Cart is empty
The ocean has always been a tantalizing blend of beauty, power, and danger — timeless in its allure and ever-changing in its moods. Riptide by Patrick Speranza captures this essence, weaving a tale that oscillates between tranquility and tempest.
At the heart of the piece is a marimba soloist with decent command of four-mallet technique. The soloist begins with a lyrical chorale that paints serene shorelines and gentle tides. This soon takes a darker turn with an ostinato in 7/8 that bubbles up from the depths from the rest of the ensemble, and off we go. Rocking, half-time 4/4 grooves provide contrast and head-bobbing.
Modern, accessible, and energetic, the piece stands as both a challenge for performers and a treat for audiences. Embrace the flow and exhilarating pull of the Riptide!
Riptide ships as a printed, professionally bound score and includes individual parts in PDF format for printing or tablet viewing.
Glockenspiel
2 Vibraphones
3 Marimbas — (3) all low A
4 Timpani
Drums — concert bass drum, 4 concert toms, snare drum
Cymbals and gongs — China cymbal, hi-hat, ride cymbal, splash cymbal, suspended cymbal
Accessories — brake drum, finger cymbals, 5 temple blocks, triangle, wind chimes
“Riptide” was written for Matthew Black and the Carmel High School Percussion Ensemble to perform at the 2023 Midwest Band and Orchestra Clinic, and the piece wears its connection to the band world on its sleeve in several ways. The large setup might seem odd, given that the piece lasts just over three minutes, until the connection to the modern marching band front ensemble is made: the use of several marimbas and vibraphones backed by a complement of percussion parts emulating a drumset, accessory rack, and impact player make it clear that this piece is in- tended to be performed as part of a larger program for front ensemble, or at least for performers accustomed to the front ensemble environment.
The piece opens with a solo marimba chorale, which is then augmented by the addition of all keyboards more or less doubling the solo part (with some occasional ornamentations), before transitioning to an aggressively rhythmic and metered section that constitutes the remaining 21⁄2 minutes of the piece. For the most part, voices enter in groups and often double pitches in unison, at the octave, or in fifths (again, a signature borrowed from the marching field).
Most of the time, the parts would be relatively straightforward and approachable for an average high school ensemble, and even the solo marimba part is mostly within reach of anyone who has been playing with four mallets for at least a few months. However, there are bursts of material that are much more difficult, which will likely be the focus of the performers’ practice time. These instances include playing unison 4:3 rhythms as an ensemble, pedaling the timpani to play melodically, and executing some rather virtuosic two-mallet sixteenth-note keyboard licks as a group.
Ultimately, this piece is exactly the sort of project that will motivate high school students, especially those who are coming to the concert stage from the marching field. The piece is fast, exciting, and accessible, and more than a little groovy.
—Brian Graiser
Percussive Notes
Vol. 62, No. 1, February 2024
The ocean has always been a tantalizing blend of beauty, power, and danger — timeless in its allure and ever-changing in its moods. Riptide by Patrick Speranza captures this essence, weaving a tale that oscillates between tranquility and tempest.
At the heart of the piece is a marimba soloist with decent command of four-mallet technique. The soloist begins with a lyrical chorale that paints serene shorelines and gentle tides. This soon takes a darker turn with an ostinato in 7/8 that bubbles up from the depths from the rest of the ensemble, and off we go. Rocking, half-time 4/4 grooves provide contrast and head-bobbing.
Modern, accessible, and energetic, the piece stands as both a challenge for performers and a treat for audiences. Embrace the flow and exhilarating pull of the Riptide!
Riptide ships as a printed, professionally bound score and includes individual parts in PDF format for printing or tablet viewing.
Glockenspiel
2 Vibraphones
3 Marimbas — (3) all low A
4 Timpani
Drums — concert bass drum, 4 concert toms, snare drum
Cymbals and gongs — China cymbal, hi-hat, ride cymbal, splash cymbal, suspended cymbal
Accessories — brake drum, finger cymbals, 5 temple blocks, triangle, wind chimes
“Riptide” was written for Matthew Black and the Carmel High School Percussion Ensemble to perform at the 2023 Midwest Band and Orchestra Clinic, and the piece wears its connection to the band world on its sleeve in several ways. The large setup might seem odd, given that the piece lasts just over three minutes, until the connection to the modern marching band front ensemble is made: the use of several marimbas and vibraphones backed by a complement of percussion parts emulating a drumset, accessory rack, and impact player make it clear that this piece is in- tended to be performed as part of a larger program for front ensemble, or at least for performers accustomed to the front ensemble environment.
The piece opens with a solo marimba chorale, which is then augmented by the addition of all keyboards more or less doubling the solo part (with some occasional ornamentations), before transitioning to an aggressively rhythmic and metered section that constitutes the remaining 21⁄2 minutes of the piece. For the most part, voices enter in groups and often double pitches in unison, at the octave, or in fifths (again, a signature borrowed from the marching field).
Most of the time, the parts would be relatively straightforward and approachable for an average high school ensemble, and even the solo marimba part is mostly within reach of anyone who has been playing with four mallets for at least a few months. However, there are bursts of material that are much more difficult, which will likely be the focus of the performers’ practice time. These instances include playing unison 4:3 rhythms as an ensemble, pedaling the timpani to play melodically, and executing some rather virtuosic two-mallet sixteenth-note keyboard licks as a group.
Ultimately, this piece is exactly the sort of project that will motivate high school students, especially those who are coming to the concert stage from the marching field. The piece is fast, exciting, and accessible, and more than a little groovy.
—Brian Graiser
Percussive Notes
Vol. 62, No. 1, February 2024
