Take Hold of Me

Page 1

Olin Johannessen

Take Hold of Me

Take Hold of Me. Š 2006 Tapspace Publications LLC. Portland, Oregon. All rights reserved. International copyright secured. Printed in USA. www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of any text or composition contained herein requires the written consent of the copyright owner. No part of any composition contained herein 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.

TSPCE-12


                                              

performance notes general:





     

         for    a given figure, and employ the dictated sticking upon repeat of the    the    defined                      sticking      figure.    (e.g. Letter   H - employ the same sticking found in letter B.)

Articulations will be repeated out of courtesy for the performers; stickings will not. Observe

   Letter     reflect               D should        the vibraphone as the lead voice; however, the performers should still    for a well blended  strive sound between melody and accompaniment.                       

,

A unison breath, to be accompanied by a visual connection between both performers (e.g. m. 97)

C Phrase   such as this one shall be observed and interpreted by the  markings                    based               performers the principles of line dynamics, voice leading, and the dual  on                 mp               musicianship        of the    performers.     Your musical instincts will be your best guide.      f                p f                                             f             pedal    Performer should each   vibraphone:                            phrase based primarily on the note groupings, as reflected                    through    the   beaming   assigned     of the phrase. The following rules will aid the performer in         more specifically      how       to interpret the music as it appears on the page.  defining

               

    

 

          H                     subito mp

  

  

 

. No pedal, or, if preceded by other pedaled notes, this staccato symbol will signal the end of the pedaled section; notes accompanied by this symbol should always be dry. - This tenuto symbol, when applied to a chord (e.g. m. 2), or to a single note, shall signal that f

p

   

  

              

    

      

  the chord should be sustained until the next event in the music.

 

                This type     of    signals that the pedal shall remain down until the phrase   bracket              the bracket is completed.   within contained

> Accent, with accompanying half-pedal (single note). >- Accent, with accompanying pedal in accordance with note groupings (refer to beamings). >>> Successive accents will require no pedal (e.g. mm. 21-22). mf

 

                  

                                  mf

f

    

 

marimba:

         

   





       

  

For the most part, this piece can be performed on a 4.3 octave marimba (low-A). There are however, a few occasions where the marimba part drops below this range. In cases where the       low-note has been placed in parenthesis (as pictured), play the       the high  note           low  rather than                  note. In cases where an asterisk is encountered, the low note          can simply be omitted. Ifffa 5-octave marimba is available, it would be ideal for these few occasions of lower  range.  I

. - This tenuto symbol will signal the demand for a weighted stroke; strive for a heavy sound, a long sound, but not a loud sound. > Accent, within the dynamic context of the surrounding music. >- Weighted accent, for a more sustained sound. >>> Successive accents will require a combination of more velocity, and a higher stroke.

                        This  signal the demand for a more biting stroke, one with more velocity,  staccato symbol  will ff        but not accented.                    

          

Olin Johannessen, born in 1982, began studying the piano at the age of six, and continued his studies in percussion, earning a Bachelors Degree in the area of Percussion Performance from the University of Massachusetts Amherst. While at UMass, Olin composed and arranged music for several ensembles, including the Minuteman Marching Band’s Front Ensemble, the Minuteman Hoop Band, and the MASS Marimba Band. As a UMass alumnus, he continues writing and arranging for these ensembles, as well as other groups nationally. Johannessen is a member of the Vic Firth Educational Team, and is currently the front ensemble technician for the Boston Crusaders Drum and Bugle Corps, where he’s dedicated his drum corps career since 1999. For a free recording of this piece and other works by Tapspace, please visit our website at: www.tapspace.com


Grade 5 Approximate playing time: 4 minutes

Take Hold of Me      

e=160

Vibraphone

                  f mp

Marimba

         mf

Mar.

  

              

                                 f      mp                         

5

Vib.

      

     

           

     

      

Olin Johannessen

 

 

                 

                      

                                                                         

mf

A

                         

9

Vib.

Mar.

Mar.

      

           

                                                                                      14

Vib.



     

     

               

 

B

                                                         subito mp

           



f



                 f

 

 

                               mf

©2006 Tapspace Publications LLC, Portland, OR. All rights reserved.


2

Take Hold of Me – Johannessen

18

Vib.

           mf

Mar.

     

     

   

   

                       

                                    

                                           

f

23

                                           

Vib.

    

Mar.

                                          

28

Vib.

Mar.

            

                                              

    mp

Mar.

TSPCE-12

  

C

   

                       f

                                         f                                 

                                             

    



33

Vib.

    

      

 

      

  

   

    

   

              

      









         





 


3

Take Hold of Me – Johannessen

37

Vib.

  

          

subito f

          mf

  

 

 

 

  



                                    mf                                    

Mar.

            

subito f

42

Vib.

     

     



     Mar.

D





  

     

  f

   

  

p

                        

46

Vib.

    Mar.

     

   

  

Mar.



 



  

    

 

pp

   

  

  

     

   

            

mf

     

   

                  

   

mp

 



     

     

                                  

50

Vib.



   

     

  

 



f

    p+

    



  

 





      

mp

                                     

    

TSPCE-12


4

Take Hold of Me – Johannessen

    

                                    cresc. . .

53

Vib.

mp

Mar.

  

    

 

 

                                                      cresc. . . mp E

                                                            

57

Vib.

Mar.

  

pp

     





 



crescendo poco a poco

mf







crescendo poco a poco

    



     



  



  

   

F                                                

61

Vib.

ff

Mar.

        

 

  

Vib.

Mar.

  

ppp



    *

 

 

 

 

 

 

  



 



 

  

      

          

ppp

mf

ff

 

 

 

 

 

*

                        mf

64

      

 

 

   

     

   *

   

         

        

   

   

* If using a 4.3 octave marimba (low-A), the low notes in these instances should be omitted.

TSPCE-12


5

Take Hold of Me – Johannessen

G

         

68

Vib.

ppp

mf

Mar.

 

   

                 

Vib.

       f

Mar.

ppp

     

  

 decrescendo (2nd X only)                

77

Mar.

            



 

                            

  

                      

  

ff

    

 

 

  

       

 

decrescendo (2nd X only)

     

 

subito f

   

f

   

    

 

     

               

               

f

               

          

 

            

    

  

    

   

ff

f

Vib.

    

                 

mf

73

    



 

 

    

    

     

 

 

 

   

   

              

 



 

              mf

                            

subito f

                                                                                                                                           

81

Vib.

Mar.

TSPCE-12


6

Take Hold of Me – Johannessen

         

86

Vib.

 

      Mar.

    

     

  

                 

     

         

 p

f



 

Vib.

H

         

   

subito mp

      Mar.

   

   

           



 

           mf

 

      Mar.

TSPCE-12

      

   

 

          

f

       

   

  

     

      

                  

 

f

            

93

Vib.

             

                                    mf

         

p

90

 

I

                                                                ff

                                   ff                            

             

  