concerto for accordion and percussion sextet peter jarvis, opus 49 · 2016. 6. 17. · concerto for...
TRANSCRIPT
-
Glockenspiel
Concerto for Accordion and Percussion Sextet
Peter Jarvis, Opus 49 (2016)
-
Concerto for Accordion and Percussion Sextet Peter Jarvis, Opus 49 (2016)
Performance Notes
Although some specific mallet choices are indicated, it should be understood that the primary
concerns are clarity of articulation and appropriate sounds for the acoustical environment. Therefore, at the discretion of the conductor and/or players, mallet choices may be altered.
Vibraphone: - Based on clarity of articulation and the acoustical environment, all pedaling choices are finally at the discretion of the conductor and/or vibraphonist.
Tom-toms: If possible, please try to use double-headed drums. - The low tom-tom pitch should sound higher than the bass drum used by percussion 3; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. Percussion 1: - The claves should sound a higher pitch than the claves used by percussion 2. Percussion 2: - The claves should sound a lower pitch than the claves used by percussion 1. - 2 tambourines (with heads) may be used. 1 suspended and one hand held to be used interchangeably in order to best accommodate a given passage. Percussion 3: - The high tam-tam should sound a lower pitch than the lowest suspended cymbal; the result is a single scale of 5 pitches from the low tam-tam through the high suspended cymbal. - The bass drum should sound a lower pitch than the lowest tom-tom used by percussion 2; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. - Snare drum sticks, bass drum beaters , a wooden mallet and a large (preferably heavy) gong mallet will be needed. Swizzle-type sticks and a smaller gong mallet may be useful.
Program Note Concerto for Accordion and Percussion Sextet was completed on June 16, 2016 and is happily
dedicated to William Schimmel. This is my third concerto for percussion sextet and soloist. The first, from 2011, is with vibraphone solo composed for John Ferrari, the second from 2016, is with frame drums solo composed for Glen Velez and this; my third is with accordion and was composed for William Schimmel. All three pieces were composed with the New Jersey Percussion Ensemble in mind, which silently shares the dedication.
- Peter Jarvis
-
{
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Glockenspiel
Marimba
Accordion
Tom-toms
Percussion 1
Percussion 2
Percussion 3
&
ÿ◊
Peter Jarvis, Opus 49 (2016)
Concerto for Accordion and Percussion Sextet
Notation
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&∑
?∑
/
(Double-headed if possible)
Concert Tom-toms
&
with motor
Vibraphone
/
Snare Drum
Bongos
Claves
(higher pitch
than perc 2)Cow Bells
Triangles
/
Tambourine
Claves
(lower pitch than perc 1)
Temple Blocks
/
Bass Drum
(large)
Tam-tams
Suspended Cymbals
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-
Copyright © 2016 Peter Jarvis. Member BMI.
All Rights Reserved. Printed in U.S.A.
Glockenspiel
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Peter Jarvis (2016)
Opus 49
Concerto for Accordion and Percussion Sextet
For William Schimmel
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Concerto for Accordion and Percussion Sextet - Glockenspiel2
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Concerto for Accordion and Percussion Sextet - Glockenspiel3
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Woodland Park, New Jersey
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Concerto for Accordion and Percussion Sextet - Glockenspiel4
-
Marimba
Concerto for Accordion and Percussion Sextet
Peter Jarvis, Opus 49 (2016)
-
Concerto for Accordion and Percussion Sextet Peter Jarvis, Opus 49 (2016)
Performance Notes
Although some specific mallet choices are indicated, it should be understood that the primary
concerns are clarity of articulation and appropriate sounds for the acoustical environment. Therefore, at the discretion of the conductor and/or players, mallet choices may be altered.
Vibraphone: - Based on clarity of articulation and the acoustical environment, all pedaling choices are finally at the discretion of the conductor and/or vibraphonist.
Tom-toms: If possible, please try to use double-headed drums. - The low tom-tom pitch should sound higher than the bass drum used by percussion 3; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. Percussion 1: - The claves should sound a higher pitch than the claves used by percussion 2. Percussion 2: - The claves should sound a lower pitch than the claves used by percussion 1. - 2 tambourines (with heads) may be used. 1 suspended and one hand held to be used interchangeably in order to best accommodate a given passage. Percussion 3: - The high tam-tam should sound a lower pitch than the lowest suspended cymbal; the result is a single scale of 5 pitches from the low tam-tam through the high suspended cymbal. - The bass drum should sound a lower pitch than the lowest tom-tom used by percussion 2; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. - Snare drum sticks, bass drum beaters , a wooden mallet and a large (preferably heavy) gong mallet will be needed. Swizzle-type sticks and a smaller gong mallet may be useful.
