SKU: A0.811252

Two Dreams for Trombone and Percussion Ensemble

Dr. Justin Alexander (Director, VCU Percussion Ensemble) invited me to create a piece for trombone and percussion ensemble that had roles for more- and less-experienced players so that they could mix within the performance. I so enjoyed composing and performing this work. He estimates the overall difficulty grade of Movement I to be a three on a five-point scale and Movement II to be a four, with a grade four for the overall piece; but some players’ parts (within the eight total in the percussion ensemble) are indeed easier.

The two Movements are approximately five minutes each.

The first Movement  Bilita Mpash (An Amazing Dream) calls for (1) shekeré/guiro; (2) 5-octave marimba (shared with...); (3) 5-octave marimba (shared with previous); (4) claves/drum set with mounted cowbell; (5) bell/mounted cowbell/congas; (6) hi-hat/suspended cymbal; (7) bass drum; and (8) four toms/maracas.

The Second Movement (Running with the Tigers) calls for (1) xylophone; (2) vibraphone/glockenspiel; (3) 5-octave marimba; (4) drum set; (5) shaker/samba whistle/congas (opt. voice); (6) triangle/bell tree/hanging bells/agogo bells (opt. voice); (7) bass drum (opt. voice); and (8) Timpani (opt. voice). Pending difficulty levels, the conga and drum set parts can optionally be split among additional percussionists. The score notes offer a stage plot and many rehearsal tips.

Bilita Mpash (An Amazing Dream)

The 3-2 Rumba Clave anchors this movement, launched by the shekeré. Rhythmic vamps of multiple bars form the landscape over which the trombone’s melody emerges, followed by a move to double-time 2-3 Rumba Clave (with montuno) and back. The trombone soloist improvises without chordal accompaniment for a while so could reflect on the preceding harmonies or instead freely improvise with no concern as to chord changes, while a later section requires improv over chord changes. After the recap, a surprise tag of the ending phrase in Cha Cha sets up the rubato finish. Bilita Mpash (BILL-it-uh m-POSH) is a Bantu term for an amazing dream, a dream so good that it is the polar opposite of a nightmare-a dream in a blissful state where all is forgiven and forgotten

2. Running with the Tigers

The opening, written-out marimba solo is somewhat of a nod to vibist Gary Burton’s influence in bringing mallets towards the expression of modern jazz. A 9/8 samba-groove (5+4) transforms to 4/4. None of the percussionists have to have a jazz background, though the drum set player would be more challenged if not already exposed to Latin drumming. The improvised solo section could be all solo trombone or could be divided among various performers, including trading. The recap of the tune begins over 5/8 samba (3+2, later 2+3). The closing arrhythmic drum-set solo crescendos as the optional surprise of percussionists’ (or additional) voices sing at the end. The title of this movement refers to a recurring dream my dad would have, as well as to the active movements of my grandson when sleeping in his earliest years.

-Antonio J. García

Instrumentation is for:

Solo Trombone and 8-part Percussion Ensemble:

shekeré/guiro, 2 5-octave marimbas, claves/drumset with cowbell, bell, congas, hi-hat, suspended cymbal, bass drum, toms, maracas, xylophone, vibraphone, glockenspiel, shaker, samba whistle, congas, triangle, bell tree, hanging bells, agogo bells, bass drum and timpani.

This rhythmic and dramatic work includes improvisation by the Trombonist. 

Listen to the brilliant live performance featuring Mr. Garcia and the Virginia Commonwealth University Percussion Ensemble directed by Dr. Justin Alexander.

SKU: A0.935392

Sharks’ Teeth, a Game for any Number of Percussionists. . . . . . . . . . . . . . . Dan Heslink

Sharks’ Teeth is a musical game, or contest, between two or more percussionists. It is based on rhythm, and can therefore be executed on any combination of indefinitely-pitched percussion instruments. Its execution relies on guided improvisation governed by preconceived thematic material and manners of elaboration. In addition to the two or more contestants, another musician functions as a Game Meister (GM) who controls that game’s progress and evaluation.

Enclosed are the game instructions for a contest of guided improvisation, and a notated example for two percussionists and Game Meister, Shark’s Tooth. This score can also be played on recital. After reading the contest instructions, the composer recommends that contestants next play the notated example before attempting the game through improvisation.

 Besides being fun to play, this game is also an excellent tool for fostering concentration, musicality, memory and an understanding of musical structure. The composer, Dan Heslink, assigned a difficulty level of medium, and can be contacted at dan@dheslink.com.