Dear Percussionist,

Thanks for purchasin g this copy of "Fabian Theory". . .

Over the years I have had many emails from percussion ists ait over the world requestmg detatls
of
how to manage the technolog y associated with this piece.
Here are some answers to common questions .... .... . . . . .. .

Working with the delay on stage..... ........... . .

In order to perform the piece accurately , it is important to be able to clearly momtor the signal
from the delay unit, so as to synchroni se your playing with this signal.
One of the main problems encounter ed with Fabian Theory performan ces is feedback generated
from monitorin g this signal . . .
If you are using a foldback wedge on stage to monitor the delay signal, chances are 1t w1ll set up
a feedback loop within the delay (the microphon e above the marimba picks up the signal from
the foldback monitor & begins to feedback . ) . .
You can get around this problem by monitorin g your delay signal through headphon es (m1111
earphones are sufficient - & less obtrusive visually).
Make sure you leave plenty of time to set yourself up on stage before the performan ce - it can
often take a while to obtain the right balance through the P .A . system.
Also ..... make sure you are able to practice the piece with the delay unit itself, as this is quite
difficult & can take a while to get the hang of.

Re: the "LOOP" created from measures 49 -50 ........... .

With some delays (i .e . the Roland SDE series, which I used when writing
this piece, & which are probably now obsolete ) , upon the depression of a footswitch connected
to
the unit, the material that has just been "recorded" into the delay is "held" & repeated . l'11 try to
explain further. ... .... ..... .

The delay time = 1 quarter note & the idea of the loop is simply to catch a "quarter notes" worth
of the stuff being recorded into the delay at this point, which repeats untill measure 87.
If the figure in measures 49-50 is fed into the delay with the right feedback,
this should result in an effect similar to that of 4 or 5 marimbas ail
playing that sequence of notes - but each part being delayed by a quarter note.
By "capturing" (with the footswitch ) the material in the delay at the end
of measure 50 - you should end up with I quarter notes worth of this pulsating, multiple marimba
effect .
One problem that has been encounter ed by various players is that some delay
lines produce a nasty soundin g "click" at the moment the footswitch is
depressed (whi ch keeps repeating until the loop is turned off!). The "click" can be minimize d
with practice, but some players have constructe d the "loop" as a pre-record ed sample & triooered
it (in sync) by some fo rm of midi mallet device (i.e. KAT) . Percussion ists the world over ;e~m
to
be particularl y resourcefu l with regard to these kinds of issues.

Q. - '·does the delay remain "on" (sounding ) at measure 51, or is the delay
bypassed (not sounding) ?"

A - With the "loop" now active, the delay effect is bypassed until 87 , when it starts up again (& the
loop is turned off @ measure 87).

Q. - ··111 measure 87 it says "delay hold off" does this mean turn the delay back
on (sounding once again) ... .if it has been off s ince measure 51 ?"

A - Yes . T he "loop" is de-activat ed & the delay is re-activate d.

T hi s score was recently revised for 4 mallets (it used to be for 5.)

Any further questions can be directed to the website http://www .rimshot .com.au

Ni gel Westlake.
 Co111111issio11cd by Sy1wrgy wi//1 nssistn11cr fro m //te Music Board Austmlin Cou 11cil

FABIAN THEORY
For marimba & 3 tom to ms.
for solo percussi onist & digital d elay
Nigel Wes tlake
Dela y time =566 m illic;\.'cs. Septemb er 1987
Regenerat ion (feedback) = 30' , .
Output= 100%.

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