Program Note Concerto for Accordion and Percussion Sextet was completed on June 16, 2016 and is happily
dedicated to William Schimmel. This is my third concerto for percussion sextet and soloist. The first, from 2011, is with vibraphone solo composed for John Ferrari, the second from 2016, is with frame drums solo composed for Glen Velez and this; my third is with accordion and was composed for William Schimmel. All three pieces were composed with the New Jersey Percussion Ensemble in mind, which silently shares the dedication.
- Peter Jarvis
-
{
°
¢
{
Glockenspiel
Marimba
Accordion
Tom-toms
Percussion 1
Percussion 2
Percussion 3
&
ÿ◊
Peter Jarvis, Opus 49 (2016)
Concerto for Accordion and Percussion Sextet
Notation
&
?
&∑
?∑
/
(Double-headed if possible)
Concert Tom-toms
&
with motor
Vibraphone
/
Snare Drum
Bongos
Claves
(higher pitch
than perc 2)Cow Bells
Triangles
/
Tambourine
Claves
(lower pitch than perc 1)
Temple Blocks
/
Bass Drum
(large)
Tam-tams
Suspended Cymbals
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{Copyright © 2016 Peter Jarvis. Member BMI.
All Rights Reserved. Printed in U.S.A.
Marimba
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Peter Jarvis (2016)
Opus 49
Concerto for Accordion and Percussion Sextet
For William Schimmel
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Concerto for Accordion and Percussion Sextet - Marimba
6
-
Accordion
Concerto for Accordion and Percussion Sextet
Peter Jarvis, Opus 49 (2016)
-
Concerto for Accordion and Percussion Sextet Peter Jarvis, Opus 49 (2016)
Performance Notes
Although some specific mallet choices are indicated, it should be understood that the primary
concerns are clarity of articulation and appropriate sounds for the acoustical environment. Therefore, at the discretion of the conductor and/or players, mallet choices may be altered.
Vibraphone: - Based on clarity of articulation and the acoustical environment, all pedaling choices are finally at the discretion of the conductor and/or vibraphonist.
Tom-toms: If possible, please try to use double-headed drums. - The low tom-tom pitch should sound higher than the bass drum used by percussion 3; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. Percussion 1: - The claves should sound a higher pitch than the claves used by percussion 2. Percussion 2: - The claves should sound a lower pitch than the claves used by percussion 1. - 2 tambourines (with heads) may be used. 1 suspended and one hand held to be used interchangeably in order to best accommodate a given passage. Percussion 3: - The high tam-tam should sound a lower pitch than the lowest suspended cymbal; the result is a single scale of 5 pitches from the low tam-tam through the high suspended cymbal. - The bass drum should sound a lower pitch than the lowest tom-tom used by percussion 2; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. - Snare drum sticks, bass drum beaters , a wooden mallet and a large (preferably heavy) gong mallet will be needed. Swizzle-type sticks and a smaller gong mallet may be useful.
Program Note Concerto for Accordion and Percussion Sextet was completed on June 16, 2016 and is happily
dedicated to William Schimmel. This is my third concerto for percussion sextet and soloist. The first, from 2011, is with vibraphone solo composed for John Ferrari, the second from 2016, is with frame drums solo composed for Glen Velez and this; my third is with accordion and was composed for William Schimmel. All three pieces were composed with the New Jersey Percussion Ensemble in mind, which silently shares the dedication.
- Peter Jarvis
-
{
°
¢
{
Glockenspiel
Marimba
Accordion
Tom-toms
Percussion 1
Percussion 2
Percussion 3
&
ÿ◊
Peter Jarvis, Opus 49 (2016)
Concerto for Accordion and Percussion Sextet
Notation
&
?
&∑
?∑
/
(Double-headed if possible)
Concert Tom-toms
&
with motor
Vibraphone
/
Snare Drum
Bongos
Claves
(higher pitch
than perc 2)Cow Bells
Triangles
/
Tambourine
Claves
(lower pitch than perc 1)
Temple Blocks
/
Bass Drum
(large)
Tam-tams
Suspended Cymbals
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w
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{Copyright © 2016 Peter Jarvis. Member BMI.
All Rights Reserved. Printed in U.S.A.
Accordion
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Peter Jarvis (2016)
Opus 49
Concerto for Accordion and Percussion Sextet
For William Schimmel
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œœ#
œb
œ
j‰
≈
œœ
œ
Œ Œ ‰
æææ
œ
œ#
jæææ
œ
œ
Œ
œœ œ# œn
œœ# œn œ#
œ œbœ
œ
œœ
œ œœ œ œ# œ
œœ œn
œœ
œnœ
œœ# œ œn
œbœ
œ
œ#œ
œ# œ œœ
œ
œœ# œ œ œ œn œ œ œ œ
œ œ œŒ
Concerto for Accordion and Percussion Sextet - Accordion2
-
{
{
{
{
{
mf mp mf mpmf mp
15
mf p
17
23
28
32
&
unis. glock.
