(un)selfish object (2007)
Baljinder Sekhon
PUBLISHER: Self-published (Composer Website)
RECORDINGS: none
RANGE: 5.0 octaves
DURATION: 10:30
MOVEMENTS: Single movement
TYPE OF ACCOMPANIMENT: Fixed
MUSICAL OVERVIEW: A rolled introduction explores the resonance of the low end of the marimba before giving way to rhythmic motion that permeates the remainder of the composition. In order to ensure the proper functioning of the electronics, the performer must adhere closely to the score's tempo markings, dynamics, rests, etc. The electronics are supporting to the marimba and are generally distinct from the marimba. A noticeable exception is a particular effect in the second half of the work when the accompaniment creates the illusion of pitch-bending on the marimba.
ACCOMPANIMENT OVERVIEW: Synthesized sounds. Resonant tones with a few rhythmic sounds. The work utilizes a patch created in Pure Data that is required for performance (download free here). Microphones running through an audio interface connected to a computer track the marimba and automatically trigger the sounds during performance, but an assistant can manually trigger the sounds as a safety measure (or completely replacing the microphone and interface, if desired.
TECHNIQUE OVERVIEW: SI, SIA, DV, and DL. Intervals within a hand up to an octave, including extended section of octave writing. A section in the middle of the work requires the performer to play a single-note, triple ostinato in the right hand while playing a dynamically changing, duple figure in the left (3:2 polyrhythm). A later section recalls this effect. Apart from those two sections, the writing is idiomatic and pattern based, making stickings clear and repetitive. There are few large leaps (generally of a single note) and the hands remain close together for most of the work. The performer can switch mallets following the opening rolled section, allowing a soft set of mallets to be used. A matched set of medium or medium-hard mallets, may also include a slightly softer bass mallet, would be best for the remainder of the composition.