The Devil's Dance

Igor Stravinsky

The from Devil’s Dance Histoire du Soldat Arranged for percussion ensemble by James Ancona

The Devil’s Dance. © 2000 by Tap Space Publications, Portland, Oregon.

International copyright secured. Printed in U.S.A. All rights reserved. www.tapspace.com Cover design by Mike Needham Notice of Liability: Any duplication, adaptation, or arrangement of this piece requires the written consent of the copyright owner. No part of this composition may be photocopied or reproduced in any way without permission.

Unauthorized uses are an infringement of the U.S. Copyright act and are punishable by law.

TSPCE-02

b a c k g r o u n d and instrumentation With this percussion ensemble transcription of The Devil’s Dance, I’ve tried to stay as “true” as possible to Stravinsky’s original score, though a few changes have been made. I moved the entire piece up a major second so it would fit nicely on 4 1/3 octave marimbas (low G’s becoming low A’s). Also, a few of the melodic and accompaniment lines are now in octaves to “fill out” the ensemble sound.

Finally, a few extra “herbs and spices” have been added to the perccussion part, though I feel I stayed true to Stravinsky’s intentions.

If you are a purist, the original percussion part will work as well (the form of the piece is the same). Enjoy and good luck!

-James Ancona

Instruments need e d : •Glockenspiel •Xylophone •Two Vibraphones •Two 4 1/3 octave Marimbas (low A) •Five Timpani (32”, 29”, 26”, 23”, 20”) •Multi-percussion set-up (snare drum, field drum, bass drum, tambourine

p e r f o rmance notes Glockenspiel Use medium hard plastic mallets (lexan) At rehearsal letters B through D, and from J to the end, accents are light. Here, the overall sound must blend with the vibraphones. Notes with staccato markings should be dampened immediately with the opposite hand.

Marimbas Use medium-hard mallets Notes with stacatto markings are to be dead-stroked. At rehearsal letter D (melody), the accents are light.

When notated, stickings refer to this diagram.

(1 through 4, left-to-right)

Xylophone Use medium plastic mallets (poly ball) At rehearsal letters B through D, and from J to the end, accents are light. For rehearsal letters B through D. the sound must blend with the vibraphones.

Timpani Use “staccato” mallets

Vibraphones Use medium-hard mallets Notes and phrases with tenuto markings and slurs are to indicate specific pedaling. Otherwise, pedaling is interpretive and left to the performer. Staccato markings mean NO pedal.

At rehearsal letters B through D, the accents are light.

Percussion Use snare drum sticks throughout. See digram below for set-up. On snare drum and field drum, snares should be turned OFF throughout. Tambourine can be mounted, but should be played with fingers. Bass drum should be muffled slightly to match sustain of snare and field drum.

1 2 3 4

All Players Suggested stickings (when notated) are optional

s u g gested setup

3

Grade 5 Duration: approx. 1:19

The Devil's Dance from Histoire du Soldat

Allegro q = 144

Glockenspiel

4 42 &4 Ï Ï Ï Ï > Ï > Ï > Ï > Ï

·

43

·

4 & 4 bÏ #>Ï

42

·

43

·

Ï Ï Ï Ï & 44 Ï- ÏÏ Ï- ÏÏ Ï- ÏÏ Ï- ÏÏ 42 > . > . > . > .

·

43

·

Ï Ï Ï Ï Ï Ï 4 4 Ï Ï Ï >- Ï. >- Ï. >- Ï.

4 2 &4 Ï Ï Ï Ï Ï Ï Ï Ï 4 # Ï- Ï Ï- Ï Ï- Ï Ï- Ï > . > . > . > .

·

43

·

4 Ï Ï Ï Ï Ï Ï 4 # Ï- Ï Ï- Ï Ï- Ï > . > . > .

