4/25 - Marimba Quartet

In the past few days I've taken charge and stared at this computer screen writing my final project for my composition class. It has surprised me in how simple (and somehow complex) something can be while still sounding... well, like all kinds of things.

Here's my piece:

Marimba Quartet (2011) - Mason Lynass

Marimba Quartet - Mason Lynass by mason-lynass

There are some secrets:

Marimba II:

The first section, which starts at measure 5, is an isorhythm with a 5-note color and a 2-note (3+2) talea. When the start of the color meets the start of the talea the first time, it doesn’t line up with the bar line; this phrase repeats 5 times to fill 25 bars evenly and end on a downbeat with the rest of the ensemble.

In the second section, Marimbas III and IV play 5 (3+2) and 7 (4+3) patterns, respectively. Marimbas I and II play the spaces where neither pattern plays a note, but Marimba II leaves out every second, fourth, sixth and seventh note, creating another 7 pattern, while Marimba one plays a 5 pattern. It’s confusing and doesn’t have a clear pattern like the first section does.

The third section utilizes the gap pattern from the second section and combines the rhythm with the color from the beginning isorhythm, but in smaller intervals over time. In the beginning and end of the section, this voice’s purpose is to carry the melody, and in the middle, it provides dissonance and pull to the closing tonal area.

Marimba III:

This voice, with Marimba IV, provides the melody in the opening and closing sections. Note the patterns in the opening:

(3-2) / (3-3-2) / (3-3-3-2) / (3-3-3-3-2)(3-3-3-2)(3-3-2)(3-2)

and the closing:

(2-3-3-3-3) / (2-2-3-3-3-3) / (2-2-2-3-3-3-3) / (2-2-2-2-3-3-3-3)

In the opening, these patterns repeat until Marimba IV catches up, and as soon as their connection is evident, they stop. In the closing, Marimbas III and IV start at the same time, but the pattern Marimba 4 plays forces it to wither away quicker. Since Marimbas III and IV are working together as a melody, notes do not change pitch unless both voices strike a note at the same time, and at such an occasion, the duration of the note struck determines the interval leaped.

            A 7 (4+3) pattern is played in the middle section, with pitches changing to create intended tonality (or lack thereof).

Marimba IV:

            This voice, with Marimba III, provides the melody in the opening and closing section. Only the first beat and third beat of every 3/4 bar Marimba III are performed by Marimba IV, creating varying dissonance and contrast, and allowing for a confluence in the opening and a digression in the closing. It may help to see the patterns of Marimba III above.

Since Marimbas III and IV are working together as a melody, notes do not change pitch unless both voices strike a note at the same time, and at such an occasion, the duration of the note struck determines the interval leaped.

A 5 (3+2) pattern is played in the middle section, with pitches changing to create intended tonality (or lack thereof).

That's from my liner notes. I can't tell you about any specifics, or someone might steal it.

This is so cool!

Let me know what you think, I would love to hear your opinion.

Thanks,

M