Chopstakovich sample

Page 1

Jesse Sieff

Chopstakovich

solo for marching snare drum and orchestral recording

Chopstakovich by Jesse Sieff Š 2016 Tapspace Publications, LLC (ASCAP). Portland, OR. All rights reserved. International copyright secured. Printed in USA. www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of this composition requires the written consent of the copyright owner. No part of this composition may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

TSPCS16-008


Program Notes Chopstakovich is a solo piece for marching snare drum composed in the fall of 2015. It was written to be performed over a recording of the second movement (Allegro Molto) of Dmitri Shostakovich’s Chamber Symphony in C minor, Op. 110a (an arrangement for string orchestra by Rudolf Barshai of Shostakovich’s String Quartet No. 8 in C minor, Op. 110). Written with Shostakovich’s characteristically dark and dissonant style in mind, I found it fitting to compose and perform this piece for my percussion audition with the “Commandant’s Own” United States Marine Drum & Bugle Corps. The inherent challenges in this piece involve not just physical playing, or “chops,” but also the listening challenges of adjusting one’s rhythmic timing to that of an orchestral recording – all while playing on what is arguably one of the most acoustically unforgiving percussion instruments in the world. Daring to write over a legendary composer’s masterpiece took a significant amount of thought and effort in hopes of complementing the innovative and provocative nature of his music. I profoundly respect Dmitri Shostakovich’s musical genius, and my aim is to share the influence of his music with others by expressing it as genuinely as possible though the instrument.

Recording Recommendation

–Jesse Sieff

Although any recording should suffice provided the various solo passages are playable, the one I recommend using for practice and performance is titled Shostakovch: Chamber Symphony in C minor, Op. 110a, by the Slovakian chamber orchestra Capella Istropolitana (conducted by Paweł Przytocki) under the label K&K (catalog no. KuK291). It is currently available for purchase at the following link: iTunes: https://itunes.apple.com/us/album/shostakovich-chamber-symphony/id370081780 It is also currently available on both Spotify and Apple Music.

Performance Notes Time It is understood that the musicians in the recording play with their own realization of Shostakovich’s notation, while also adjusting to the conductor’s interpretation. You should reference tempo within this particular interpretation. The piece tends to fluctuate around 114 beats per minute; however, it is important to be mindful of where variations in time occur. For example: If you reference tempo from the 16th notes (backsticking) in bar 8 and continue through letter A, you’ll notice that the high strings pull time back slightly. This stylistic “dragging” should be taken into account in your practice and performance, as there is a flexible time pocket to fall into that requires active listening. That being said, it is incredibly helpful to listen to the recording many times to familiarize yourself with the various interpretations. Balance For obvious reasons, you may find it challenging to balance the sound of a live snare drum with the sound of an orchestral recording. For practice purposes, over-the-ear headphones that are sound cancelling are recommended to promote articulate, musical, and synchronous playing with the orchestra. For performances, ensure that the PA speaker levels are set to a safe volume and that EQ settings produce the fullest and darkest sound from the recording. If the acoustics of the performance venue are not conducive to good balance and you are unable to hear the track over your playing, it will help to play the track through the PA speakers and your headphones simultaneously. It is absolutely essential to consider your venue, test your equipment, and prepare accordingly for a successful performance.


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Notation Key

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Stick Tricks The various visual tricks throughout the score are optional and entirely at the discretion of the performer. Feel free to replace a trick you see in the notation with another that you prefer or feel more comfortable with. Though the visual elements are a component of the performance, it is important to keep the focus primarily on producing the best possible sound quality. A in the score indicates a visual cue. The following list is intended to be a brief guide to the various tricks called out in the music.

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(BS) Backsticking – Right or left strokes played by stylistic half rotations on the butts of the sticks. (+) Cross – A stroke played by one hand crossing over the other. (HT) Helicopter Toss – A full spin and catch of the stick entirely on the horizontal axis. In matched grip, this will be initiated by quickly turning the bead of the stick inwards with support from the thumb. Open hand, let the stick complete at least one full revolution, then catch and re-grip. This, as well as a half spin, is often referred to as a “pancake toss.” (HM) “Hi Mom” – Left hand stroke on the vertical axis initiated by turning wrist inwards from traditional grip. The stick rotates along a modified fulcrum created between the middle and ring finger. The stick should return back to traditional grip the same way using the resulting rebound energy from the drum. (RS) Rim Sweeps – A double stroke played in a sweeping motion to accommodate playing one note on the rim and the other on the drum.

