drum heads) and frame drums as they move around the stage." The percussion quintet is challenged to perform this theatrical composition in such a whimsical fashion as to evoke the unexpected from the audience acquainted with "Head Talk." Instead of the performers sitting, they stand and move with careful choreographed movements, with occasional kneeling performance instructions. The drumheads and associated equipment needed include five timpani or bass drum heads (graduated in sizes from 20" to 32" diameter), three frame drums, one bottom (snare) head, one police whistle, and one bass drum or timpani head with the plastic cut out so that the performer can make a "paper head" that is broken at the end of the composition. Specific instructions are clearly articulated by Ford in the preface. "Heads Up!" is certain to capture the whimsy of the mature percussion quintet. It is sophisticated, yet very entertaining for both performers and audience. — Jim Lambert Percussive Notes, April 2004
Mallet Ensemble - Stubernic Composed by Mark Ford
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Program Notes: I dedicated Stubernic to Stefan and Mary K. Stuber. I went to college with both of these individuals and they have been friends ever since. In 1988 the Stubers went to Guatemala and Nicaragua for a year for humanitarian aid purposes. When they returned they told me stories of their adventures and the many marimba bands they heard, especially in Guatemala. I was writing a vibraphone/marimba duet at the time. However I decided to make it a trio on one low A marimba in the style of the Latin American marimba bands. Although I did not cite any music from Latin America in Stubernic, I did hope to capture the spirit and energy of their music. The title Stubernic comes from the Stuber's last name with the 'Nic" coming from Nicaragua (which is where they spent most of their time that year). For one marimba with three performers. Should be memorized. Players should use medium to medium hard yarn mallets at the beginning. Players 1 and 2 should use a slightly harder mallet after cadenza.
"Stubernic (pronounced "Stew-bur-nick") is a unique, challenging marimba trio for one 4 1/3-octave marimba shared by three performers. Dedicated to Stefan and Mary K. Stuber--and their music studies in Nicaragua--the title suddenly makes sense: "Stuber-Nic" (leave it to Ford to personalize a composition to this degree). This single-movement, three-part work should be memorized. Player 2, situated in the center of the instrument, has the most difficult part, in that the four-mallet middle section is a rhapsodic, guitar-like cadenza. Players 1 and 3 (tacet for most of the middle section) are positioned on either end of the marimba's range and provide clever accompaniment to Player 2. At one point, Players 1 and 3 must develop an ostinato on the frame and resonators of the marimba. The composition's first section sounds minimalistic and modal, and there is evidence of Ford's musical humor in that the performers rotate up the marimba in the fashion of a Central American marimba family playing musical chairs--before returning to their original register. The final section is truly an ensemble tour-de-force in that the parts are virtually all doubled in octaves at the end. There is also evidence of a set of variations on the modal melodic material presented in the first section. Players 1 and 3 utilize two-mallet technique throughout this ten-minute work. Stubernic is a spectacular ensemble for three mature keyboard percussion performers." - Jim Lambert Percussive Notes, December 1995
Percussion Ensemble - Slopes Composed by Paul Rennick
Instrumentation: Snare Drum
Snare Drum Solo with 3 Percussionists
Marimba Solo - Words Unspoken Composed By Andy Harnsberger
Instrumentation: Marimba 5 Octave
"Words Unspoken" is a four-mallet marimba solo for the experienced player. A five-octave marimba is needed to perform the work, and the performer must be proficient with double-vertical, single-independent strokes, single-alternating strokes, and one-handed rolls. Harnsberger employs one-handed rolls at the interval of unison and the octave. Additionally, the octave is the primary intervallic distance explored throughout. The composition is very malleable by use of rubato and descriptive markings such as "barbaric, savage" to encourage a musical performance. "Words Unspoken" will challenge the "musical soul" of each performer." - Lisa Rogers Percussive Notes, February 2005
Marimba Solo - Hymns of the Church Arranged By Blaine Locheed
Instrumentation: Marimba Low A (Optional Low F and C Parts)
Program Notes: Each piece in this collection came from the Trinity Hymnal, a favorite in Presbyterian churches. The songs were selected for their suitability for marimba, and for their textual content which is not reproduced here. Because space would prohibit the inclusion of the lyrics, I recommend doing a title search at cyberhymnal.org in order to gain an understanding of what the authors intend to communicate. You may find this helpful to keep in mind as you interpret each piece.
