Posted By : TimoPalm
Piece Title : Dialogue
No. of times Viewed (January 2019) :22
Total No. of times Viewed :1751
No. of Media Uploads :0(Videos -0, MP3 - 0, Photos - 0)
Dificulty Rating :
Level : Graduate
Composer / Arranger : Farr, Gareth
Composer / Arranger Details: Gareth Farr: composer, percussionist... and drag queen! an indisputably colourful figure in New Zealand music. And whether scored for percussion duet or the resources of two large orchestras, Farr s music reflects his personality bold, brash, or delicate and sensuous, but inevitably, immediately, engaging. Rhythmic elements of his compositions can be linked to the complex and exciting rhythms of Rarotongan log drum ensembles, Balinese gamelan and other percussion music of the Pacific Rim. In addition to his music for the concert chamber, Farr has written music for dance, theatre and television.
Total Number of Percussionists Required :2 Percussionist(s)
Categories : Tuned Percussion / Percussion Ensemble
Instrument / Discipline : Marimba and Vibraphone Duet
Instrumentation : Vibraphone
Range of Instruments / Number of Drums : NA
Written for / Commissioned by : HRL Morrison Music Trust/ Jeremy Fitzsimons
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 Ramon Lormans and Katie Rife
Accompanied :N/A
Publisher :Promethean Editions
Publishers Website :www.promethean-editions.com/
Publisher Details :

A Greek legend tells how the demigod Prometheus stole fire from the Gods and brought it to mankind in order that they might establish civilisation. Subsequently Zeus took vengeance on Prometheus for his cunning, condemning him to be bound in chains for eternity and sending an eagle to feed upon his immortal liver!

Promethean Editions was established in 1996 with the mission of bringing the fire of new, fresh and exciting contemporary music to performers and audiences throughout the world. Today we publish, promote and market music by emerging and established composers in the global market-place.

We publish and represent the music of thirty composers and work closely with our house composers: Gareth Farr, Christos Hatzis, Vincent Ho and John Psathas.

Key strategies include the publication of sheet music and services to composers (management, music typesetting and administration of music hire and facsimile score publication).

Promethean Editions are intended primarily for performance. Scores and parts are sturdy and easy to use: durable outside, clearly and sensibly laid out within.

Music is engraved using either Music Press (Graphire) or Finale (MakeMusic!). Music Press is a high-end expert music typesetting software package whose output is comparable to the finest classical hand engraving, and custom fonts and spacing are employed in Finale to achieve clean and stylish scores.

Gareth Farr and John Psathas are two important New Zealand composers. Together with Canadians Christos Hatzis and Vincent Ho they form part of an emerging unique artistic voice. Gareth Farr is renowned for his colourful melodies and driving, percussive writing, while referencing musical styles of the Pacific-rim, including Cook Island drumming, Balinese Gamelan and Maori music traditions. Christos Hatzis, a Greek born Canadian resident, draws musical inspiration from Christian spirituality, his own Byzantine heritage and other cultures. His music is eclectic and combines elements of jazz, pop and world music, including several earlier works inspired by the music of the Inuit, Canada’s arctic inhabitants. Canadian Vincent Ho’s music is rich and energetic, a unique integration of influences ranging from the visual arts, electroacoustic and natural soundscapes, traditional classical music forms, and the physical properties of the instruments and ensembles for which he writes. Ho is currently Composer in Residence with the Winnipeg Symphony Orchestra. New Zealand born Greek John Psathas was recognised early in his career for writing high-energy and propulsive music. He continues to fuse a new classical style by drawing from his heritage and aspects of European art music, jazz and rock.

Year Composed / Copyright Date :2005 /  2008
Duration :15Minutes
No. of Mallets/Sticks Required :4
Special Needs :NA
Sheet Music Available From :www.promethean-editions.co.nz/      Check to see if in stock
Programme Notes / Performance Details :

Dialogue, a duo for vibraphone and marimba, was commissioned by the HRL Morrison Music Trust for Jeremy Fitzsimons to perform on a recording devoted to the chamber music of Gareth Farr. The first performance of the work was given by Double Lateral (Jeremy Fitzsimons and Kristie Ibrahim) at the Ilott Theatre, Wellington, New Zealand, on 2 October 2005.


`The three movements are quite different from each other, and both parts are equally challenging and difficult to fit together. The opening movement, “Introduction,” establishes and develops a melodic idea set over a recurring bi-tonal chord progression. Using a basic arch form, Farr presents the chord progression in the marimba with soft rolls wile the vibes outline a different tonality in quarter notes at a moderate tempo/ the roles then reverse and the marimba moves to triplet arpeggios under the sustained sounds of the vibes. This leads to a section in 17/16. The same chords and melody are used but with syncopated sixteenths, octaves and increasing tension. The duet moves between unison and non-unison patterns while still trading off the melodic and accompaniment roles and soon fades back to the opening material to end the movement.

The second movement is labeled “Kotekan,” which is gamelan term for interlocking parts. This movement consists of two main ideas with this interlocking idea prevalent throughout. The first idea is a simple allegro theme using unison notes and rhythms that transform into interlocking eighth notes. The second idea uses alternating sixteenths between both players at a slower tempo. Development of these ideas occurs through an expansion and extension of these two ideas.

The third movement, “Moto Perpetuo,” begins with an extended run of very fast eighth notes at quarter note = 232. The due is separated by a major-sixth interval for the entire first section that soon leads into an ostinato in the marimba and quasi-improvised part in the vibes. This brief interruption leads into a repeat of the opening statement played one octave higher. After another brief interruption, the opening statement is played in canon with the marimba, starting one beat after the vibe. A soft ending arrives abruptly after the loud climax of the preceding canon.`

Brian Zator, Perccussive Notes, August, September 2009.


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