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Prelude And Blues Ney Rosauro Pdf Creator Youtube

Near The end of my junior year at Ball State University I began to prepare for my senior recital that would take place in the fall of 2011. As a percussionist, I am required to be familiar with a large number of instruments and to show a degree of mastery on each. Beyond attaining simple technical skill I must be able to interpret the music I play, adapting to various styles, timbres and moods. The music I chose for this recital displayed my skill on each of the principal instruments of study for a percussionist: mallets, timpani, and snare drum. The recital began with Recital Solo XII, a solo for snare drum played with the snares off. The absence of the snares, when combined with the slow tempo, serves to create a somber mood. The use of terraced dynamics creates points of contrast throughout the piece. This piece also creates a challenge for the performer through its use of alternating duple and triplet rhythms. The next two pieces, Pine Cone Forest and Drum Corps on Parade, are in stark contrast to the preceding snare drum solo. Both feature a wide assortment of the 26 Standard American Rudiments and are played in a stricter, rudimental style. The placement of accents throughout Pine Cone Forest helps to create a feeling of changing meter while simply carrying rudiments over the barline. Drum Corps on Parade incorporates a large number of flam and paradiddle passages that require special attention to sticking in order to be played with speed and accuracy. Prelude and Blues for vibraphone contrasts both with the pieces that precede it and within itself. The first movement creates a soothing, almost ethereal mood through the use of arpeggiated chords and the use of the pedal to create long phrases. Smooth and full of almost continuous sound, the Prelude is contrasted with the second movement, the Blues, which requires dexterity of the performer to provide the bass line accompaniment while playing the melody. This piece also requires controlled use of the pedal to differentiate between phrases and allow the melody to be heard. The next selection, Saeta for timpani, changes the mood yet again both in comparison to the preceding piece and within itself through the use of changes in dynamics and metric modulation. I chose this piece in small part due to its tempo challenges, but also for its quick movement between all the drums and the variety of timbres it presents. Carter calls for the performer to strike various areas of the head, creating different sounds that come to be associated with specific notes during each section of the piece. I chose to end this performance with the first two movements of Ney Rosauro’s Concerto #2 for Marimba and Orchestra. I wanted to leave the audience with something to remember, and the melodies within each movement are certain o stay with listeners long after the end of the performance. Each movement provides technical challenges through the use of swiftly changing meters and syncopation between each hand of the near-frantic tempo at the end of the first movement, these make for an exciting way to end a performance.