Matre's Dance For Percussion Ensemble (Preview)
By John Psathas | Arranged for Solo Percussion and Mallet Quartet (Arr. Omar Camenates)
By John Psathas | Arranged for Solo Percussion and Mallet Quartet (Arr. Omar Camenates)
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utilising wooden keyboard percussion instruments in lieu of the piano. The vibraphone<br />
voice is added throughout to bring out melodic lines where precise control of note<br />
length is necessary. As such, note lengths and articulation markings should be strictly<br />
observed during these sections. However, care should also be taken to blend all keyboard<br />
instruments throughout to create a single unified sonority.<br />
Since much of the original piano part exists in the extreme high and low ends of the<br />
instrument, numerous accommodations had to be made to fit within the range of<br />
keyboard percussion instruments. However, a deliberate attempt was made to capture the<br />
tonal character of those unavailable pitches. Unison playing is used extensively in the low<br />
register of the marimba to emulate the grit and thickness of the low piano strings and the<br />
addition of the xylophone captures of brilliant attack of the highest notes. Any interpretive<br />
decisions made by performers to capture these qualities through mallet selection, stage<br />
set-up, amplification and more are welcomed.<br />
Matre’s <strong>Dance</strong> was commissioned by Jack Body (with financial support from Creative<br />
New Zealand), receiving its premiere performance from David Guerin (piano) and Bruce<br />
McKinnon (percussion) in Wellington, New Zealand, in April of 1991. This arrangement has<br />
been recorded by Carmenates and members of the JP3 <strong>Ensemble</strong> (Tommy Dobbs, Melinda<br />
Leoce, Justin Lamb and Luis Rivera) for the 2016 Rattle Records release entitled The John<br />
Psathas <strong>Percussion</strong> Project: Volume One.<br />
Performance notes<br />
Solo <strong>Percussion</strong><br />
Two alternative set-ups are possible<br />
• (a) to be played with semi-hard marimba mallets<br />
/<br />
˛ ˛ ˛ ˛ ˛ ˛<br />
high bongo<br />
(general pitch)<br />
high tom-tom<br />
(general pitch)<br />
medium tom-tom<br />
low tom-tom<br />
(general pitch)<br />
(general pitch)<br />
timpano<br />
tuned to C<br />
timpano<br />
tuned to A<br />
/<br />
˛ ˛ ˛ ˛ ˛ ˛<br />
• (b) to be played with drum sticks<br />
highest roto-tom<br />
(general pitch)<br />
high tom-tom<br />
medium tom-tom<br />
(general pitch)<br />
(general pitch)<br />
low tom-tom<br />
(general pitch)<br />
low roto-tom<br />
(general pitch)<br />
lowest roto-tom<br />
(general pitch)<br />
PE182S – vi