?∑ ∑
&
secco
. . . . .
improvise through m. 31
5
.
?∑
5
&
Glock.
∑
3 Glock.
∑
?∑
3
∑
&
∑
2
∑
end improvisation
?∑
2
∑
&
7
/
?
7
≈œ
œœ
‰
œ
J Œ ≈œ
œœ
‰
œ
J Œ ≈œ
œœ
‰
œ
J
Œ ≈œ œ œ œ œ
‰ ‰œ
j
Œ
œœ
œ
œœ
œœ
Œ
œ
œœ
Œ ‰
œœ
œ
œœ
œ
œ
j
‰ Œ
œœ
œ
œœ
œœ
Concerto for Accordion and Percussion Sextet - Accordion3
-
{
{
{
{
{
39
40
41
42
48
/
T-toms
∑
3 3
3 3
3 3
3 3
?∑
/∑
?∑
/
T-toms
∑
3
&
3 3 3
3 3
3
?∑
&
6
?
6
&∑
Uaccordion cadenza (improvised)
c. 60"
?∑
U
œ œœ
œ
œ œœ
œœ
œœ
œ
œœ
œœ
œœ œ
œœ
œœ
œ
‰≈
œœ
œœ
œœ
œœ
œ
œ
œ
œœ
œœ
œœ
œœ
≈
Concerto for Accordion and Percussion Sextet - Accordion4
-
{
{
{
{
ff
49
ff
53
55
57
&
on cue
2
Glock.
∑
> >
?
2
∑ ∑
&∑
> > > >
>
>
?∑
&
> > >
?∑
&
> > >
∑
?∑
Ϫ
œœ
œœ
œœ
œœ™
œ
‰
œ œ œœ œ# œn œ
œœœ œ# œn
‰
≈œ
œ
# œ
œ ≈ Œ ‰œ
œ
œ
œ œ
œ
œ
œ
b
Œœ
œ#œ
œ œb œ Œ
œ œ# œœb œ
œ œnœn ‰
œ
œ
# œ
œ
œ
œ
j
‰ œ# œnœ œ
Ӝ
œ#œ
œ œb œ
‰œ
œ
# œ
œ
œ
œ
j
‰ Ó
œœ#
œœ œb œ Ó
Concerto for Accordion and Percussion Sextet - Accordion5
-
{
{
{
{
{
{
fff
59
61
f
63
65
ff
67
69
&
improvise clusters through downbeat of m. 64
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
?∑ ∑
&
' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
?∑ ∑
&
' ' ' ' ' ' ' ' ' ' ' '
solo
?∑ ∑
&
unis.
?∑ ∑
&
œœb
? œœ#
&
> >> > > > >
?∑
June 16, 2016
Woodland Park, New Jersey
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœ œœ œœ œœœ
œœ œœ œœœ
œœœ
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œœœ
œœœ
œœœ
™™™œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
œœœ
Œ Ó
≈œœœ# œœ
œœœœ
œœœ
œœœ
œœœ
œœœ Œ ≈
œœœ
œœœ
œœœ
œœœ# œœ
œ ‰ ‰™
œ
rœb œ
œ# œœb
œœ
œ
œb œn œ œ#œ œ œn œ œ
œ# œœb œn œ œ# œn œ# œn œ# œn
œ œœ œ œ
œ# œ œ
œœ
œ# œ œnœ
œ
Ó Œ
œœb
œœ œ
œ œ# œnœ œ
œ# œ
Ó
œœ#
œœ
œœ
œœ
Œ Ó
œœ œ
œ œ œ œ œ
Ó
Concerto for Accordion and Percussion Sextet - Accordion6
-
Tom-toms / Vibraphone
Concerto for Accordion and Percussion Sextet
Peter Jarvis, Opus 49 (2016)
-
Concerto for Accordion and Percussion Sextet Peter Jarvis, Opus 49 (2016)
Performance Notes
Although some specific mallet choices are indicated, it should be understood that the primary
concerns are clarity of articulation and appropriate sounds for the acoustical environment. Therefore, at the discretion of the conductor and/or players, mallet choices may be altered.
Vibraphone: - Based on clarity of articulation and the acoustical environment, all pedaling choices are finally at the discretion of the conductor and/or vibraphonist.
Tom-toms: If possible, please try to use double-headed drums. - The low tom-tom pitch should sound higher than the bass drum used by percussion 3; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. Percussion 1: - The claves should sound a higher pitch than the claves used by percussion 2. Percussion 2: - The claves should sound a lower pitch than the claves used by percussion 1. - 2 tambourines (with heads) may be used. 1 suspended and one hand held to be used interchangeably in order to best accommodate a given passage. Percussion 3: - The high tam-tam should sound a lower pitch than the lowest suspended cymbal; the result is a single scale of 5 pitches from the low tam-tam through the high suspended cymbal. - The bass drum should sound a lower pitch than the lowest tom-tom used by percussion 2; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. - Snare drum sticks, bass drum beaters , a wooden mallet and a large (preferably heavy) gong mallet will be needed. Swizzle-type sticks and a smaller gong mallet may be useful.
