flawed recordings…

Rip Tide

Warmup/technique – chromatic exercises (scales, m3/M3) with unison 8ths at 1/4 note = 160bpm; octaves as alternating 16ths at 1/4 note = 160bpm

ALL (starting at end and working backwards section-by-section) – LH as written with RH playing 8ths on single pitch at 1/4 note = 140bpm; RH as written with LH playing 8ths on single note, and in two-note patterns; both ways focusing on playing the moving line at notated dynamic while maintaining speed… it is easier to play soft at this speed, but need to push volume and tempo together.

Tempo progress report to self (hands together comfortably and accurately) – page 10-end at 1/4 note = 70bpm; pages 8-9 at 1/4 note = 80bpm; pages 6-7 at 1/4 note = 90bpm; pages 3-4 at 1/4 note = 100bpm; pages 1-2 at 1/4 note = 130bpm

For future practice… hands together should generally not be slower than the tempos indicated above, and pages 1-5 should almost always be hands together; pages 6-12 still need hands apart, but need to focus more time on hands together.

Cold run (later in the day), without metronome, but approximately (at least) 1/4 note = 80bpm

Surface Drifts

Warmup/technique – DV exercises = octaves, interval changes, etc.; SI chromatic exercises playing 8ths, triplets, 16ths, and 5s with metronome at 1/4 note = 70bpm (all mallets separately)… 5s are tense (in all mallets) at this tempo, need to work on building this up, summed up from best to worst mallet 3421 ;-(

measures 60-end – worked all at 1/4 note = 80bpm, RH alone and LH alone playing unmetered SA rolls

Recorded 60-end in the following ways (all at about 80bpm):

  • DV block 16th note chords
  • DV (alternating) regular rolls
  • SA unmetered rolls
  • SA unmetered and ripple rolls combination

Click here for recordingsThese are definitely flawed recordings… of course, as soon as I pressed the record I made mistakes that I haven’t been making in practice. That’s partially why I did it…to see what would fail under pressure. Regardless of the mistakes, I am posting them, so Michael Gatonska can start getting an sense of what affect these four versions offer.

Page five – worked on 5s, hands separate RH at 65bpm; LH at 55bpm; both mostly memorized; wrists definitely tight when playing. I need to warmup into it better. (I stopped playing for a bout 45 minutes, then went right into this…)

Measures 1-25 – worked on memory, hands together and separate, tempo about 50bpm (no metronome practice)


2 Replies to “flawed recordings…”

  1. Julie, I think that I liked the DV block 16th note chords over the DV (alternating) regular rolls. But I am kind of on the fence about it – I was looking for a sound where the notes kind of melt into each other to create dynamic and pitch swells and progressing harmonic fields – the first recording seemed to do this pretty well…. unless the recording is fooling me?

    I am very glad to have a chance to listen to the different recordings of various mallet techniques you are exploring for this movement; in fact, the final technique might be interesting to use at the final few measures. But at this stage I am not sure since I do not have a sound picture of the whole movement yet.

    1. Agh, now this is very interesting!!

      I was expecting you to prefer the final option (with SA and ripple rolls). I think with that final option the chords progress with more fluidly, and more flexibility (rhythmically speaking), with melodic/harmonic lines being more blurred…because never will all four notes be struck simultaneously. I was thinking about the fluidity of this option as being more like the seemingly chaotic or unpredictable nature of water flowing through a bubbling brook (or something similar), or watching the ripples of water in a pond after skipping a rock into it, or watching the effect of wind blowing across the open surface of a small lake or pond.

      That said, I think the block DV chords offer something interesting because the tonality of the chords is much less ambiguous, and creating swells like you mention can me much more dramatic because I think I can offer greater dynamic range with that interpretation. The potential downside, perhaps, is that it may seem more stiff/rigid because of the steady rhythmic pulse. However, that steady pulse may be the affect desired to re-create the mesmerizing character of swelling waves of ocean water?

      So, maybe the interpretation depends on what kind of water we are envisioning? Perhaps I am being too literal in thinking of water?

      I think I will play around with using the block chord as the primary interpretation, and finding places where the SA/ripple rolls might be appropriate.

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