Five pieces for solo marimba I. To the Touch

5 Pieces for Solo Marimba 2011 Joseph Pereira

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Five Pieces for Solo Marimba I. ...to the touch For Naoko Takada

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*

*-All staccatos indicate dead strokes sempre.

Only notes with slurs are to be played as normal when in a chord.

& Œ ‰## œœ Ó .

≈

‰‰ ‰ Œ œœ œ. œ n œ. œ . bœ. bbœœ. bbœœ. ≈b œ ‰ ‰ ‰ Œ

? Œ ‰b œœ Ó

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14

&

æ ˙˙æ

? ˙ ææ

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21

&

Joseph Pereira

q=68 With a strong rhythmical feel for each phrase until bar 12 but also not in strict time.

j ‰ ‰ œ ≈bœœ‰ Œ ‰#œœœ‰ Ó ∑ b œ ‰ n œj ‰ Œ ‰ œ Ó Œ ‰ œ Œ ≈ œ‰ ‰ œ œ b œ œ œ # œ œ ™ œ œ. . œ # œ œ œ œ œ. . œ b œ ™ . . . # œ. # œ . . ## œœ. . . œœ. (B,C lv) . œ b œœ. b œ. . bœ. . ™ bœ. . # œ pp b œ n œ b œ b œ b # n œ œ œ b œ ? 44 ∑ Ó Œ #œ ‰ ‰ bœ ‰ ™ # œR Ó Ó ≈ ‰ ‰b œ Ó b œ ™b œ Œ ‰ #œ Œ ≈ ‰ ‰#œ

4 &4

7

1

poco

æ Œ œœæ œœ . mp œ#>O Œ ææ

soft muffle

‰ ææj ææ œ ˙™

≈

≈ Œ Ó œ œ. œ œ. . bb œœ. b œ ≈b œ ≈ Œ ˙˙

ææ ææ œ b˙˙ ™™

(Right hand onlyboth mallets hit at same time)

‰ œœ ˙˙ ™™

p poco

œœ #œœfijŒ Ó

v pp mp

n.

Œ Ó

n œœ. > mf >œ. # # œ Œ bO > p

^ ‰ Œ œœ‰ œœ ‰ ≈œœ ‰ ‰ œ ‰ ™ Œ . . . œ. œ œ. mp poco . . . # œ. # œ # œ # œ . # œ ‰# œ ‰ ‰ #œ ‰ #œ ‰ Œ ‰ #œ ‰ ™ #œ Œ q.=126

9 8

∑

- - - - -™ ™ ? œ ‰ œ ‰ œ œ ææœ ææ˙

∑

ppp (one hand-sim.)

poco

∑

‰ ## œœ n œœ œææ™ >. mf sfz n œœ. >œ. ppp ‰#œ æœ ™ æ

∑

accel.

w ææ

æ œœæ -

∑

- - - - - 9 ##-œœ œ ##-œœ œJ ‰##-œœ œ ##-œœ ‰ œ ‰ œ ‰##œœ. œ ‰ œ ##œœ. œ ‰ œ ‰ œ ‰##œœ.

8 J ∑

∑

∑

U ≈ > œ #œ. œ œ #œ. œ œ #œ. œ œ œ œ #œ. œ œ #œfi.j œ œ œ œ œ œ æ˙ ™ jŒ ‰ # œ ‰ # œ ‰ ‰ ‰ # œ ‰ ‰#œ ‰ æ O> bœ # œ mf

æ ˙™æ

catch resonance sneak in each note

mp

Harmonic sounding 2 octaves higher-played with a dead stroke in the middle of the bar and relaxing as soon as the stroke is made to let sound. This can also be played by muffling lightly in the center of the bar with one mallet to take out the fundamental, and then playing a normal stroke near the node with the other mallet. This beating spot may change depending on the note and the instrument.

∑

(C, C# dead strokeG, F, lv)

accel.

mp

© 2011 Bachovich Music Publications.All Rights Reserved

∑

G™ ææ ≈ O™ mf > *-muffle with other mallet mp ppp

gradually go to muffled tone

*

or hand for an unpitched sound

{

2

28

Short rhythmical bursts but not in strict tempo

& ?

fi bœ bœ f

{

34

? Ϊ

{

&

>. œ œ œ œ œ œ >œ œb œ (one hand/mallet)

p

œ

^ OOOO ™™™™ Œ ™

‰ OOj ff

molto

∑

&

41

∑

œ

## OO v

∑

‰ ‰bœfij >

∑

œ.

œ >œ œ >œfij >œJ æ˙ ™ ‰ bœ bœ æ

(one hand/mallet-sim.)

ff p

∑

œ œ

trem.) >œhand b œ b œ œ Œ ™ bœ bœ J æ æ j Œ ™ OO f mp molto v (normal 2

Ϊ

fi œ

#œ

œ œ

œ

mf

œ

G™ æ

g f

Tempo becoming more and more free as if improvising

∑ fib œ b œ œ œ œ œ #œ #œ

‰

ff

∑

∑

∑

^j ^ (muffled) >œ. g g ™ G ™ g g g G g #œ ‰ ‰##OOOO ‰ æ æ ™ æ ™ J ‰bbbbOOOO æ æ æ mp p

f

∑

(one hand/mallet) b>œ œ œ™ g ™ æJ æ æ

g ^ ^ æJ ‰ j ‰ ‰ j æ æ O O gæ™ µ Gæ™ pp mf

ææj ææ œ œ œ™ > poco

Ϊ

∑ U æ ¿æ™

(one hand/ mallet)

fi œ

use #4 (hardest)mallet

f

f

poco

bœ mp

œ

pp

Use hand to muffle in center of bar and press to raise pitch. Also move mallet beating spot from node to right up against muffling hand for an unpitched wood sound.

æ ˙æ™

? Ó™

ææj ‰ ?œœj œ >. p

‰ ‰ bbœœj >-

&

Ó™

p

‰ #œ

∑

œb œ œ

slow/Ad Lib sneak in each pitch

œ ˙™ ‰ ‰ ææJ ææ ppp

∑ œ™ ææ

™ b˙˙ ™ ææ

∑ U œœ ™™ œ œœ ™™ ‰ ææ ææ œ™ ææ ppp n.

∑

q.=126 Subito

∑

U æ ^ ^ œœ œœ œœ ™™ œœæ™™ ææ bæœ æœ ™ œœ ™™ ‰####OOOO nnnOOOO ™™™™ æJ æ p n.

^ OO ™™ OO ™™

as if as soft as possible but still getting harmonics to speak