Program Note Concerto for Accordion and Percussion Sextet was completed on June 16, 2016 and is happily
dedicated to William Schimmel. This is my third concerto for percussion sextet and soloist. The first, from 2011, is with vibraphone solo composed for John Ferrari, the second from 2016, is with frame drums solo composed for Glen Velez and this; my third is with accordion and was composed for William Schimmel. All three pieces were composed with the New Jersey Percussion Ensemble in mind, which silently shares the dedication.
- Peter Jarvis
-
{
°
¢
{
Glockenspiel
Marimba
Accordion
Tom-toms
Percussion 1
Percussion 2
Percussion 3
&
ÿ◊
Peter Jarvis, Opus 49 (2016)
Concerto for Accordion and Percussion Sextet
Notation
&
?
&∑
?∑
/
(Double-headed if possible)
Concert Tom-toms
&
with motor
Vibraphone
/
Snare Drum
Bongos
Claves
(higher pitch
than perc 2)Cow Bells
Triangles
/
Tambourine
Claves
(lower pitch than perc 1)
Temple Blocks
/
Bass Drum
(large)
Tam-tams
Suspended Cymbals
w
w
w
w
œœ
œœ
œœ
˙
˙
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œ
œ œœ
œœ
œ
-
Copyright © 2016 Peter Jarvis. Member BMI.
All Rights Reserved. Printed in U.S.A.
Tom-toms
Vibraphone
f
f f f
q = 69
f
ff f
3
f
f
f
f
5
mf
7
9
11
4
4/
tom-toms
> > >
>
Peter Jarvis (2016)
Opus 49
For William Schimmel
Concerto for Accordion and Percussion Sextet
/
>f
>
> > >
/
>
>>
∑
>
/
unis. mbr
. . . ..
..
> > >
/
> >
>to vibes (motor off)
&
&
2
Engraved by Peter Jarvis
œœ
œœ
œœ
œ
œœ
œœ
œœ
œ
œ œ œ œ œ œœ
œ œ
œ
œ œ œ
œœ œ œ
‰
œ œ œ
j ‰œ œ œ
Œ Œœ œ œ
œ œ œ ‰œ œ
œ
jœ œ œ
J‰ Œ
œ œ œ‰ œ œ œ
j
‰
œ œ œ
œœ
œœ
œœ
œœ
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œ œœ
œœ
œ œœ
œœ
œ
œœ
œ
œ
‰œ
œ
œœ
œ
œ
r ≈ ‰ ≈œ
œ
œ
‰
æææ
œ
œ
J æææ
˙
˙ ™™
Œ
-
mf
13
f dolce
15
p
mp
17
mp
19
mp
21
mp
23
mp mp
25
mp
27
&
vibes (motor off)
unis.
pedal freely
> >
> > >
&
solo
&
senza pedal
. . . . . .
pedal freely
&
&
&
&
&
Ó
œœn œ
œ
œœ
œœ
œœ
Œ
œœ œ œ
œœ
œœ œ œ œ
œœ
œ œœ œ œ
œœ
‰™œ
R
œ œœ œ œ
œ œ œ
œœ œ œ œ œ œ œ œ œ
‰ ‰
œ
J‰
œ ™ œ
œ œ
œœ œ
œ
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œ
j
œ œ
œ œ œœ
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Œ ‰
œ ™ œ
œ œ œœ œ
œ
Œ ‰
œ ™ œ
œ œ œœ œ
œ
Œ
‰
œ ™ œ
œ œ œœ œ
œ
Œ ‰
œ
j
œ œ
œ œ œœ œ
œ
Œ ‰
œ ™
Concerto for Accordion and Percussion Sextet - Tom toms / Vibraphone2
-
mp
29
mf
31
33
35
poco
poco
poco
36
poco
mp
37
mf
39
40
ppdolce
41
&
&
to t. toms
/
t-toms (sticks)
quasi 7/16 meter
>
/
>
>
> >
/
>unis. t. blks
> >
3
3
/
> >
3
>
> >3
>
3
/
>
3 3
3
3
3
/
>
3 3
3 3
3
3
3 3
/
/
3
3
3 3
3 3
3
œ
œ œ œœ œ
œ
Œ ‰
œ ™ œ
œ
œ œœ œ
œ
Œ Ó Œ ≈
œ œ œ
œœ
œœ
œ œ œ
œ
œœ
œ
œ œ œ
œœ
œœ
œ œ œœ
œœ
œ œ œ
œ
œ œ œ
œœ
œœ ≈ ‰ ≈
œœ
œ
œ
J
œ
œ
œ
œ
J
œ
œ
ææ朜
æææ
œœ
æææ
œœ
ææ朜
œ
œœ
œ
œœ
œ
œ
œœ
œ
œ
œ
œ
Jœ
œ
œ œ
œ
Œ Ó
œ œœ
œ
œ œœ
œœ
œ œœ
œœ
œœ
œœ œ
œœ
œœ
œ
œœ
œ
œœ
œœ
j‰
‰ ≈ œœ
œœ
œœ
œœ
œ
œ
œ
œœ
œœ
œœ
œœ
≈
Concerto for Accordion and Percussion Sextet - Tom toms / Vibraphone3
-
poco
p
42
poco
poco
45
48
f
49
ff
51
53
55
fp
57
/∑
>
/
>
>
/
accordion cadenza (improvised)
∑
U
c. 60"
/
on cue
∑
t. toms
/
>
/
> >
>>
>
/
2
/
>
Ó ‰æææœ
J æææœ
æææw
æææœ
Œ Ó
æææ˙ Ó
æææw
œœ
œ
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œ
œ
œ œ œ œ œœ œ œ
