Doug Farrell
म र या म । marishyaami.
for solo percussion
Perusal score, not for performance use
Copyright © 2008 Doug Farrell All Rights Reserved
Program notes म र यािम ,pronounced marishyaami, is a sanskrit word meaning “i will die”, or “i am going to die”. marishyaami is, first and foremost, a study in the possibilities of fundamentals, harmonics, and overtones granted by the orchestral chimes and vibraphone. However, there is a programatic element to the piece. The concept of the piece is such that a man, about to die, goes through the grief, resistance, and eventual acceptance of his death. As such, different parts of the piece line up with his thoughts (which are included in the score). As the man eventually accepts his eventual death, he begins to drift, as do his cares for material thoughts. In this manner, the performer’s fascination with the harmonics and overtones being produced by the instruments begins to drift as well over the course of the piece.
Duration: 12’30”
Note to the performer: The inclusion of the man’s last thoughts in the program is the choice of the performer. Note that lines 13 and 28 contains expletives. The expletives can be omitted.
म"र$यािम । 1. I’m going to die. 2. I will die. 3. ‘Momento Mori’ and such . . . 4. Ah, well . . . 5. Such a sobering thought; I’ve never thought about it before. 6. . . . 7. I want to stay . . . I want to fight! 8. . . . 9. I’m useless. 10. No, dammit! Stand up! Stand up and walk! 11. But . . . where? 12. . . . 13. Fate; that whore. Screws everyone. 14. . . . 15. I’m scared. 16. . . . 17. I can’t forget. I’m going to look it straight in the eyes . . . 18. I’m going to die. 19. . . . 20. I’ve made up my mind! This is how it should be! 21. . . . this is how it should be . . . 22. . . . hm . . . 23. . . . 24. I’m scared . . . 25. . . . but this is how . . . 26. I’m going to die! 27. I will die! 28. Fate, you bitch! You fucking coward! Look at me! 29. This is it! 30. . . . 31. . . . ah . . . 32. . . . 33. I’m not going to run away anymore. 34. . . . 35. . . . 36. . . . ah . . . 37. . . .
performance notes the instruments required for this piece include one set of orchestral chimes and two sets of vibraphones. the player is to face the chimes and have both vibraphones flanking him or her on either side (as shown to the right). the placement of the setup on stage as well as the facing of the setup are at the discretion of the player. the striking instruments required for this piece include: - two (2) acrylic chime hammers - two (2) rawhide chime hammers - four (4) medium-hard felt mallets - two (2) identical triangle beaters of medium thickness and a length that, when placed horizontally through the bars of the chimes, will be able to reach both the "black" tubes and the "white" tubes simultaneously - two (2) violin or cello bows - the player is required to strike and scrape with his or her fingernails, so fingernails of medium length are recommended - the player also required to use his or her fingers or palms to strike. it is recommended that the player use the first joints below the fingertips or the fleshy area where the palm meets the fingers it is recommended that the player use two covered stands or trap tables on either side of the chimes (as shown to the right) for the placement of the striking instruments. it is also recommended that the striking instruments be divided evenly among the two stands or trap tables (for example - two of the medium-hard felt mallets on the left and two soft felt mallets on the right). swiches between striking instruments should be as fast and as quiet as possible. to that end, it is recommended that the player have two music stands (unless memorized) on either side with two copies of the music, as the players vision will constantly switch sides at certain moments in the music. - the numbers pertain to the "dying man's" thoughts. in turn, the performer can choose to apply these thoughts aesthetically to the interpretation. - all tempo indications are in effect until the next tempo indication - dynamics should be mf-f, except where indicated. accented notes should be significantly louder. only be as loud as the striking instrument allows (for example, notes played with fingernails will be somewhat quieter than notes struck with the rawhide hammer). - where indicated by "l.v.h.", the chime note is to be held as long as it takes for the harmonic to be heard before striking the next note. this can be 6-10 seconds, depending on the set of chimes used. - all chime notes are l.v. and should be held out by pedal, except where indicated. it is at the discretion of the player to choose when to reset the chime pedal, if at all. - all vibraphone notes are also to be held out by pedal. this is done by stepping on both pedals with both of the players feet when the vibraphones are required. if the player is so inclined, he or she may enact their own mechanism to keep the pedals down. - system splits indicate separation of right hand (top system) and left hand (bottom system). in accordance with this, the arrows indicate an approximate rhythmic placement of a note in one hand to a rhythmic note in the other. this approximate indicated by an arrow note will not necessarily be "in time". - the glissandi indications for fingernails and triangle beater indicate that the performer should scrape the fingernails or triangle beater up and down the body of the chime tube. at 18, the performer is required to place the triangle beater between the bars to scape both notes up and down the body of the chime tube simultaneously.
ø≼ +o
the following symbol indications, when seen above or to the left of a note, apply to that note and all notes after that note until the next symbol indication. indicates to strike on the collar of the tube (this applies as a normal strike on a vibraphone) indicates to strike on the body of the tube indicates to strike on the top of the tube (from above in a downward motion) indicates to strike on the bottom rim of the tube
1
freely
w > l.v.h.
&w > l.v.h. chimes (rawhide) 2 q
»∞º ~ §º
w &w > > ≥ ~ ~~ & ˙ ~ ~~ ˙˙ ~~ ˙ ~~~~˙˙
~~
&
w>
w>
w > rawhide »•º ~ ªº
10 q
9
˙
l.v.h.
#w > m.h. felt (2)
l.v.h.
& œœ œœ œœ œœ œœ œœ (l.h.)
