David Reeves
Pieces of Eight
AP SPACE Publications
Pieces of Eight. Š 2002 Tap Space Publications. 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-03
Conductor/Performer Roles
Performance Notes
This piece is about freedom from structure and spontaneity of entrances and exits. But equally important is the need for uniformity in the ensemble, rhythmic accuracy, balance, and blend. These contradicting aspects make the conductor’s job difficult. If the performers are solid enough from a timing standpoint, I would omit the use of a conductor altogether and let the performers use their eyes and ears to communicate the music. In this case, a deep understanding of the entire score from all players is necessary. However, if a conductor is preferred, his or her role needs to be treated with care. Subtle gestures, small cues, and a small beat pattern are all that is necessary. What is most unwanted is for the audience to know what time signature the ensemble is in and who is about to start playing. Let the music speak for itself.
Various “Performance Notes” will appear throughout this score in which further explanation may help the ensemble understand the desired musical effect. These performance notes exist only in the conductor’s score so they may be addressed in rehearsal with the full ensemble. This piece frequently alternates between Unmetered and Metered sections. It should be noted that the 16th note rhythm should stay consistent throughout. “Unmetered” simply refers to a non-measured span of time. There are timing indicators to give an approximate length of time (in seconds) where significant events (such as cues, chord changes, adding voices, etc.) should occur. These timings are merely approximate and do not need to be literally adhered to. General note about cues: Oftentimes, cues are indicated in “unmetered” sections. when this is the case, the cues should always relate to the existing rhythm so they “line up” rhythmically. The performer playing these cues should become very familiar with the content of the other player’s parts so as to not interrupt the flow of any existing ostinato figures.
For a free recording of this piece, please visit the Tap Space Publications website at: www.tapspace.com
Required Setup
Mallet Selection: Glockenspiel and Crotales: medium plastic mallets (but not too bright) Vibraphones: medium cord mallets (unless otherwise noted) Marimbas: medium yarn mallets Timpani: medium-soft timpani sticks
Timpani
a1 Marimb one
aph
Vibr
1
Vibraphone 2
Glock. Crotales
Marimba 2
Marim
ba 3 Vibr
aph
one
3
Grade 5+ Approximate playing time: 7 minutes
Pieces of Eight
David Reeves
Unmetered q = 100
5'
10'
Pedal is down throughout
Vibraphone I.
ppp
(Continue)
p
pedal is down throughout
Vibraphone III.
ppp
Marimba II.
Marimba II
Continue until cued by Glock.
p
28' (Continue)
ppp
Vibe III
pedal is down throughout
Vibe II
ppp
18' Vibe I
p
p
Continue until cued by Glock.
Continue until cued by Glock.
(Continue)
© 2002 Tap Space Publications, Portland, OR. All rights reserved.
2
Pieces of Eight - Reeves
36' Cue
Vibe I
Vibe II
Vibe III
Marimba II
Marimba III
Timpani
Glock Crotales
Marimba I.
Glock.
pp p f p pp f p
Low to high:
F, A, D, E, A
p
p
p
TSPCE-03
pp p f
mp
A
Metered
f
f
f
f
pp
pp
pp
3
Pieces of Eight - Reeves
*PN 1
Glock Crotales
Vibe I
mp Vibe II
Vibe III
mp
Marimba I.
Marimba II
Marimba III
Timpani
mp
mp
mp
mp
mp
*Performance Note 1: The rests and broken beams that occur throughout (most often in the left hand) are there to illustrate which hand should be leading. Unless indicated otherwise by pedal or articulation markings, maintain a smooth and connected sense of line throughout.
TSPCE-03
4
Pieces of Eight - Reeves
Vibe I
Vibe II
Vibe III
Marimba I
Marimba II
Marimba III
Timpani
Glock Crotales
mf
Vibe I
Vibe II
Marimba I
Marimba II
Marimba III
Timpani
f
p mf f
f p mf
Crotales
p
l.v.
mp
TSPCE-03
p
B
mp
Glock Crotales
mf
Vibe III
mp
mf
3 3 3 3 mf 3
mf
l.v. mp
3
Glock.
3 3
3
3 3
mf
3
3
5
Pieces of Eight - Reeves
Glock Crotales
3
Vibe I
3
Vibe II
3
Vibe III
Marimba I.