œ œœ œ œ
œœ
œœ
œ œœ
œ
œœ
œœ
œ œ Œ Œ ≈œ
œœ
œ
œœ
œœ
œœ
œ œ œ œ œ œ
œœ
‰ Œ Ó
Œ ‰™ œ
rœ
œœ
œœ
œœ
œ
œœ
œœ
œ
æææ
œ
æææ˙
Concerto for Accordion and Percussion Sextet - Tom toms / Vibraphone4
-
sffz
59
fff
61
63
f
65
ff
67
69
/
.>to vibes.
∑&
&∑
vibes (motot off)
Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ
&
Æ Æ
' ' ' ' ' ' '
∑
&∑
unis.
pedal freely
&
&
> >> > > > >
June 16, 2016
Woodland Park, New Jersey
œ
R ≈ ‰ Œ Ó
‰™œœ
œœ
bb
R
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
bb
œœ
œœ
‰ ‰™
œœ
œœb
n
#
n
r
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ ‰
Ó
œ œœ# œ œ
œœ
œ# œ œnœ
œ
œœ
# œœ
œœ
œœ
œœ
#
œœb
œœ
œœ œ
œ œ# œnœ œ
œ# œ
œœ œ
œ œ œ œ œ
Ó
Concerto for Accordion and Percussion Sextet - Tom toms / Vibraphone5
-
Percussion 1
Concerto for Accordion and Percussion Sextet
Peter Jarvis, Opus 49 (2016)
-
Concerto for Accordion and Percussion Sextet Peter Jarvis, Opus 49 (2016)
Performance Notes
Although some specific mallet choices are indicated, it should be understood that the primary
concerns are clarity of articulation and appropriate sounds for the acoustical environment. Therefore, at the discretion of the conductor and/or players, mallet choices may be altered.
Vibraphone: - Based on clarity of articulation and the acoustical environment, all pedaling choices are finally at the discretion of the conductor and/or vibraphonist.
Tom-toms: If possible, please try to use double-headed drums. - The low tom-tom pitch should sound higher than the bass drum used by percussion 3; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. Percussion 1: - The claves should sound a higher pitch than the claves used by percussion 2. Percussion 2: - The claves should sound a lower pitch than the claves used by percussion 1. - 2 tambourines (with heads) may be used. 1 suspended and one hand held to be used interchangeably in order to best accommodate a given passage. Percussion 3: - The high tam-tam should sound a lower pitch than the lowest suspended cymbal; the result is a single scale of 5 pitches from the low tam-tam through the high suspended cymbal. - The bass drum should sound a lower pitch than the lowest tom-tom used by percussion 2; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. - Snare drum sticks, bass drum beaters , a wooden mallet and a large (preferably heavy) gong mallet will be needed. Swizzle-type sticks and a smaller gong mallet may be useful.
Program Note Concerto for Accordion and Percussion Sextet was completed on June 16, 2016 and is happily
dedicated to William Schimmel. This is my third concerto for percussion sextet and soloist. The first, from 2011, is with vibraphone solo composed for John Ferrari, the second from 2016, is with frame drums solo composed for Glen Velez and this; my third is with accordion and was composed for William Schimmel. All three pieces were composed with the New Jersey Percussion Ensemble in mind, which silently shares the dedication.
- Peter Jarvis
-
{
°
¢
{
Glockenspiel
Marimba
Accordion
Tom-toms
Percussion 1
Percussion 2
Percussion 3
&
ÿ◊
Peter Jarvis, Opus 49 (2016)
Concerto for Accordion and Percussion Sextet
Notation
&
?