& 44

·

43

·

44

dampen

f

Xylophone

f

Vibraphone 1

Ï >Ï

Ï >Ï

Ï >Ï

ff

Vibraphone 2

Igor Stravinsky arranged by James Ancona

ff

Marimba 1

ff

? 44 #Ï > 4 &4

Marimba 2

Timpani A,B,C,G#,A

b#>ÏÏ

b#>ÏÏ ff

? 44 nÏ > ¡? 4 ¢ 4 >Ï. f

snare drum field drum bass drum bass drum (edge)

4 / 4

Ï >Ï

Ï >Ï

Ï >Ï

Ï >

Ï >

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Ï >.

Ï >. ·

Ï >Ï

42

4 Ï> Ï >Ï Ï >Ï Ï 4 bÏ #>Ï

b#>ÏÏ

Ï 24 Ï Ï #Ï Ï Ï Ï 43 Ï #Ï >Ï ä >Ï ä Ïj #Ï Ï J > > 1 2 3 4 2 3 2 3

42

·

43

·

b#>ÏÏ

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24 Ï Ï #Ï Ï Ï Ï Ï 43 Ï #Ï >Ï ä >Ï ä Ïj nÏ Ï J > >

Ï >.

42

snares off

1 2 3 4 2 3 2 3

·

43

·

Ï Ï Ï Ï Ï > >Ï > 42 Ï Ï Ï Ï 43 Ï Ï ä J ä ÏJ f

© 2000 by Tap Space Publications. Portland, Oregon.

International copyright secured. Printed in U.S.A. All rights reserved.

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4

The Devil's Dance Ancona

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dampen

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·

43

·

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j 43 Ï ä Î # Ï>

Î

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Vib.2

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Mar.1

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Mar.2

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TSPCE-02

4 / 4

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5

The Devil's Dance Ancona

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43

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> . > Ï Ï.j Ï #Ï Ï Ï Ï. 42

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43

9

Glock.

& 42

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Xyl.

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Vib.1

Vib.2

2 & 4 Ï. Ï Ï. Ï . . & 42

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mf

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f

Mar.1

Mar.2

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·

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2 / 4

·

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·

Ï Ï Ï Ï Ï#Ï Ï Ï Ï Ï # Ï Ï Ï Ï >Ï >Ï. >Ï. ä J J ä

>Ï.

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staccato = dead strokes

58 2 3 #Ï Ï. #Ï Ï. Ï Ï Ï Ï# Ï Ï 4 Ï Ï #Ï Ï Ï Ï Ï 4 > > > . > . > >Ï mf 58 58

·

42

staccato = dead strokes

42

· ·

f

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43

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43

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J . mp

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p

·

f

43

mf

·

42

·

to tambourine

43

TSPCE-02

6

The Devil's Dance Ancona

15

Glock.

Xyl.

& 43

58 #Ï >

#Ï

Ï Ï #Ï Ï Ï #Ï nÏ 5 3 Ï b Ï Ï 8 #Ï &4 ÏÏ >

#Ï

·

mf

f

Vib.1

Vib.2

Mar.1

Mar.2

mf

j Ï #>Ï #Ï Ï >Ï Ï #>Ï

j Ï Ï Ï 68 ä #Ï #Ï > >

j5 Ï 8

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·

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3 &4

·

58 ä #Ï. nÏ Ï bÏ. Ï #Ï Ï >Ï #Ï. >Ï #Ï nÏ. >Ï bÏ. 68 ä Ï #Ï Ï. Ï. 58 #Ï . > > .

mf

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mf

3 5 68 58 & 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 8 #Ï Ï. #Ï Ï. Ï Ï Ï Ï # Ï Ï # Ï # Ï Ï Ï Ï Ï Ï > > > . > . #>Ï Ï >Ï Ï. > . > simile mf ? 43

·

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3 &4

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? 43

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58 #Ï Ï Ï Ï Ï Ï #Ï Ï >Ï Ï. >Ï Ï. #>Ï 68 #Ï #Ï Ï Ï Ï Ï 58 > mf

simile

¡? 3 Ï. Ï. ä J Timp. ¢ 4 J

Ï. ä J

mp

TSPCE-02

j5 Ï 8

3 &4

F# to G# C# to E

SD FD BD BD(E)

j Ï #>Ï #Ï Ï >Ï Ï #>Ï

C jÏ 6 ä Ï Ï 8 #Ï #Ï > >

/ 43

·

ä

26" 23" 23" 26" 58 #ÏJ. ä #Ï. ä Ï. ä Ï. ä #Ïj ä Ï. ä Ï. ä #Ï. 68 ä #ÏJ ä #Ï ä Ï 58 J J J J .

