Motor On sample by Tapspace

Matthew Weyer

six vehicles for the developing vibraphonist

Motor On • TSPB-36 © 2017 Tapspace Publications, LLC. Portland, OR. International copyright secured. All rights reserved. www.tapspace.com Any duplication, adaptation, transcription, or arrangement of the compositions contained in this collection requires written consent of the publisher. No part of this book may be photocopied, scanned, shared, or reproduced in any way mechanically or electronically without written permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law. Music content by Matthew Weyer Cover design by Jesse Mattson Note: Errata and additions to this text, if any, may be found by visiting the “Errata” forum board at tapspace.com/forums

Table of Contents 2 Mallets Appalachian Highway. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Classic City. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

3 Mallets Low Country. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

4 Mallets Rush Hour. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Blue Sky. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Piedmont. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Motor On is a collection of short vibraphone solos created for the intermediate player. Each solo can be learned in a couple of practice sessions, allowing more time for mastering technique and musical artistry. I love to travel and explore along our highways, and each solo title depicts a journey, both physical and symbolic, with connections to people and places along the way. As you learn these pieces, take time to appreciate the unique qualities of the vibraphone and be musically expressive!

â&#x20AC;&#x201C;Matthew Weyer

Appalachian Highway The highways leading to my childhood home in southwest Virginia are full of curves, bumps, and incredible mountain views. Going home means returning to family, and also to the towns, mountain ranges, and the scenic New River. In this solo, pay special attention to the pedal indications, which are often in the middle of the measure. Keep the tempo strict but make the phrasing as bumpy or smooth as you like!

Classic City I lived in Athens, Georgia, for two years as a graduate student, and I can still feel the excitement of driving across changing landscapes to this college town on the edge of the Deep South. The college campus is a mix of students from across the country and the world, and the city reflects their energy and spirit. As you play this piece, keep in mind the difference between the short and long phrases. If you choose not to use the motor, be sure the resonator discs are vertical so that the resonators are open. The X indicates dampening a note with your mallet. Dampen the note shown exactly when the X occurs in the measure.

Low Country As a child, traveling through the Tidewater region of Virginia and the coastal lowlands of the Carolinas was exciting to me, because it meant the beach was near. In this solo, the title refers to the land and its people, but also the honest, sincere reflection that comes during low times in a personâ&#x20AC;&#x2122;s life journey. Both of these meanings are significant to me. Be flexible with the time as you perform this piece and try to resist the temptation to press the pedal all the way to the floor. It is written to be played using three mallets, and I have found it most practical to hold two mallets in the right hand and one in the left.

Rush Hour I enjoy long road trips more than most people, and for this reason I sometimes find myself driving solo! One of these long road trips brought me to the Northeast and New England, where I was struck by the variety of people and cultures packed into close quarters.

Rush Hour features a couple of “extended techniques” for the vibraphone. In measure 2, hold the two mallets in your right hand at the interval of a fourth, strike G and C, and then sweep up and down a whole step on the natural bars. You can choose to include more notes in your sweep if you prefer. Notes indicated with an X beginning in measure 19 are to be struck with the mallet shaft on the edge of the bar. You will need to keep one hand on the natural bars and the other hand on the accidental bars in each section of mallet shaft playing.

Blue Sky I have traveled between my home in Knoxville, Tennessee, and the state of Texas countless times, both by car and airplane. Journeys that are familiar do not need to be lacking in excitement and wonder. Before you play this piece, determine the range of vibrato speed available from your vibraphone motor. A “warm” sound is achieved by a vibrato speed that is twice as fast as the tempo, or eighth-note speed. A faster vibrato speed will create the effect of being less warm. Practice changing the motor speed gradually and take your time in each of these motor speed changes. The primary consideration is the resonance during the open spaces rather than the striking of the bars. You are welcome to add or take away mallet dampening to change the character of the sustained chords.

Piedmont As a teenager, I lived in the foothills between the Appalachian Mountains and the flat, coastal region of the Eastern Seaboard. My mother and I would drive through this hilly section of Virginia quite often to visit family. At this age, traveling with parents can reveal a complex mix of emotions and family dynamics. Even so, I have fond memories of making the trip home during the evening, shortly after sunset, with deer threatening to spring into the highway at any moment. Although no teenage boy would admit it at the time, I have fond memories of these trips, the talks about family history, and the Van Morrison cassette that accompanied us.

