Isaac Albéniz
Sevilla (Sevillanas) arranged for percussion ensemble and solo marimba by Christopher Whyte
Sevilla (Sevillanas) by Isaac Albéniz, arranged by Christopher Whyte © 2010 Tapspace Publications, LLC, Portland, OR. (ASCAP) All rights reserved. International copyright secured. Printed in USA. www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of this composition 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-52
Program notes Sevilla (Sevillanas) originated as a movement within Isaac Albéniz’s Suite Española, Op. 47, for solo piano. The work consisted originally of four movements: Granada (Serenade), Cataluña (Courante), Sevilla (Sevillanas), and Cuba (Notturno). Albéniz composed the four original works in 1886, and they were subsequently grouped together in 1887 in honor of the Queen of Spain. Each movement of the piece depicts a different region and musical style within Spain. In 1912 the Suite was republished by the editor Hofmeister with four additional movements: Cádiz (Saeta), Asturias (Leyenda), Aragón (Fantasia), and Castile (Seguidillas). The added movements do not exactly represent the geographical region after which they are named; however, overall when grouped together, they give a distinct impression of the variety and breadth of Spanish traditional music. All of the pieces in the suite have been arranged and performed extensively by classical guitarists and in recent years have gained widespread popularity as transcriptions for solo marimba as well.
Performance notes While Sevilla is taken from Albéniz’s original piano score, this arrangement is intended to be akin in feel to the many guitar arrangements composed over the last 70 or so years. As such, the piece should have a light, intimate feel overall, with a constant ‘lilt’ in the fast sections. This can be achieved primarily with a slight emphasis on the downbeat of each measure from the tonal voices in the ensemble. The middle section of the piece should be performed with a fair amount of rubato in the solo marimba part. However, the segments in which the accompaniment plays can be performed with a strict tempo for easier ensemble cohesion. The ensemble players must become very familiar with the solo part, especially during the slow middle segment, in order to “catch” some of the entrances following stretches in tempo. The “hand claps” and “foot stomps” are meant to emulate the flamenco style and should be performed with flare! At measure 41, the Percussion 2 player should take a stick in his or her playing hand in order to accommodate the crash cymbal part in measure 44. The tambourine strikes and crash cymbal notes in measures 44 and 45 should be executed with the same hand. In general, the tambourine player should get a distinctly different sound between the parts marked “fist,” and the parts marked “fingers.” The “fist” parts should be executed with a swift stroke of the closed fist in the center of the tambourine. For the parts marked “fingers,” the player should hold the tambourine on a slight angle, rest the forearm across the head of the tambourine, and play at the edge with two or three curved fingers directly over the shell of the tambourine. For these spots, a dry sound is preferred to a wet, washy sound. The timpanist should strive to play with a clear, rhythmic sound. Using a soft, general stick will probably not achieve the level of rhythmic clarity desired, especially during the faster sections. A medium-hard timpani mallet should be used for this reason. The stickings indicated in the solo marimba part are suggestions by the arranger. However, any stickings that comfortably and expressively execute the music may certainly be used. In general, stick suggestions throughout the piece should be followed, but the most important aspect of the different timbres created should be the balance of the solo part above the rest of the ensemble. The bass marimba and timpani voices will have the easiest time “covering up” the soloist, so it is important to find a mallet that provides a warm tone from the instrument, while not interfering with the timbre of the marimba.
Instrument/Parts list This piece calls for 8 players in all (1 marimba soloist and 7 percussionists).
Solo Marimba Only a small, 4-octave marimba is required for this part. Four mallets are required. Glockenspiel This part is playable on a small 2-octave glockenspiel. Some hand claps and foot stomps occur. Xylophone A standard 3.5-octave xylophone is required, plus some hand claps and foot stomps. Vibraphone and Chimes Requires a standard vibraphone and chimes, plus some hand claps and foot stomps. Marimba A standard 4.3-octave marimba is required (low A). Two mallet parts only Timpani Three timpani are required (32”, 29”, 26”). No tuning changes occur. Percussion 1 Castanets, triangle, bass drum Percussion 2 Tambourine, suspended cymbal
1
2
L.H.
