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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

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