&∑
?∑
/
(Double-headed if possible)
Concert Tom-toms
&
with motor
Vibraphone
/
Snare Drum
Bongos
Claves
(higher pitch
than perc 2)Cow Bells
Triangles
/
Tambourine
Claves
(lower pitch than perc 1)
Temple Blocks
/
Bass Drum
(large)
Tam-tams
Suspended Cymbals
w
w
w
w
œœ
œœ
œœ
˙
˙
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œ
œ œœ
œœ
œ
-
Copyright © 2016 Peter Jarvis. Member BMI.
All Rights Reserved. Printed in U.S.A.
Percussion 1
mf
q = 69
3
5
7
mf
11
15
29
4
4/
claves
> > >
Peter Jarvis (2016)
Opus 49
Concerto for Accordion and Percussion Sextet
For William Schimmel
/
> > > >
/
> > > >
/
>2
>sn. dr.
>
/
2
tri.
unis.
> >– > > >–
/
14
&
&
Glock.
∑ ∑ ∑
/
Engraved by Peter Jarvis
Œ ≈
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
Ó
æææœ Œ
Ó
œ œœ œ œ
Œ
Œ ‰
œœ
œ
œœ
œœ
j
‰ Œ
œœ
œ
œœ
œœ
Œ ‰
œœ
œ
œœ
œœ
j
‰ Œ
-
mf
mfp
32
34
poco
p
40
43
poco
46
48
f
49
ff
51
/
c. bells bngs.
sn. dr.
/
5
T-toms
∑
3 3
3 3
3 3
3 3
/∑
tri.
bngs.
c. bells sn. dr.
>
/
tri.
poco
>
/
sn. dr.
>
/∑
Uaccordion cadenza (improvised)
c. 60"
/
on cue
multi
/
>
œœ
œœ œ œ
œ
œœ
œœ
æææœ
æææœ
æææ˙ Ó
œ œœ
œ
œ œœ
œœ
œœ
œ
œœ
œœ
œœ œ
œœ
œœ
œ
‰
œ
J
œœ
œœ
œ
œœ
j‰ Œ ‰
æææœ ™
æææ˙ ™ Œ Ó ‰ ææ
æœ ™
æææ˙ ™
Œ
Œ Œ ‰
æææœ ™
æææw
œœ
œ
œœ œ
œœ
œ œ œ œ œœ œ œ œ œ
œ œŒ Ó
Ó ≈
œœ œ
œ œ œ œ
œœ œ
Œ Œ ≈œ
œ œ
Concerto for Accordion and Percussion Sextet - Percussion 12
-
53
55
fp
57
sffz
59
fff
61
63
ff
68
69
/
> >>
>
/
2
/
>
/
.>
∑
/∑
Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ Æ
/
Æ ÆÆ Æ Æ Æ Æ Æ Æ 4
/
unis.
/
> > > > > > >
June 16, 2016
Woodland Park, New Jersey
œœ œ
œ
œœ
œœ
œ
œœ
œ
œœ
œ œœ
œ‰ Œ Ó
Œ ‰™œ
Rœ
œ
œ
œœ
œœ
œœ
œ
œœ
æææœ
æææ˙
œ
R ≈ ‰ Œ Ó
‰™œ
œ
R
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ ‰ ‰™
œ
œ
R
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ‰
Ó ≈ œ œ œœ
œ œ œ
œ
œ œ œœ œ œ œ Ó
Concerto for Accordion and Percussion Sextet - Percussion 13
-
Percussion 2
Concerto for Accordion and Percussion Sextet
Peter Jarvis, Opus 49 (2016)
-
Concerto for Accordion and Percussion Sextet Peter Jarvis, Opus 49 (2016)
Performance Notes
Although some specific mallet choices are indicated, it should be understood that the primary
concerns are clarity of articulation and appropriate sounds for the acoustical environment. Therefore, at the discretion of the conductor and/or players, mallet choices may be altered.
Vibraphone: - Based on clarity of articulation and the acoustical environment, all pedaling choices are finally at the discretion of the conductor and/or vibraphonist.
Tom-toms: If possible, please try to use double-headed drums. - The low tom-tom pitch should sound higher than the bass drum used by percussion 3; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. Percussion 1: - The claves should sound a higher pitch than the claves used by percussion 2. Percussion 2: - The claves should sound a lower pitch than the claves used by percussion 1. - 2 tambourines (with heads) may be used. 1 suspended and one hand held to be used interchangeably in order to best accommodate a given passage. Percussion 3: - The high tam-tam should sound a lower pitch than the lowest suspended cymbal; the result is a single scale of 5 pitches from the low tam-tam through the high suspended cymbal. - The bass drum should sound a lower pitch than the lowest tom-tom used by percussion 2; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. - Snare drum sticks, bass drum beaters , a wooden mallet and a large (preferably heavy) gong mallet will be needed. Swizzle-type sticks and a smaller gong mallet may be useful.
