JOHN WILLMARTH
WALTZ FOR A WINDY DAY
for solo vibraphone
Waltz for A Windy Day by John Willmarth Š 2020 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. TSPCS20-014
Level: Med-Easy Approx. playing time: 3'00"
for my girls
WALTZ FOR A WINDY DAY JOHN WILLMARTH Expressively ( = c. 92)
Vibraphone
4
A tempo A B 13 7
Più mosso
rit.
rit.
20
C
26
rit. Meno mosso
31
To Coda
© 2020 Tapspace Publications, LLC, Portland, OR. (ASCAP) International copyright secured. All rights reserved.
WALTZ FOR A WINDY DAY – Willmarth
D
2
Con moto ( = 90)
40
E A tempo
poco rit.
43
46
rit.
49
D.S. al Coda
52
Coda
Più mosso rit.
56
61
65
Più mosso
rit.
rit.
A tempo
A tempo
I have always loved a good waltz on the vibraphone. I feel the timbre of the instrument perfectly fits the light, airy character of the dance. This piece was written with my girls (my wife Sharon and daughter Clara) in mind. The rising and falling textures are intended to evoke the light breeze you might experience on a sunny spring day in South Carolina. Two of my favorite waltzes for the vibraphone are Waltz King by Bill Molenhof and Waltz for Tomorrow by Rusty Burge. I encourage the performer to seek out quality recordings of these and other waltzes for the vibraphone to reference the style and mood. The pedaling is left to the discretion of the performer, although I think a conservative approach will help communicate the emotion and imagery within the piece. In addition to dynamic shading, there are expressive opportunities throughout via the manipulation of tempo, and I hope the performer will be inspired to create their own personal interpretation. The repetitive sixteenthnote phrases in particular should not feel metronomic, but rather the performer should strive to create a swaying sensation like the feeling of a light breeze. This piece is playable on a standard 3-octave vibraphone with only two-mallets, however more experienced players may find it preferable to use four mallets.
—John Willmarth
tapspace.com