"Blaine Locheed has arranged 14 hymns from the Trinity Hymnal (used in the Presbyterian church) for four-mallet, unaccompanied, low-F marimba. Included are: "Away in a Manger," "Silent Night," "When I Survey the Wondrous Cross," "What a Friend They Have in Jesus," "Softly and Tenderly," "Spirit, Strength of All the Weak," "Fairest Lord Jesus," "Holy, Holy, Holy," "Jesus Lover of My Soul," "Eternal Father, Strong to Save," "They Have Not Known Thee as They Ought" and "When Peace Like a River." None of these arrangements present awkward challenges, but they will permit the skilled, lyrical marimbist to have the breadth of repertoire that can adapt to church situations. Several of these arrangements could be performed as a two or three-movement suite for secular recitals. There is careful editing regarding dynamic contrast and the suggested types of rolls that will create the best musical interpretation." - Jim Lambert Percussive Notes, October 2004
Vibraphone Solo - The Apocryphal Still Life Composed By Christopher Deane
Instrumentation: Vibraphone
Program Notes: The Apocryphal Still Life was written upon the request of the Percussive Arts Society to be performed by contestants for the 1996 Vibraphone Competition to be held at the PASIC Convention '96. The work is dedicated to the virtuoso vibist and good friend, Jon Metzger. In addition to the use of one hand harmonics, a very simple preparation is called for which is to have the lowest "D" and "E" pitches of the instrument raised so that they remain unaffected by the damper system throughout the piece. The piece is composed entirely in cycles consisting of two measures of 6/4 followed by a measure of 4/4 although it is not the desire of the composer to have this fact immediately perceived by the listener.
"The Apocryphal Still Life is a solo for vibraphone dedicated to the virtuoso vibist Jon Metzger. Basically the composition is in an ABA form with the A section being slow (quarter note = 56) and the B section being in double time (8th note = quarter note). The focus of both sections is mainly triplets; however, the triplets of the A section are used as an effect rather than a pulsating rhythm. Many special effects are required to perform this work: one-handed rolls, preparing the D and E (middle range) to sustain freely in spite of the pedaling, one-handed harmonics and dead strokes. All of these effects are clearly explained on a detailed performance notes page. The Apocryphal Still Life is an excellent solo for vibraphone. It was written at the request of the Percussive Arts Society to be performed by contestants for the vibraphone competition held at PASIC '96. Its special effects and idiomatic style would be rewarding for both the performer and the audience at a college-level recital." - John Beck Percussive Notes, October 1997
Marimba Solo - Etude for a Quiet Hall Composed By Christopher Deane
Instrumentation: Marimba
"Christopher Deane's Etude for a Quiet Hall was the 1st prize recipient of the 1982 PAS Composition Competition. Written for solo, unaccompanied marimba, this work uses subtly advanced, four-mallet technique throughout an extended slow introduction. The second section is more linear (melodically) with perpetual arpeggia-like figures. Suggested stickings are clearly marked. The only critical suggestion to this ABA structural work is to have occasional tempo markings - there are none. This four-page solo is printed on oversized 11" x 17" sheets which are not bound. This easily accommodates noiseless transitions from one page to another. Etude for a Quiet Hall is dedicated to J. Massie Johnson and is an effective addition to the advanced solo marimba repertoire." - James Lambert Percussive Notes, October 1983
Vibraphone Solo - Mourning Dove Sonnet Composed By Christopher Deane
Instrumentation: Vibraphone Program Notes: This piece is for solo vibraphone, using techniques that are unique to the instrument. This piece should not be performed unless the player uses the techniques indicated. The player should take time to allow the effects to work in performance, never projecting the feeling of being rushed or frantic. Movement should be fluid, to serve both the music and the visual aspect of the music. Since the combination of bows and mallets presents problems beyond the harmonic understanding of the piece, it may be helpful to learn the work using mallets before working with the bows.
