Song for Jessica-SAMPLE

JAMIESON CARR

SONG FOR JESSICA for solo marimba

Song for Jessica can be found in Sequential Studies for Four-Mallet Marimba (Book 2) by Julia Gaines. Engaging, insightful, and thorough, this collection of 20 lessons and 8 solos focuses on a specific performance style that is idiomatic to the marimba: the chorale.

Song for Jessica by Jamieson Carr Š 2019 Tapspace Publications, LLC (ASCAP). Portland, OR. All rights reserved. International copyright secured. Printed in USA. 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.

TSPCS20-004

Approx. playing time: 1'30"

SONG FOR JESSICA for solo marimba (4-octave)

JAMIESON CARR

Playful q = 110

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© 2019 Tapspace Publications, LLC, Portland, OR. (ASCAP) International copyright secured. All rights reserved.

SONG FOR JESSICA – Carr

2

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PERFORMANCE NOTES Tenuto Markings This piece has a melody that needs to be brought out. The tenuto marks to help identify the notes that constitute the melody. This notation begins in measure 9 and lets you know to play those notes a little louder and/or play the accompanying notes a little softer. All notes are NOT created equal.

Hemiola A hemiola occurs when a written-out rhythm in a composition actually creates the feel of a different meter.

This idea occurs throughout the entire piece. It starts with a 3/4 meter but will often go into a 6/8 feel. In either meter, there are six eighth notes to deal with. In 3/4 they are usually beamed in three groups of two, and in 6/8 they are usually beamed in two groups of three.

The first appearance of the 6/8 feel is in measure 3. With the use of the dotted notes, there are only two “big beats” in this bar, whereas in the first measure you clearly see three quarter notes/rests.

Sometimes the tenuto marking to indicate the 6/8 feel even though the eighth-note groupings don’t show it. Notice how in measures 9 and 10, the six eighth notes are beamed according to the indicated 3/4 meter, but there are tenuto markings on the first and fourth eighth notes. Those tenuto markings will override the beaming, and you should hear 6/8 instead of 3/4. This happens throughout the rest of the piece and is an important musical concept to understand.

Musical Themes Music can often be divided up into sections just like we divide up a story. There are paragraphs (sections), sentences (themes), and ideas (motives). In this piece there are three basic sections, and two of those sections are heard twice, once at the beginning and once at the end. These sections often provide an opportunity to make different musical decisions. Perhaps the return of the first theme, heard at the very end, could be played softer than in the beginning – like a reminder. This is just one possible idea that could be drawn from the connection between these two identical passages.

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