Program Note Concerto for Accordion and Percussion Sextet was completed on June 16, 2016 and is happily
dedicated to William Schimmel. This is my third concerto for percussion sextet and soloist. The first, from 2011, is with vibraphone solo composed for John Ferrari, the second from 2016, is with frame drums solo composed for Glen Velez and this; my third is with accordion and was composed for William Schimmel. All three pieces were composed with the New Jersey Percussion Ensemble in mind, which silently shares the dedication.
- Peter Jarvis
-
{
°
¢
{
Glockenspiel
Marimba
Accordion
Tom-toms
Percussion 1
Percussion 2
Percussion 3
&
ÿ◊
Peter Jarvis, Opus 49 (2016)
Concerto for Accordion and Percussion Sextet
Notation
&
?
&∑
?∑
/
(Double-headed if possible)
Concert Tom-toms
&
with motor
Vibraphone
/
Snare Drum
Bongos
Claves
(higher pitch
than perc 2)Cow Bells
Triangles
/
Tambourine
Claves
(lower pitch than perc 1)
Temple Blocks
/
Bass Drum
(large)
Tam-tams
Suspended Cymbals
w
w
w
w
œœ
œœ
œœ
˙
˙
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œ
œ œœ
œœ
œ
-
Copyright © 2016 Peter Jarvis. Member BMI.
All Rights Reserved. Printed in U.S.A.
Percussion 2
mf
q = 69
3
5
7
f
11
14
29
4
4/
claves
> > >
Peter Jarvis (2016)
Opus 49
Concerto for Accordion and Percussion Sextet
For William Schimmel
/
> >
/
>
/
2 tamb. >
/∑
t. blks.
unis. accord.
> >
>
œœ
/
15
&
&
Glock.
∑ ∑ ∑
/
Engraved by Peter Jarvis
œ œ œ œ ™ œ œ œ ™ œ œ œ
≈
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‰
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≈
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≈
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≈
œ œ œ œ
≈
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œ
J
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œœ
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-
mf
32
33
34
35
poco
poco
36
poco
37
mp mf
fp
38
39
/
t. blks.
/
/
> > > > > >
/>
> > >unis. t. toms
> >
3
3
/
> >
3
>
poco
>
>
3
>
3
/
>
3 3
3
3
3
/
tamb.
3
3 3
/
t. blks.
>
>
3
3
3 3
3
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Concerto for Accordion and Percussion Sextet - Percussion 2
2
-
dolce
40
pp
dolce
41
poco
p
42
poco
poco
45
48
/
>
>>
tamb. t. blks.
>
>
>
3 3
3 3
3
/
3
3 3
3
/
tamb.
>
/
t. blks.
>
tamb.
>
/
accordion cadenza (improvised)
∑
U
space blank for page turn
c. 60"
œ œ œ
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œ œœ œ
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Concerto for Accordion and Percussion Sextet - Percussion 2
3
-
49
f ff
51
53
55
fp sffz
58
fff
62
63
ff
68
/
on cue 2
&
&
t. blks.
>
&>
>>
>
&
2
&
> 2
&
' ' ' ' ' ' ' ' ' ' ' ' '
&
' '
Æ Æ Æ Æ Æ Æ Æ 4
&
unis. > > >
June 13, 2016
Woodland Park, New Jersey
>>
>>
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Œ Œ ≈ œ œ œ
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Concerto for Accordion and Percussion Sextet - Percussion 2
4
-
Percussion 3
Concerto for Accordion and Percussion Sextet
Peter Jarvis, Opus 49 (2016)
-
Concerto for Accordion and Percussion Sextet Peter Jarvis, Opus 49 (2016)
Performance Notes
Although some specific mallet choices are indicated, it should be understood that the primary
concerns are clarity of articulation and appropriate sounds for the acoustical environment. Therefore, at the discretion of the conductor and/or players, mallet choices may be altered.
Vibraphone: - Based on clarity of articulation and the acoustical environment, all pedaling choices are finally at the discretion of the conductor and/or vibraphonist.
Tom-toms: If possible, please try to use double-headed drums. - The low tom-tom pitch should sound higher than the bass drum used by percussion 3; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. Percussion 1: - The claves should sound a higher pitch than the claves used by percussion 2. Percussion 2: - The claves should sound a lower pitch than the claves used by percussion 1. - 2 tambourines (with heads) may be used. 1 suspended and one hand held to be used interchangeably in order to best accommodate a given passage. Percussion 3: - The high tam-tam should sound a lower pitch than the lowest suspended cymbal; the result is a single scale of 5 pitches from the low tam-tam through the high suspended cymbal. - The bass drum should sound a lower pitch than the lowest tom-tom used by percussion 2; the result is a single scale of 7 pitches from the bass drum through the highest tom-tom. - Snare drum sticks, bass drum beaters , a wooden mallet and a large (preferably heavy) gong mallet will be needed. Swizzle-type sticks and a smaller gong mallet may be useful.