"In ABA form, Mourning Dove Sonnet is not only completely idiomatic for vibraphone, but also one of the most difficult vibraphone works available. Approximately 8 1/2 minutes long, the piece calls for two bows to be held during the A sections. However, these are to be held as the outside mallets of the Stevens four-mallet grip! The left hand inside mallet is a standard vibraphone mallet, while the right hand inside mallet is a pitch bending mallet. Obviously, the difficulty arises in the mechanics of these combinations. But it should be noted that the combinations of sounds that are consequently produced are numerous, pleasing, interesting, and excellently presented within their contexts. The rhythms in Mourning Dove Sonnet are generally straightforward, but 5 versus 2 is a predominant figure as well. In addition to bowing and bending pitches, the performer is required to create harmonics on various pitches and play on a muffled portion of the vibraphone. Parts of the melodic material are taken from an actual mourning dove song (hence the fide), and the harmonies are typically pleasing with little unresolved dissonance. The directions included with the work are very specific and easy to understand. The printing is neat, but there are a few discrepancies regarding rhythm (two 9/8 bars labeled as 7/8, a 3/4 bar reading as 2/4, etc.). All markings for harmonics, bending, bowings, etc. are very clear. The advanced vibraphonist will find performing Mourning Dove Sonnet a challenging and rewarding experience. I highly recommend it." - Rich Holly Percussive Notes, October 1985
Marimba Solo - The Process of Invention Composed By Christopher Deane
Instrumentation: Marimba Low A
Program Notes: The Process of Invention was written specifically for Mark Ford as a contrasting piece to Three Shells. The form is transparent in it's use of repetition. Utilizing the concept of "one thing leads to another", each left hand bass line is connected by shared beginnings and endings in juxtaposition with contrapuntal lines in the right hand. Augmetation and diminution of one musical line, while keeping it's counter line constant, serves as a development device.
Marimba Solo - Three Shells Composed By Christopher Deane
Instrumentation: Marimba 4 1/3 Octave
Program Notes: Three Shells creates an abstract narrative between the basic motivic materials. An echo like motive based on a tone row gives a sustaining quality to the marimba while the second element emerges as a traditional melody accompaniment figure. The third element is an interruptive motive based on the original row. Mark Ford performed the premier of Three Shells in 1993 and the work is dedicated to my sister Leslie, who's pen and ink drawing provided me with the title. The four mallets to be used when performing this work should be chosen with as rich a tone quality as is possible yet still having the capability to speak clearly in all registers and within a wide dynamic range.
"Three Shells is a work for solo marimba (a 4 1/3 octave instrument will suffice) that is probably already familiar to many serious marimbists. It has been available since 1992, the year it won second prize in the PAS composition competition, and can now be heard on Mark Ford's CD, Polaris. Three Shells is an excellent example of a composition that exploits a particular idiomatic technique used in the performance of an instrument--in this case, the execution of double lateral strokes, played simultaneously by both hands, and also alternated, hand-to-hand fashion. Of course, in the hands of a good composer, applications of a particular technical approach would be used only as a means to a musical end. This is the case with Deane's piece, which can certainly stand on its own musical merits. His use of the rapid, dependent rotary strokes sets up an interesting, kaleidoscopic effect, as right and left hands interact in various combinations. The repetitious motor rhythms set up by these interactions are broken up by contrasting slower, lyrical sections that utilize a rich harmonic palette. Any serious college marimbist, who has mastered the requisite techniques and spends the necessary time to learn this solo, should be amply rewarded for the effort." - John R. Raush Percussive Notes, April 1997
Marimba Solo - November Evening Composed By Christopher Norton
Instrumentation: Marimba Low F
Program Notes: Premiered by Christopher Norton on November 1, 1994 at Western Kentucky University. Two rhythmically charged themes open the piece and provide the melodic and harmonic material for the subsequent variations, thematic restatements, chorale and reprise. The form follows the scheme: A B A1 A B B1 A2 Chorale A A3 B2 B. The work bears a jazz influence which is particularly evident in three variations which resemble an improvised solo over the cord "changes" of the two primary themes. November Evening is dedicated to my wife, Leslie.
