SaṃsāraSaṃsāra
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Saṃsāra

Marimba Quartet No. 1
Level: Advanced
Duration: 9:00
Personnel: 4 players
Release Date: 2020
Product ID : TSPCE20-007
Price: $42.00
Item #: TSPCE20-007

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Description

The musical material in Saṃsāra, a marimba quartet by Tetsuya Takeno, takes its rhythmic influence from jazz guitarist Miles Okazaki’s debut album Mirror and minimalist David Lang’s famous chamber piece cheating, lying, stealing. With these eclectic influences, Tetsuya is able to shift between the repeated rhythmic cells and sections of improvisation to create a diverse collection of groove and musical feels. This piece also runs through a variety of moods which require a tight and cohesive ensemble.

Saṃsāra comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.

Instrumentation

2 marimbas—(1) low F, (1) low C

Reviews

Samsara utilizes the dark resonance of the low end of the marimba in a wonderfully simple way. As the score states, it “features a steady and simple catchy pattern that departs from that symmetry, gradually transforming into complex polyrhythmic ensembles. It ends dramatically, frantically reprising materials from previous sections...because at least one part always keeps a repetitive rhythmic pattern in common time, the music is always polyrhythmic. Each part may appear simple, while ensemble coordination is always challenging.” Takeno certainly accomplishes this goal; the parts are two-mallet and not terribly challenging for a competent player, but they fit together like a puzzle, and if one part is off the whole thing won’t come together.

There is a clear jazz influence in Samsara, which lends itself well to the marimba quartet ensemble. There are almost always long rolled notes happening in at least one of the parts, which fill in the space nicely between the crisp articulation of the other parts. The technique needed for this piece is standard traditional two-mallet playing, with the exception of some notated ghost notes, which emphasize the syncopation of the theme. 

The fact that this marimba quartet can be played on just two marimbas, and that even then it only needs one 5-octave instrument, greatly increases the accessibility of this piece for percussion programs and ensembles that do not have a large mallet instrument inventory. While Samsara does not reinvent the wheel of marimba quartets, it is a lovely and well thought out piece that would be a nice addition to any percussion ensemble concert.

—Marilyn K. Clark Silva 
Percussive Notes 
Vol. 57, No. 3, July 2019

Description

The musical material in Saṃsāra, a marimba quartet by Tetsuya Takeno, takes its rhythmic influence from jazz guitarist Miles Okazaki’s debut album Mirror and minimalist David Lang’s famous chamber piece cheating, lying, stealing. With these eclectic influences, Tetsuya is able to shift between the repeated rhythmic cells and sections of improvisation to create a diverse collection of groove and musical feels. This piece also runs through a variety of moods which require a tight and cohesive ensemble.

Saṃsāra comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.

Instrumentation

2 marimbas—(1) low F, (1) low C

Reviews

Samsara utilizes the dark resonance of the low end of the marimba in a wonderfully simple way. As the score states, it “features a steady and simple catchy pattern that departs from that symmetry, gradually transforming into complex polyrhythmic ensembles. It ends dramatically, frantically reprising materials from previous sections...because at least one part always keeps a repetitive rhythmic pattern in common time, the music is always polyrhythmic. Each part may appear simple, while ensemble coordination is always challenging.” Takeno certainly accomplishes this goal; the parts are two-mallet and not terribly challenging for a competent player, but they fit together like a puzzle, and if one part is off the whole thing won’t come together.

There is a clear jazz influence in Samsara, which lends itself well to the marimba quartet ensemble. There are almost always long rolled notes happening in at least one of the parts, which fill in the space nicely between the crisp articulation of the other parts. The technique needed for this piece is standard traditional two-mallet playing, with the exception of some notated ghost notes, which emphasize the syncopation of the theme. 

The fact that this marimba quartet can be played on just two marimbas, and that even then it only needs one 5-octave instrument, greatly increases the accessibility of this piece for percussion programs and ensembles that do not have a large mallet instrument inventory. While Samsara does not reinvent the wheel of marimba quartets, it is a lovely and well thought out piece that would be a nice addition to any percussion ensemble concert.

—Marilyn K. Clark Silva 
Percussive Notes 
Vol. 57, No. 3, July 2019



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