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    92 views84 pages

    Border Crossing

    Uploaded by

    xilofono515

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    N\ WN UX me \ LAN A \ ——— AN ae BORDER CROSSING for . Percussion Quartet David Vayo HoneyRock 396 Raystown Road Everett, PA 15537 USA PROGRAM NOTE Late one afternoon in 1984, | came across a parade while | was walking toward my bus stop in downtown San Jose, Costa Rica. A group of uniformed high-school kids came marching down Avenida Central playing a Brazilian samba on drums and glockenspiels. | realized later how appropriate this scene was to that armyless, most peaceful of countries where | lived for two Years. Rather than playing a march rooted in militarism, the band played music expressive of good feeling and celebration. Two years later, when Anthony Miranda asked me to write a percussion ensemble piece for his group at SUNY Buffalo, | immediately thought of the samba marching band; my version of it appears in the climactic final section. The title BORDER CROSSING is partly autobiographical, reflecting my in- terest and involvement as a North American in the culture of the lands south of /a frontera. |t also refers to the intermingling of contemporary classical and popular styles in my music. As whether my Border Crossing is a legal one, accompanied by all the proper documents — I prefer to leave that question unaswered. = David Vayo The composer would appreciate being informed of performances of this work. Please send advance puplicity and/or performance programs to: DAVID VAYO clo A.M. Pecussion Publications P.O. Box 436 Lancaster, NY 14086 SETUP/ NOTATION 1B. - 23, 28. CPP (eeu) iT S 2 . tee eS. p> 60 Em fas ithe : . : : i 17 22 (avoventc€) (The atove symbols also appear in the score and parts.) 4, Crotates (one-actave set) 11, Foot-podal Base Brun 21. Pive Tenple Blocks 2. chines 12, Sandbiocks 22, Two Mambo Belle (Medium high, high) 3. To Rototons (Hedin nigh, 13. Hichet 23, Clockenapier ‘nediun tow). Five Temple Blocks 14, Mounted Bongos 2h, Two Congas 5. Ganza (Cylindrtea Meta 15. Four-pitch sit Drux 25. Thunler Sheet ‘Shakex) 6. vateaphone 16, Vibraphone 26, Kylonbone 2. Afuene 17, Medtun Yoot Block 2. Mounted Bongos 8. Catnese cymtat 1B. Suepented Bass Drun 28, Ratchet 9. To Suspended cymbals 19. Rawhide Maracas 23. Santa whistle (to be worn (Lowel Hig) row Pore, T's neck) 10.Three Tos Tons; the lowest {L) 20, Two Doned Gongs 30, Marin should bea floor ton 5 ‘Te syatol © ts shorthand for “five tenple blocks." Siesiar symbole se used in the soore and parts to Indicate other sets of inatrunente, InsmMENTS BY PLANER | sas a ses. is oes cone =e an ait Semen, ge Fide re, meet, | Ed eee mee oe oa oe Een nae Sa et RE ees : = ‘Shit Orun ee sutras penne (ut, eto, bd 7 T= pnts mae capatintess Tact one Bg mee oe (for low end of sariata) 1 ee 2 fuB RUB. recefreer = felt-covered plexiglas chine hanner 4 Mi Tee OL «ras (eodtuny bars) q = wodiun bass drun beater a Wl, GF voice (YM > esneers = weod drunstick ff wood stick, ‘pt end one poraTTON Jessen accent AL te rte Tin accelerant esee TA = niente (sero voruse) rae = dane ‘= danp,precisely when indicate! FOR ANTHONY MIRANDA BORDER CROSSING DAVID VAYO (1987) Allegro moderate, with a Latin feel J=92 hdd os : + bead stroke; hands resain on drun heads rather than rebounding, 24 x x = x =x a A = =I TO oa | perescss = i i. 5 oa a= sss