3
4
R.H.
Note: In cases where four-mallet technique is required, the sticking indications conform to the mallet numbering in this diagram.
Solo: Med-Advanced Ensemble: Med-Easy Duration: approx. 4’00”
Solo Marimba
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Written for the Union High School 2010 Midwest Clinic Percussion Ensemble – Lewis Norfleet, director
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Sevilla (Sevillanas) – Albéniz, arr. Whyte
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f™ f™
f
f
∑
mf
f fff f f f
∑
∑
/
¢/
> fff fff fff fff fff fff ff ff ff >
f f fnf f#fnf#f f f f fnf f#fnf#f f f
∑
f
°
ff ff ff ff
p
nF ?# # Mar. ¢ # nF
Timp.
3 1
> f fnfff nf f ff f f f f f f f f f ff ff ff ‰ ff ff ff J f
ff #fff f nn#ffF ™™ 3 2
64
Solo Mar.
4 3 3 2 1 3 2
4 3 1
∑ 1
Triangle
1
∑ 1
1
1
1
f
∑
∑
Sevilla (Sevillanas) – Albéniz, arr. Whyte
Solo Mar.
Œ
Œ
? ###
∑
poco rit.
∑
Œ
Œ
∑
##f &# f
Œ
Œ
∑
Vibes
f ### f &
U F™
U ∑
∑
∑
U F™ F™ æ
Œ
Œ
Œ
Œ
U ? ### ‰ ffffffffff f fff fff f f Œ Œ
Tamb
°
/
¢/
1
f
Œ
Œ
∑
2 f f f f f f f f f f f f f f f f1 f f f f ffff #f
f™ f™ æ
R
3
3
æ FFæ FF
b
∑
∑
∑
∑
∑
∑
b
∑
∑
∑
∑
∑
∑
b
∑
∑
∑
∑
∑
∑
b
∑
∑
∑
b
∑
b
∑
∑
∑
ff F #F mp
F F
#f f
FF f ææ
FF æ
f f
F æ
F™ æ
Vibes
f
mp
n
f
Tri.
Con Rubato (approx. q = 86)
mp
U ∑
U F™
f ffff ff fff f f fffffffff fff b f f f f f æf æf f f æ I
Chimes
<“>f f ? ### Mar. ¢
Timp.
U ∑
∑
° ### ff Glock. &
Xylo
Fade completely before moving on
∏∏∏∏∏
<“> ### ff &
73
9
∑
∑
Œ
soft mallets
p
f f
Œ
Œ
f fL Rf f f f f f f f f f f
∑
∑
U ∑
∑
∑
∑
∑
∑
∑
∑
U ∑
∑
∑
∑
∑
∑
∑ TSPCE-52
Sevilla (Sevillanas) – Albéniz, arr. Whyte
10
&b
Solo Mar.
Glock.
f
f
# ff fffff f
f
æ 3 f f f 3 6 6 3 6 FFæ ff f f f ff f f f f f f f f f f f f f f f f f f f f f f f f f f n f f f #F f f f f f f ff f ffff f f f f f f f ffffffffff f f f f æ æ ff f f f f f f F cresc. 3
J ,
∏∏∏∏∏
82
mp
f
?b
∑
∑
∑
∑
∑
∑
∑
∑
° b &
∑
∑
∑
∑
∑
∑
∑
∑
Soft Rubber Mallets
Xylo
&b f f f f f f f f f f f f f
Œ
Œ
∑
∑
∑
∑
∑
∑
f f & b f ff f ff #ff ff ff
Œ
Œ
∑
∑
∑
∑
∑
∑
Œ
Œ
∑
∑
∑
∑
∑
mp
Vibes
mf
mf
p
Mar.
Timp.
Tri.