»•º ~ ªº
13 q
˙ ˙ ≥ ˙˙
˙
+˙
11
w>
14
+˙
˙˙æ ≥ ˙˙æ ˙ ˙ æ æ
Copyright © 2008 Doug Farrell All Rights Reserved
+ œœæœ ˙˙æ˙ æ æ 8
w>
≥ b b ww >
b b ww >
˙æ ˙æ˙ ˙˙æ æ æ æ
m.h. felt (2)
+ b b b œœæœ ˙˙æ˙ æ+ æ 6
w> ˙
˙
w>
12
œ
#œ #œ
5
w>
w >
l.v.h.
&
#œ #œ
wwæ˙ .. wwwæ .. ˙æ ˙æ˙ # ˙˙æ b b wæw æ æ æ b w æfingers/palms æ æ˙
rawhide
> w &
m.h. felt (1)
˙~~ ˙˙ ~˙˙ ~~~ ˙˙ ~~˙˙ ~~~~ ˙˙ ~ ˙˙ ~~~ ˙˙ ~~ ~~~ ~~ ~~~ ~~ ~~~ ~ ~~~~
faster 4 fingers/palms
& ˙˙ &w >
3
w >
fingernails
7
w > l.v.h.
+˙
U
∑
U
∑
˙
u
œœœœœœœœ 15 acrylic
#˙
˙
16
U
∑
tri. beater
& # ˙ +˙ + &
freely (the length of the bar when
≥w w w ~~~~~ ~~
17 scraped with the tri. beater)
U ≥ ∑ w~~~~w ~~ w w~~~~~w tri. beater
U
19
20
& ∑
»§º
»¡ºº > qacrylic ˙˙ œœ œœ ˙˙ ˙ ˙ ˙˙ acrylic >
21 qm.h. felt (2) 22
˙˙˙ &≥˙
˙˙ ˙˙
m.h. felt (2)
˙æ æ
23
w
24 h
rit.
»∞º ~ §º
& & & &
chimes (m.h. felt)
w
w
w
vibraphone (m.h. felt)
26 h»§º ~ ¶º +œ + & Œ Œ œ ‰˙ ≈˙ ®˙ w > œŒœŒœ œ œ w & > w w w
h
»§º ~ •º
b ~~~~~~ ww ww > b w~~~~~~ w ww >
˙˙ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙ w
vibraphone (m.h. felt)
&
25 freely
27
b ~~ ww> b w~~w> ~~~~~~ b ww ww > b~w~w b ~ww~ ~~~~~~ > > b w>w ww 18
#w
U U U W* W * W*
vibraphone (bow)
#w
U U
#W* NW *
w w
w w w
U w w W wwW w w W w w W wwW w w W
w
bow
w w W
w w W
‘
‘
‘
‘
W w w W w w #w w w W w w W w w W
*these bowed notes should run as long as the length of the bow
& & & &
w w W W W
W W
w w W wwW w w W
#w w w W w
w w W w W
W
W W W"
#W "w w W
wwW U
#W w w w W
»•º ~ ¡ºº
28 q
> chimes (rawhide) œœ œœ œœ œœ œœ œœ œœ œœ > chimes (rawhide)
>>>>>>>> > > > œw œ œ œ . œ # œ œ œ # œ œ œ . œ œ œ œ œ œ œ œ œ œ œ & œ œ œ # œ. # œ. ˙ œ œ œ œ œœ> > > > >> 29 > > > > > > > > > > > >œ œœ œœ œœ œœ w œ œœ œ œœ œ œ œ œ œ œ & # w œ œ œœ œœ œœ œ œ œ œ œ # œ # œ œ œ œ œ > >> > > > > > > > > > > >j . œ œ. œ. œ. œ. œ œ œ # œ # œ . & œ œ œ# œ # œ . # œ . œ œ #œ #œ œ œ œ œ œ œ œ #œ œ œ J > > > >3 > >j ‰ œ œ œ œ œ œ # œ œ œ # œ œ œ . œ . œ . œ . œ . œ . #œ #œ œ & œ œ œ #œ . #œ . œ J > > > œ œœœœœ œ œ œ œ. œ. œ. œ œ œ œ œ & #œ #œ œ œ #œ œ œ œ #œ >
&
r œ
œ
œ œ œ #œ #œ
œ
œ
& #œ
œ
œ
> œ
œœ .. œœ .. œœ . œ œœ .. œ . œ
œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ #œ
& œ œ œ. œ. œ. œ. > œ & N œ œ # œœ > œ
31 q
&œ
»§º ~ •º
˙
> # œœ >
˙
œ
m.h. felt (1)
»§º ~ •º
h 34 vibraphone (m.h. felt)
&w
œ
œ œ œ œ œ œ # œ # >œ N œ # œ # >œ > > molto rit. > > > > 30 > > U œœ œœ # œ w> œ œ ∑ œœ # # œœ œ l.v. to nothing > > > > > > 32 slightly faster 33 chimes (fingers/palms) fingernails æw æw w w ww ~~~~~~ w w w ≥ æ w æ fingernails vibraphone (m.h. felt) chimes (fingers/palms)
W
w
bow
&w w w W vibraphone (m.h. felt) >˙ &
w>
36 slower
acrylic
37
&w > l.v.h.
l.v.h.
œ œ œ œ œ œ œ œ
>˙
w> l.v.h.
w > l.v.h.
œ ˙
35
tri. beater
w
œ ˙
chimes (acrylic)
w
w
>˙
w> l.v.h.
w
W ww>
l.v.h.
w > l.v.h.
ww>
l.v.h.
2008 Atlanta, GA