(SJ) Stick Juggle – A sequence of stick tosses that exchange from hand to hand. Often includes stick rotations on both planes. (SSR) Stick-on-Stick Roll – Continuous strokes from clicking one stick onto another that results in multiple strokes on the drum. Gripping lightly with a solid fulcrum helps regulate the number of bounces. (SS) Spider Sticking – Three-way backsticking that relies on turning the stick with the fingers and wrist to articulate notes. The stick flip motion continues in the same direction. These passages include the “2nd SS backstick” notehead shown above. (TR) Thumb Roll – An inward spin on the horizontal axis that rotates along the thumb (usually on the left in traditional). Set stick pressure on the upper to middle thumb, then initiate motion with the inner fingers, allowing it to roll down and around.


Level: Advanced Approx. playing time: 3’00”

Chopstakovich

Aggressively q = 114

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violins

Jesse Sieff

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© 2016 Tapspace Publications, LLC, Portland, OR. (ASCAP) International copyright secured. All rights reserved.


Chopstakovich – Sieff

2

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> > > > > > > > > > > - 1/2 >> >> > > > æ j j æ j j j æ j æ æ æ j j j j j j 4 2 æ 4 / 4 œ œœ œ œ œ œœ œ œœ œ œ œœ œ œ œœ œœ œ œ œœ œœ œ œ œœ œœ œœ œ œ œœ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ 4

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TSPCS16-008


3

Chopstakovich – Sieff (HM)

(SC)

D1 (shell) ê (BS) ê> + > ê (RH flip) > æ æ æ æ ¿ œ ¿ œ 4 /4‚ œ - œ - œ œ œ œ œ œ œ œ R

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ê (LH thumb roll

ê (SS)—LH edge, RH center ^ . to matched, butt end) ^ (LH to trad.)3 + 3 > > ^ - - - - - - - - - > ¿ ¿ ¿ ¿ œæ ‹ œ œ œ œ œ œ œ œ œ œ œ 4 ‹ œ œ œ œj œ œ - œ œj 8 œ - œ œj - œ 8 œ œj - œ œ œ œj œ 5 5 m /4‹ œœœœ 4 4

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(4 o'clock rim position) 1/2 E C (16th motion) > >3 > > > >3 > > > > > > > ^ ^ ^ 7 3 7 m m m j j j j 5 j 4 ‰ ‹ ‹ ‹ œæ œæ œæ œ œæ œæ œæ œ / 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 4 ˙™ 4

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1/2 > > - > C> > > > > 3 >3 æ æ æ æ æ æ j j j j j   œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ œœ œ œ œ œ

3 ^ ^ ^ 3 æ æ æ æ æ æ / ‰ ‹ ‹ ‹ œœœœ œœœœ Œ

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E 1/2 C E 1/2 3 3 > > > > > 3 - > ^ m ¿ ¿ ¿ œœœœœœœ ‰ œœœœœœœœœœœœœœœœœœœœœœœœœœœœ / ‹ œ ‚ ‚

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mp cresc. 1/2

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C 3 3 > > > > ^ ^ ^ > -3 3 > > / 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 œ œ œ œ œ ‹ ‹ ‹ œœœœœœœ œœœœœœœ

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C . > > > > 1/2 > > > ^ > > > j j j j j æ æ æ æ æ æ æ æ æ æ m    / ≈ œ œ œ œ œ œ œ ≈œ œ œ œ œ œ œ œ œ œœ œœ œ œ œœ œœ œ ≈ œ œ œ œ œ œ œ œ œ œ ‹ œ œ œ œ œ œ œ œ œ œ œ œ

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E ê (RH stick visual) ê (LH stick visual-extended) ê (SJ) > >> > > > >>>>>>>> > ^ > > > æ æ æ æ æ æ 3 / œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ ≈ œ œ œ œ œ œ œ œ œ ‹ œ™ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4

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1/2 E1/2 C > > j æ æ æ4 m2  3 4 / 4 œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ 4

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TSPCS16-008

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Chopstakovich – Sieff

4

ê (RH stick visual) 1/2 E > > > > j j æ m2   4 3 4 / 4 œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ 4

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