Tamb
TSPCE-52
¢
?b
?b
f
mp
f
f
f
f
f
f mf
f
f
#f f f f#f#f fnf
R L L
f
∑
∑
∑
∑
∑
∑
∑
∑
/
∑
∑
∑
∑
∑
∑
∑
∑
¢/
∑
∑
∑
∑
∑
∑
∑
∑
°
Sevilla (Sevillanas) – Albéniz, arr. Whyte
& b ‰ #f
90
Solo Mar.
fff
2 3 2 3
?b
Xylo
ff# f f f f f f
& b #ff ff ff ff ? f ¢ b
f
f
f
mp
Timp.
Tri.
Tamb
?b °
/
¢/
∑
L f ™ f Rf f f f f f f f f f ffff f #f ™ f Fææ ™ f f f #f ™ F
f f
∑
#f f fn f #ff ff f
f
f
Œ Œ
mf
f ΠΠf
mf
f
Œ Œ
mf
f
f™
f
Hand Claps/Foot Stomps
f
¿
f
f
¿
f
f
¿¿
f
f
¿¿
f
¿
Hand Claps/Foot Stomps
/
f ff
f™ L
L
f
∑
∑
∑
f ff
f™
∑
∑ f ffff f ffij f
Castanets
p
Œ
3
j ee ‰ e
very dry
pp
f
U ∑
#U F™
∑
∑
∑
Glockenspiel
¿¿
¿
n
∑
f
f
∑
∑
/
f™
¿¿
f f f f f f f f f f f ff f f f f f f f ffff ff f ff f #fff ff f f ff # f f 7 6
A tempo
Uf f f f™ f f ‰J f
3
∑
/
q = 68
poco rit.
3 3 1 3 2 1
∑
∑
p
Mar.
A tempo (approx q = 86)
K Strict
Hand Claps/Foot Stomps
mp
Vibes
f ##ff f f f f f f f ™ f f f 3 1
∑
° Glock. & b
&b
#f f 2 4
4 3 2 32 3
11
¿
¿
f™
¿¿
Œ
f
¿
f
f
¿ ¿
f
3
Œ
¿
f #f f ff
f™
∑ f ffff f ffij f
&
j ee ‰ e Œ
3
j e e ‰e
f™
¿¿
f
U ∑
f
¿
f
U ∑
f
¿¿
f
/
U & #æF ™ æ
?
f ff
f™
U ∑
∑ f ffff f ffij f
Hand Claps
U F™ æ
¿
¿
f
¿¿
f
f
¿
f
f
¿¿
f
f ff
f™
∑
ee ‰
¿
f
Œ
ee ‰
∑ ff f f f #f f
∑
∑
3
j e
∑
∑
f ffff f ffij f
3
Œ
¿
∑
f ffff f ffij f
U ∑
f™
j e
∑ TSPCE-52
Sevilla (Sevillanas) – Albéniz, arr. Whyte
12
Solo Mar.
Hand Claps
f f 99 f fff b & ff ?b Œ °
Hand Claps
Hand Claps
Mar.
Timp.
Cast.
Tamb
TSPCE-52
¢
f f
ff ff ‰ f f‰ f f
ff ff #f f f f f f f ff ff f f f f f f f f f #ff ff f f ff ff f f f f f f f f #f f f f #f f
L Con Rubato poco rit.
Œ
Œ
ff
∑
∑
∑
∑
∑
∑
∑
/
∑
∑
∑
∑
/
∑
ff f ?b f f f
?b
‰ fJ
Vibes
f
f
f
f
f f f f #f f
f
f
f
f f f
™ f f fff f f f f f ff f f f f f f f f f f f f f f f f f f ff ™ ææ æ f ff
mp
/
&
∑
f
f f f #f f f f f
Œ
F™
Glockenspiel
&
∑
Œ
Œ
f
∑
Œ
F™
Chimes
∑
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
Ó
∑
∑
∑
∑
∑
∑
f
‰ ffffffffff f Œ Œ
ffffff
A tempo
ff F mp # F Vibes
f
mp
FF f ææ F æ
soft mallets
∑
∑
∑
/
∑
∑
∑
∑
∑
∑
∑
∑
∑
¢/
∑
∑
∑
∑
∑
∑
∑
∑
∑
°
med-hard mallets
f
Œ
p
Sevilla (Sevillanas) – Albéniz, arr. Whyte
f f f f f f f f f f f f f f ffff #f b &
∏∏∏∏∏∏
108
3
Solo Mar.