J J J J simile

with fingers . . . . . . . . . . .

58 ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ 68 ä ÀJ ä ÀJ ä ÀJ 58 mp

7

The Devil's Dance Ancona

Glock.

5 & 8 #Ï#Ï Ï Ï Ï #Ï > > >

j Ï Ï Ï #Ï#Ï Ï Ï Ï #Ï > > > >

>jÏ Ï # ä Ï Ï Ï #Ï #Ï Ï Ï > > >

>Ï

> #Ï nÏ Ï Ï #Ï 42 >

Xyl.

& 58 #Ï#Ï Ï Ï Ï #Ï > > >

j Ï Ï Ï #Ï#Ï Ï Ï Ï #Ï > > > >

>j Ï Ï Ï #Ï #Ï Ï Ï Ï ä #Ï > > >

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> #Ï nÏ Ï Ï #Ï 42 >

58 >Ï Ï.#Ï. >Ï Ï. >-Ï &

Ï. #>Ï Ï. >Ï Ï.#Ï. >Ï Ï. >-Ï J

b>-Ï Ï.#>Ï Ï. >Ï Ï.#Ï. >Ï Ï. ä J

>-Ï

b>Ï n Ï.b>Ï.

J ä ä 42

20

Vib.1

Vib.2

Mar.1

Mar.2

>. . > .

5 > . . & 8 #Ï nÏ Ï bÏ Ï. #Ï Ï.#Ï. Ï Ï Ï bÏ. Ï.#Ï Ï. #Ï Ï Ï Ï #Ï. nÏ bÏ. Ï.#Ï nÏ. ä #Ï> > > > > > > >

Ï >-

2 #>Ï nÏ. Ï Ï #Ï 4 > . .

5 42 &8 Ï Ï Ï #Ï Ï Ï #Ï Ï Ï Ï Ï # Ï Ï Ï Ï Ï Ï # Ï Ï Ï Ï Ï Ï# Ï # Ï # Ï Ï Ï Ï Ï Ï Ï Ï# Ï Ï ? 58

·

·

·

·

·

·

·

42

5 &8

·

·

·

·

·

·

·

42

2 ? 58 Ï Ï Ï #Ï Ï #Ï Ï #Ï Ï Ï #Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï #Ï #Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï 4

¡? 5 ä Ï ä j ä j ä j ä j ä 26" j ä Ï ä Ï ä #23" #Ï ä #Ï ä Ï26"ä Ï ä j ä j ä j ä j ä 2 Ï ä Timp. ¢ 8 J #Ï Ï Ï Ï #Ï J J J Ï Ï 4 J J J J #Ï Ï SD FD BD BD(E)

. . . . . . . . . . . . . . . . .

58 ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä ÀJ ä 42 /

TSPCE-02

8

The Devil's Dance Ancona

24 >Ï &

D Ï Ï 38 #Ï #Ï Ï 58 Ï #Ï #Ï Ï 42 > > > Ï >

·

·

58 Î

Î.

43

> 2 &4 Ï

Ï Ï 38 #Ï #Ï Ï 58 Ï #Ï #Ï Ï 42 > > > Ï >

·

·

58 Î

Î.

43

Vib.1

2 &4 Î

#>Ï #Ï. 3 >Ï Ï. Ï. 5 #>Ï Ï. >Ï #Ï. Ï. 2 8 8 4

·

·

58 Î

Î.

43

Vib.2

2 3 & 4 Ï #Ï. #Ï Ï. 8 Ï > > >

·

·

58 Î

Î.

43

27

Glock.

Xyl.

