ETUDE #2 FROM STUDIES IN COPPER

Posted By : TimoPalm
Piece Title : Etude #2 from Studies in Copper
No. of times Viewed (January 2019) :25
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Dificulty Rating :
Level : Junior / Senior
Composer / Arranger : Orfaly, Alex (b. 1974)
Composer / Arranger Details:

Alex Orfaly, a freelance percussionist and composer in the Boston area. He has performed with orchestras worldwide, including the the Cleveland Orchestra, the L.A. Philharmonic, Palau de Les Arts in Spain, and currently serves as timpanist for the Sun Valley Summer Symphony in Idaho. He has a growing body of percussion pieces to his credit, including his Concerto for Brass and Percussion, premiered in 2004 by the New World Symphony. His first Divertissement, written in 2001 for solo timpani and percussion ensemble won Second Prize in the Percussive Arts Society composition competition, his Rhapsody No. 2 for solo timpani won First Prize in 2006 and his Improvvisatto Contrasto for timpani solo won first prize in 2010. His highly entertaining Mean Man’s March, based on the human and canine social complexities of the dog park, was premiered in 2011 by the Sun Valley Summer Symphony, which will also premiere his latest work, Cowboy Bill for orchestra with narrator in August 2012.

Total Number of Percussionists Required :1 Percussionist(s)
Categories : Tuned Percussion / Timpani / Percussion Education
Instrument / Discipline : Timpani Method Book
Instrumentation : N/A
Range of Instruments / Number of Drums : 4 drums (32, 29, 26, 23)
Written for / Commissioned by : These etudes are dedicated to Paul Yancich.
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 :2007 /  2008
Duration :7Minutes
No. of Mallets/Sticks Required :2
Special Needs :NA
Sheet Music Available From :www.c-alanpublications.com      Check to see if in stock
Programme Notes / Performance Details :

ABOUT THE BOOK
These etudes focus on the following five issues on the timpani: Sound Quality, Articulation (and evenness between the hands), Rolls, Intonation, Rhythm and Time.

Sound Quality: No matter the technical challenge the player should always strive for the best sound quality possible. Always paying particular attention to where each drum is being struck (the playing spot) will help in achieving this goal. There are many opinions as to what an ideal sound can be, for myself it is an open and ringing sound that is produced by using a relaxed technique.

Articulation: Clear articulation is always a concern for the timpanist. Using harder mallets should not always be the solution. In fact, the timpanist might find it more rewarding to use softer mallets, achieve a fine timpani sound, and use their touch and technique to produce the required articulation. The timpanist should pay particular attention to the evenness of sound between the hands, especially when there are repeated notes on one drum.

Rolls: Rolling is the timpanist’s equivalent of a long tone. Rolls will emphasize the ringing nature of the timpani and not the percussive qualities. In passages with slurs marked above rolls, these rolls should be as connected as possible between the drums and not broken.

Intonation: Precise intonation is very important. Hearing proper intervallic relationships is essential to the development of any timpani player. If a note is out of tune, the player should fix it (while playing) and not allow it to remain false.

Rhythm and Time: Keeping time while tuning during rests is a skill required by the timpanist. If the player needs more time in these etudes, it is acceptable to change the amount of time given. The player should then adhere to this change. Players should make sure to subdivide mentally to ensure proper rhythmic spacing and placement.

Muffling is encouraged at the discretion of the player. Sometimes articulations are marked to indicate whether they should be long or short. In any event, muffle as quietly as possible.

The terms General sound, Classical sound, etc. (starting p. 18) are intentionally vague. These terms are only meant to act as a general guideline for the sound of each etude. This may indicate a stick choice or may indicate how a stick should be used. In any case, it is up to the performer to explore the many possibilities and come up with a sound that is musically fitting.

Finally, all of the aforementioned technical issues aside, it is very important that these etudes should be approached musically. Each performer should find his or her personal interpretation of these studies. A timpanist should strive to always be a listening and adjusting musician.

These etudes are dedicated to Paul Yancich.

- Alex A. Orfaly

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