sestestesisesssee oe =] 4 if oO a q a \ \\ Oz Lento J=6o H y H or [H] ee Motor OFF re a 77f- ane a 4 Bo SFP Th THIGH a sa = 5 PR mp my Cece bccn, amy SS FPN ee ee G 34-54 PEP pp mp pe drs Ps 48 — amp Senza pedale Tis simile = See | se % J Aor ae —r"P 1 § Zs =f _ Wo Be ©] 1-4 cosine ipsa me T Ge fare Tuars® wa TP te7 MALLETS Pour! — Wllenss Fe | Tes Se ga * ms ty ————— 1 pk cLaARs® . _ ws cca . Meee eee ig =( py dt tat tt cLars# tor Ob nung Gy Te, 37 SS v |S, ony 3 Por TOMGYE OFF 5S finer “or mou H Q S & 8 Ch f= & S ae Ih wy Cu ee) AT, = = iyeeata Tee + +b—f ~$—pt ¥ Ce = eS iE = + Z iS 7 FINGER SNAPS fY cer) . eae = = ae tZ ett x re eae 2 Fa 4 By. meen. snes ptt ' — I Li. —— => = = a - Fee ee 2 ESE woe Q x24) _p ph + pp —te ft cost T r 7 Ww a moo Ck 107 + Short, high-pitched "S* sound with sharp “T™ attack. (Should sound somewhat, ike ‘high cymbal struck with a wood stick and danped a split-second later.) 16 zo] 6 5 @® Jee od pg = WE Sertoen, evee > ay a= ae = a a Se. See eeseeoae — = noter on, legato ston 124) 2 ‘ = woe tS ae T ———— 25 =: == = Sees vie aS a SS 5 mg p I nl t= € =| SE tS SSE Cc Ze 26 © = a ane I } 5 Sore me a © ma é| =P sieile 7 weal ae 16 20 a SS PI 5 sss" 2 — : ee | Ssempre 4 ra] J 84+ a cH CH CH CK” ae ea zx (P) Allegre J=96 2 21 = a ke “by 1 OF = MzcoosbScec Bec gil 4——_——4_®. fms at OF (tuo rinencas yw ont awe) coy oy, xs 6} FE ot el 1" eae rele — SS ae = = JS fr eho Oy er an (OUEFLED wlan TRIKE Y/HAEETD oy oo — 2A B a ith a= == ——= é ms + crisp, dry "1 consonant; ike tie vound of a close! hi-hat struck with a oot stick. 22 A tok BY fake tah ¢ Hed a0, | Oe | ira i ee stfitey ise — se rrr Tes ee +f ithy fist 25 ee gem x We Osi Oe m fac @rece pid messo J=100 Bee eee oo $4 trie ee Bet ite r teteee = pa ETSe fa = seaeeaneey | wo ter ecclr ear tReet er tr tear tbr ae aos soar er mia; =f a 43 Seer circ et SHER or oo wan bsttetesey tte fey Sic eee ee accel. 3 = a Oacest rece 7 = tz 2 ae > pores) tf 4-8 ti a Ee Se Pevcie gece Cr ® Za C.-accel...) ly ra) = = = (ecurter-Toneve) SS - SESE Seuss petse pore as : re: fF eee 7 oe ee Sosy tees ye Coors a ro? Ste SSS 55S “7 Y A, + : Teng —__~¢ "et, duration ca.6'30" treat a Se $— er ¥ moO Errerr- feererfrererie pore (ae + $ Fett 2 bas ee Ann Arber, Mich. Wis Stereer beecertey Nov. 1986-Jan-I987 . . SESS Revised Aps-Jdune’B7 PERCUSSION TITLES FROM HONEYROCK... TRIOS... . Akadinda Trio/Emmanuel Séjourné Inspired by the percussive mallet music of Uganda, each player inthis unique piece uses 2 mallets, and all three players play on one S-octave marimba. Numerous meto-rhythmic ines interlock to form an interesting polyrhythmic (8:2, etc) texiure, No one parts particulary dificult, yet Concentration is required $0 as to realize the interlocking rithmic patterns in a fashion that seems relaxed, yet grooves! adh. high schoolicol. lege. $18.95 te/Frank Kumor Mallet tro in three movernents, written in the style of traditional Guatemalan marimba music. The combination of two 2-mallt parts and one 4-mallet par, improvisation, end stylistic demands, makes this an ideal work to challenge high schoo! or college percussionists, $16.00, ion Tri /Eckhard Kopetzki {An appealing and accessible title that features @ marimba solest with percussion accompaniment. The percussion parts are set upto be played by eter two playere, or one, allowing flexibility in programming - the piece can be performed elther a trio or duo. While the marimba