Mar.1

Mar.2

2 j 5 Ï. 8 # Ï Ï Ï Ï. Ï. 4 > . >

j 58 #Ï #Ï ÏÏ Ï Ï 43 & 42 Ï Ï Ï Ï 38 #Ï Ï #Ï 58 #Ï Ï Ï Ï Ï 42 ä #ÏÏ ÏÏ ##ÏÏ ##ÏÏ # Ï Ï#Ï > Ï Ï # Ï #Ï Ï ? 42

·

38

·

58

2 &4

·

38

·

58 Î.

42

· Î

mf

42

·

·

58

·

43

·

·

58

·

43

> ? 42 Ï Ï Ï Ï 38 #Ï Ï #Ï 58 #Ï Ï Ï Ï Ï 42 ä #ÏÏ ÏÏ ##ÏÏ ##ÏÏ #Ï Ï ##ÏÏ 58 #ÏÏ ##ÏÏ ÏÏ ÏÏ ÏÏ 43 J mf

¡? 2 26"j ä Ï ä 3 Ï ä #23" Ï Ï 58 ä #Ï ä ÏJ ä 42 Ï Timp. ¢ 4 #Ï J 8 J J Ï J Ï

Ï 5 Ï 3 Ï Ï 8 Ï Ï Ï Ï Ï 4

. . . . . to drums Ï 24 ÀJ ä ÀJ ä 38 ÀJ ä ä 58 ÀJ ä ÀJ Î 42 Ï Ï Ï /

Ï Ï Ï 5 Ï Ï Ï Ï 3 Ï Ï 4 8

G# to G

mp

SD FD BD BD(E)

L R L mf

TSPCE-02

R

L R L

R

L

L R R L

9

The Devil's Dance Ancona

33

Glock.

3 &4

Xyl.

·

E 38

Î

43

·

38

Î.

Î

43

·

38

·

42

Î.

Î

43

·

38

·

42

·

58 Î

Î.

Î.

3 &4

·

58 Î

Î.

Vib.1

3 &4

·

58 Î

Vib.2

3 &4

·

58 Î

Mar.1

Mar.2

Timp.

SD FD BD BD(E)

Î

43

Î.

Î. Î.

#>Ï #Ï Ï sf

3 58 #Ï Ï Ï 3 38 4 # Ï Ï # Ï # Ï #ÏÏ & 4 #ÏÏ ##ÏÏ ÏÏ Ï Ï # Ï # Ï # Ï Ï Ï # Ï Ï Ï Ï Ï Ï # >Ï # Ï Ï # Ï > > > # Ï >Ï # Ï Ï Ï > #Ï Ï Ï

42

·

#Ï Ï #Ï 42

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42

? 43

·

58

·

·

43

·

38 Î.

42

& 43

·

58

·

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43

·

38 Î.

42

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ÏÏ ##ÏÏ

42

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42

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42

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Ï

Ï Ï 3 Ï Ï Ï 3 Ï Ï Ï Ï Ï Ï Ï 4 8

Ï

Ï

TSPCE-02

10

The Devil's Dance Ancona

38

Glock.

Xyl.

2 &4

38 ä j ä 58 j ä Ï. Ï. > > pp

·

6 24 #Ï Ï#Ï#Ï 38 & Ï #Ï Ï#Ï#Ï Ï Ï#Ï 6

·

58 Î

& 42

·

38 ä

Vib.2

2 &4

·

38 ä j ä 58 j ä nÏ Ï Ï. Ï. > > mp

Mar.1

? 42

4 3

2

2

·

2 &4 Mar.2

Ï ##ÏÏ

#Ï

·

? 42 ##>ÏÏ

#Ï

Ï ##ÏÏ

¡? 2 Timp. ¢ 4 Ï

Ï

Ï

2 / 4 Ï

Ï

SD FD BD BD(E)

TSPCE-02

Ï Ï

Ï

Î.

j2 j Ï. 4 ä Ï. ä > > 42 Î

j3 j Ï. 8 ä Ï. ä > >

·

38 nÏ #Ï Ï #Ï J Ï

Ï Ï

p

· ä

·

mf

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Vib.1

& 42 ##ÏÏ >

j Ï. ä >

F

j Ïä Ï >.

j2 j Ï 4 ä Ïä Ï Ï >. >.

