Pezzo da Concerto No. 1

Member(s)
Online: (16)

Guests:
Online: (0)

Posted By : Jeff Moore

Piece Title : Pezzo da Concerto No. 1

No. of times Viewed (May 2013) :46

Total No. of times Viewed :1064

No. of Media Uploads :0(Videos -0, MP3 - 0, Photos - 0)

Dificulty Rating :

Level : Junior / Senior / Graduate

Composer / Arranger : Zivkovic, Nebojsa Jovan (1962-)

Composer / Arranger Details:

Nebojsa Jovan Zivkovic

Hailed by the critics as one of the most unique and expressive marimba and percussion artists in the field today, Nebojsa Jovan Zivkovic has greatly influenced the international percussion scene during the last two decades – as both a masterful composer and virtuoso performer. Despite his cosmopolitan lifestyle and attitude, Zivkovic has always preserved his “Slavic soul” which makes his compositions and performances a unique emotional experience. Concert tours have led him throughout Europe, from Siberia to Spain, from Greece to Finland, repeatedly in Asia, and annually through Latin and North America.

His groundbreaking compositions for marimba and percussion have set new performing standards, and his captivating and energetic performances have influenced generations of marimbists. Many of Zivkovic’s compositions ( for example: Ilijas, Ultimatum1, Trio per uno ) have become popular standards in contemporary percussion repertoire world-wide. His symphonic works are performed by top orchestras, such as the: National Symphony Orchestra, Washington D.C.; BBC Concert Orchestra, London; Orchestra di Santa Cecilia, Rome; Hiroshima Symphony Orchestra; and The Northern Sinfonia in Newcastle, UK. In addition to his thrilling and challenging concert works, he has composed many pieces for younger players. In particular, the pedagogical compositions from his “FUNNY MALLETS SERIES” are among the world’s best sold works for mallet instruments. With over three hundred performances of his works each year in so far over fifty countries world wide, Zivkovic is one of the most frequently performed composers of marimba and percussion music.

As a charismatic soloist, mostly with his own marimba and percussion concertos, Zivkovic has performed with the: Stuttgart Philharmonic; Munich Symphonic; Bochum Phiharmonic; Austrian Chamber Symphony; Hannover Radio Symphony; Bielefeld Philharmonic; Belgrade Philharmonic; Slovenian Philharmonic; Slovenian Radio Symphony Orchestra; National Orchestra of Costa Rica, Minnesota Orchestra; and many others. He has also performed in such prestigious venues as the Viennas “Konzerthaus”, National Recital Hall Taipei, and the Stockholms “Nybrokajen”. In addition to his composing and concert activities, he gives master classes and seminars in Europe, Asia, Mexico and regularly through the USA.

For over twenty years now Zivkovic has performed exclusively on YAMAHA MARIMBAS, since this is the instrument that perfectly fits all his needs, beside he is also using Zildjian Cymbals, Meinl percussion, Evans drumheads and Mapex concert toms/drums. For more information on current projects, concert dates, compositions and CD’s, please visit: www.zivkovic.de

Total Number of Percussionists Required :1 Percussionist(s)

Categories : Snare Drum

Instrument / Discipline : Snare Drum

Instrumentation : Snare Drum

Range of Instruments / Number of Drums : Snare Drum

Written for / Commissioned by : Recorded by N.J Zivkovic and Evelyn Glennie

Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by: Nebojsa Jovan Zivkovic

Accompanied :N/A

Publisher :EDITION MUSICA EUROPEA

Publishers Website :www.musicaeuropea.de

Publisher Details :

EDITION MUSICA EUROPEA is dedicated to publishing the works of Nebojsa Jovan Zivkovic.

Year Composed / Copyright Date :1987 / 1987

Duration :4Minutes

No. of Mallets/Sticks Required :2

Special Needs :Snare Drum

Sheet Music Available From :www.steveweissmusic.com/product/11063/snare-drum-solo

Programme Notes / Performance Details :

This piece is characterized by full high-energy rhythm. According to the composer himself, the notes need not to be played exactly as it is written. What is important is that the intensity is kept constant. This however, should not be used as an excuse for not focusing on the technique and consistency, especially for young players. Technique and consistency must be observed while constantly maintaining the `groove.`

For measure 1- 25, the player aims to establish a tonal vocabulary. During this portion, the player encounters technical challenges keeping an even 16^th note and pp dynamic. It is suggested that the player establishes sticking exercises in order to make the 16^th note as clear as possible. The following pattern should be followed.

RLRLRLRRLRLRLRLL

RLLRRLLRRLLRRLLR

RLRLRLRLRRLLRRLL

all the above can start with L-Hand too.

For measure 25 - 42, the player aims to arrive at measure 42 with consistent sounds. This is also one of the challenges which has to be faced by the player. Another is the recognition of notation. In this case, the following strategies are suggested:

Stick Placement , the differentiation of sound should be the top priority
The previously mentioned warm-ups for 16^th notes can now be moved to different sound areas.
Articulation marks can also be created above notes to help generate cognition of the new notation.

At measure 42 - 49, the player aims an accel, cresc and a smooth transition to measure 50 occurs. Here, the player will find difficulty with acceleration from an already fast tempo. Another challenge has something to do with the decrescendo and the space of the Grace Note. In this case, grace notes will have to be played out. Similarly, a p note after a sfz will need to be emphasized so it does not get lost. When dealing with the acceleration, speed and dexterity can be achieved with warm-ups, the same with the grace notes.

For measure 50 - 79, a syncopated `groove` is the objective. The syncopated groove can be achieved comfortably by placing the metronome pulse on the down beats and then switching it to the upbeats. In this section, the player will encounter challenges with the balance of higher and lower pitched sounds. The player should be aware that the lower pitches in the center of the drum will almost always speak more than the higher notes closer to the rim.

For measure 80 - 88, a heavily rock oriented transition into `con sorde` (with snares) is the goal. The player will encounter a challenging 4 over 3. The coordination of the left hand stick movements (open/closed) with the right hand is also a challenge. In this case, it is suggested that the player isolate two hands separately with metronome to encourage true independence of musical line.

For measure 89 - 107, recapitulation with snares is the player`s goal. Same challenges as above will be encountered by the player. In this case, warm-up is the key. Practice with snares off and drum head muted, add snares still with mute, remove mute. At all 3 stages, clarity should remain. The snares should also be maintained with appropriate tension.

For measure 107 - 135, the player aims to achieve cascading and independent lines. But the player must maintain consistent dynamic range and decrescendo. In order to succeed with the challenges, special attention should be given on the weak-hand. Emphasise warm-ups and bring out accents as they will naturally be under-played. When two entrances fall close together, the latter must be emphasized.

From measure 136 towards the end, a coda-type figure and suspended time are the two last goals for the successful performance of the piece. The player will be challenged in achieving a smooth roll with crescendo, but it must be noted that length of roll need not be exact. Clarity of arrival is most important.

To sum up, it can be concluded that in order to execute the piece successfully, the player must invest on warm-ups in order to enhance their speed and dexterity.

Member Rating :