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The marimba and vibraphone parts in Involution feature layered ostinati that weave in and around each other as well as over the bar lines. This creates elaborate textures and an eclectic auditory terrain, which is dotted by other complementary and clashing parts. The result of this asymmetrical phrasing and unorthodox tonality is a percussion quartet that, in Dustin Schulze's own words, creates a sensation of “turning in” on itself and challenges the listener’s sense of time, rhythm, and texture.
Use of this product is governed by the license terms outlined here.
A rhythmic and texturally driven work for percussion quartet, “Involution” relies heavily on layered ostinato figures and slight color changes and, according to the composer, will “challenge the listener’s sense of time, rhythm, texture, and personal existence within the cosmos. ” Each player is responsible for two to three non-pitched percussion instruments augmenting either a marimba or vibraphone as the primary instrument.
The composition opens with a singlepitch ostinato figure in the marimba, and each of the other three mallet parts layer in, gradually thickening the ensemble texture. Following a brief unison statement from the quartet, players begin introducing and developing new rhythmic and melodic figures supplemented by rhythmic interjections from the nonpitched percussion sounds. A few of the original ideas appear again before the ensemble transitions into a short section highlighting the accessory sounds. These ideas are orchestrated such that the consistent pulse seems to have temporarily disappeared. The keyboard instruments again weave their way back into the texture one by one and return the ensemble to a few of the opening ideas before an aggressive build into the conclusion of the piece.
The vibraphone part for this quartet is playable with two mallets, but each of the marimba parts will require intermediate to advanced four-mallet facility. The work is set in 3/4 or 4/4 time with a consistent quarter = 120 throughout, but the active texture and syncopated rhythms, often over the barline, will require a high demand of ensemble awareness and precision from all four performers.
“Involution” is an excellent work for advanced players looking for a piece that includes melodic and harmonic material, but is driven by rhythmic intricacies and ensemble textures. Audiences may find this piece to be a challenge to follow and understand, but certainly will enjoy its visual elements.
—Josh Gottry
Percussive Notes
Vol. 52, No. 3, May 2014
The marimba and vibraphone parts in Involution feature layered ostinati that weave in and around each other as well as over the bar lines. This creates elaborate textures and an eclectic auditory terrain, which is dotted by other complementary and clashing parts. The result of this asymmetrical phrasing and unorthodox tonality is a percussion quartet that, in Dustin Schulze's own words, creates a sensation of “turning in” on itself and challenges the listener’s sense of time, rhythm, and texture.
Use of this product is governed by the license terms outlined here.
A rhythmic and texturally driven work for percussion quartet, “Involution” relies heavily on layered ostinato figures and slight color changes and, according to the composer, will “challenge the listener’s sense of time, rhythm, texture, and personal existence within the cosmos. ” Each player is responsible for two to three non-pitched percussion instruments augmenting either a marimba or vibraphone as the primary instrument.
The composition opens with a singlepitch ostinato figure in the marimba, and each of the other three mallet parts layer in, gradually thickening the ensemble texture. Following a brief unison statement from the quartet, players begin introducing and developing new rhythmic and melodic figures supplemented by rhythmic interjections from the nonpitched percussion sounds. A few of the original ideas appear again before the ensemble transitions into a short section highlighting the accessory sounds. These ideas are orchestrated such that the consistent pulse seems to have temporarily disappeared. The keyboard instruments again weave their way back into the texture one by one and return the ensemble to a few of the opening ideas before an aggressive build into the conclusion of the piece.
The vibraphone part for this quartet is playable with two mallets, but each of the marimba parts will require intermediate to advanced four-mallet facility. The work is set in 3/4 or 4/4 time with a consistent quarter = 120 throughout, but the active texture and syncopated rhythms, often over the barline, will require a high demand of ensemble awareness and precision from all four performers.
“Involution” is an excellent work for advanced players looking for a piece that includes melodic and harmonic material, but is driven by rhythmic intricacies and ensemble textures. Audiences may find this piece to be a challenge to follow and understand, but certainly will enjoy its visual elements.
—Josh Gottry
Percussive Notes
Vol. 52, No. 3, May 2014