Piedmont has some moments that are consonant and others that are dissonant. Try letting chords that “clash” ring a little longer before dampening. Be sure not to play this solo too fast - and keep the tempo fairly steady except as noted. At letter C, notice the left hand notes marked as tenuto and play these slightly louder than the others.

for my dad, Dave, and my step mother, Robin

Appalachian Highway MATTHEW WEYER

2 Mallets Motor speed: Medium Fast q = 160

b4 œ & b 4 - œ œ œ- œ œ œ œ- œ œ œ œ- œ œ œ œ- œ œ œ œ œ œ œ œ œ œ œ œ œ œ - œ - œ mf 3 ø ø ø ° b œ & b - œ œ -œ œ œ œ œ- œ œ œ œ- œ œ œ œ- œ œ œ œ œ œœ œœ ‰ œ ˙ œ - œ œ ˙ ø ø ø ° °

. œ. >œ œ b œ œ œ b ‰ ‰ œ Œ œ œ & ‰ œœœ J œ J

. . œ b œ & b œJ ‰ ‰ œ Œ J

. œ. œ b & b œJ ‰ ‰ œJ Œ f

œ >œ °

>œ œ °

w w w œ œ œ œ œw œ œ œ œ œ œ œ œ œ ‰ p

w w œ œ œ œ œ œ œ ‰ p

w w ‰ œ œ œ œ œ œ œ p

w w œ œ œ œ œ œ œ mf

Motor On – Weyer

. œ. œ b & b œJ ‰ ‰ œJ Œ

œ >œ °

w w ‰ œ œ œ œ œ œ œ p

w w œ œ œ œ ˙ mf

b œ œ œœ & b - œ œ -œ œ œ œ œ- œ œ œ œ- œ œ œ œ- œ œ œ œ œ œ œ œ - œ - œ œ œ- œ 3 mf ø ø ø °

b & b -œ œ œ -œ œ œ œ œ- œ œ œ œ- œ œ œ œ- œ œ œ œ œ œœ œ ‰ œ ˙ œ œ ˙ œ - œ ø ø ø ° °

w w w w œ œ œ œ Œ œ œ œ œ œ œ œ œ œ

w w b w &b w œ œ œ Œ œ œ œ œ œœœœœœ

w b &b w Ó

œ œ œ œ p

w w œ œ œ œ œ œ œ œ

œ f

j ‰ Ó œœ .

Classic City

2 Mallets Motor speed: Medium q = 138

4 &4

‰ œ œ-

MATTHEW WEYER

œœ. Œ #œœ J

œø

œœ ™™

° œœ. Œ #œœ J

œ ‰

jŒ jœ œ œ ‰ œ #œœ œ œ œ . œ-

œ œ œ œ œ œ œ ™™ #œ

œ™ œ™

œ œ

œ œ™ œJ œ ™

œ J

ø œœ ™™

œœ ™™

œ œ œ œ

A 9

œœ. Œ #œœ J

‰ œ œ-

ø & œ‰ œø

œœ. Œ #œœ J ° + œj

+ = dead stroke

+ œj

œ ™ #œ ™ & œ™

œœ ™™

œ w

j Œ j œ œ œ ‰ œ #œœ œ œ œ . œ-

œœ ™™

œ J

œœ ™™ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ p

œ œ œ œ œ œ œ œ œ œ œ œ ™™ œœj ˙˙ œ œ œ œ mp mf ø ø ø

j œœ ™™ œ œ ¿œ œ œ

Motor On – Weyer

œ œ œ œ & œ œ œ

œ œ

œ œ œ œ

& œ œ œ

œ ™ œj ˙ œ ™ #œ ˙

œ œ œ œ œ œ œ

ø & œ™ œ™ p ø

ø j œœ ˙˙

#œ ™ œ™

w w

& œ ‰ œ-

œœ. Œ #œœ J

‰ & œ œø

œ ø

j Œ j œ œ œ ‰ œ #œœ œ œ. œ- œ

œœ ™™

¿¿

j œœ ˙˙

˙˙

œ™ j œ ˙ #œ ™ œ ˙

j œœ #œ ™ œ™

œœ

œ œ œ œ

œ ™ #œ ™ œ™ œ™

#œ

œ œ œ œ œ œ

œœ ™™

œ p

ø poco rit.

w œ w

A tempo

ø œœ ™™

œ J

œœ. Œ #œœ J °

œœ ™™

j œœ Ó .

