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Concertpiece for Marimba and Piano
Originally composed for solo marimba and wind ensemble, this version of Clifton Taylor’s Concertpiece has been reduced for solo marimba and accompanying piano. In this version, the original wind parts have been made playable by a single pianist, which allows for a much more stripped-down and intimate performance of Taylor’s original musical material.
The piece is ideal for an advanced high school or undergraduate marimbist who is looking to showcase their chops and musical maturity. And with this reduction, performers do not have to find a willing ensemble, making it even more accessible and enjoyable to a wider audience.
Alternate versions available:
Concertpiece for Marimba and Wind Ensemble
Concertpiece for Marimba and Percussion Ensemble
This reduction comes as a professionally printed and bound score, which includes an individual marimba part in PDF format for printing or for tablet viewing.
• Marimba—(1) low C*
• Piano
* Subtitutions are offered which enable the marimba part to be performed on a 4.3-octave (low A) marimba.
This work features the piano reduction of the original written for marimba and wind ensemble, and it is also available with a percussion ensemble accompaniment. The piece came out of a commission led by Dr. Jason Baker to have a piece that features a professional or advanced player along with an accompaniment that is accessible for high school bands.
The piece is divided into three sections in the traditional fast-slow-fast form. The opening section is in alternating 3/4 and 6/8 measures. The marimbist must have excellent independence between the hands. The second section, while slower, still keeps the rhythmic drive moving forward. The final section is much faster and incorporates syncopation in both of the players’ parts. A driving melody in 4/4 is occasionally interrupted with 6/8 measures, making for a fun and interesting ending.
This piece is well written for the marimbist, with an interesting piano part that is accessible to younger players. Both parts play off of each other and make for a fun and exciting work. The style is definitely one that audiences will be sure to enjoy. The groove and style are reminiscent of Pat Metheny, which Clifton Taylor expresses as “completely intentional.” Taylor has provided a concerto-style piece that makes collaboration with younger students or groups much easier, with a style that will be sure to keep their interest as well.
—Josh Armstrong
Percussive Notes
Vol. 59, No. 5, October 2021
Originally composed for solo marimba and wind ensemble, this version of Clifton Taylor’s Concertpiece has been reduced for solo marimba and accompanying piano. In this version, the original wind parts have been made playable by a single pianist, which allows for a much more stripped-down and intimate performance of Taylor’s original musical material.
The piece is ideal for an advanced high school or undergraduate marimbist who is looking to showcase their chops and musical maturity. And with this reduction, performers do not have to find a willing ensemble, making it even more accessible and enjoyable to a wider audience.
Alternate versions available:
Concertpiece for Marimba and Wind Ensemble
Concertpiece for Marimba and Percussion Ensemble
This reduction comes as a professionally printed and bound score, which includes an individual marimba part in PDF format for printing or for tablet viewing.
• Marimba—(1) low C*
• Piano
* Subtitutions are offered which enable the marimba part to be performed on a 4.3-octave (low A) marimba.
This work features the piano reduction of the original written for marimba and wind ensemble, and it is also available with a percussion ensemble accompaniment. The piece came out of a commission led by Dr. Jason Baker to have a piece that features a professional or advanced player along with an accompaniment that is accessible for high school bands.
The piece is divided into three sections in the traditional fast-slow-fast form. The opening section is in alternating 3/4 and 6/8 measures. The marimbist must have excellent independence between the hands. The second section, while slower, still keeps the rhythmic drive moving forward. The final section is much faster and incorporates syncopation in both of the players’ parts. A driving melody in 4/4 is occasionally interrupted with 6/8 measures, making for a fun and interesting ending.
This piece is well written for the marimbist, with an interesting piano part that is accessible to younger players. Both parts play off of each other and make for a fun and exciting work. The style is definitely one that audiences will be sure to enjoy. The groove and style are reminiscent of Pat Metheny, which Clifton Taylor expresses as “completely intentional.” Taylor has provided a concerto-style piece that makes collaboration with younger students or groups much easier, with a style that will be sure to keep their interest as well.
—Josh Armstrong
Percussive Notes
Vol. 59, No. 5, October 2021
