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Brian Mueller’s Big Adventure was written in 2017 for the Middle Tennessee State University front ensemble. In it, Mueller uses many common keyboard percussion techniques so the piece can function as a warm up or etude.
It is only scored for four mallet percussion instruments but each part can be doubled, tripled, or even quadrupled to suit the needs of any ensemble. The mallet parts are accompanied by a rhythm section comprised of drumset, congas, piano, and electric bass. The piano part is simple enough that it can be managed by a non-pianist.
Although Big Adventure was originally conceived and composed as a front ensemble “lot tune” it can help round-out any concert program by adding a little lightheartedness and fun!
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
• Glockenspiel
• Xylophone
• Vibraphone
• Marimbas—4-octave
• Drums (drum set, congas (2))
• Cymbals & gongs (Hi-hat cymbals, ride cymbal, suspended cymbal)
According to the composer, “Big Adventure” was written during the summer of 2017 for the Middle Tennessee State University front ensemble. It was intended to be a fun “lot tune” that drills common keyboard percussion techniques and requires tight ensemble coordination. The piece, however, can also be used as a fun, acces- sible percussion ensemble piece. The score includes the suggestion to duplicate keyboard parts to fit the size of your ensemble.
The piece begins with a cha-cha feel, and the piano, bass guitar, marimba, and vibraphone parts set up the chord structure. The vibraphone and glockenspiel parts hold the primary melody soon after, which is echoed by the vibraphone. The middle section includes moving eighth- and sixteenth-note passages in all keyboard parts. This leads to a return to the theme and a short coda.
The intended purpose as a “lot tune” for front ensemble is evident in the large variety of tech- niques included in the keyboard parts, with the rhythm section staying more or less steady. The score lists what techniques to expect in each part, which could help with part assignments. For example, the marimba part includes double vertical strokes, accent-taps, single-line and octave melodic material, single-independent strokes (all four mallets), and 4231 and 4312 permutations.
As intended, this piece would make a great front ensemble tune or an equally effective percussion ensemble piece. The pop feel makes the music accessible to various types of audiences, while the variety of techniques included give the piece great pedagogical value in a tight space.
—Justin Bunting
Percussive Notes
Vol. 58, No. 1, February 2020
Brian Mueller’s Big Adventure was written in 2017 for the Middle Tennessee State University front ensemble. In it, Mueller uses many common keyboard percussion techniques so the piece can function as a warm up or etude.
It is only scored for four mallet percussion instruments but each part can be doubled, tripled, or even quadrupled to suit the needs of any ensemble. The mallet parts are accompanied by a rhythm section comprised of drumset, congas, piano, and electric bass. The piano part is simple enough that it can be managed by a non-pianist.
Although Big Adventure was originally conceived and composed as a front ensemble “lot tune” it can help round-out any concert program by adding a little lightheartedness and fun!
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
• Glockenspiel
• Xylophone
• Vibraphone
• Marimbas—4-octave
• Drums (drum set, congas (2))
• Cymbals & gongs (Hi-hat cymbals, ride cymbal, suspended cymbal)
According to the composer, “Big Adventure” was written during the summer of 2017 for the Middle Tennessee State University front ensemble. It was intended to be a fun “lot tune” that drills common keyboard percussion techniques and requires tight ensemble coordination. The piece, however, can also be used as a fun, acces- sible percussion ensemble piece. The score includes the suggestion to duplicate keyboard parts to fit the size of your ensemble.
The piece begins with a cha-cha feel, and the piano, bass guitar, marimba, and vibraphone parts set up the chord structure. The vibraphone and glockenspiel parts hold the primary melody soon after, which is echoed by the vibraphone. The middle section includes moving eighth- and sixteenth-note passages in all keyboard parts. This leads to a return to the theme and a short coda.
The intended purpose as a “lot tune” for front ensemble is evident in the large variety of tech- niques included in the keyboard parts, with the rhythm section staying more or less steady. The score lists what techniques to expect in each part, which could help with part assignments. For example, the marimba part includes double vertical strokes, accent-taps, single-line and octave melodic material, single-independent strokes (all four mallets), and 4231 and 4312 permutations.
As intended, this piece would make a great front ensemble tune or an equally effective percussion ensemble piece. The pop feel makes the music accessible to various types of audiences, while the variety of techniques included give the piece great pedagogical value in a tight space.
—Justin Bunting
Percussive Notes
Vol. 58, No. 1, February 2020