Glock.
3
?b
∑
° b &
∑
æ FFæ FF æ
f
f
# ff fffff f
∑
∑
∑
∑
13
M
f
A tempo q = 120 # f # ff f f n #fff fff # # > f f f f # #ff ff ff ff f #f f f#f f f f f f f f# f f f f#f f f f fn f f f#f f #f f f f f n#fff f ff ff > f ### ∑ ∑ ∑ ∑ ∑ poco accel.
∑
∑
f
f
f
f f f f f f f f ### F
p
/
∑
∑
&
fff fff fff f f f f
### f f fnf f#fnf#f f Medium Plastic
Œ
Œ
∑
∑
∑
mf
mp
F &b F
#f f
FF ?b æ Mar. ¢
f f
Vibes
Timp.
Cast.
Tamb
/
¢/
Œ
Œ
ff f ff f #ff f ff ff ff f f f f f f f
mp
f ffffff ffff f f f f f f
?b F™ æ °
f f
mp
∑
f
f
F™ F™ ææ
f ff ff # ff # ff f f f f f f f nf nf nf ff ff f #f f f f f f
#F ™ #F ™ ææ
sub. p
∑
∑
∑
∑
∑
f
˙™
Y™
Y™
p
∑
∑
∑
SusCym
p
f
med-hard mallets
Concert Bass Drum
˙™
f f
f f
f f
ff f f
f f f f ### #>f f f f f f ff ff ff f
f f
f f
### f ™ f™
f ff J
f f f f f f f f ### f ™ >
f ff J
f
mp
∑
Œ
f
Soft Rubber
Hand Claps
f ff f
˙™
f
f
∑
mf
Y™ mf
>f f f >f f f >f f f
Castanets
f
Fist
∑
4™
j 4 44
Tambourine
f
TSPCE-52
Sevilla (Sevillanas) – Albéniz, arr. Whyte
∏∏∏∏∏∏∏∏
f ff f
Solo Mar.
Glock.
Xylo
Vibes
° ### &
∑
Cast.
Tamb
TSPCE-52
3
∑
F
ff f f F ff f f f f f FF f f f f f f f f ffff f f f 3 123
L
∑ f
F
∑ f
F
∑ f
F
∑
∑
> ##> & # ff ff ff ff ff ff ff
Œ
Œ
∑
∑
∑
/
¢/
∑ f
F
∑ f
F
∑ f
f ff F J f ff f J >
ff
Œ
ff
F
Œ
f f
F
∑
Fingers
mp
∑
Œ
Œ
e
e
Œ
F
e
e
Œ
F
∑
e
>f ff f f ffij>f f
Œ
ff
F
∑
j ffi
e
ff
e
f f
F
∑
F
ff
>f ff f ffij>f ffij>f ffij>f ffff f ffij>f f ffij>f ff f f ffij>f f ‰ J 3
Œ
e
e
Œ
f fff f f f ff
F
e
e
F™ nF ™
Œ
e
Œ Œ
nf nf nf nf f ff nf nf
F F
mf
∑
j ffi
e
nf f nff ∑
‰ f f f f f f f f f f f f f f f f nf
f fff f f f f f f f f f f f fff f f f
ff
∑
3
mp
j 4 44 e
∑
mf
>f ff >f f f >f ff >f ff f ffij>f ffij>f ffij>f ffff f ffij>f f ffij>f ff f f ffij>f f ‰ J 4™
N
mf
∑
°
F
ff f f F ff f f f f f nFF f f f f f f f f ffff f f f
p
Œ
>f ™
3
∑ f
Œ
? ###
ff f f ffff FF f
4 3 23
R
## & # f f fnf f#fnf#f f f
?# # f™ Mar. ¢ # f™
Timp.