"This work for solo marimba has the character and vitality of dance music, resulting primarily from its syncopated rhythms and irregular meter. Interesting rhythmic devices include the juxtaposition of duplets in one hand and triplets in the other, and triplets set against quadruplets. The chordal fabric is interrupted with runs imparting the flavor of an improvised fill. The marimba writing is quite idiomatic, revealing the composer's familiarity with the instrument. It is refreshing to discover a work for solo marimba that so successfully fulfills a broad range of criteria, from those of marimbists who want a vehicle that spotlights their technical and musical talents, to those of the discriminating auditor who appreciates a work that can stand on its own musical merits, to those of the general public who enjoy music that is approachable and entertaining." - John R. Raush Percussive Notes, June 1997
Marimba Solo - Medal of Honor Composed By Gene Fambrough
Instrumentation: Marimba (5 Octave)
Medal of Honor was composed for and is dedicated to all war veterans. As the son of a Korean War veteran, certain things have come to move and inspire me lately, among them a recent visit to the nations capitol. This was my first opportunity to view the Korean War Memorial, and I found particular interest in the area known as the Pool of Remembrance. Additionally, I have always been awed and inspired by the Changing of the Guard ceremony at the Tomb of the Unknown Soldier in Arlington National Cemetery. I had been working on fragments of this work and found the needed inspiration to tie them together within this framework of ideas. The Prelude presents a haunting, ominous mood through the use of non-traditional harmonic motion and open fifth structures. Remembrance presents the key of B-flat minor, developed throughout the remainder of the work and explored more traditionally within ...of the Unknown. Although still in minor tonality, Celebration creates a joyous interpretation of the previous themes and a brief variation in major, concluding with a short Postlude. The five sections are played without pause.
Gene Fambrough dedicates this piece to all war veterans and found his inspiration for "Medal of Honor" from monuments in the Washington D.C. area. This solo requires a five octave marimba and lasts approximately 13 minutes. According to Fambrough's program notes: "The 'Prelude' presents a haunting, ominous mood through the use of non-traditional harmonic motion and open fifth structures. 'Remembrance' presents the key of B-flat minor, developed throughout the remainder of the work and explored more traditionally within '...of the Unknown.' Although still in minor tonality, 'Celebration' creates a joyous interpretation of the previous themes and a brief variation in major, concluding with a short 'Postlude.' The five sections are played without pause." This piece lays well on the marimba and should be very pleasing to performers and audiences. The contrast of the open fifths in the opening and tighter intervals in "Remembrance" help lead the piece into "...of the Unknown." This section reaffirms the primary melody stated over a slow quarter-note ostinato. This ostinato is continued with a sextuplet variation overlay and the melody singing through the texture. As the intensity increases, the intervals get larger and reach a peak at the "Celebration" with the use of octaves in both hands, a syncopated melody in the right hand, and permutations in the left. The piece dies away with flourishing sixteenth notes up and down the keyboard that outline the previous harmonic motion. The ending comes to a gentle close using material of "Remembrance." This piece would be well worth the effort for junior, senior or graduate recitals. Difficulties include the length, high demand of octave intervals, one-handed rolls in both hands, and overall depth of musical maturity needed to express the desired emotions. - Brian Zator Percussive Notes, April 2006
Marimba Solo - Night Songs Composed By Gene Fambrough
"Night Songs" is a two-movement, unaccompanied, four-mallet marimba solo that lasts approximately seven minutes. The first movement, "...until they meet again," is a chorale that uses unique, yet appealing progressions that move between the minor and major modes. The opening monophonic line is used in several instances to create different textures and unity within this movement. The second movement, "The inward eye," is based off of one sixteenth-note sticking pattern, 4312 3421. This sticking is used throughout the piece and helps spell out the chord progressions and melody line in mallet number 4. Syncopations, double stops in the right hand, and a brief chordal interlude help break the monotony of the permutations. The performer is required to play this sticking pattern using many different intervals. The piece comes to a calm ending using material from the first movement. - Brian Zator Percussive Notes, April 2006
Marimba Solo - Fantasia Edited By Harold Jones
Instrumentation: Marimba or Xylophone and Piano
Program Notes: In the winter of 1961 I toured the Soviet Union in the University of Michigan Band under William Revelli. The tour offered many memorable experiences. I had the opportunity to meet numerous Russian musicians. One presented me with 2 compositions, Scherzo Brilliante and Fantasia. Due to the absence of a translator, I was unsure who composed the pieces. Further attempts to find the composer have been unsuccessful. Over the years my students and myself have enjoyed these works. After numerous requests I have prepared the present edited versions of the pieces.
