Performance Notes
The tempo should remain consistent throughout the entire piece with minimal fluctuations. The grand pause before rehearsal D is there strictly to allow the marimba to switch mallets. It only needs to be as long as it takes to do the mallet switch. The fermatas over the barlines in the section at rehearsal F should not be very long, just enough for the sound to dissapate. Starting at rehearsal H the tempo may push forward ever so slightly towards the end but it should not be drastic. Accented pitches at rehearsal H should pop out of the texture and be quite obvious to the audience.
For the bass clarinet:
Use the following legend for slap-tongue and air sounds. All slap-tongues in this piece are with pitch.
For the marimba:
X noteheads will be used for notes to be played on the resonators, as shown in the following legend. At rehearsal E, the tuplets that follow the resonator glisses should simulate the effect of sidechaining in an electronic piece of music.
My sincere thanks to Transient Canvas (Amy Advocat and Matt Sharrock) for reading and recording this work. Without them, this piece would not exist. slap-tongue air air to tone
Bass Clarinet
on resonator
Marimba
Dalton H Regnier