Leyenda

Isaac AlbĂŠniz

Leyenda for percussion ensemble and solo marimba

Gifford Howarth

Leyenda Š 2006 Tapspace Publications LLC. Portland, Oregon.

All rights reserved. International copyright secured. Printed in USA. www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of any text or composition contained herein requires the written consent of the copyright owner. No part of any composition contained herein 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-14

Program Notes Asturias-Leyenda is one of the most famous Spanish classical guitar pieces of the 20th century. It is interesting to note that the solo guitar work was originally a prelude to a small set of piano solos written by Isaac Albéniz during the early 1890s. The first to arrange the prelude for solo guitar was composer and guitarist Francisco Tárrega, and there have been many other guitar arrangements throughout the 20th century, the most popular being that of Andrés Segovia.

With the large interest in guitar literature by marimbists throughout the second half of the 20th century, Leyenda found its way onto the rosewood bars of the marimba. Most marimbists use the guitar version of the work as a starting point for their marimba arrangments. Utilizing a couple of different guitar arrangements, I developed my solo marimba version, which is essentially the same as the solo marimba part of this ensemble version other than a few minor changes for effect.

This solo marimba/percussion ensemble arrangement came about because of a high school percussion ensemble concert I was asked to participate in as a visiting soloist. It was a combined concert of two high school percussion ensembles in Michigan: Cadillac High School under the direction of Mike Filkins and Big Rapids High School Percussion Ensemble under the direction of Kent Boulton. They asked me if I had a piece in which I could be the soloist with both ensembles playing behind me. I thought about it for a couple of weeks and decided to arrange Leyenda into a percussion ensemble work. The total number of percussionists was around 45. This published         arrangement      isthe  result. We doubled and tripled some of the ensemble parts, but it seemed to work. ENJOY!

– G. H.    100 95        Performance Notes                                       Solo        Mar. mf Maintaining balance between soloist and ensemble is one of the most important considerations for an effective       p performance. Amplifying the solo marimba may be something to explore, but with the correct ensemblesensitivity, 













this should not be needed.

           The solo marimba part fits well onto a standard 4.3 octave (low A) marimba.

If an extended         G1  Solo f range instrument is available, there are a few occasions where you can take advantage of the Mar.  mp      lower notes.

In such cases, these lower notes are indicated with parentheses as illustrated    here.                   G2    Vibraphone parts contain a few markings to imply pedaling suggestions.

Tenuto style              note, allowing markings (seen here) are used to indicate applying G1 pedal a slight on each  space before the next note by quickly pedaling. p mp        X               mp     G2                When agrouping is slurred, the entire grouping of notes should be pedaled.  of notes         up and    mp  Also, staccato markings are used Vib.to 1 indicate p   the pedal isto be completely     non-sustaining. Both techniques are illustrated here. mp mf       X   The middle section (between measures63–112) should be allowed to “breathe” from a tempo standpoint. A       Vib. 2        mp    (and   remain tuned in to few notations of ritard and Atempo are included, conductor) should     but the ensemble the soloist who is encouraged to explore some rubato style expression throughout this  phrase to make a more  mf        Vib. 1  musical statement.          Mar. 1  mf             



85

Suggested Setup

To hear a free recording of this piece and other works by Tapspace, please visit our website at: www.tapspace.com

Level: Ensemble—Easy; Solo—Med-Advanced Duration: 5’50”

Leyenda

Isaac Albéniz arr. Gifford Howarth

q = 120

  

               p                                                                          

Solo Marimba

Glockenspiel 1

   



























p

Glockenspiel 2

  

















Xylophone

  



















soft mallets



 

Vibraphone 1











 

p Vibraphone 2

Timpani

Snare Drum

Bass Drum

Percussion 1

mark tree, castanets, sus cym, bongos, triangle

Percussion 2

sus cym, concert toms, triangle, tamb, picc snare

Percussion 3 tam tam, chimes, crash cymbals, surdo











 

Marimba 1

Marimba 2

  

 medium yarn mallet

 

p



  

 



 

 





 



 

  



























   





  

















  









































 



p

     







mark tree

 

pp

   



    

tam-tam

pp

 

 

  pp

 

sus cymbal



mp



 

chimes





p

©2006 Tapspace Publications LLC, Portland, OR. All rights reserved.

 



3

Albéniz/Howarth – Leyenda

9 9

  

                             mp                                                                     

Solo Mar.

G1

  





  

G2



X



V1

 

 p

 





 



 

p



M2

T

SD

BD

P1

P2

P3









 













 









 

 







 

   

















rubber mallets



  







    







 

  



 

  







 

      

 

    

med-hard yarn mallet



















mp



medium yarn mallet



















mp

  























































castanets 3

3 3                                 

p









mp

soft mallets

M1







  

V2



 

 

  

3 3 3                                  

 

  

 

  

 

TSPCE-14

4

Albéniz/Howarth – Leyenda

17 17

                                                                  

Solo Mar.

