Yozshukasa Timpani may avlse simultaneously the most demanding, the most exciting, and the most satisfying of the symphonic percussion instruments — when they are played well. This book gives insight into every aspect of timpani performance, and every player should read it. All Levels Advanced Beginner. This edition includes not only the piano part, but also an arrangement of the accompaniment for marimba trio, so the piece can now be programmed either as a solo minro piano or as an exciting and appealing marimba quartet. Malletech — Books and Methods Your Cart is currently empty.
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He played it much faster, maybe at the tempo marking, I tried to get my own part up that fast, but was not able to move my hands fast enough. Volkov, was also very strict with the tempo marking, when the music had a break in the style, he strictly followed the quarter note rests.
In addition, with the grace notes in measures, , they were true grace notes, again, I struggled to move my hands fast enough to get the right sound of the grace notes. Volkov did very well with following the dynamics written in the piece. He increased and decreased the sound when written and to the appropriate level, and was extremely consistent with what he considered to be each dynamic level.
Volkov proved to have a high level of skill and experience with playing marimba because he knew exactly where to play on each key to get the maximum sound possible. He did not hit any of the nodes and was able to get the biggest sound. However, I did not agree with how fast Volkov took the Valse section, I think that it could have been slower and the dynamics emphasized a little bit more, but in the general sense of things, he did very well with this section.
Volkov was very strict with his sense of time, but his interpretation was consistent throughout the entire piece, all five minutes of the piece. The performer truly took to heart the Furioso section of the piece and embodied the true meaning of the etude. Volkov was able to realize that he had to keep the momentum going throughout the piece and used a specific stroke when doubling the right hand.
One of the main techniques is all in the fingers. You use a mallet that has a good bounce to it and after one stroke, snap back up with your fingers for another stroke.
In addition, while snapping the mallet back up with your fingers, you slightly move your arm to the side to get to the other note. This technique takes a while to master, but it allows the performer, in this case Danila Volkov, to last longer and play with a better sound. Another thing to think about while playing this piece and working on the sidestroke, is to imitate breaking your wrist; while snapping your fingers, raise your wrist up to get a stronger sound on the next stroke.
This way of playing enhances the second note in the repeated pattern and lets it avoid being lost behind the first note that was played. That was one thing that I saw and heard that Volkov executed very well. He did not let the intensity of the piece slow him down and every note that he played was even and sounded powerful.
The performance of this piece was extremely well done and the story of the piece was told well through Danila Volkov. In my opinion, I think that he took the Valse section too fast, but if he was practicing the beginning section at tempo, then he would have taken the second section at the marked tempo. Tempo to me is an interpretational aspect for every etude approached.
The flow of the entire piece was clean and well rehearsed. Every note was clear and did not hide behind the others when being repeated. Danila Volkov did a wonderful job with Furioso and Valse in D Minor by Earl Hatch and showed great intensity and momentum throughout the entire piece.
FURIOSO AND VALSE IN D MINOR PDF