Morphism IV (1987)
Mark Waldrep
PUBLISHER: Leisure Planet Music
RECORDINGS: None
RANGE: 4.3 octaves
DURATION: 11:00
MOVEMENTS: Two untitled movements
TYPE OF ACCOMPANIMENT: Fixed and controller
MUSICAL OVERVIEW: The marimba and computer (or tape) are equally important. Four matched medium-hard mallets (or exchange one medium mallet in the 1 position) are suggested. The performer and the electronics must be strictly synchronized as several sections are performed in unison. The performer is allowed freedom in determining the exact tempo of the first movement, the range Quarter note = 96-120 is indicated, if creating their own realization. The work is rhythmically dense and complicated. Though composition does not appear to rely on clear harmonic progressions and is not necessarily tonal, but long phrases are usually contain a pitch center.
ACCOMPANIMENT OVERVIEW: The writing for MalletKAT controller does not indicate specific sounds for the performer to use. A sustain and volume pedal are required for the MalletKAT. A complex computer part may be performed in one of three ways, either 1) realtime computer sequencer controlling an array of MIDI sound modules, 2) a pre-recorded tape of the computer parts created by the performer, or 3) a realization supplied on a CD with the score. The composer calls for computer parts 1 and 3 to be percussive and of contrasting timbres and part 2 to be sustained sounds. The score, however, makes no indicating as to which part notes belong. The performer must use their judgment in creating their own realization of the computer portion and may gain some insight by listening to the composer's realization. The MalletKAT part may be performed on marimba according to the composer; however, the actual range of the MalletKAT part goes below the 5.0-octave range of a marimba.
TECHNIQUE OVERVIEW: SI, SIA, and DV. There writing is largely single-line and makes occasional use of double-vertical strokes, only twenty-three times in the lengthy span of music. The stickings are fast and complex, and the performer must adapt to kinesthetic differences changing between the marimba and MalletKAT. The work requires large and sudden leaps, and the performer must be comfortable with large space between the hands. If performing only on marimba, not all of the MalletKAT parts are easily adapted and the performer will have to make decisions in how to handle the sustained pitches.