Marimba II
Marimba III
Timpani
3
3
l.v. C Unmetered f l.v. 3 l.v. mf sub p p f 3 l.v. l.v. mf sub p p f l.v. 3 l.v. mf sub p p f 3 sp p mf sub p f
3 3 p f sub p mf
3 3 mf sub p f p 3
p mf sub p f 3
l.v.
Re-tune Low to high: G, A, D, F, A
TSPCE-03
6
Pieces of Eight - Reeves
5'
10'
D 30' Cue (metered)
20'
Glock.
Vibe I
Continue until cue.
mp
p
Vibe II
f
p
Vibe III
Marimba I.
Marimba II
Marimba III
f
p
Continue until cue.
f
p p
Continue until cue.
Continue until cue.
f
f
f Timpani
f
TSPCE-03
7
Pieces of Eight - Reeves
Unmetered Take approximately 5 seconds to fade out.
Marimba II
Marimba III
ppp
Gradually drop out right hand (ad lib rhythm)
p
Marimba III
Left hand becomes "downbeat"
TSPCE-03
8
Pieces of Eight - Reeves
24' Cue
Glock Crotales
Vibe I
Vibe II
Crotale
p
E 8' Cue (metered)
Unmetered
mp
l.v. Rest Approximately 7 seconds p mf l.v. Approximately 6 seconds pp mf
Marimba II
Marimba III
Timpani
Vibe III
Marimba I.
l.v. Approximately 7 seconds mf pp Approximately 5 seconds
mf pp
p mf
mf p
*PN 2 Rest Approximately 4 seconds
*PN 2
Rest Approximately 5 seconds
Rest Approximately 7 seconds
mf
*Performance Note 2: Enter at random, but in context of the existing rhythm.
TSPCE-03
pp
pp
9
Pieces of Eight - Reeves
12' Cue Glock Crotales
Glock.
Ritard (metered)
mp
(*PN 2)
Vibe I
mp
Vibe II
Vibe III
Marimba I.
Marimba II
Marimba III
Timpani
mp
mp mp
TSPCE-03
10
Pieces of Eight - Reeves F
Glock Crotales
Vibe I
Vibe II
Vibe III
Marimba I.
Marimba II
Marimba III
Timpani
Tempo I (metered)
mf mf mf
l.v.
mp
p
mf
mf
mf
p
mf
p
mf
mf
mf
TSPCE-03
p
Crotales
mf
mp
mf mp mf
mp
mf
11
Pieces of Eight - Reeves
Glock Crotales
Vibe I
p
Marimba I.
Marimba II
Marimba III
Timpani
mf
mf
p
Vibe III
p
Vibe II
Glock
mf
p
mf
p
p
p
mf
mf
mf
p
mf
TSPCE-03
12
Pieces of Eight - Reeves
Vibe I
mp
dim.
Vibe II
mp
p
dim.
pp
dim.
Vibe III
Timpani
mp
p
dim.
dim.
pp
pp
G
Glock Crotales
l.v.
l.v.
Vibe I
Marimba I.
Marimba II
Marimba III
Timpani
sfz
l.v.
sfz
l.v.
p
Vibe 1 (pedal down throughout) Marimba I maintains ensemble pulse and ostinato throughout this section. Other entrances should relate pulse to Mar. I.
dim. sfz
sfz
TSPCE-03
Glock.
sfz
Vibe II Vibe III
Unmetered
8' Cue
mp
p
13
Pieces of Eight - Reeves
Cue
Vibe I
Vibe II
Marimba I.
Marimba II
Marimba III
Timpani
(pedal down throughout)
mp Vibe III
(pedal down throughout)
mp
*PN 3
*PN 3 p Enter at Random
*PN 3 Enter at Random
p
*PN 3 Enter at Random
p
*Performance Note 3: Entrances throughout this phrase (or shifts for marimba 1) should occur within one "beat" of each other. It is not necessary to enter at exactly the same time. Rhythmic context should stay the same however.
TSPCE-03
14
Pieces of Eight - Reeves
Cue
Glock Crotales
Approx 5'
mp
Vibe I
Vibe II
Vibe III
Marimba I.
Marimba II
Marimba III
Timpani
mp
mp
mp
mp
TSPCE-03
15
Pieces of Eight - Reeves
Cue
Approx 7'
Vibe I
Vibe II
Vibe III
Marimba I.