part ‘requires moderately advanced four-mallet skis, the percussion pars area bt less challenging bul very active and fun to play! Instrumental: ‘marimba (with woodblock), percussion 1: two snare drums & cymbal. percussion 2: bass drum, cymbal & woodblock, Percuseion solist version: ‘bass drum, snare drum, cymbal & woodblock. adv high schoolcollege. $24.95 is 7 is illiam L. Cahn This tio work is centered around an interplay of timbres between the tuba and timpani (4), contrasted against the high pitched sounds of metallic percussion: chimes, crotales, tam tam, tuned gongs (or chimes), sleigh bells, and glockerspiel. This piece is an exploration of the contemplative rather than the bombastic possisities ofthis instrumental combination, college/professional. $20.00 QUARTETS .... he Banjo/L. M. Gottschalk - Arr. Steven Mathiesen ‘Scored for three marimbas (one with low F) and xylophone, this piece derives from an interesting piece of Americana, While the individual parts are not oo dificult (each requires two mallets), the interlocking nature of the overall texture requires concentrated attention to detall. A great piece for developing "ensemble listening’ skils! The Banjo wes one of many piano works writen by Gottschalk for his own performances: and {ates from his first American tour (1853-56). after his return from Europe. In the rhythmic material ofthe piece, one can easly hear the sounds ofthe strumming ofthe banjo enjoyed by Gottschalk in his early years, as well as a passing reference to Stephen Foster's, Camptown Races. high schoolcollege. $22.95 Beat Ballet/Richard K. LeVan Up tempo, groove piece for four players with fts of possibltes to openit up in the solo sections, Based on a number of West rican rhythmic pattems, this piece requires intricate coorcination between the parts. Nomalletinstruments requied, scored for bass drums (2), snare drums (2), {fom toms (4) and a number of cymbals, vbra-slep, bells (double of cowbells) and other hand drums atthe soloists’ discretion - djembe, ashike, ‘Congas, etc. Would work well as an opening or losing number - performers should have fun with this one! adv. high schooUcollege. $25.00 Chamade Suite/lgor Lesnik Snare crum quartet in three movements - optional addtional player(s) on cymbals & bass drum. The term “Chamade" is derived from an old French military expression for a drum (or trumpet) signal for a cease fire. This unique suite of three movements isin fact a Concert version of a Series of miitary drum signals, Players utize a variety of sticking techniques, adv. high school/college. $32.00 ‘Marimba Quartet/Matthew Briggs Third place winner in the 2000 PAS Composition Contest, his work is @ vituosic, 17-minute piece written in the four-movement structure of a classical sing quartet. The fst movement i highly neo-classical, in sonata alegro form. The second ullizes a cyte, selransposing, jacey harmon pragression in one voice as a foundation for floating melodic ideas inthe ether vee parts. The third. “Scherzo Rythmicus, isa tour <6 oreo in 20 eighth note time, loading toa surprising 3/8 conclusion. The final movementis an al-out chromatic race (ala Dit Shostakovich) to the climactic final triad! eollegelprofessiona. full score: $20.00; set of parts: $27.95; score and parts $46.00 Lo Papillon/Richard K. LeVan Abi of minimalism meets some African inuence -.... witha iting melody... ying Rghty.... Up-tempo