Posted By : Jeff Moore
Piece Title : Interzones
No. of times Viewed (September 2019) :29
Total No. of times Viewed :3747
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Dificulty Rating :
Level : Graduate
Composer / Arranger : Hamilton, Bruce
Composer / Arranger Details:

Bruce Hamilton (b. 1966) composes and performs music in a variety of genres. He has performed as a percussionist, improviser, and electronic musician for over 25 years. His music is published by Non Sequitur Music and can be heard on the Albany, Amaranth, and/OAR, black circle, blank space, Capstone, Ilse, [ink | fuel], Memex, Phill, SEAMUS, Spectropol, split-notes, Three Legs Duck and Mark labels.

Hamilton`s creative output is eclectic, exploring multiple styles and genre hybrids. He has received honors, awards and commissions from ALEA III, AMC, ASCAP, PAS, Barlow Endowment, Carbondale Community Arts, Indiana University, Jerome Foundation, National Society of Arts and Letters, Pittsburgh New Music Ensemble, Whatcom Symphony, Russolo-Pratella Foundation, and SEAMUS. Recent performances of his music have included those at the NWEAMO Festival, ICMC, Friends of Rain, Electronic Music Midwest, JMU Contemporary Music Festival, and the Percussive Arts Society International Convention.

His recent work Stamino-sosti was premiered by Exit 9 Percussion Group in May 2008 and a composer-supervised recording is available on all the major digital outlets. He is a frequent contributor to the ImprovFriday and Society for Shorty New Music online communities. Over the past seven years Hamilton has performed laptop-based electroacoustic music under various monikers at the Decibel Festival, Hempfest, Sonarchy Radio, and other venues around the Pacific Northwest. His most recent full-length albums are Compulse (as Skiks), released on the split-notes netlabel in October 2011; and mash hits vol. 1, released on Spectropol in January 2012.

A graduate of Indiana University (BM, MM, DM), Hamilton is Associate Professor of Music at Western Washington University, where he teaches music theory, composition, and directs the electroacoustic music studio (WWEAMS). He is a co-organizer of the Bellingham Electronic Arts Festival, a board member of Make.Shift and the Washington Composers Forum, and runs the Spectropol netlabel. Hamilton lives in Bellingham with composer Lesley Sommer and their son Miles.

Total Number of Percussionists Required :1 Percussionist(s)
Categories : Tuned Percussion
Instrument / Discipline : Vibraphone Solo
Instrumentation : Vibraphone
Range of Instruments / Number of Drums : 3-Octave Vibraphone
Written for / Commissioned by : Tim Adams
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 Brad Meyer
Accompanied :N/A
Publisher :Non Sequitur Music
Publishers Website :
Publisher Details :

Currently sells the work of five composers, who write for various different instruments and ensembles.

Year Composed / Copyright Date :1996 /  1996
Duration :11Minutes
No. of Mallets/Sticks Required :Various
Special Needs :DAT Player (or CD Player) powered by stereo amplifier, mixer, speakers, monitor, headphones, and microphone(s).
Sheet Music Available From      Check to see if in stock
Programme Notes / Performance Details :

Program Notes:


Interzones for vibraphone soloist and tape was commissioned by percussionist Timothy Adams and completed in 1996 at the Indiana University Center for Electronic and Computer Music. Samples of guitar, saxophone, snare drum, and vibraphone were manipulated with Sound Hack and Sound Designer sample editing software; these sounds, along with a host of others from the Center s library, were sequenced using Digital Performer to create the tape part.


The many distinct sections of the piece can be described as variations, but I prefer to think of them as different scenes or musical zones. Though the piece is essentially abstract, many sounds and gestures within these zones evoke surreal images for me. Generally apparent is the jazz influence which is heard throughout and which seemed appropriate given the vibraphone`s rich history in the jazz tradition.


Performance Notes:


  • Accidentals carry through the measure but do not apply to octave transpositions.
  • The player must produce harmonics at certain points by holding one mallet in the center of the bar and striking with the other between the center and the node (sounds two octaves higher).
  • There is no click track on the performance tape; the performer must rely on the tape part. The top staff consists of rhythmic cues from the tape part.

Ped.= pedal (hold down until indicated)

Feath.= feather-pedal (player`s discretion)

* = pedal off

+ = dead stick (press mallet into bar).

o = harmonic (sounds 15ma)



Measure 84 and measures 261-272 are doubled with a vibraphone sound on the tape part, thus there is no need to worry too much about notes (84) or to tear up your mallets with loud glissandi ((261). At 84, rhythm and contour are enough (notes are a bonus), at 261 light glissandi (visual) will suffice.

It is crucial that the playback system be quite powerful. Amplification of the vibraphone is optional depending the size of the room.

-Notes by the composer.

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