Atcha: Ove tanec 12st Tel021 PULA ZEVF aL Miroru MIK) Marimba Spiritua ONGAKU NO TOMO EDITIONTYP REY Taree TO MEIRIEAM CRUD ISAT, ATE 77 7 CHITA oA MER LS, MMLEOMEBS AMAT Ty 7 EARN, eH ED eH Te TT ty 7S LE. P4 hWEDREOEELTOS. NHK SWAT Sot WRT REESE SA OAR De. wake Ae ATAAFAPSLOSrELENRTICBUT, ESAEN S A(Nicuwe Slagwek Groey Amate- ram PL AP LFA MTRET 7) Ee 2 TERRE. SHLD, YL OeMEML CRENTL SM, TARO SERRE, KO THE EM RCREL, SHATNSRSMHG LE, MATOS BENET Yay TERED Y REMOTELY, 8, RHOY ALM RLRARFE EEL TOS, SE BEIEREMA WaT UY a a * a te MARIMBA SPIRITTAL. This plese was composed fram 1988 tthe Seginning of 1964. kecpieg i mind the sete pein of starvation ond fusaine in Africa which nas occarsing at hat ime. The pees is composed in an organic fshon, vith the firs half of the plece a a state requiem and the last pact a lively resurreesion, Thy tte i an expression of the total proces. ‘The piece was commissioved by NKX, but maria laye: Keiko Abe requested the particular arceagennent, for marimba. The preisiee was on Mach 18. 1984n Amsterdam with Ma. Abe end the Nieuwe Sligwek Groep Aunsterdam. ‘The thythm and note paterae are atrialy acted throughout the gises, but for the chree percussion pacth. only the celatice pitches aad lone qualities (foe the fant par. etal aod wood percussion fusuurdents: fa the second part skin druras) sre roted, “Theres freedom. bul tle periorners should pay auch attention to balance in each section. The cays nf Tokye. The score isset ua 80 the piece ran be plavel as a marimba sofo #8 well tterns for the second par: are taken from she festival dramming of the Chichibu area northwest Minoes MikiDedicate io Koko ABE Marimba Spiritual Minory MEXT da) Maconda ee Koper 62, Suarructy, Tokyo, [a(M810 lower segiter is available, with the sign oke__amayB Tempe 1 ON, B] Macinbs should keep awn tempo. (Metalic percussion” in high cegistec) ‘(Méatallie percession in middle rgater) (Metalic pereussion in low regster) 1of we sepeat freely | epeat freely i repeat freelysa hig seginter) (Wooden pare, in onidale egistes) f= Gooden ner ia low register) f a r=[FO] Tempe free ne —=p==— | f (LD Very stovity, like “Cadenza”™ cee pots le z 2 — SS SS ae == ze Ay ramics ad lib. ihe tynamics ad lib. eee 10 at be ale lp telien ~ £ (WW. 2] Whoa this cesster ie not avalabl, play a oelave highee (Bva alta) to sign[Ta] (J = 180 poco a pote accel. al J = 200) (Tom toms In high pitch) er(Shimedaika} tf (Caw boils) or (Atarigiee = Changizi) P or (G- daiko) 2 (Grusas te low and midéte register) ot (Timp. with wooten sticks) == a PUN B] When “O- daiko" is used, the difference of pisehes should not be considered,‘Gazre énim) o¢ (Ghamedalko ta high pitch) f LP1N. B.1 Incase of marimba solo version, teks « short pause (1’~2") on the bec (IJ, amd go oa coPp HI fOr frecer va. ||LN.8189 case of marintba tolo play the ates in the bracket, Y POSS (HB When this cegister ie nor available, pley a octave higher (ra ata.B 8, B] When the bas melody is ployed a octave higher, the rythm ag ; Se a Ore eam ance (Timbales) o¢ Daibycshito}|)_P with weoden sticks ol IN, B] Tn cAse of marimba solo vection, play Ske (J, aad go on to HT. hs f ? Sted ¥8 (Selo ad Ib = +4) i ——————— | ae PPP fh, Bl Shout by playert, i ———————> S ~Ss>w Jan, 18, 1584 Tokyo,