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for Emmaline

Low Country

3 Mallets Motor speed: Slow

MATTHEW WEYER

q = 84 x = dampen bar w/ mallet

3 b 4 3 ¿œ 4 b ‰ j ‰ j 4 œ &b b 4 j œ j ™ ¿œ œ œ œœ ™ œ 4 œ œ œ ™ j œ ¿œ œ œ œ ¿ ¿ œ œ œ œ œ œ ¿ ¿ œ œ œ œ œ œ ™ œ œ™ œ mp

b & b bb

5 ‰ j ‰ 4 œœ ¿œ œ œ ¿ œ œœœ ¿¿œ œ œ ø ø ° ° 3

œ œ™ b 3 œ b & b b 4 œ œœ ™™ J œœœ

U b b & b b œœ œ ˙˙ œ ˙

ø ø

œœ ™™ œ ˙ ™ œ ¿ œ œ œ œ 43 œ œ™ J 44 ˙˙ ™™ œ œ œ 3

œ 3 ‰ J 4

rit.

œ œ œ™ ‰ J œœ ™™ œJ œœœ œ mf

j œœ ™™ œ œ œ™ mp

œœ ¿ œ œ ™™ b 3 b œœ ™ &b b 4

œ 44 œ œ ˙˙ J œ

2 ‰ œj œ ¿œ 4 œœ ¿œ ‰ œj œ ¿œ œœœ ¿¿œ ‰ œj œ œ œ 3 4 4 4

œ œ œ™ ™ œœ ™ J œœ ™™ œJ ˙˙˙ œ œ œ™

A tempo

‰ œj ˙ p

rit.

U w

ppp

Rush Hour

4 Mallets Motor speed: Medium

MATTHEW WEYER

x = dampen bar

sweep back and forth between chords w/ RH

q = 120 w/ mallet

œœ j 4 & 4 bœJ œ œœ œœ ¿ œ 3

w w

3 3 3 3 j œ œ ¿ b œ œ ¿ œ œ ¿ Œ J J bœ œ œ œbœœ œœ j œ œj J J J œ 3 3 3

j b œ œ & J œ œ ˙˙ œ

ww ¿

bœ œ J œ 3

œ #œ #œ œ 3 j œJ œ j œ˙ Œ J #œ œ œ œ J J 3 3

(staggered dampening)

j œœ œœ ¿

œœ

w w

œ œ ¿#œ œ J J 3

+ = dead stroke

+ j œ

œ œ J

+ j œ

& #˙

w 15 & w w mp

+ j bœ

nœ bœ œ 3

bœ 3 œœ ˙˙ j œ œ œ J bœ ¿ J œ œ œ œ œ œ œ J œ J 3 œ 3 f ° 3

(slide from C to D to dampen)

œ œ

To Coda 

j 3 j œ ¿ bœj Œ œ œ œ ¿ b œ. œ œ mf > ° 3

j œ ‰ œ. ø

j bœœœ ˙˙˙ œ ˙ pp

Motor On – Weyer

shaft ‹w/ mallet ‹ b‹ ‹ ‹ J J

& w w ww

j ‰ Œ bœœœœ œœœœ & œ J 3 œ. p ø °

j œ œ œ œ mf > ø 3

‹ ‹ b‹ ‹ ‹ b‹ ‹ ‹ ‹ ‹‹ ‹‹ J J J J J 3 3 3 3

w w ww

j ‰ Œ bœj ˙ & œ œœœ ˙˙˙ œ. ø ° 3

#œ œ

j ‰ Œ œœj ˙˙ œ #œ ˙ œ. ø °

j ‰ Œ œj ˙ œ œœœ ˙˙˙ œ. ø °

j œ œ

j œ œ >œ œ °

‹‹



‹ ‹ J

j ‹j jŒ j ‹ b ‹ ‹ # ‹ n ‹ ‹ b‹ ‹ b‹ ‹ ‹ . mf

j ‰ Œ bœj ˙ & œ œœœ ˙˙˙ œ. pp 3

‹ b‹ J

‹

C 25

‹ ‹ b‹ J J 3

w œœœœ ww w

œ œ > mf ø

D.C. al Coda 3 œœ œ<n>œ ¿œ ¿bœ ¿ œ ¿b œ

j œ ‰ Œ œ.