>Ï Ï Ï Ï Ï j3 j Ï 8 ä Ï ä nÏ Ï Ï ÏJ Ï Ï Ï >. >. mf

38 ä #ÏÏ ÏÏ 58 #>ÏÏ ä >ÏÏ ä #ÏÏ 42 #>ÏÏ ä >Ï ä 38 nÏ ä #Ï ÏÏ Ï Ï ä Ï Ï J J J J J J J ÏÏ ÏÏ #Ï Ï #Ï Ï #>Ï > #>Ï 38 Ï ä Ï 58 ä Ï ä Ï ä 42 Ï ä ÏJ ä 38 Ï ä ä J J J J J J

fp

Ï bÏ Ï

ä

bÏ Ï

38 ä #ÏÏ ÏÏ 58 #>ÏÏ ä >ÏÏ ä #ÏÏ 42 #>ÏÏ ä >Ï ä 38 nÏ ä #Ï ÏÏ ÏÏ ÏÏ ä ÏÏ ÏÏ J J J J J J J fp #Ï Ï #Ï Ï #>Ï >Ï #>Ï 38 Ï ä Ï 58 ä Ï ä Ï ä 42 Ï ä J ä 38 Ï ä ä Ï bÏ Ï ä bÏ Ï J J J J J J 38 Ï. ä Ï. 58 ä Ï. ä Ï. ä 42 -Ï J J J J 38 Ïj ä ä 58

·

B to C

Î

38 Ï. ä Ï. Ïj ä ä Ïj ä ä .

J J . f

p

Ï^. ä >Ï ä 3 ä ä j j ä ä j ä ä Ï.

J J 8 Ï Ï.

stick shot

42

normal

f

p

11

The Devil's Dance Ancona

45

Glock.

Xyl.

& &

·

·

>Ï #Ï

·

mf

·

·

·

G Ï Ï Ï Ï 42 Ï Ï #Ï Ï Ï Ï Ï#Ï Ï ä Ïj Ï # Ï n Ï > > Ï Ï >Ï > > LR L

>Ï Ï#Ï Ï Ï#Ï 2 ä Î 4 Ï Ï Ï#Ï Ï Ï # Ï Ï Ïj f

·

ÏÏ ÏÏ . .

mp

j j 42 ä ÏÏ ÏÏ ä . .

·

·

b ÏÏ. ÏÏ.

42 ä Ïj Ïj ä b Ï. Ï.

·

·

mp

Vib.1

Vib.2

Ï & Ï

ÏÏ. >Ï Ï#Ï Ï Ï#Ï Ï. ä ä J J

ä

Ï & Ï

ÏÏ.

J

ä

ÏÏ. ä ä J

& ä ÏÏ ÏÏ ä nÏÏ ÏÏ Mar.1

? ä bÏ Ï ä bbÏÏ ÏÏ & ä ÏÏ ÏÏ ä nÏÏ ÏÏ

Mar.2

? ä bÏ Ï ä bbÏÏ ÏÏ

Ï Ï Ï#Ï

ÏÏ

mp

ä Ï Ï j ä ä nÏ Ï b Ï > f

bÏ Ï ä b Ï Ï bÏj ä ä > ä Ï Ï j ä ä nÏ Ï b Ï > f

bÏ Ï ä b Ï Ï bÏj ä ä >

42 j ä Î b>Ï

Ï ÏÏ ÏÏÏÏÏ Ï ÏÏÏÏÏÏÏ

mp

mf

j 42 bÏ ä Î >

·

42 j ä Î b>Ï

·

#Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï mp

mf

j 42 bÏ ä Î >

·

·

¡? j ä ä j ä ä Ï. Ï.

Timp. ¢

j Ï. ä ä

j Ï. ä ä

24 Ïj ä ä Ïj ÏJ. ä ÏJ. ä . .

Ï. ä Ï. ä J J

j j / Ï. ä ä Ï. ä ä

j Ï. ä ä

j Ï. ä ä

À. À.

24 Ïj äto tambourine Î J ä J ä .

À. À.