"Fantasia is a composition that retired East Carolina University professor Harold Jones discovered while touring in Russia while he was a student-performer in the University of Michigan Concert Band. Although the original composer is not known or mentioned in this publication, the work resembles that of late 19th century tonal compositions popular among virtuoso string or instrumental performers. This composition is a duet for xylophone or marimba and piano. The 269 measure, 6/8 fantasia is quite appropriate for the intermediate to advanced two-mallet performer at the undergraduate college level. The importance of the tightness of the ensemble between the percussionist and the pianist cannot be underestimated in this marvelous single-movement work." - Jim Lambert Percussive Notes, December 1999
Marimba Solo - Scherzo Brillante Edited By Harold Jones
"Scored for xylophone or marimba and piano accompaniment, this 142-measure, two-mallet solo was composed by an unknown Russian musician. This moderately difficult, tonal composition is challenging in that the performer's presentation is very transparent in its rapid, 6/8, scalar passages. There is a brief modulation to D major from the opening and closing G major sections, making this three-part, single-movement work very appropriate for the undergraduate recital presentation. Reminiscent of some of the older Musser keyboard/ piano solos, the piano accompaniment is very complementary to the solo keyboard presentation." - Jim Lambert Percussive Notes, October 1997
Marimba Solo - Quintessence Composed By Ian Grom
Program Notes: (kwin tes' ens), n. the pure and concentrated essence of a substance. Quintessence is an episodic work that utilizes the extrapolation of a single musical cell to create the impetus for the entire piece. It is above all a work meant to be organically self-perpetuating. In this piece, the note G could be considered the "primordial ooze" from which the first organism will emerge...a single-cell musical amoeba of sorts. This is comprimised of the first three notes presented in episide one: F, G and A-flat. This whole-step, half-step relationship extending out from G serves as the evolutionary starting point for the music. As in nature, variation and mutation give way to increasingly more diverse offspring as the work progresses through its five episodes.
"Quintessence," a ca. 10-minute marimba solo, is written for a low-A instrument and is described by the composer as "an episodic work that utilizes the extrapolation of a single musical cell to create the impetus for the entire piece." The three notes of this "cell" (F, G, Aflat) provide the whole-step/halfstep relationships that serve as the germinal ingredients for the composition. The piece is a tonal work set in five movements, or "episodes" as the composer refers to them, each offering its own stylistic features. The piece begins before a sound is actually heard, as the player hovers above the rolled G that initiates the opening episode, and "make(s) the rolling motion without actually hitting the bar until several seconds have gone by." The opening episode ("Emerge"), in chordal style with mildly dissonant harmonies, is followed by the contrapuntal setting of the second episode, "Remembering Mandeng." Here, the left hand plays an eighth-note ostinato pattern set against a simple melody in the right hand, which results in a rhythmically interesting counterpoint (e.g., the juxtaposition of three notes in the left hand against two in the right). The third episode, "Plight of the Birdies," features a melody embellished with grace notes and a technique idiomatic to marimba performance in which the melodic line is divided between right- and left-hand mallets in various rhythmic combinations. Episode IV ("The Savage Beast Unsoothed") uses a repetitive right-hand "drone," as the composer terms it (a repeated doublestop major second). The contrasting left-hand part sets up interesting rhythms, such as those resulting from the coordination of ascending left-hand octaves and the drone. The final episode ("Eventuality") returns to the chordal texture of the opening, using rolled four-note chords, and concludes simply with three unrolled double-stops, the last note repeating the G with which the work begins. Technical problems are eased by chords that are voiced to avoid large skips, step-wise movement between chord tones, and repetitious patterns, keeping the work within the capabilities of an average college mallet player. Throughout most of the episodes, rhythm is the most imaginative aspect, interjecting a prime ingredient in maintaining the listener's attention. The fact that the work features a variety of contrasting styles that can showcase a soloist's command of the marimba keyboard should help its popularity." - John R. Raush Percussive Notes, August 2004
Marimba Solo - Banafrit Composed By Jonathan Anderson
Instrumentation: Marimba (4 1/3 Octave)
"This excellent new work for four-mallet marimba is perfect for an undergraduate recital, audition, or any situation where a short, flashy, musical piece is required and only a low-A instrument is available. The composer has done an outstanding job of combining the groove elements that work so well on marimba with short licks and octave sections that will really make an audience take notice. The piece moves along its entire 4 1/2 minutes at a tempo of 160 with few breaks for the performer, but it never lets up on the enjoyment factor. With only a few double lateral strokes, the performer primarily needs to be able to play double verticals, single alternating and single independent strokes at a fast tempo. The title is an Egyptian name meaning "beautiful soul," and the piece was written for the composer's friend Danny Hawkins. I encourage any advanced student of the marimba to purchase this piece and prepare it for a program." - Julia Gaines, Percussive Notes December 2008
Marimba Solo - Remembrance Composed By Juan Alamo
Remembrance by Dr. Juan Àlamo is a marimba solo scored for 5- octave marimba. The work begins with a short introduction followed by the main theme in the key of D flat. This theme is presented in various keys throughout this ninth and half minute composition and surrounded by several contrasting sections. The composer employs advanced four-mallet techniques, as well as a contemporary /adventurous melodic and rhythmic structures that make this piece sound fresh and attractive to the listener. According to Dr. Alamo, Remembrance represents some of his inside thoughts about God, Love, and Faith.
