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Pining for the Spring Breeze (Teng)
Robert Oetomo’s beautiful solo marimba arrangement of Yu-hsien Teng’s (鄧雨賢) song Pining for the Spring Breeze (望春風) incorporates elements of jazz, extended and dissonant harmonies and improvisation, as well as elements of the classical romantic period, such as runs, ornaments, and flourishes. While including these elements, Oetomo’s arrangement also maintains the simplicity of the well-known Taiwanese original while taking liberties with the melodic line and rhythmic structure. Oetomo also suggests that “the arpeggiation markings of chords are merely suggestions. Feel free to play all chords, marked or unmarked, as you wish (arpeggiated or as blocks).”
Pining for the Spring Breeze ships in a printed, professionally bound folio with a full color cover.
• Marimba—(low C)
This new arrangement from Robert Oetomo weaves a Taiwanese melody around the marimba in inventive ways. The piece requires a 5-octave marimba, as well a musician who is adept with four mallets and able to cover large distances on the instrument. With an opening chorale sure to engage the audience, the initial statement of the melody is accompanied by scalar runs up the instrument. The second instance has a much more blocked and strict feel, while the final statement covers large distances and re- quires quick and graceful maneuvering around the marimba.
Otoemo offers percussionists a new take on a classic melody, and using jazz techniques brings it to life. While still in the spirit of some of his other arrangements, this piece may be slightly more accessible for younger players. The difficulty comes from a couple of one-handed rolls and the range of the instrument. We will most likely be hearing this piece very soon on undergraduate and graduate recitals.
—Josh Armstrong
Percussive Notes
Vol. 58, No. 5, October 2020
Robert Oetomo’s beautiful solo marimba arrangement of Yu-hsien Teng’s (鄧雨賢) song Pining for the Spring Breeze (望春風) incorporates elements of jazz, extended and dissonant harmonies and improvisation, as well as elements of the classical romantic period, such as runs, ornaments, and flourishes. While including these elements, Oetomo’s arrangement also maintains the simplicity of the well-known Taiwanese original while taking liberties with the melodic line and rhythmic structure. Oetomo also suggests that “the arpeggiation markings of chords are merely suggestions. Feel free to play all chords, marked or unmarked, as you wish (arpeggiated or as blocks).”
Pining for the Spring Breeze ships in a printed, professionally bound folio with a full color cover.
• Marimba—(low C)
This new arrangement from Robert Oetomo weaves a Taiwanese melody around the marimba in inventive ways. The piece requires a 5-octave marimba, as well a musician who is adept with four mallets and able to cover large distances on the instrument. With an opening chorale sure to engage the audience, the initial statement of the melody is accompanied by scalar runs up the instrument. The second instance has a much more blocked and strict feel, while the final statement covers large distances and re- quires quick and graceful maneuvering around the marimba.
Otoemo offers percussionists a new take on a classic melody, and using jazz techniques brings it to life. While still in the spirit of some of his other arrangements, this piece may be slightly more accessible for younger players. The difficulty comes from a couple of one-handed rolls and the range of the instrument. We will most likely be hearing this piece very soon on undergraduate and graduate recitals.
—Josh Armstrong
Percussive Notes
Vol. 58, No. 5, October 2020