ensemble, sored for four players {on two marimbas - equites one 4 Y-actave instrument (ow F). Anchored by an ostinato inthe fourth marimba pat. the ether three players tade short melodies and weave in and out of ntriocking rtm figures. No one pat is particularly dificult ~ only the fourth marimba part would ‘quire more than to mallets -yet focused concentration srequred so as to realize the melo-hythmic pattems a fashion that soonse relacees yel groves, ca. 4'38"in duraton, high echooVoolege, $20.00 Raatime Collection - Arr. Gene Koshinst Collection offourfu-tength rags in various styles. Each scored forfour players: xylophone, and three marimbas (one five-octave/may be adapted toa4 %. if &-octave not available), Titles: The Shoveifish Rag), Gum Shoe (Fax Tro), Dimples (Ragtime Intermezzo), Siks & Rags (Waltzes). This s an accessible collection that would be well received by both audiences and performers. adv high schooVollege. score & pars: $24.08 HoneyRock® ~ Percussion Performance Literature, Books & Recordings ~ www.honeyrock.net BORDER CROSSING For Percussion Quartet by David Vayo PLAYER 1 _ SETUP/ NOTATION a 9? ey = 7 6 EWE EOL ae OE FG) eS a (7 00S es ca eas (avnience) (T™me atove symbols also appear in the score and parts.) 1, Crotales (one-octave set) 11, Foot-pedat Bass Drum 21, Pive Temple Blocks 2. Chines 22, Sandblocks 22, Two Manbo Bells (tedium nigh, high) 9+ De Rototene (Wediun hi, 13, Hichat 23, Glockenspted ‘medium o¥) 4, Pive Tenple Blocks AU, Younted Bongos 2, Two Congas 5, Ganta (Cylindrical Hetal 45. Four-pitch SLit Drum 25, Thunder Sheet Shaker) + Vitraphone 16, Vibraphone 2%. Xylophone 7, Afuche 37. Medium Kood Block 2. Mounted Bongos 8, Chinese cymbal 18. Suspemied Bass Dron 2B, Ratenet 9. Two Suspended cynbale 19, Rawhide Naracas 29. Santa Whistle (to te worn (owl, Highe#) ‘around Perc. T's neck) 10.Three Ton Tons; the lowest (L) 20. Two Domed Gongs. 30, Hardt, should tea floor ton = ‘Te symbol ©) 4s shorthanl for “five temple blocks.” similar symbols ‘are used in the score and parte to indicate other sets of instruments, DISTRIBUTION OF INSTRUMENTS BY PLAYER ‘Thunder Sheet Rawhide Maracas ‘Tom Toms mie Re ae aaa = hant plastic Musser if a ee * Ae felt-covered plexiglas chine hanner ui FT coma, OL ra (wediun, bard) 4 = nediun tase drun teater ve wsce (Hy = mec & = wood drunstick = wood stick, ‘batt end ongR NorATTON ip = acoolerando ¢gure J srugnecm Le tere TA = ntente (sero volune) rae) ‘= damp, precisely when indicated PLAYER 1 FOR ANTHONY MIRANDA BORDER CROSSING DAVID VAYO (1987) Allegro moderato, with a Latin feel J=52 z= rr = Copyri lone 1988 AM. Pe ons, P.O. Box 436, Lan NY. 14006 nal Copyright Sec red Made musa Al Rights 2 os Ol Ie OF Lento J=co | ee pe 5 ppp ap PP TF 4 oe E = aA 35 p= en en ee tae s lO (..acceel...) weed =132 Te id 1c ea (rurrven-Toweue) > a i aes _ " ha Sj BORDER CROSSING For Percussion Quartet by David Vayo PLAYER 2 SETUP/ NOTATION I as. 2 COP ee eye 20. = 27 28. : ds aoe '6. O 2 oo 6. SoD ee Wie eo) 24 2c o wa QO ap 200 [ha : Cn = =? 4g — Se | ( Aumence ) (Tne above synbols also appear in the score and parts.) 1. Crotales (one-octave set) 4A, Poot-pedal Bass Drum 21, Pive Teaple Blocks 2. Chines, 32, Sandblocks 22. Two Mambo Bells (tedium nigh, ih) {Two Rototons (Medium hish, 19, Hichat 23, Glocksnsptel dium ow) 4, Five Tenple Blocks 14, Mounted Bongos: 2b, Two Congas Ss Gansa (GyAindeical Metal 45, Four-pitch sit Drum 25. Thunder Sheet Shakex) . 