One Study One Summary (2008)
John Psathas
PUBLISHER: Promethean Editions Limited
RECORDINGS: Ukiyo, Pedro Carneiro (Rattle Records)
RANGE: 5.0 octaves
DURATION: 12:30
MOVEMENTS: two movements
- Etude
- Summary
TYPE OF ACCOMPANIMENT: Fixed
MUSICAL OVERVIEW: The writing for marimba is in the manner of a moto perpetuo, the melodic line being incorporated into a continuous stream of notes. Both movements are heavily influenced by electronic dance music and contain sounds and rhythmic characteristics of several of its subgenres. The marimba and tape should have a tightly integrated sound. A subwoofer is recommended to adequately reproduce the extensive low-frequency sounds in the tape. The first movement contains very fast rhythmic elements across the range of the instrument and requires clarity from a set of hard mallets. A softer mallet may be used in the bass; however, the mallet 1 position must be involved in complicated stickings necessitating only a slight difference between it and the other mallets. Although the second movement is rhythmically active, a blur of harmony is desired and the score calls for a set of super-soft and soft mallets.
ACCOMPANIMENT OVERVIEW: Synthesized sounds and sampled percussion sounds. The tape sounds have a heavy electronica/dance music influence, especially in the first movement. The second movement has a more subdued quality in the first half before entering a breakbeat section. The tape is as active as the marimba writing and helps to accent the important aspects of the marimba line, as well as interacting with the marimba. Two versions of the accompaniment exist: one with the junk percussion sampled into the track and a second without the percussion if it is performed live with the marimba.
TECHNIQUE OVERVIEW: SI, SIA, DV, and DL. This composition presents many technical difficulties including fast interval changes, difficult four-mallet stickings, and large leaps. The constant stream of notes requires the performer to address complicated sticking patterns and issues with body positioning and mallet placement. The melodic line out of a dense, moving texture. When performed with the junk percussion, the work becomes even more difficult as maneuvering to reach the percussion instruments in front of the marimba.