Posted By : wesstephens2003
Piece Title : The Cry
No. of times Viewed (July 2018) :9
Total No. of times Viewed :537
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Dificulty Rating :
Level : Senior / Graduate
Composer / Arranger : Daughtrey, Nathan (1975-)
Composer / Arranger Details:

Whether performing nationally as a marimba/vibraphone soloist or a chamber musician, conducting percussion clinics, composing for a range of soloists and ensembles around the world or teaching at the university level, Nathan Daughtrey (b. 1975) is a musical chameleon who uses his wide-ranging talents to adapt comfortably to a variety of environments.

As a performing artist and clinician for Yamaha and Vic Firth, Dr. Daughtrey has performed and conducted master classes and clinics in concert halls and at universities throughout the United States and across three continents. He has two solo marimba CDs to his credit – Spiral Passages, which features premiere recordings of David Gillingham’s “Gate to Heaven” and David J. Long’s “Concerto for Marimba;” and The Yuletide Marimba, which showcases Daughtrey’s solo and marimba quartet arrangements of 13 Christmas favorites. Also active as a collaborative artist, he has performed and recorded in chamber settings with composers Michael Udow and Daniel McCarthy, saxophonists Susan Fancher and Steven Stusek, bassoonist Michael Burns, clarinetist Christina Giacona, and the Virginia Beach Percussion Quartet, Trommel Percussion Group and Philidor Percussion Group.

According to leading wind band conductors and clinicians Ray Cramer and Peter Boonshaft, Dr. Daughtrey’s compositions are “fresh, beautifully scored journeys through dramatic textures” that feature “powerful tensions, velvety textures, lamenting colors and driving vigor.” With over fifty publications for concert band, percussion ensemble, chamber ensembles, and soloists as well as an ever-growing number of commissions, his works have been performed at national and international conferences. Performance venues include Percussive Arts Society International Convention, Midwest Band and Orchestra Clinic, Bands of America National Percussion Festival, Asian Symphonic Band Competition (Bangkok, Thailand), and the International Music Conference (Beijing, China). Daughtrey is the only composer in the history of the Percussive Arts Society Composition Contest to procure both 2nd and 3rd place in the same year with his percussion ensemble works “Limerick Daydreams” and “Adaptation.” Additionally, his band pieces “Downtown Dash” and “Limerick Daydreams” have been featured in two volumes of GIA Publications’ “Teaching Music Through Performance in Band.” He has received annual awards from ASCAP since 2007. His eagerly awaited “Concerto for Vibraphone” is now available from C. Alan Publications in versions for both percussion ensemble and piano reduction.

As an educator, Dr. Daughtrey served as a Visiting Lecturer of Percussion for three years at the University of North Carolina at Greensboro, where he taught applied percussion and conducted the Percussion Ensemble. He also served as a sabbatical replacement at the University of Oklahoma, where he taught undergraduate and graduate percussion students and conducted the world-renowned OU Percussion Orchestra. Dr. Daughtrey is currently a Visiting Lecturer of Music Composition at High Point University (NC), where he teaches applied lessons and works in collaboration with the School of Communication.

When not performing, composing or teaching, Dr. Daughtrey can be found running and biking the trails and greenways in his hometown of Greensboro, NC.

Total Number of Percussionists Required :10+ Percussionist(s)
Categories : Tuned Percussion / Percussion Ensemble
Instrument / Discipline : Large Percussion Ensemble
Instrumentation : 4 1/3 Octave Marimba (Low A) (x2) / Bell Tree / Castanets (x2) / Chimes / Concert Bass Drum / Marching Bass Drum / Mark Tree / Ocean Drum / Slap Stick / Tam-Tam / Timpani / Xylophone
Range of Instruments / Number of Drums : NA
Written for / Commissioned by : OU Percussion Orchestra, Lance Drege, conductor
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Publisher :OU Percussion Press
Publishers Website
Publisher Details :

In 1977 the OU Percussion Orchestra and Ensemble embarked on a project that developed into a national model for the encouragement and development of new music for percussion ensemble.  The OU Percussion Ensemble Commissioning Series regularly engages outstanding composers to write works for this medium.  The Commissioning Series is responsible for the creation of some of today`s staples in the percussion ensemble repertoire.

     In 1983 the University of Oklahoma funded the establishment of the OU Percussion Press, a non-profit extension of the percussion area. Through the Percussion Press, the commissioning series compositions plus other works expressly written for the OU Percussion Orchestra and Ensembles have been made available for purchase and performance by the world`s leading percussion ensembles. The Percussion Press` catalog numbers more than 50 works, all published in a non-profit venture as a service to the profession.

Year Composed / Copyright Date :2010 /  2010
Duration :11Minutes
No. of Mallets/Sticks Required :Various
Special Needs :NA
Sheet Music Available From      Check to see if in stock
Programme Notes / Performance Details :


Based on a colorful poem by Federico García Lorca with vivid imagery and a wonderful arc, The Cry was commissioned and premiered by the University of Oklahoma Percussion Orchestra, conducted by Dr. Lance Drege. The work divides into 5 primary sections: Paisaje (“Landscape”) La Guitarra (“The Guitar”) El Grito (“The Cry”) Un Silencio Ondulado (“A Rolling Silence”) Tierra de Luz, Cielo de Tierra (“Earth of Light, Sky of Earth”) Federico García Lorca was extremely interested in the Spanish gypsy music known as Cante Jondo (or "Deep Song"), which is the purist and most natural precursor to Flamenco music. It is filled with passionate melismatic singing and sparse guitar playing. Great care has been taken to differentiate between the more popular Flamenco form and Cante Jondo, always emphasizing that the latter is the purer and more serious of the two forms. It is this struggle that is at the heart of "The Cry." The virtuosic singing is emulated throughout the ensemble in long flourishes that are full of twists and turns. The antiphonal castanet players help bring in the flamenco elements to the piece, as well as the sounds of flamenco dancers tapping, stomping and clapping in rhythm. Most important in composing this piece was that the beautiful words of García Lorca and the form of his poem are represented. PERFORMANCE NOTES • I would recommend setting the ensemble up with the two vibraphones front and center with Marimbas 1 & 2 on either side of them. Bells, Xylophone and Chimes should be centered behind the Vibraphones flanked by Marimbas 3 & 4. • It is extremely important that Percussion 1 & 2 are set up on opposite sides of the stage from one another. • Pitch Bending on Vibraphone: Place the hard plastic mallet on the node (where the string goes through) of the bar. With the pedal depressed strike the bar with the normal vibraphone mallet, then slide the plastic mallet against the bar while pressing down. The pitch will bend and the bar will stop ringing. Be sure to give the notes their full duration, but no more. • In mm. 15-17, the two Vibraphones must play in exact rhythmic unison for the effect of strumming a guitar to come across. This is true for every time this figure returns (m. 38, 96, 103, 235, 275). • In the sections at m. 18, 23 & 28, the three solo parts (Xylophone, Vibraphone 1, and Marimba 1) should be played very freely within the general constraints of the notated rhythms. For each player’s part to flow into one another, the players must be familiar with all three of the parts, knowing exactly how they fit into the melodic and rhythmic texture at all times. • Glissandi should be performed while rolling. • Optional Ending: If you need to perform the piece in less than 10 minutes, cut to m. 278 after playing m. 245. This reduces the performance time from 11:00 to approximately 9:30.

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