J ä J ä

SD FD BD BD(E)

f

f

mf

mf

mp

mp

TSPCE-02

12

The Devil's Dance Ancona

52

Glock.

Xyl.

Vib.1

& ä Ïj > >Ï ä.

& Î &

H

·

Ï Ï #Ï >Ï Ï Ï Ï

f

r #Ï Ï >Ï Ï #Ï Ï Ï Ï Ï Ï mf

·

·

Î

·

Ï Ï Ï #Ï >Ï ÏÏ

Ï Ï Ï Ï > >

·

·

f

Vib.2

&

·

·

Ï Ï Ï Ï > >

Î

Ï >.

#Ï Ï Ï Ï >Ï Ï >. #Ï Ï> Ï Ï

?

?

·

TSPCE-02

Ï Ï Ï Ï Ï#Ï Ï Ï > >Ï

·

·

·

·

·

#Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï ·

¡? Ï. Ï. ä J J ä Timp. ¢ SD FD BD BD(E)

·

& ÏÏÏÏÏÏÏÏ ÏÏ Ï ÏÏ ÏÏÏ ÏÏÏÏÏ ÏÏÏ ÏÏÏÏÏÏÏÏ Ï ÏÏ ÏÏÏÏÏ Ï ÏÏÏÏÏÏÏ

& Mar.2

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The Devil's Dance Ancona

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TSPCE-02

Also available from Tap Space Publications Two Days

for Solo Multiple Percussion

by Robert Lopez

Two Days is a solo for multiple percussion which utilizes the following instruments: 5 concert toms, vibraphone, crotales, temple blocks, china cymbal, splash cymbal, suspended cymbal, sizzle strip, and pitched wind chimes.

It uses a melodic theme as the common thread through various forms of ostinato patterns.

4-mallet proficiency will be required for much of the ostinato work. A variety of techniques are used, including playing rims and blocks with the mallet shafts, and playing the wind chimes as a melodic component.

Duration: 4 minutes • 9 pages • Level: Medium Advanced • $14.00 • TSPCS-01

Technology

for eight percussionists

by Jim Casella

A percussion ensemble for eight players, Technology is written for a concert setting for players of beginning and intermediate abilities. It is based off a “techno” groove of modern pop, and allows some players to be featured. This is sure to be a fun piece for high school players to perform, while giving the audience an enjoyable piece to listen to. Instruments used are: timpani (3), snare drum, bass drum, 4 concert toms, 2 additional toms, hi-hat, temple blocks, triangle, suspended cymbal, ride cymbal, xylophone, and glockenspiel. Technology comes with a bound score as well as individual parts.

Duration: 4 minutes • Level: Medium Easy • TSPCE-01

Parking Lot Etudes

Psychogenic Discourse for the Flam-Drag Fighter Pilot

by Murray Gusseck

This book contains some of the most unique drumline cadences and 60-second warm-ups ever written for the Santa Clara Vanguard. Included are such popular favorites as, Martian Mambo (SCV 90-91, 94), Poof! (SCV 92), Fat Mama Dancin’ (SCV 97), Electric Wheelchair (SCV 90-92), and It’s in 4 (SCV 94, 96). Gusseck also supplies a forward to each piece giving some insight to the creation of the work. These are advanced pieces, which are sure to test the boundaries of anyone’s rudimental chops!

37 pages • Level: Extremely Advanced • $19.00 • TSPB2

Fresh Perspectives for the Modern Drumline

Ensemble Exercises and Music of the Santa Clara Vanguard

by Jim Casella and Murray Gusseck

Take an inside look at one of the most innovative marching percussion programs in the world!

Written by head SCV percussion instructors Jim Casella and Murray Gusseck, this book will give you a complete collection of unique SCV warm-up exercises as well as several excerpts from Vanguard shows from the 1996, ‘97, and ‘98 seasons. With this book, you’ll be able to upgrade your current warm-up program, learn advanced and intricate rhythms, build chops, study different arranging techniques, and play actual award-winning SCV music!

97 pages • Level: Intermediate to Advanced • $30.00 • TSPB1

www.tapspace.com