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Chopin Waltz in C-Sharp Minor
The companion to Chopin’s famous Minute Waltz, this Waltz in C-Sharp Minor (Op.64, No.2) is one of the gems of the repertoire. Arranged here for vibraphone and marimba duet by Brian Slawson, the sectional nature of the composition allows the players to showcase an array of styles, from the elegant and stately beginning to the running and whirling eighth-note section, and from the slower interlude to the final flurry and delicate finish. The challenge of this duet comes in rendering it musically, with the rubato and communication that requires from player to player.
Use of this product is governed by the license terms outlined here.
This expressive waltz was originally composed for solo piano. Brian Slawson arranges the material for two keyboard percussion instruments, using the unique timbre of each to distinguish between the differing musical roles. The vibraphone, serving the melodic role, presents contrasting material throughout the piece. Slow-paced ideas are juxtaposed with quicker moving, sequential, scalar passages. Serving an accompaniment role, the marimba part is vital to the style. Although there are several contrasting sections, the marimbist continually emphasizes the “three feel” associated with a waltz.
Both parts require four mallets; however, the techniques are not extremely advanced. Almost all of the vibraphone material can be executed with two mallets. Yet, four-mallet activity is embedded and makes it necessary to hold additional mallets throughout. The marimbist frequently executes block chords on the latter two beats of the three feel. Since the technical aspects are not daunting, the piece is attainable for a variety of experience levels. Young college students will be able to handle the technical aspect; however, an advanced ensemble will be needed if a duo aims to demonstrate the extreme tempo fluctuation associated with a Romantic-era piano work.
—Darin Olson
Percussive Notes
Vol. 52, No. 2. March 2014
The companion to Chopin’s famous Minute Waltz, this Waltz in C-Sharp Minor (Op.64, No.2) is one of the gems of the repertoire. Arranged here for vibraphone and marimba duet by Brian Slawson, the sectional nature of the composition allows the players to showcase an array of styles, from the elegant and stately beginning to the running and whirling eighth-note section, and from the slower interlude to the final flurry and delicate finish. The challenge of this duet comes in rendering it musically, with the rubato and communication that requires from player to player.
Use of this product is governed by the license terms outlined here.
This expressive waltz was originally composed for solo piano. Brian Slawson arranges the material for two keyboard percussion instruments, using the unique timbre of each to distinguish between the differing musical roles. The vibraphone, serving the melodic role, presents contrasting material throughout the piece. Slow-paced ideas are juxtaposed with quicker moving, sequential, scalar passages. Serving an accompaniment role, the marimba part is vital to the style. Although there are several contrasting sections, the marimbist continually emphasizes the “three feel” associated with a waltz.
Both parts require four mallets; however, the techniques are not extremely advanced. Almost all of the vibraphone material can be executed with two mallets. Yet, four-mallet activity is embedded and makes it necessary to hold additional mallets throughout. The marimbist frequently executes block chords on the latter two beats of the three feel. Since the technical aspects are not daunting, the piece is attainable for a variety of experience levels. Young college students will be able to handle the technical aspect; however, an advanced ensemble will be needed if a duo aims to demonstrate the extreme tempo fluctuation associated with a Romantic-era piano work.
—Darin Olson
Percussive Notes
Vol. 52, No. 2. March 2014