Approx 7'
TSPCE-03
16
Pieces of Eight - Reeves
Cue
Glock Crotales
Vibe I
Vibe II
Vibe III
Marimba I.
TSPCE-03
Approx 7'
Cue
17
Pieces of Eight - Reeves
Timpani Cue Cue Glock Crotales
Vibe I
Vibe II
Vibe III
Marimba I.
Marimba II
Marimba III
Timpani
Approx 7'
f
TSPCE-03
18
Pieces of Eight - Reeves
Cue
Glock Crotales
Vibe I
l.v. p
p
Vibe II
H *PN 4
p
p
f
p
Vibe III
Marimba I.
Marimba II
Marimba III
Timpani
p
f
p
p
p
p
p
f
p
f
p
p
f
p
p
TSPCE-03
p
f
p
*Performance Note 4: At letter H, the hairpin dynamics should be of relatively short length and should bleed into each other. The motion should start at the left end of the ensemble (conductor's view) and move smoothly to the right.
19
Pieces of Eight - Reeves
*PN 5 Vibe I
p
Vibe II
f
p
Vibe III
f
p
Marimba I.
Marimba II
Marimba III
Timpani
f
f
p
f
p
f
p
p
f
p
f
*Performance Note 5: In unmetered sections, dynamics should be indicated by conductor. If conductor is not being used, designate one player to determine the rate of dynamic increase/decrease.
TSPCE-03
20
Pieces of Eight - Reeves
8' Cue
0'
Glock.
Glock Crotales
I
*PN 6
Vibe III
Marimba I.
Marimba II
Marimba III
Timpani
f
Vibe II
Vibes switch to hard cord mallets
f
TSPCE-03
pp
f
f
f
f
f
f Vibe I
f
l.v.
f
f
f
f
Re-Tune Low to high: F, A, D, E, A
*Performance Note 6: This moment is an effect in which each individual's "event" of notes should occur immediately following the prior player's "event." These do not need to speak as precise 32nd notes. A seamless wave of sound is the desired effect. Starting pitch is approximate, and given only as a reference. Each additional pitch can be random as long as the indicated shape remains.
21
Pieces of Eight - Reeves
7' Vibe I
12'
mp
Vibe II
Marimba II
p
mp
mp
pp
36' Cue
Glock
20'
28'
p
Vibe I
Vibe II
Vibe III
Marimba II
pp
mp
TSPCE-03
22
Pieces of Eight - Reeves
J
Metered
Glock Crotales
f p f p
Vibe I
Vibe II
Vibe III
Marimba I
Marimba II
Marimba III
Timpani
p
p
p p f
p
p
TSPCE-03
p f
f
p
23
Pieces of Eight - Reeves
Glock Crotales
mf
Vibe I
Vibe II
Vibe III
Marimba I
Marimba II
Marimba III
Timpani
mp
mf
mp
mf
mp
mf
mf
mp
mf
mp
mf
mp
mp
TSPCE-03
24
Pieces of Eight - Reeves
Glock Crotales
mf
Vibe I
Vibe II
Vibe III
Marimba II
Marimba III
Timpani
mf
mf
TSPCE-03
mf
sub. p
ff
sub. p
ff
sub. p
ff
sub. p
ff
mf
mf
sub. p
mf
sub. p
sub. p
ff
ff
ff
25
Pieces of Eight - Reeves
K
Conductor Cue 15'
Unmetered Vibe I
Vibe II
ff Vibe III
Marimba I.
Marimba II
Marimba III
Timpani
p
gradual dim.
ff
p
gradual dim.
p
gradual dim.
ff
*PN 8
p ff gradual dim.
gradual dim.
ff
p
p ff gradual dim.
Solo (ad lib. F, B, C, E, F)
p
*PN 7 gliss.
*Performance Note 7: This timpani glissando, even though at
p, should still speak clearly.
TSPCE-03
26
Pieces of Eight - Reeves
16' Cue
Metered
p
Glock
Glock Crotales
Vibe I
Vibe II
*PN 8
*PN 8
Vibe III
Marimba I.
Marimba II
Marimba III
Timpani
l.v.
mp
l.v.
mp
mp
l.v.
mp
l.v.
l.v.
mp
*PN 8
mp
*Performance Note 8: These chordal shifts should "bleed" into each other.
TSPCE-03
l.v.
l.v.