Marimba Solo - Song for My Mother Composed By Juan Alamo
Song for My Mother by Dr. Juan Àlamo is a marimba solo scored for 5- octave marimba. The piece is divided in three sections. In the first section marked Rubato & Expressivo the composer present the melody in the right hand using independed rolls over an arpeggiated bass line. This is followed by a contrasting section where the composer used an ostinato rhythmic pattern based on sixteen notes. This middle section is a rhythmic variation of the opening section. The third section is a short recapitulation of the opening section that connects to the coda.
Marimba Solo - Fandango and Fugue in a Minor Composed By Larry Lawless
Marimba Solo - Circularity Composed By Matthew Coley
Circularity is the continuous and always rotating result of a conceptual creative process. The process began as an improvisation on marimba while having in mind the circular concept and techniques used in dance training. The original idea was to create a percussion keyboard trio that would be coupled with dancers (2004). After the performance of this version the process continued and the platform was expanded with more dancers, cello, piano, and found glass instruments (ie. Bottles, vases, bowls, plate glass, and bowls and marbles used by the dancers) (2006). After performances of this, I felt the work wanted to come back to its original origin and complete the circle as a solo work (2007). Another idea used in this work was the concept of one stable "circle" that is only altered by slight changes in layers and texture, while other smaller unstable "circles" connect this by expanding and altering their material more severely.
Marimba Solo - Concealed Chambers Composed By Matthew Coley
Instrumentation: 1 Marimba Low C
"This unaccompanied work for the advanced four-mallet marimbist is divided into five, rather short movements. The movement titles— "Thalamus," "Amygdala," "Cortex," "Medula" and "Hypothalamus" refer to parts of the brain and the gray matter surrounding the parts that help control one's senses, movement, metabolic rate, body temperature, etc. I suspect that the composer is trying to make a connection between the gray matter in the brain controlling one's quality of life as the gray matter of music controls the finished performance. The piece requires a five-octave instrument, and the performer must be proficient with double vertical strokes, single independent strokes, single alternating strokes, double lateral strokes and onehanded rolls at various intervallic distances. "Concealed Chambers" is a wonderful, musical journey for serious marimbists. - Lisa Rogers Percussive Notes, October 2004
Marimba Solo - The Green Road Composed By Mark Ford
"This advanced, unaccompanied four-mallet solo is an introspective composition that captivates both the performer and the listener through its compelling sonic honesty and harmonic/melodic transparency. Commissioned by and dedicated to Akiko Iino-Goto (one of Ford's graduate percussion students at the University of North Texas), the title refers to a childhood memory of Ford in his native Virginia in which a country road that led to a special relative's house was lined with green foliage and trees in the summertime. Having heard the composer perform this work live on two occasions, this reviewer is awestruck with the piece's resemblance to Ford's "Polaris." Although "The Green Road" has more of a reverence in its overall eight-minute ambience, there is ample challenge in the complete dexterity of the control of four-mallet technique on a five-octave marimba. "The Green Road" is suitable for a very advanced college or professional marimbist. It should have lasting appeal in the 21st–century unaccompanied marimba repertoire." - Jim Lambert Percussive Notes, October 2008
Marimba Solo - Kingdom Lore Fanfare Composed By Mark Ford
Instrumentation: Marimba Low C