‹ U Y J pp

for Missi

Blue Sky

4 Mallets Motor speed: Medium

MATTHEW WEYER

Slowly & freely

4 œ &4 œ

œœ œœ b œœ ˙˙

œ ˙

& œ

œœ ™ j ™ b˙˙ œ

œ ˙

ø œ

Motor

U w ¿¿ w

MED

œ œ

bœ œ

œ œ

ø A

& œ

bœ œ œ ˙ ™ œ œ bœ ˙™ œ œ

& œ

SLOW

x = dampen bar w/ mallet

j œ œ œ œ œœœœ ™™™ b ˙˙˙ ¿¿ œ œ

ø œ

¿¿ ¿ œ ¿¿

MED

Motor

œ œ

bœœœœ

U ˙˙˙ ™™

œœœœ

FAST

¿¿¿

MED

w ww

SLOW

ø B 15

Faster q = 108

& œœ

j œ ™ bœ ˙ ¿ mf ° œ

j œ ™ b œ ˙ <n> ¿

œœ

j œ ™ bœ ˙ ¿

Motor On – Weyer

&œ

j b œ ˙ <n> ¿

œ™

œœ œ3œœ b œ œ

bœ ø

œœ œ3œœ b œ œ

bœ ø

œœ œœœ œ 4 b œ 4 ˙˙ & œ ˙ bœ 3

˙˙˙

œ ˙

& w w mp

˙˙˙˙ ™™™™

œœ œ3œœ b œ œ

ø œ

œœ œœ b œœ ˙˙

œ ˙

° œ

¿¿ œ

˙˙ ˙ ø

Tempo primo

œœ ™™ b˙˙ j œ

ø 39

bœ ø D

ø œ

œœ œœœ b œ œ

bœ ø

˙˙˙ ™™™ ˙ ™

& œ

bœ

˙˙˙ ™™™ ˙ ™

˙˙˙ ™™ ˙ ™

3 œ œœ œ œ b œ œ œ

rit.

3 4

SLOW

A tempo

Even faster q = 120

MED

FAST

ø &

Motor œ

œ ˙

œ œ bœ œ œ œ œ œ

ø b¿

U w w p

U w w pp

Motor FAST MED

SLOW

for my mom, Betty

Piedmont

4 Mallets Motor speed: Medium Slow

œ œ j œ œ 44 ˙˙˙˙ ™™™ ¿ œ œ 42 œ œ œ œ˙ œ 44 ˙˙ ¿ œœ ™™ œ 42 w ˙ œ ™ ˙ ˙ mf mp mf ø ø ø ø

q = 84

#2 & 4œœ

x = dampen bar w/ mallet

™ # œ˙˙

MATTHEW WEYER

œj

w 4w 4w

2 œœœ œ œ œ œ˙ œ 4 ˙

4 4

˙˙˙ ˙

˙˙ ˙˙

¿¿ 42 œœœ œ œ œ mp

# œ & ˙ ˙

4 ˙ ™™ 4 ˙˙˙ ™™

2 ¿ œ œ 4œ œ œ œ

œ˙ ˙

4 ˙ 4 ˙w

#2 & 4

œ œ

œ˙ ™ ˙

œj

4 4

˙˙ ™™™ ˙

¿ œœ ™™

œj 42

rit.

œœ ˙˙ ™™ ¿¿ 2 œœ 4 4œ œ œ 4 w w œ p

A tempo

Œ œ œ mf

Motor On – Weyer

# œ œ œœœ œ œœ œ œ œ œ œ ™œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ ™œ œ & œ œ œJ -J J - œJ -J J - ø ø

j j # œ œ œœœ œ œ œ œ œ œ œ œ œ ™œ œ œœœ ‰ ‰ œ Œ œœœœ ˙˙˙ ¿ Œ œ œ & œ œ œ œ. . -J J - J ø ø ° ° °

# œ œ œœœ œ œœ œ œ œ œ œ ™œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ ™œ œ & œ œ œJ -J J - œJ -J J - ø ø

j j j # œ œ œœœ œ œ œ œ œ œœ ‰ ‰ œ Œ œœœ œœœ ™™ œœ Œ œœ œ œ œ œ œ ™œ & œ œ œ. œ œ ™ œœ J J œJ œœ œ. . - ø ø ø ° ° °

& ˙˙˙˙ ™™™ ™

œ œ ˙˙ œ b œ 2 ˙ œ 4 œ œ bœ n ¿ f ø

œ 4 œœ 4

U œ œ œ œ w œ œ œ mp

¿¿¿¿

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