Suite For Prepared Vibraphone Full PDF
March 5, 2023 | Author: Anonymous | Category: N/A
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Suite for PrepareD Vibraphone
Von Hansen 2010
Vibraphone Preparation
T2- One tambourine jingle taped concave side down using painter’s painter’ s tape. tambouri nekeys jingle taped convex side down directly on top of the first jingle using a thin strip A ofsecond Gorillatambourine tape. The should sound a short, discernible pitch accompanied by a metallic, “chick” sound.
using a thin strip of Gorilla tape. The preparation T1- Single tambourine jingle taped convex side down using on C2 should rattle for one to two seconds and be quite loud. The preparation on B4 should sound the same as the T2 preparations. G- Two pieces of 40 gauge guitar string string cut the width of the specified key. Painters tape should be used to tape the strings underneath the key. key. Placement should be near the middle, directly where the key begins to get thicker; this this is indicated by the the small horizontal lines o on n the specified keys. The preparation preparation on D2 should buzz for two to three seconds. The other guitar string preparations shou should ld sound similar to a midi vibraphone sound; nasally nasally,, relatively short, and almost artificial.
possible. All coins C- Coin taped loosely to the key using thin electrical tape with as much elasticity as possible. are quarters except Eb5 which is is a nickel. The coins should rat rattle tle as long as possibl possible. e. R - Rectangular, aluminum-foil aluminum-foil packets filled wi with th a small amount of rice. Each packet should be the width of the specified key and no more than 1/4” deep. The packets are attached to th thee key using a small loop of painter’s tape placed between the packet and the key. key. The pitch of the key should ring as long as possible with an audible audible buzz created by the rice. E- Erasers are placed between the keys just inside the strings; this is indicated by a black square on the specified keys. “Pink pet” style erasers should be cut in half and taped together using a single loop of tape between the two pieces. The resulting product should should be an eraser which is abo about ut 3/4” thick and 1 1/4” 1/4” long. The notes should be dampened dampened but not dead, creating a short, short, warm sound.
The erasers and guitar strings should be placed as indicated above. All other preparations should be placed on the outside edge edge of the key as indicated by the the placement of the representative letters. letters. To avoid avoid scratching the keys a single layer of painter’s tape may be placed underneath the tambourine jingle and coin preparations.
This page has been left blank to facilitate page turns
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Life is Sweet on the Edge of a Razor
Notation Explanation
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Strike instrument with yarn mallet. 2. Strike instrument with plastic mallet. 3. Using plastic mallet, perform perform a down stroke on the node of the bar and slowly drag the mallet across the center of the bar but not all the the way to the other node. This should create a descending pitch bend that lasts the length of the notated duration. 4. This is the classic pitch bend where a note is first struck struck by the yarn mallet then the plastic mallet is used to bend the pitch. 5. Perform a dead stroke in in the center of the bar. This can be notated using a yarn mall mallet et or a plastic mallet depending on the note head. 6. This technique is performed performed similar to technique three. Perform a down stroke on the node of the bar and quickly drag the mallet all the way to the other node. This should create a pitch bend that begins as the notated pitch, quickly bends, and returns to the initial pitch. 7. Strike the bar outside of the node, creating a pitch with multiple overtones. 8. Perform a dead stroke on the node of the bar. bar. This technique occurs on the keys prepared prepared with rice packets. This should activate as much of the rice packet as possible, cr creating eating an extended buzz sound. 9. A line between two notes delineates a glissando. 10. Medium-hard yarn mallet. 11. Hard yarn mallet. 12. Hard plastic mallet. This mallet should should be hard enough to to create a strong strong pointed sound and easily create the pitch bend techniques. If the mallet iiss too hard it will not only damage the instrument butwell). it may break from being too brittle (Encore 92R or James Ross bright red mallets work 13. This fermata represents a short pause between one and five seconds. 14. This fermata represents a longer pause between five and ten seconds. 15. The motor in this piece is represented in numbers between one and ten, one being the lowest speed and 10 being the highest. 16. Pedaling should be followed explicitly. 17. The notation for the section from 121-138 is merely for clarity. clarity. It does not have to be performed as a set of 4/4 bars. A set of sixteenth sixteenth notes is to be repeated at the performers discretion but the mallet usage, usage, dynamics and motor should follow follow the notation. The changing texture of the A is the driving force force of this section. This section should last between two and five minutes.
Life is Sweet, on the Edge of a Razor
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124
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126
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