Program Note Concerto for Accordion and Percussion Sextet was completed on June 16, 2016 and is happily
dedicated to William Schimmel. This is my third concerto for percussion sextet and soloist. The first, from 2011, is with vibraphone solo composed for John Ferrari, the second from 2016, is with frame drums solo composed for Glen Velez and this; my third is with accordion and was composed for William Schimmel. All three pieces were composed with the New Jersey Percussion Ensemble in mind, which silently shares the dedication.
- Peter Jarvis
-
{
°
¢
{
Glockenspiel
Marimba
Accordion
Tom-toms
Percussion 1
Percussion 2
Percussion 3
&
ÿ◊
Peter Jarvis, Opus 49 (2016)
Concerto for Accordion and Percussion Sextet
Notation
&
?
&∑
?∑
/
(Double-headed if possible)
Concert Tom-toms
&
with motor
Vibraphone
/
Snare Drum
Bongos
Claves
(higher pitch
than perc 2)Cow Bells
Triangles
/
Tambourine
Claves
(lower pitch than perc 1)
Temple Blocks
/
Bass Drum
(large)
Tam-tams
Suspended Cymbals
w
w
w
w
œœ
œœ
œœ
˙
˙
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œ
œ œœ
œœ
œ
-
Copyright © 2016 Peter Jarvis. Member BMI.
All Rights Reserved. Printed in U.S.A.
Percussion 3
mf
q = 69
2
3
4
5
6
7
4
4/
quasi 5/16 meter
cymbals & gongs
> – > –> –
>
Peter Jarvis (2016)
Opus 49
Concerto for Accordion and Percussion Sextet
For William Schimmel
/ –> –
—
—
—
>
–
>
/
–> –
>—
——>
/ – –
––> –
––>
—— —
>
/
– > –> –
> –
/
> –
> – > –>
/
–
——
—>
––
–> –
––
>
Engraved by Peter Jarvis
œ œ œ œ œœ œ œ œ œ
œ œ œ œ œ
œ
œ œ œœ œ œ œ
œ
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œ œ
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œ
œ œ œ œ
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œœ
œ
œ
œ œ
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-
8
9
10
secco
ff
slowly damp cyms. & gngs.
11
29
30
31
/
– > –
>—
>
/—
>
–>
—
>
/
–> –
> ––>
——
——
/
.>
17
&
&
Glock.
∑
&
∑
&
∑
/
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œ œ œ œ
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œ
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œ
œ
r ≈ ‰ Œ Ó
Œ ‰
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œ
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œœ
j
‰
Œ
œœ
œ
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œœ
Œ
‰
œœ
œ
œœ
œœ
j
‰ Œ
Concerto for Accordion and Percussion Sextet - Percussion 33
-
mf
32
33
poco
poco
poco
34
35
poco
poco
36
38
p
41
poco
44
/
b. dr.
cyms. & gngs.
/
l.v.
b. dr.
cyms. & gngs.
l.v.
/
b. dr.
> >
mf
>
/
cyms. & gngs.
seccosecco
.> .>
/
>
b. dr.cyms. & gngs.
>
3
b. dr.
>3 3
3
/
cyms. & gngs.
quasi 3/8 meter/groove
—
––
——
–
/
–
— —
——
—
––
– b. dr.
poco
>
/∑
>
œ œ œ œ œ œ
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œ
j
œ
œ
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œ
J ‰ Œ ‰æææœ
jæææ˙
æææw
Ó æææ˙
æææw
Concerto for Accordion and Percussion Sextet - Percussion 34
-
48
f
49
ff
52
54
fp sffz
58
fff
sempre
62
ff
64
69
/
accordion cadenza (improvised)
∑
U
c. 60"
/
on cue
∑
cyms. & gngs.
––
——
/
b. dr.
>
cyms. & gngs.
l. v.
b. dr.
cyms. & gngs.
>
>
/
secco (possibile)
> > 2
/
l. v.
>
secco
.> 2
/
secco
' ' ' ' ' ' ' ' ' ' ' ' ' ' '' ' ' ' ' ' '
/
3unis.
b. dr.
cyms. & gngs.
/
> > >
damp (possibile)
> > > >
June 16, 2016
Woodland Park, New Jersey
œ œ œœ œ
œ œ œœ
Œ Ó
œ œ œ
Œ Œ ≈
œœ
œ
œ
œ
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œ œ œ œ œ œ œ
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œ œ
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R
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œ
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œ
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œ
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r
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r
œ œ œ œ œ œ‰
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œ
j
œ œ œ
œ œ œ œ œœ œ œ œ œ
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œ œ œ œœ œ œ œ
Ó
Concerto for Accordion and Percussion Sextet - Percussion 35