Four Debussy Preludes (4 on 2 Marimbas)

Arranged for 4 players on two 5-octave marimbas, the selected piano preludes of Debussy demonstrate the essential elements of Impressionist composition — Texture, harmonic usage, and programmatic writing. With a quartet performing works of such tonal color most typically performed solo, the players are tasked with successfully telling these programmatic stories and conveying these musical techniques as they pass melodies and harmonies back and forth, making their combined sound as effective as the hands of an Impressionist pianist.

Genre: Percussion Ensemble | # of Players: 4
Level: Medium Advanced | Duration: 9:35 total

Instrumentation
Score (8.5"x11" stapled booklet)

Marimba 1: 5-octave*
Marimba 2: 5-octave*
Marimba 3: 5-octave*
Marimba 4: 5-octave*

*Only two 5-octave marimbas, shared between Players 1 & 3 and 2 & 4 are required for performance.

Program Notes
Arranged for 4 players on two 5-octave marimbas, the selected piano preludes of Debussy demonstrate the essential elements of Impressionist composition — Texture, harmonic usage, and programmatic writing. With a quartet performing works of such tonal color most typically performed solo, the players are tasked with successfully telling these programmatic stories and conveying these musical techniques as they pass melodies and harmonies back and forth, making their combined sound as effective as the hands of an Impressionist pianist.

La Sérénade Interrompue
This opening prelude, translating to “The Interrupted Serenade,” wonderfully introduces the listener to the world of Impressionism. Right from the start, Debussy implies the use of the Phrygian mode with the use of the flattened second scale degree. This, alongside the juxtaposition of staccato rhythms underneath a legato melody, provides the listener with an idea that the serenade is somehow askew. The narrative is further supported later in the piece when Debussy literally interrupts his serenade with brief moments of stylistic change that eventually return to the main motives of the piece.

La Fille aux Cheveux de Lin
This prelude, translating to “The Girl with the Flaxen Hair,” is one of Debussy’s more recognizable preludes. It is a favorite amongst orchestrators and arrangers due to its expansive texture, range and rich harmonic palette. These quintessential Impressionistic elements made this prelude a “must have” to include in this work. The piece features a beautiful melody that seems to soar over its choral-like accompaniment. The challenge of rubato style playing , while remaining calm, but quite expressive, will provide an effective performance when played by four marimbists.

Danseuses de Delphes
Translated to “The Dancers of Delphi,” this is the opening prelude in Debussy’s first book of preludes. It highlights one of his most commonly used compositional techniques: planing. Similar to its counterpart in the art world, successive parallel movement of chord shapes (or brush strokes) is one of the telltale signs of an Impressionistic work. This, combined with Debussy’s use of an expansive range and dense chromatic chords, provides the perfect landscape, or canvas, to portray this serene Impressionistic scene.

Les Collines d’Anacampri
Translated to “The Hills of Anacapri,” this prelude depicts the beautiful landscape of Anacapri, a Commune on the Island of Capri in Naples, Italy. The melodies of the prelude are luminous and energetic as it weaves through the register. Met with a brief moment of tranquility in its middle section, this vivacious piece is a wonderful closer to the masterful work of Debussy.