MUSICA BOEMA
from Mvt I. Cantabile arranged for percussion ensemble by Jeff Moore
“Musica Boema I. Movement Opus 137” written by Zdeněk Lukáš. © 1976 Alliance Publications. This arrangement © 2025 Alliance Publications. Arranged by permission. All rights reserved.
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TSPCE25-032
PROGRAM NOTES
I grew up in San Jose, California, and first discovered drum corps through record albums in 1983. I was blown away by how involved the percussion sections were—so different from the limited percussion parts I knew from concert band. The rudimental style was the icing on the cake. The two local corps, the Santa Clara Vanguard and the Concord Blue Devils, made a huge impression on me.
In 1984, I attended my first live drum corps show and saw both groups rehearse and perform. The Santa Clara Vanguard’s percussion feature that year—arranged by their legendary instructor Ralph Hardimon—showed me how musical, polyrhythmic, and mesmerizing a marching percussion ensemble could be. The Blue Devils’ Karn Evil 9 solo inspired me to become a better rudimental snare drummer, but SCV’s feature made me want to become a better musician. I was hooked.
I went on to march with the University of North Texas drumline for three years, then fulfilled a dream by joining SCV. Later, I had the privilege of teaching and writing for the Madison Scouts for 12 years (1991–2002). Whenever I wrote for marching percussion or conducted percussion ensembles—at the University of Central Florida or at various festivals—I often thought back to that 1984 SCV feature and the impact it had on me.
Ralph Hardimon later told me that the material he used for that feature came from a wind ensemble piece he had played as a student at the University of Oregon: Musica Boema by Zdeněk Lukáš. When I finally listened to the original, I was amazed—seven- and five-bar phrases, layers of polyrhythm, and incredible musicality. Ralph’s adaptation of that material was brilliant, but I was equally struck by how well Lukáš’s composition could work as a concert percussion piece.
That idea stayed with me for nearly 30 years until, in the summer of 2025, I finally sat down to arrange it. I aimed to stay close to Lukáš’s original while paying homage to Ralph’s 1984 arrangement that inspired me so deeply. The piece opens with a five-bar introduction reminiscent of Ralph’s feature and then moves into an orchestration of the first movement of Musica Boema (measures 160–231). I included an original “Scotty” snare solo, inspired by Ralph’s writing, and later quoted his actual solo and signature keyboard passage to close the piece.
I hope you and your audience enjoy this arrangement, which I consider a tribute to Ralph’s indelible influence on percussion arranging while celebrating the expressive and colorful possibilities of the concert percussion genre.
— Jeff Moore
PERFORMANCE NOTES
The Scottish snare part is written as a separate part to be played by a specialized soloist, in which case the arrangment requires 15 performers. However, Percussion 2 may cover this part if desired, reducing the total personnel to 14 players. If more than 14 players are available, consider splitting the Percussion 1–5 parts among multiple players.
Set up the ensemble in “stations,” with Percussion 1 and 3 positioned close enough to share the temple blocks. Percussion 1 will play temple blocks with the shoulder of the snare sticks, as there’s no time to change implements. Percussion 2 should mount the shekere so the bead taps are audible, along with a mounted guiro and a single clave that can be struck while holding the other.
Dynamic control is key. Lead voices should project clearly, while timekeeping and repetitive figures should remain on the softer side of their indicated dynamics to allow melodic material to rise naturally in the mix. Overall, aim for a light touch, transparent textures, and sensitivity to color. The work is most effective when dynamics are nuanced and the ensemble emphasizes the subtler, more expressive side of percussion performance.
The ensemble should internalize the 3:2 polyrhythm and its subdivisions, as well as the irregular phrasing of the form:
• Intro: 5 bars, followed by an 8-bar rhythmic accelerando building into the triplet ostinato.
• Rehearsal B–E: 7-bar phrases.
• Rehearsal F: Three 5-bar phrases (and five-beat groupings). Balance carefully—each added layer should get progressively softer to support the additive texture.
• Rehearsal G: Main theme with the Scottish snare solo on the repeat. A tightly tuned Kevlar marching snare may substitute if a Scottish snare isn’t available.
• Rehearsal H: Keyboard feature. Maintain consistent stickings between players, preferably alternating (sometimes left-hand lead) and avoiding excessive doubles.
• Rehearsal I: 7-bar phrase—light and soft in character.
• Rehearsal J: 8-bar phrase leading to a strong arrival, then a decrescendo through the final note (in the spirit of the 1984 SCV feature).
PLAYERS AND INSTRUMENTATION
Musica Boema requires 14-15+ players with the following instrumentation:
1. Glockenspiel
2. Crotales (2 octaves)
3. Xylophone (+ mark tree)
4. Chimes
5. Vibraphone 1
6. Vibraphone 2
7. Marimba 1 (4-octave)
8. Marimba 2 (5-octave)
9. 4 Timpani (32”, 29”, 26”, 23”)
10. Scottish snare (soloist)* (Kevlar pipe snare or marching snare drum)
SUGGESTED SETUP
11. Percussion 1 — snare drum, 5 temple blocks, hi-hat, kick drum, flat ride cymbal (optional)
12. Percussion 2* — shekere, guiro, claves (all mounted), wind chimes (optional)
13. Percussion 3 — sleigh bells, triangle, tambourine, 5 temple blocks (share with/ P1)
14. Percussion 4 — suspended cymbal, finger cymbals, bell plate (or cymbal bell), splash cym
15. Percussion 5 — bass drum, tam-tam
*P2 may play the Scottish snare solo in the absence of a dedicated soloist.
NOTATION KEY
Level: Advanced
Approx. playing time: 2'30"
G l o c k e n s p i e l
C r o t a l e s ( 2 o c t a v e s )
X y l o p h o n e + m a r k t r e e
C h i m e s
V i b r a p h o n e 1
V i b r a p h o n e 2
M a r i m b a 1 4 - o c t a v e
M a r i m b a 2 5 - o c t a v e
4 Ti m p a n i
S c o t t i s h s n a r e s o l o
P e r c u s s i o n 1 s n a r e d r u m 5 t e m p e b o c k s h - h a t k i c k d r u m o p t f l a t r d e c y m
P e r c u s s i o n 2 s h e k e r e g u i r o c a v e s ( a m o u n t e d ) o p t w n d c h i m e s
P e r c u s s i o n 3 s l e i g h b e s , t r a n g e , t a m b o u r n e , 5
P e r c u s s i o n 4 s u s p e n d e d c y m f i n g e r c y m s b e p a t e ( o r c y m b e ) s p l a s h c y m
P e r c u s s i o n 5 b a s s d r u m t a m - t a m
MUSICA BOEMA
° ¢ ° ¢ ° ¢
T u / / / / sl / su / & æ æ æ Y æ æ æ Y
BY