3 2 1
ff f f ffff FF f 3
∏∏∏∏∏
### >f f f f f & ff ff ff ff ff ff ff f > ? ### ∑
116
3 2 1
> F F F F >
∏∏∏∏∏
14
∑
∑
>f ff f f ffij>f f
∑
j ffi
e
Œ
e
e
Πe
Sevilla (Sevillanas) – Albéniz, arr. Whyte
# # f f nf nf & # nnFF
126
Solo Mar.
Glock.
Cast.
Tamb
> f f nfff nf f ff f f f f f f f f f ff ‰ ff J f
ff #fff f nn#ffF ™™ 3 2
3 2
3 1
fff fff f f
f ff f
f ff f
∑
∑
∑
∑
∑
∑
∑
° ### &
∑
∑
∑
∑
∑
∑
∑
## &#
∑
∑
∑
∑
∑
∑
f f f nf f#f nf #f f
mf
nf ## f f &# nf f f f f nf f f
Vibes
Timp.
4 3 3 2 1
4 3 1
? ###
Xylo
Mar.
f f f nf f f nf f f f f f f f f nf f f nf f f f f f f f F ff
15
¢
nf
nF ? ### nF
? ### °
nf nf
nf nnFF
∑
f nf
f
nf f f
f
nf nf
nF nF
∑
f nf
f
nf f f f f f
nF nF
f f
∑
nf fbf f f
f nf nf
F F
nf
f fff f
f f
f
f f
f f
f f
f™ f™
f J
f f
>f ™
f J
f f
f
∑
∑
∑
e
Œ
e
e
Œ
∑
∑
e
e
Œ
∑
e
e
Œ
∑
∑
e
e
Œ
>f f f >f f f >f f f
∑
e
Œ
Œ
f
f
/
¢/
f
e
Œ
f
Œ
4™
f
j 4 4 4 TSPCE-52
Sevilla (Sevillanas) – Albéniz, arr. Whyte
16
### >f f & ff ff f f > ? ###
133
Solo Mar.
° ### Glock. &
Xylo
Vibes
Cast.
Tamb
TSPCE-52
f ff f
f ff f
∑
∑
f
f
## & # f f f nf f #f nf #f f f
Œ
Œ
p
## &#
∑
? ### °
/
¢/
>f ™
f J
f f
f J
f f
f p ° f
f
∑
>f
>f. J ‰ Œ
Œ
ff ff #f ff ff #f ff ff #f ff ff #f ff ff #f ff ff #f FF
>f f
>f f
Œ
Œ
>f f
>f. f ‰ Œ J
Œ
>f f
>f f
Œ
Œ
>f
j f ‰ Œ >.
Œ
>f
Œ
Œ
> 4
Œ
Œ
ff
∑ ff
ff
ff
∑ ff
mf
f
f
f
f
f
“” f
f f
f
ff
ff
ff
ff
ff
ff
FF
ff
ff
ff
ff
ff
FF
f
f
ff f
Œ
Œ
∑
>f f f >f f f >f f f >f
Œ
Œ
∑
4™
Œ
Œ
∑
4
FF
ff
Œ
Œ
Œ
∑
f
p
4 4
> f f f f >
∑ f
f
>f
j 4
> ff f f >
∑
f
∑
?# # f™ Mar. ¢ # f™
Timp.
fff fff f f
“” f f f f f f f f f f f f f f f f f f # f f #f f f #f f f #f f f #f f f f f f f f f #f f f f f f f f f f f f
∑ 1
Triangle
1
∑ 1
1
1
1
Œ
Œ
1
Castanets
Ó
> 4
f
∑
∑
Œ
>f
j ffi
j ffi