6. Vibrapnone 16, Vibraphone 2. Xylophone 7. Atwohe 12. Medium Hoed Block 2. Mounted Bongos ¢ Cymbal 48, Suspended Bass Drum 2B. Rarenet 9. Two Suspended Cynbais 19, Rasiide Maracas 29. Santa Whistle (to be worn (Low, gh=H) ‘around Pere, I's neck) i0.Tiree Ton Tons; the lowest (L) 20. Two Domed Gongs, 30. Marints ‘should bea floor ton Te symbol ©) is shorthand for *rive tenple Mocks." Sinilar eymbale a6 wast in the score and parts to indicate other sets of instrusente, DISTRIBUTION OF INSTRUMENTS BY PLAYER Bere. Pere. IE ere, II ore. IV wariaba congas canca ‘Ton Tons Bongos, sist Dru Susp. Cymbeds Tenpls Blocks Vitrazone Wood Bioek Chinese cymts2 Coneas Susp. Cymbals Witraphone Vitayhone crotales aylophone TTeaple Blocks suche Chines. Sanda Waistle Yanto Bells Bongos Rototons (wear around neck) Doned Gongs Sandvlocks ‘under Sheet Rawhide Haracos ‘Ton Tons Ratchet Gaokenspied Petal Bass Dru Susp. Bass Dron Ha Hat suse Drun (Note: Many instruments are used by nore than one player.) mauieT sn@ors Musser, PLAS. = yarn mallets (soft, medium, hard) aye ‘bell mallet T = hard nylon 5 as = fert-covered plexiglas chine hanner My Up ? Temmene, T Cras (wediom, bar) q = nediun bass drua beater re = wiee (Ml = noes = wood drunstick = wood stick, ‘butt end MER NOTATION Be ce Mie as i) Bsr ee + a = acosteranio figure + danp,precicely when indicated FOR ANTHONY MIRANDA BORDER CROSSING DAVID VAYO (1987) Allegro molerato, with o Latin feel J=92 i a4 5 4 al 2 Cg Orga ee + ams. : aces pe = la] ott FS eS Z £ s [1] Sanne: Fas f = an * Cie eat eee Publics aster, NY 14088 ight Secured. ‘Made are ” Ri Rights or i ‘ 1 7 ‘ i ' Y 7 IBo * Dead stroke; hands renain on drus heads rather than rebounding, ve Ub as = 5S Por ToNGvE ore oor oF MOUTH, FINGER Swats Lada = + Low olapst cup nands ant clap palna: together Mediue elapsr nomal clapping High claps: flatten pala of one hand, slap center of pala with fingers of other hand (WG 5 ree O ae ig ES BE smooth, even 24] eT u@® == § $ $-—==5 75 it 10 ® Allegro J=96 o,f see a, hs F (ruo matncas in eae wave)” [33 (Spacgskers apotd..: 2 > ses FoR as +f F pF 25 3 2 dIBD rar sa a ee (70) BORDER CROSSING For Percussion Quartet by David Vayo PLAYER 3 SETUP/ NOTATION 3 ey misOw2 24, 2 IS =o a= 00 ES es 7 7 y (avoience) (The atove symtols also appear in the score and parts.) 1. Crotales (one-cetave set) AL, Poot-pedal Base Drun 21, Five Teuple Blocks 2. Chines 12, Sandblocks 22. Two Manbo Bolas (Medium high, high) 3. Tho Rototons (Medium high, 13, Hishat 23, Glockensptel ‘nediun lox) 4, Pive Temple Blocks 14, Mounted Bongos 24, Two Congas Canta, (Cylindrical Metal 15, Fourepltch 8i¢ Drum 25, Thunder sheet Shaker) Vitaphone 16, Vibraphone 26. Xylophone 2. Afwche 17. Medium Wood Block 27, Mounted Bongos 8, chinese Cymbal 18, Suspended Baes Drun 2B, Ratchet 9. The Suspended cymbals 49. Rawhide Maracas 2%. Santa Vntstle (to be worn (Lowel, Higneit) ‘around Pere, I's neck) 10.Three Ton Tons; the lovest (L) 20. Two Domed Gongs 30, Yarinba ‘should be a floor ton 5 The symvot ) is shortnand for “five tenple biocks." Similar syntols 50 Used in the score and parts to indicate other sets of instruments, rere. 1 pers, 1 pero. IY artata congas ton Tors Borese Sit Geum Siege cyatats Reap Socks Tee fone ead Block Sridcce Cyatah Sonens Susp Gyntas Wiramone Wheaten Sretaies Sievers Tepe Blocks there Chinas Se intatte Manto Bele Sones etotons (veer