G1

3

mf

     

  



  

V1

  

 



 

 

mp

 



 

 

mp

BD

P1

P2

P3

 

 mp









   





















   













 

 

 

 

 







 





    

 



 

 



 

 

 



    

 



 

 



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

 

 



 

 

 



 

 

 

 



 

 

 

 

 



 

 

 

 

 

 

 

 

 

 

 



 

 

 

 

 

 

 

 





 

 

 

 





 

 

 

 

















 

 

 

 





 

 

 

   





mp

SD



sim.

   



 

 





3

mf

 

M1



3

mf



V2

3





X

T

3

   

G2

M2

3

  



    





mp







 

 





    









 

 







    









3

 

 3

3

3

  









 





   









































TSPCE-14



5

Albéniz/Howarth – Leyenda

25

                                                                    

22

Solo Mar.

G1

     

P1

P2

    





 



 

 

 

 

 









   

 

 



 



   

  







   

 

 

 

 

 

 

  





  









  





  









 



 



  





  





  





  





mp

 

   

 

 

 

 

 

   

 

 

 mp









 

 

 

 

 

 

 

 



   

  

  

 

 

















 





mf







   













sim.

mf mp

mf

 

 

 

 





 











 





 









  





  





3







  

















  





mf





 



  



    







mf

mf







 





    



  



  

mf 3







3





3

3



  

mf

 

sus cymbal





mf





 

mf



concert toms



mp P3











    





mp



 

f



mf

 



 

 

  

M1

   

 

  

V2

BD



 

  

V1

SD



   

X

T



    

G2

M2



  6

 

mf

  

crash cymbals







mf

TSPCE-14

6

Albéniz/Howarth – Leyenda

                                                                                           

27

Solo Mar.

G1

     

     



     



    



G2

X

    

V1

SD

BD

P1





 





  



mp

 



 



mp

 



   









   

P3







   





 











    

















  



 









 











 





f

 







  









sim.

mf

  





 

 













  













    







 

mp

 







 



  

   







   

TSPCE-14





















   f





   

  

  



   





 







 









 





 



 





 













 











f





  

bongos 3

 

  

  

f



  

   

crushes

f

 





(r.s.)

6









f







f

  





f

f P2



f

 



 

mp







M1

T



    

V2

M2





  

3



  

3

3



 



7

Albéniz/Howarth – Leyenda

                             ff                 

                      

 

 

                                         

 



 

 

 



 



 

 



 

 

 

32

Solo Mar.

G1

  

 





f



G2



 





 

 







 









 





f

  

X



V1





 



 



 

 





 





 

 



 

 





 







 

 



 

 







 





 









  

















  































sus cymbal

 





















sus cymbal

































 





  



medium mallet











ff



V2



mf

M2

T



P1

P2

  

 

 

 

ff













ff











 

mf

ff



3









 3















  



f





 

 

 

  

 SD

BD





  

M1

 

medium mallets



          3

3

3

sus cymbal

ff

3



   3

3

ff

3

ff







 

 

ff

P3



chimes









f

TSPCE-14

8

Albéniz/Howarth – Leyenda

                                                                          

37

Solo Mar.

G1

subito mf

     

    













   



 











   







 



























mp

  

G2

















mp





 



M2

T

SD

BD

P1









 























      







  



ff

          

















 



 

f











           

ff

          





            ff



 

 

ff

            ff



   





  

f



 





mp









 

 











TSPCE-14





 



 



 

  



f

















f

f

 

pp P3



mf

pp P2



 









 













mf

mf





 

ff

  

M1





mf V2





ff

plastic mallets



   

V1





ff

mf

X







f







f

9

Albéniz/Howarth – Leyenda

45 42

Solo Mar.

G1

  





 





 





  





 





 





  



      





      

       

                                          













































                                 









           

           

           

 









V2

             

           

           

 









M1

                                 









G2

X



V1

M2

T

SD

BD

P1

            

         

          

 









     



   

   

  















   



   



   

























 









  









  



























 

P3



 



 





 

mp





f

mp P2







f



TSPCE-14

10

Albéniz/Howarth – Leyenda

48

                                                        mf                                               

Solo Mar.

G1

  













 



 



  



 

 

p

G2



X

 

V1

  



























  

  

  

  

mp



V2





  







mp M2

T

SD

BD

P1







 

 



  

  

 

mp

  

  

  

mp M1

  

 



mp



  

 



 













































mp

 

triangle



















p P2

P3

























TSPCE-14

 

  p





11

Albéniz/Howarth – Leyenda

54

                                                       

Solo Mar.

G1

  











 











 











   

 











 











 















 

G2



X



  

V1

 

V2



M1



M2

T

SD

BD

P1



 



 





















 





 





 























  



























 

triangle

P2









 

 

 



 

 





 

 

 





 



 

p P3

 

 







 







TSPCE-14

12

Albéniz/Howarth – Leyenda

57

                                     

Solo Mar.

G1

  





   







 















             































mp

G2



X

 

V1

V2



M1



     mf





 





   

f M2

T

SD

BD

P1

P2

P3











   

f

  





































 

 



TSPCE-14





 

13

Albéniz/Howarth – Leyenda

60



Solo Mar.



