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, $40.00 (https://c-alanpublications.com/water-spirits-redux/))
Water Spirits Redux (Perc Ens 7 + Track)
Genre: Percussion Ensemble with Electronic Track
# of Players: 7 + Track
Level: Medium | Duration: 6:35
Publisher: C. Alan Publications | Copyright: 2019
Download mp3 | Click on images to left for score sample
ELECTRONIC ACCOMPANIMENT DOWNLOAD
Also Available for 7 Solo Percussion & Concert Band
Rating:
Price:
$40.00
Item #:
26230
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Notes & Instrumentation
Water Spirits Redux is a feature for 7 percussionists and electronic track that was inspired by the myth of Glaucus and Scylla in Ovid’s ‘Metamorphoses.’ In essence, the myth is a love triangle between Glaucus (a mer-man), Scylla (a nymph), and Circe (a witch). In short, Glaucus loves Scylla. Scylla does not love Glaucus, as she finds his half-fish form repulsive. Glaucus goes to Circe to ask her to cast a love spell on Scylla so that she will fall in love with him. Instead, Circe falls in love with Glaucus. When he does not return her affections, Circe takes it out on Scylla by poisoning the water in which she was bathing. This turns Scylla into a hideous sea monster with the head of six serpents and a waist of six vicious dogs. The piece follows the outline of the myth, which is filled with darkness, longing, love, denial, and betrayal.
ELECTRONIC ACCOMPANIMENT DOWNLOAD
Genre: Percussion Ensemble with Electronic Track | # of Players: 7 + Track
Level: Medium | Duration: 6:35
Instrumentation
Percussion 1: Bells, Xylophone, Ocean Drum, Low Drum
Percussion 2: Vibraphone, Low Drum, Marimba [shared]
Percussion 3: 4.3-octave Marimba [shared], Chimes, Low Drum
Percussion 4: 4 Timpani, Suspended Cymbal
Percussion 5: Snare Drum, Bongos, Small Ribbon Crasher, Woodblock, Suspended Cymbal
Percussion 6: 4 Concert Toms, Large Ribbon Crasher, Hi-Hat, China Cymbal
Percussion 7: Concert Bass Drum, Tam-Tam, Wind Chimes, Optional Multi-Bass Drum (or Kick Bass laid flat)
Program Notes
ELECTRONIC ACCOMPANIMENT DOWNLOADOriginally a feature for 7 percussionists and band, Water Spirits Redux was inspired by the myth of Glaucus and Scylla in Ovid’s ‘Metamorphoses.’ The band accompaniment has been reimagined and re-composed with electronics. In essence, the myth of Glaucus and Scylla is a love triangle between Glaucus (a mer-man), Scylla (a nymph), and Circe (a witch). In short, Glaucus loves Scylla. Scylla does not love Glaucus, as she finds his half-fish form repulsive. Glaucus goes to Circe to ask her to cast a love spell on Scylla so that she will fall in love with him. Instead, Circe falls in love with Glaucus. When he does not return her affections, Circe takes it out on Scylla by poisoning the water in which she was bathing. This turns Scylla into a hideous sea monster with the head of six serpents and a waist of six vicious dogs. The piece follows the outline of the myth, which is filled with darkness, longing, love, denial, and betrayal.
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Product Reviews
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Percussive Notes New Literature Review
If a first-century Roman mythical poem told a tale about a 1980s video game during a 21st-century indoor percussion show, it would sound like this piece for percussion ensemble. Set against the backdrop of a story about a love triangle between a merman, nymph, and a witch, this 6½-minute journey is teeming with melodic momentum, mood-setting dissonance, and exciting percussion punctuations.
While this work was originally written as a high school wind band piece that featured the percussionists, the wind parts have been revamped as an accompaniment track for this “redux” version for percussion ensemble. Utilizing sine waves and glitch sounds, this accompaniment track has the distinct flavor of electronic music from the 1980s and creates an effective sonic atmosphere for the work.
Directors will appreciate that the percussion parts target a variety of experience levels, as there is a healthy mix of drum-based and mallet parts, with only the marimba part requiring four-mallet playing. Challenges in the parts range from being able to play fast sixteenth-note-based arpeggiated figures in the mallets, layering intricate drum rhythms in hocket fashion, and locking-in driving figures with the accompaniment track. Performers and audience members alike will certainly connect with the indoor-percussion-based compositional ideas present, such as short melodic phrases that are repeated and transposed higher to create momentum, swells of dissonant eighth note figures underneath percussion activity, and a driving tempo that continues to the last note.
The composer has peppered the work with a healthy amount of musical “special effects” that fit the story line, such as cymbal swells and ribbon crasher hits. In short, this work has parts that are attainable by most percussion programs but sounds more complicated and intricate than it looks on paper. It is only a matter of time before ensembles across the country start programming this piece.
Joshua D. Smith
Percussive Notes
Vo. 59, No. 2, April 2021 Joshua D. Smith on Jun 17th 2022
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