scant neck) Boned Cones Ennis ‘Thunder Sheet Rawhide Maracas ‘Ton Toss Ravenel eer Polat ese pe Siopr bate Dron fiat Site Drum (Notes many Snetsunents are used Wy nore than one player.) aust sngota myssen enter eee) ge wee fe SeaPaaiiee = hard nylon * + tazge soft yarn natets : (for low end of marimba) hand fal tiapaot mallet + brass tus. we aver Se Ob ? i oF 4 » vases (redtumy bard) «= nedéun bass drun beater cra Ga voce ly = 00s wood drunstick = wood stick, ‘butt end one yotartoy Apres ee ra . TA = atente (zero voture) eb = aanp fee ‘= damp, precisely when indicated PLAYER 3 FOR ANTHONY MIRANDA BORDER CROSSING DAVID VAYO (1987) Allegro moderato, with a Latin feel J=92 Mere, w oy wW i) 2. 5 ™ > as sg S : Lig} + + 2. Copyright® 1988 A.M. Percussion Publications, P.O, Box 436, Lancaster, N.Y. 14086 International Copyright Secured Made in U.S.A. All Rights Reserved 3 4 + > Stas * Deree de60 a rns uw = np P 7 MoTOR OFF + 3 a a oO =? L nf 7 Amp senza pedale = aa ee py SSS ae ae Ga (— re 105! Cu ' ae Fl z ‘ oh he Ps r Ip Caaf * Yow clapsr cup hands and olap palas together Nedtus clapar noraal clapping Nigh clayar flatten pala of one hard, slap center of pale with Fingers of other hand ¥ WY [isa] J=84 ms * es PERT PEPE ETE 2 £ suite sumer wine 2 TT co ee as + a SF © cetsp, ary "I" consonants ike the souml of a cloged hi-hat struck sth a ‘oot ‘stick. 135] ® Allegro S296 i 3 ae aed Der e 45 5 £ 38 Ie cm $ z Oo- Oe pi nnce Joie is a= <= a € ¢ Pose a fo) OSes Bz BORDER CROSSING For Percussion Quartet by David Vayo PLAYER 4 SETUP/ NOTATION 9? eb eee (avnence ) (The atove syntols alco appear in the score and parts.) 1, Grotales (eno-cetave set) 414, Poot-podal Base Drun 21. Five Tenple Blocks 2. chines 12, Sardbtocks 22, tho Manto Belle (eds igh, hheh) 3D: ho Rotators, Wetinn hgh, 13, Hienat 23. Glockeneptel ‘medium 1ow) 4, Pive Teaple Blocks 14, Younted Bongos 2, 10 Congas 5. Ganca (CyMrdzteal Weta 15. Four-pltch Slit Dru 25. Thunder Sheet ‘Shaker) 6. vitwaphone 16, Vitaphone 26, Ryloptone stuche 37, Wediun Wood Block 27. Mounted Bongos 8, chinese cymba 18, Suspended Bass Drun 28. Ratenet 9. Tho Suspended cymbals 19, Rawhide Maracas 29, Sanda Whistle (to be worn (owt ign) ‘around Pore, ‘I's neck) O.thzee Ton Tons; the lowest (L) 20, Two Doned Gongs 28. Marist ‘should tea Floor ton 5 The eynbo2 ) is shorthand for "five temple blocks.” sinitar symbols sre uso in the score ant parts to indicate other sets of igetrunents, DISTRYBUTTON OF INSTRUMENTS BY PLAYER pres I pew IE rere, TIE ess. 1 vasinbe congas canea ton Tons onaos Sr run Serpe Costas Temple Books Yiteaone weed block rincce Cyst) Congas Seep, oymtals Vitraphore Viteaphone Grotaies iyleitone Tenple Blocks inure chin Sinbe ihistie ante Delis foneps Rototons rear around neck) ones, Gongs Sanibiocks sander Sheet Tanniae narscas Toa Tone atenet Ciockenapiel Fetal Bass Dron Swope ave Drum ieee Bist Drum (iiotes vany snetzwents are deed ty nore than one player.) suuusr smots * mysser yarn mallets (soft, medium, hard) : NYE. Tce pracite ser "f et mallet = past aylon * = aang soft yarn maiiots Fle er hard felt Uinpant naliet oe v9. Ro, rsxfreer = tert-covered plexiglas chine hanner y (lesos o ; ly. (odin, hare) q = nediun bass run toater Garo (Hh - re = woot drunstiek — ff = wood stick, ‘bute end ong yorarIoN J mtg acme = at st The = seonterand ftewre A = niente (sero vorine)

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