"Requiring a five-octave marimba, Mark Ford's rhapsodic "Kingdom Lore Fanfare" has a dramatic opening, emphasizing a heroic, fanfare like, three-note rhythmic cell that returns several times throughout this six-and-a-half minute composition. This 18-measure opening transitions to a faster section in which the left hand rolls in octaves (one-handed rolls) with the composer's instruction of "nimbly." The third section is more linear and lyrical, taking the marimbist through several metric changes from 5/8 to 6/8 to 9/16 to 3/8. Obviously, this third section demands precise rhythmic internalization as well as total control of each mallet because of the tempo demands. This third section leads to an even more difficult fourth passage, which involves sextuplets with wide intervals, stretching the performer's tessitura from the lowest portion of the marimba to its upper register. The tonal references in "Kingdom Lore Fanfare" are somewhat vague—yet not offensive to the traditionalist. An eight-measure cadenza leads back to a coda that references the opening "fanfare" before ending very mysteriously with a soft arpeggiated passage from the lowest register of the marimba to its highest. "Kingdom Lore Fanfare" takes the marimba repertoire a notch higher in difficulty and in overall sensitive beauty." - Jim Lambert, Percussive Notes October 2006
Marimba Solo - Motion Beyond Composed By Mark Ford
Motion Beyond was written in 1998 and premiered at the Percussive Arts Society International Convention that year in Orlando, Florida. The music is based on the concept of shifting ostinatos with a haunting theme that transforms throughout the work. The title refers to the forward motion of these swirling rhythms, as well as a desire to move ahead of the daily problems in life.
Marimba Solo - Polaris Composed By Mark Ford
Program Notes: Polaris is a one movement solo based on a rhythmic theme in 7/8 meter. Set in a modified rondo form, two separate ostinatos help unify the music while themes from the opening chorale and allegro sections are developed. As the North Star has served as a navigation reference for centuries, Polaris reflects the inner part of each of us that guides the decisions and shapes the identity.
"Mark Ford has distinguished himself as a scholar, as a performer and as the composer of popular percussion works such as Head Talk and Stubernic. In Polaris, Ford delivers another winning composition. Polaris is an unaccompanied one-movement composition requiring the use of a 4 1/2- octave (low-F) marimba. Mainly in 7/8 time, Polaris is in rondo form utilizing two ostinato patterns to help unify the work. The work opens with a brief chorale setting. The intervals between the notes of the chords used in this section become the foundation of much of the melodic material to come. Polaris proceeds into a fast, driving pattern-oriented tour de force for advanced four-mallet marimbists. Beginning subtly, the ostinato patterns are established, the melodic material presented and eventually developed. The work is primarily of a tonal nature, in minor modes, but does employ a recurring melodic motive of a perfect fourth to a minor second to another perfect fourth. This motive is also material for development. Adding interest as the work progresses, the melody shifts from one voice to another and reappears in thirds and sixths. Rhythmically, Polaris incorporates much constant 16th-note material with sections of syncopated motives. Approximately 9 1/2 minutes in length, Polaris possesses a substantial amount of interesting melodic, harmonic and rhythmic material. This composition not only will challenge the marimbist, but will satisfy performers and audiences alike. Rightfully so, I expect Polaris will find its way to a variety of percussion recitals." - Rich Holly Percussive Notes, April 1997
Marimba Solo - Ransom Composed By Mark Ford
"This new marimba solo by Mark Ford is scored for 5-octave marimba but would be easily playable on a low F instrument. The work begins with a slow and mysterious section that uses long rolls and slow melodic figures in the right hand. This introduction yields to the first major section, featuring a meandering ostinato underneath fragmented melodic figures. After a brief fermata, the marimbist finds a transitional section in vaious odd meters that hints at the new thematic material for the next segment. The lyrical section that follows features syncopated melodies on top of a left-handed ostinato that is cleverly reminiscent of the cascara pattern used in timbale playing. This section builds to a climatic fortissimo, then gradually winds down, giving way to a short restatement of the introductory chorale. Ford then "replays" the majority of the work, but on a miniature scale, repeating fragments of each section. This coda builds to another climax, then quickly dissipates to one very soft staccato chord that concludes the piece. While there are ample technical challenges, many of the ostinatos and melodic figures are idiomatically friendly. The result is a marimba solo that is fun to play and equally refreshing to listen to." - Scott Herring Percussive Notes, June 2003