   

  









 



mp







mp

  

mf





 

V1

   

 

V2



M2

T

SD

BD

P1

P2

P3



    

 



        

mf

 







      



      





 





 



  



   

   





  

pp



mf



   

 

p









 p



  p





   

 











         



 

  p

     

 

 

 

p

  

 



     p

 





  

  

 

  



















 



















 



















 



























   

 

 

p

  

 



  









p

p

   



      

  

    



p

    

M1

      

  

63 q = 80

pp

mf



 

 

rubber mallets

X





  G1  G2

Ø

mark tree











 



















  













p

p

TSPCE-14

14

Albéniz/Howarth – Leyenda

    

Solo Mar.

G1



X







V2



M1

   

SD

BD

P1

P2

P3





 









  



 



   

  







  

         







    

V1

T

 

    

G2

M2



 



  

  

If no low G, play this part 8va

69

  







 



   



                        

 



79 q = 140

   





mp

  





  

















































  















































       



 



    

    

   

      

 

   

 



 



mp



































































  







 

p



p

castanets







































































TSPCE-14

  





p





tambourine

p



15

Albéniz/Howarth – Leyenda

80

         

Solo Mar.

G1

rit.



    

X



V1





  

G2

 

A tempo

   

 













   

   

   

 









f

  







    



























































 

M1

M2

T

SD

BD

P1

P2

P3











 

 

 

 





 

 

      



 



 

 















  



  



































 



 

  

 



  







   



    



    



    



    



  



  



  



  



mf

 

 

 

   

















 



 



 













  



  









  



  



 











 



 







    



mf

   

mp









 













 

   

mf



   







 

mf

V2



    

mp





 

mp



  

       

mp









 



 













mp







    

surdo or floor tom



mp

    

    

    









TSPCE-14

16

Albéniz/Howarth – Leyenda

91

  

Solo Mar.

G1

  

  



 

                         



 





p

G2



X



 



V1







M1

















 









   



  









mp





 

mp V2

 





p

 

p





  

mp M2

T

SD

BD

P1





     



 

mp

      

   



        

   



   

    



   



   



    



   



   



mf

 

mf

  

 

           





 



100





 



           





       

           

mf

mf

mp

  







  



  



  



    







  



  



  





  

















    



  







  



  



  



















































P2



P3







TSPCE-14





 

 



 

p

17

Albéniz/Howarth – Leyenda

A tempo                                                                  rall.

101

Solo Mar.

G1

  



          



 





     

 



























            



            

(dead strokes)         



         

         



         

           



           

mp



G2



X



V1

 







(dead strokes)













mp













mp



V2















(dead strokes)

mp



M1



(dead strokes)













mp M2

T

SD

BD

P1























 





















   



















































































        piccolo snare

P2

P3









p





TSPCE-14

18

Albéniz/Howarth – Leyenda

112 110



Solo Mar.

G1







         

  





                                                 ff mf                     







    

  

  

f



G2



X

 











  

  

   

   

f











f



V1













 



  

  

f



V2













  

  

   

   

f



M1













f

M2





 











   

   

f























  

  













 

 



















P2

















P3













T

SD

BD

P1

TSPCE-14

 

 

f

f

p

f



crash cymbals



mf

f



p



19

Albéniz/Howarth – Leyenda

117

 

Solo Mar.

G1

V2

SD

BD

P1

P2

P3

     



   



    



   

 



    



   

 

   

 

  

   



          

      



 







 

 

  

 

   

 

   

  

 



  

  



 

f



  

p

f



p



         

  

 



         tamb.

f











   

 

   

  

  

  

   

   

 

 

  







    





 

 







 





 





  

  

 

  

  

  

 

  

 

  pp

  

  

  





 

pp





 

pp



    







  

 

p

pp

  

 





   

p

  

 

  







































  





















































p

 

 



 

q = 80



f



 



CODA



f

mp





 

 

   



 

  

 

  

  

  





 





  

  





              mp espress.   

D.C. al Coda

      

 



p

     

   



f







     

   



    

     

M1







V1

T

 

    

X

   

 

  

G2

M2



rit.

TSPCE-14

20

Albéniz/Howarth – Leyenda

     

129

Solo Mar.

G1

 

q = 120

rit.

 

 

  

mf







accel.

rit.



   

     

 







   

     

 mp

        



  







 





































        



V1

 

  

 



  

   

 



 





    

M1



     

V2

  

    M2    

  

  

  

  

 



























 

ppp





  

ppp





  

ppp





p





 



p

       



 

3        









P2

















P3

















p



pp









TSPCE-14



castanets 3

 









mp

  

ppp





  





P1





X

BD

    





SD

  



G2

T

  





21

Albéniz/Howarth – Leyenda

136

                  

Solo Mar.

G1







   

G2

































                   

V1



V2



  

 









  









 

ff













f



 

 





 







M1





M2

T

SD









   









    



  





     





f





            

 



 









 













P2









P3









P1

















 



 

    



  



ff

    

  

    

 

ff

        



  

  f

 

      







   









   

















f

      

mp



  

ff

f



BD

   

ff

f

 



 

            







            

f





f



 



f









f



X



     

f





surdo or floor tom

 f



 





 

   



TSPCE-14

www.tapspace.com