Cart is empty
Vesper by Chad Heiny invites listeners into a world of quiet introspection and reflection. Inspired by the summoning bell that shares its name, Vesper encapsulates the essence of prayer, meditation, and the calm embrace of tranquil moments.
Heiny draws upon the influence of the summoning bell throughout the work with the use of chimes, tuned pipes, and crotales. Coupled with the undulating and flowing marimba voices, the work serves as a soundtrack for moments of peace and serenity.
Vesper is a medium level percussion ensemble written for ten players with seven keyboard players fluent in four mallet playing. Heiny suggests that both Marimba 1 and 2 and Marimba 3 and 4 players share instruments to further enhance the sense of community among the performers.
Use of this product is governed by the license terms outlined here.
Crotales (high octave: G# and A only)
Glockenspiel
Chimes
2 Vibraphones
2 Marimbas — (1) low A, (1) 5-octave
4 Tuned Pipes* — G#, A, C#, E
4 Timpani
Percussion — hi-hat, kick drum (mounted), ride cymbal, sizzle cymbal, splash cymbal
* Tuned pipe pitches may be played on marimba bars if necessary.
Inspired by the vesper-bell that summons individuals to worship, “Vesper” was composed for Brandon Kandrack and the Norwin High School Percussion Ensemble. Chad Heiny describes the work as calm and perhaps suitable as a soundtrack to moments of quiet introspection. Not surprisingly, the chimes are used throughout the work as connecting tissue, but for one soloistic moment, the timpani also serve this purpose. Although written as alternating 4/4 and 3/4 measures, “Vesper” is basically in 7/4. The mallet parts are repetitive, tonal, and have pleasant undulating dynamics and shape that contribute to the calm, meditative feel.
The marimba, vibraphone, and glockenspiel parts all require four mallets. Although the glockenspiel part only calls for a few chords that use four mallets, the marimba and vibraphone parts all use rotation strokes with various permutations, double stops, and mallet independence. The vibraphone parts don’t have pedaling indicated, but they do have phrase markings to help inform pedaling. “Vesper” also has a quasi-drumset part that doesn’t require use of the performer’s feet. This, along with the glockenspiel, chimes, and timpani part, could be assigned to less experienced performers, while the vibraphone and marimba parts call for more experience. It’s also important to note that the work calls for four marimba players on two marimbas. In this case, two of them must play the marimba from the opposite side, which can be challenging! Although not listed in the publication, I’m curious if it’s acceptable for the crotales and/or tuned pipes to be substituted with other instruments, as they could be a barrier for some programs.
—Joseph Van Hassel
Percussive Notes
Vol. 62, No. 1, February 2024
Vesper by Chad Heiny invites listeners into a world of quiet introspection and reflection. Inspired by the summoning bell that shares its name, Vesper encapsulates the essence of prayer, meditation, and the calm embrace of tranquil moments.
Heiny draws upon the influence of the summoning bell throughout the work with the use of chimes, tuned pipes, and crotales. Coupled with the undulating and flowing marimba voices, the work serves as a soundtrack for moments of peace and serenity.
Vesper is a medium level percussion ensemble written for ten players with seven keyboard players fluent in four mallet playing. Heiny suggests that both Marimba 1 and 2 and Marimba 3 and 4 players share instruments to further enhance the sense of community among the performers.
Use of this product is governed by the license terms outlined here.
Crotales (high octave: G# and A only)
Glockenspiel
Chimes
2 Vibraphones
2 Marimbas — (1) low A, (1) 5-octave
4 Tuned Pipes* — G#, A, C#, E
4 Timpani
Percussion — hi-hat, kick drum (mounted), ride cymbal, sizzle cymbal, splash cymbal
* Tuned pipe pitches may be played on marimba bars if necessary.
Inspired by the vesper-bell that summons individuals to worship, “Vesper” was composed for Brandon Kandrack and the Norwin High School Percussion Ensemble. Chad Heiny describes the work as calm and perhaps suitable as a soundtrack to moments of quiet introspection. Not surprisingly, the chimes are used throughout the work as connecting tissue, but for one soloistic moment, the timpani also serve this purpose. Although written as alternating 4/4 and 3/4 measures, “Vesper” is basically in 7/4. The mallet parts are repetitive, tonal, and have pleasant undulating dynamics and shape that contribute to the calm, meditative feel.
The marimba, vibraphone, and glockenspiel parts all require four mallets. Although the glockenspiel part only calls for a few chords that use four mallets, the marimba and vibraphone parts all use rotation strokes with various permutations, double stops, and mallet independence. The vibraphone parts don’t have pedaling indicated, but they do have phrase markings to help inform pedaling. “Vesper” also has a quasi-drumset part that doesn’t require use of the performer’s feet. This, along with the glockenspiel, chimes, and timpani part, could be assigned to less experienced performers, while the vibraphone and marimba parts call for more experience. It’s also important to note that the work calls for four marimba players on two marimbas. In this case, two of them must play the marimba from the opposite side, which can be challenging! Although not listed in the publication, I’m curious if it’s acceptable for the crotales and/or tuned pipes to be substituted with other instruments, as they could be a barrier for some programs.
—Joseph Van Hassel
Percussive Notes
Vol. 62, No. 1, February 2024
