UKRANIAN CAROL

Posted By : TimoPalm
Piece Title : Ukranian Carol
No. of times Viewed (January 2019) :13
Total No. of times Viewed :1325
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Dificulty Rating :
Level : Junior / Senior
Composer / Arranger : Madeira, David (1982-)
Composer / Arranger Details:

David Madeira is a composer, percussionist, educator, and choral director residing in Nashville, TN. He teaches music theory and aural skills at Belmont University, and is the Associate Director of Music and choirmaster at St. Bartholomew’s Episcopal Church in Nashville, TN. His works have been performed by numerous ensembles and choirs around the country, and a recent commission, Drum Sphere: A Wanderer’s Guide to World Percussion, was featured in a concert for new music at the Percussive Arts Society International Convention (PASIC). His Minus Nine for percussion and strings was a finalist for the 2008 ASCAP Morton Gould Foundation Young Composer Award, and his energetic and vibrant Ukrainian Carol has received numerous nationwide broadcasts as part of Belmont University’s Grammy-winning PBS special, Christmas at Belmont.

David received a Master of Music degree in Composition and Bachelor’s degree in Composition and Music Theory from Belmont. He studied composition with Grammy-nominated composer Bill Pursell and percussion with Christopher Norton. David has also received composition instruction from Joan Tower, Donald McCullough, and Michael Rose.

Total Number of Percussionists Required :5 Percussionist(s)
Categories : Tuned Percussion / Percussion Ensemble
Instrument / Discipline : Percussion Quintet
Instrumentation : 4 1/2 Octave Marimba (Low F) (x2) / 4 1/3 Octave Marimba (Low A) / Crotales (Set of)
Range of Instruments / Number of Drums : NA
Written for / Commissioned by : Belmont University School of Music
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 C Alan Publications
Accompanied :N/A
Publisher :C. Alan Publications
Publishers Website :www.c-alanpublications.com
Publisher Details :

C. Alan Publications was founded in 1989 to fill a need for high-quality percussion literature.  Since that time, they have adhered to the highest standards of music integrity in the percussion music they publish.  In 1997, they added a line of concert band music to their catalogue, which continues to flourish.  More recently they added music for orchestra (youth, string and full), brass ensemble, chorus, jazz ensemble and chamber ensembles. 

In addition they are the sole distributor of 'Whole Sum Productions' percussion catalogue (WS).  Their music receives extensive exposure through performances on international concerts, clinics and conventions and is widely available on compact disc.

Year Composed / Copyright Date :2006 /  2010
Duration :4Minutes
No. of Mallets/Sticks Required :Various
Special Needs :A 2-Octave set of crotales is needed.
Sheet Music Available From :www.c-alanpublications.com      Check to see if in stock
Programme Notes / Performance Details :

This popular theme of the Christmas season is based on a Ukrainian folk tune, "Shchedryk," which actually has nothing to do with Christmas. First arranged for voices by Ukrainian composer Mikhail Leontovich, it was later adapted to an English text by Peter Wilhousky and given the Christmas-themed title "Carol of the Bells." This arrangement looks back to the Ukrainian version for inspiration, realizing the folk theme for percussive timbres.

For the most effective performance, the ideal formation for this piece is to have one performer per marimba, the instruments arranged in a line across the stage, from marimba 1 at stage right to marimba 4 at stage left, and the crotale player between marimbas 2 and 3. However, in case of spatial constraints or a limited number of instruments, players 1 and 4 may share an instrument, as may players 2 and 3. In either case, memorization is strongly encouraged so that the audience may easily see and hear the melodic motives being passed between all four marimba players.

Performers should pay careful attention to the multiple layers of dynamics occurring simultaneously, as each player may be shifting back and forth between those layers even within the course of one measure. An obvious example is the shared melody over the ostinato in the opening section. The same idea occurs elsewhere, such as in mm. 76-77, where the sixteenth-note runs gradually crescendo beneath the octave bursts.

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