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Glassov, L. Reflections Vibraphone

Solo Vibrafono

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287 views17 pages

Glassov, L. Reflections Vibraphone

Solo Vibrafono

Uploaded by

uto
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
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By Lynn Glassock Studio 4 Productions PERFORMANCE NOTES GENERAL ‘The mallet order used for this pieceis: 1 % 9 % 4321 Stickings are sometimes given and are intended as helpful suggestions, One's own technique and playing style may sometimes make other stickings more desirable. ‘Medium-hard mallets (but not necessarily the same set of mallets for each movement) are suggested, ‘The final choice of mallets is left to the discretion of the performer. ‘The motor should be off for all movements. There are four types of pedaling that are to be used in this piece: 1) One which completely dampens the preceding sounds; 2) One which is quicker and/or lighter than #1 so that a small amount of sound Temains when the pedal is depressed again, (This may be an intentional technique or simply a result that occurs when pedaling is required between notes in a rapidly movinig passage); 3) One which is extremely quick and light so that only a slight amount of the preceding sound is dampened, It would Tequire numerous pedals of this type to completely dampen a forte or louder sound); 4) One which ‘gradually raises the pedal so that the sustained sounds seem to die away naturally. The first two types f pedaling should be used in most situations. The third type of pedaling is recommended (but is optional) when an open triangle ( _) is given within the normal pedal markings. This type of pedaling ‘may also be used at any time during the piece when the performer feels that such pedaling would be ‘musically beneficial. A pedaling of the first type should not be used when the open tangle symbol is given, The fourth type of pedaling should be used when "gradually pedal" is written Dampening is signified by an "x" after the note that is to be dampened. The dampening should usually occur at the same time the next note is played. "Slide dampening" (playing a note and then sliding the same mallet laterally to dampen the previously played adjacent note) is suggested when a small "s" is given under the dampening sign. The final choice of which type of dampening to use is always left to the discretion of the performer. A dead stroke is designated by a "+" above or below the note head, Accidentals are used in their traditional manner; i. the accidental remains in effect for the same line or space (but not octave displacements) of the same staff for the remainder of the measure. Cautionary accidentals are occasionally given. SPECIFIC FOR MOVEMENTS 1. Mallet dampening is an integral part of this movement. Care should be taken not to dampen a note ina moving line that is a sustained sound on the other staf, IL. Tt was possible to notate most of this movement on one staff without sacrificing the clarity of the lines. Pedal each beat (either a quarter or a dotted quarter note) when no pedal markings are given, IIL. The notes of the melodic line are beamed with those of the accompanying line for ease of reading and are not intended to indicate their true lengths. The pedaling determines and controls the desired note values. A delicate balance of sustained sounds along with a reasonably clear melodic line is desired. The choice of mallets and the use of the pedal are extremely important in this ‘movement. REFLECTIONS Lynn Glassock I. anew year's fanfare 2 84P-2029 © 1992 Stadio 4 Productions * Gradually raise the pedal so that the sustained notes seem to die away naturally anna nas eee Bene) Annan Annee eee) ‘erese, (poh saves) ann-----+ a------- ee ee eo > ry One mf Pa ae eee eee awe eee 7 nee) Fe | | ; h Il, a spring day bd. 4, e 1 i o 1 vo nih W te * Continue to pedal on each beat unless notated otherwise, Bennneed anna nee (pedal each beat as before) 5) GS ror Br Op =H oa fi f PL Er ett piatmm . wi ILS TIL. the wind 3 J. 276-80 311341 15 432143 "resc. poco a poco 3 11311311 1 333333 eres. poco a poco 16 124313

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