“Narrow is the Road” by Winton Yuichiro White
November 19, 2008 by admin
Filed under ScoreXchange Workshops
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Name: Winton Yuichiro White
Age: 28
From: San Francisco, CA
Work submitted to ScoreXchange: “Narrow is the Road” for Violin, Clarinet, Double Bass, and Percussion
Narrow is the Road
Program Notes about “Narrow is the Road”: Originally a piece for solo marimba, I attempted a chamber ensemble arrangement for the Adorno Ensemble. In the beginning stages of writing this piece I heard a jazz combo close to the Dave Holland Quintet playing this piece. After doing this arrangement I would be very open to writing a jazz suite for this instrumentation.
Comments from ADORNO members
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Winton Yuichiro White – Narrow Is the Road
I like this one quite a bit. The material is engaging, the proportions and overall structure satisfying, and the interaction of the instruments very effective. I especially like the quartet itself, a very natural sounding combination that one has to wonder why we haven’t heard used before (at least I haven’t).
Mainly what I have to say about this regards the marimba writing, and is not by way of criticism, just some thoughts. First of all, I would take to heart what Loren said regarding those extremely wide reaches. They are certainly possible, and some really macho players would insist on going for it because they know it “can” be done, even if it means a less secure performance. I believe composers need to evaluate the “tensile strength” of their music, and be sure when a revision or modification is an acceptable compromise – perhaps even an improvement (what a concept!) – and when it truly is counter to the best interests of the music itself. In this case, Loren’s slight modification of the written part, I believe, was a wise choice, in no way compromising the integrity of the work. Especially on short rehearsal time, a simple change like that can mean a much more secure performance, with the whole group feeling more comfortable and playing more confidently.
As for the marimba itself as an instrument. It is used very effectively here, as far as the basic materials, but not many composers (or too many marimbists either, apparently) seem to be aware of some of the expressive techniques the instrument is capable of. For example, “dead strokes”. This is when you play into the bar, holding the mallet against the bar with each stroke, rather than lifting it. This effectively mutes the note as you play it instead of allowing its natural resonance. I think this technique could be very effective in conjunction with the strings pizzicato. Notation for dead strokes is usually a + over the note.
One can also produce a “glassier” tone by playing directly over the nodes. This is exactly what players are taught NOT to do, which might be why it is seldom done. The nodal point of the bar is where the strings that hold it on the frame go through. The strings are put there because that is the point of the least vibration, so it doesn’t mess up the basic tone and fundamental pitch. So by playing there, you minimize the fundamental, akin to a violin playing ponticello.
Another string comparison would be col legno, in which the wood of the bow strikes the string. A marimbist can play the edges of the bars with the wooden shaft of the mallet. It is a light clacking sound, with the pitch still apparent, quite pleasing. Don’t ever let anyone tell you it might mar or damage the bar; I’ve been doing that on my own instrument since the ‘70s. This technique is naturally pretty quiet, so using it could be an effective way of producing some dynamic contrast that is a natural by-product of the music itself, not superimposed on it. Groove music such as this seldom uses much in the way of dynamics because that is simply not often very relevant to the style. So this could produce some natural dynamic shaping that simply happens because that’s how the music comes out when you use that technique.
So I would just suggest getting a demonstration of some more marimba techniques, to get familiar with the sounds and notation. Next time you write for marimba, keep in mind its expressive potential. Perhaps if possible, even experiment with passages of this work next time it’s done.