WITHOUT A TRAIL TO LACE

Posted By : TimoPalm
Piece Title : Without a Trail to Lace
No. of times Viewed (January 2019) :26
Total No. of times Viewed :1996
No. of Media Uploads :0(Videos -0, MP3 - 0, Photos - 0)
Dificulty Rating :
Level : Graduate/DMA
Composer / Arranger : Chan, Alan
Composer / Arranger Details:

Alan Chan is a multi-faceted composer with a goal to create innovative music that incorporates elements from across cultures and styles to bring a refreshing experience to audiences. His music has been recognized with honors and funding from ArtEZ (Netherlands), American Composers Forum (ACF), ASCAP, Percussive Arts Society, Society of Composers, Inc. (SCI), the Composers and Authors Society of Hong Kong (CASH) and Los Angeles County Arts Commission (LA Arts), among others.

In the jazz big band genre, he is the winner of the 2011 ArtEZ Jazz Composition Contest in Enschede, the Netherlands. He was a member of the prestigious BMI Jazz Compositions Workshop under legendary Jim McNeely from 2008 to 2011. His charts have been performed by the Chuck Owen and the Jazz Surge band, Millennium Jazz Orchestra (Netherlands) and by college big bands in Miami, Redlands and Los Angeles. Coming from a classical background, he began composing for jazz big band under the mentorship of Gary Lindsay in Miami, then Grammy Award winner Vince Mendoza and Shelly Berg in Los Angeles.

Highlights of his commission works include Rock-Paper-Scissors (LA Arts), Acala and Bitter Melon for Chinese instruments (Melody of China), Listen, Hold Your Breath (Gateway Christian Church), Victoria Dispensary (the Walden School) and B for Brazil and Sweet Bach (Lien Percussion Ensemble, Taiwan). His music was featured in Percussive Arts Society International Conference, National Association of Teachers of Singing National Conference, International Jazz Composers’ Symposium, Musica Danubiana (Slovenia), June in Buffalo, Imagine Festival, and various academic conferences; and by performing organizations such as the Hong Kong Chinese Orchestra, Fort Worth Symphony, Firebird (Boston), Hexnut (Amsterdam), Eastman Percussion Ensemble, Taipei Percussion and Melody of China (San Francisco).

He has served as a judge at the 2010 PAS Composition Contest and 2011 SCI/ASCAP Student Commission Competition. He held teaching positions at University of Southern California and University of Redlands. His percussion works are published by HoneyRock Publishing (honeyrock.net).
    

Total Number of Percussionists Required :1 Percussionist(s)
Categories : Tuned Percussion / Mixed Chamber Ensemble
Instrument / Discipline : Vibraphone with Voice
Instrumentation : Soprano Voice / Vibraphone
Range of Instruments / Number of Drums : 3-Octave Vibraphone
Written for / Commissioned by : Not a Commissioned Work
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 Alan Chan
Accompanied :Other
Publisher :Honeyrock Publishing
Publishers Website :www.honeyrock.net
Publisher Details :

An eclectic collection of percussion music - hundreds of titles - including solos, ensembles and percussion features with wind ensemble and/or orchestra accompaniment. These titles offer a unique and noteworthy sampling of percussion performance literature and pedagogical perspective. With regard to difficulty, our performance literature runs the gamut, from beginning level works accessible to younger players, to those works that will challenge the most adventuresome college level players and professional performers. From this outstanding collection of contemporary percussion literature - we hope and expect you will find something that will help you make a joyful noise.

Year Composed / Copyright Date :2008 /  2008
Duration :8Minutes
No. of Mallets/Sticks Required :4
Special Needs :You will need a bow and a pitch-bending mallet.
Sheet Music Available From :www.honeyrock.net      Check to see if in stock
Programme Notes / Performance Details :

I. Mother`s Lament

II. Daugter`s Lullaby

In Mother`s Lullaby, poet Nicky Schildkraut provides a heart-rending poetic trope of simples lines penned by a Korean mother to her unborn child (from the anthology I Wish For You A Better Life: Letters From the Korean Birth Mothers of Ae Ra Won to Their Children, edited by Sara Dorow: Yeong & Yeong Book Company, 1999). The contrapuntal setting of this text brings out the anguished search of the mother for her daughter. Exaggerated vibrato is used throughout the movement to evoke the style of traditional Korean p`ansori singing. The harmonic pallet of the vibraphone is restrained to occasional diads; two pitches united briefly as if to symbolize a reunion between mother and daughter.

Daughter`s Lullaby explores the emotional conflict of a child torn between the instinct to know her biological parents and her bitterness at having been abandoned by them. The child`s voice switches to spoken words, as she imagines the circumstances of her conception. It is only at the end of the piece, after a maddening flourish, that the child comes to terms with her grief of the brutal reality of her father`s abandonment of both mother and child. In the final tones, Chan`s score indicates calmo as the vibraphone sounds out a diad, followed by a lone B natural, a symbol perhaps of the daughter`s coerced independence?

-Notes by Matthew Thomas

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