THE UNIVERSITY OF TEXAS AT ARLINGTON

PERCUSSION ENSEMBLE Andrew Eldridge, Director

presents

New Literature for Percussion

2017 Percussive Arts Society International Convention Indianapolis Convention Center • Sagamore Ballroom • Indianapolis, IN

Thursday, November 9, 2017 • 3:30 p.m.

Thursday,November2,7:00p.m.SouthwestHighSchoolFortWorth,Texas

Monday,November6,7:00p.m.

ArlingtonHighSchoolArlington,Texas

Tuesday,November7,7:00p.m.

MissouriStateUniversitySpringfield,Missouri

Thursday,November9,3:30p.m.

PercussiveArtsSocietyInternationalConventionNewLiteratureforPercussion

SagamoreBallroom-IndianapolisConventionCenterIndianapolis,Indiana

2017PercussionEnsembleTour

TheUniversityofTexasatArlingtonPercussionEnsemble BradleyBaird Texarkana,Texas GarethMason Carrollton,Texas LaneBarrett Denton,Texas StephenMathew Garland,Texas MichaelDarden GrandPrairie,Texas BrandonOtten Bedford,Texas JackDriscoll Arlington,Texas ReaganPhonsa HaltomCity,Texas DanielEstes Bentonville,Arkansas ZachProtono Colleyville,Texas EfrenExiga Euless,Texas AlexisRandolph FortWorth,Texas ClaytonHebbe Arlington,Texas AbigailRowe Houston,Texas HunterHerriage Aledo,Texas AlbertoVinado Grapevine,Texas KatieJobe Azle,Texas JennaWatenpaugh Aledo,Texas AaronKennard Houston,Texas TabithaWeigant Crowley,Texas LaurenKiddy Arlington,Texas BastianWood FortWorth,Texas KyleKlein Houston,Texas AndrewYates Portland,Oregon AlexLam TrophyClub,Texas TheUTAPercussionEnsemble,underthedirectionofDr.AndrewEldridge,isoneofthekeycomponentsofthepercussioncurriculumatUTA.Throughthisensemble,studentsgainawidevarietyofexperiencesinseveralgenresofpercussionensemblethroughlarge-scalepercussionorchestraandsmallerchamberworks.Theensembleisdedicatedtomaximizingtheartofpercussionperformancebycommissioningnewworksforthegenreandperformingbothonandoff-campus.Recentlytheensemblepresentedashowcaseconcertatthe2017TexasMusicEducatorsAssociationannualconvention.TheUTAPercussionEnsembleishonoredtopresenttheNewLiteratureforPercussionsessionatPASIC2017,andthisperformancemarkstheirfirstappearanceatthisconvention.

ThisconcertisdedicatedtoDr.MichaelL.Varner,retiredDirectorofPercussionatUTA.

WindowsoftheMaloca(2017) JimCasella (b.1970)

Duende(2017)^ FranciscoPerez (b.1990)

WorldPremiere

Reverie(1890/2014) ClaudeDebussy/Arr.DwayneRice (1862-1918/b.1974)

Bread&Butter(2014) AndySmith (b.1973)

SeeingtheWorld(2015) MattMoore (b.1985)

Dopplegänger(2015) BrianMason (b.1967)

Whirlwind(2017) JonathanAnderson (b.1985)

conVectivemotiVes(2016)^ MichaelVarner (b.1954)

Institutionalized(2017) JoshGottry (b.1974)

Ida/SomeofTheseDays(ca.1929/2017) EddieMunson/SheltonBrooks (*/1886-1975) Trans.andArr.JonathanSinger BastianWood,xylophonesoloist (b.1982)

WorldPremiere

FeverDream(2017)^ NathanDaughtrey (b.1975)

TheSurfaceoftheSky(2016) BlakeTyson (b.1969)

Toccata(2017) JacobRemington (b.1986)

^CommissionedandpremieredbytheUTAPercussionEnsemble.*EddieMunson’sbiographicalinformationisunknownatthistime.

PROGRAM

WindowsoftheMalocabyJimCasellaTapspacePublications/Medium-Advanced/14PlayersRequiresstandardpercussionorchestraset-up,marimbarangesareallplayedon4.3instruments,djembe,operagong,fourcowbells,twooctavesofcrotales,energychime.Casellawrites:“In2015,IspentsometimeintheAmazonjungleofPeru.Ispentmuchofmytimetherewithashamanandothersolotravelersinamaloca,alarge,circularstructurebuiltfromnativematerials.Fournarrowwindowsmadeofcorrugatedplasticwerebuiltintothefrondsandbranchesthatcomprisedtheroof,risinglengthwisetowardtheapex.Lookingupfromtheinside,eveninthedarkesthoursofnighttime,thesefourwindowsshonebrightlyfromthemoonlightformingwhateventuallylookedlikeasingularilluminatedshape.Andsimilartohowstaringatafamiliarwordlongenoughcantemporarilymorphitintosomethingthatlooksforeignorabsurd,thesilhouetteofspacebetweenthesewindowstooktheformofamysteriousbutcompassionatebeing–likeanall-knowing,maternalfigurelookingoverourgroupasiftosay,“Don’tworry.Alliswell.”WhenIstepbacktohearmyselfdescribingthis,Irecognizehowitcansoundalittlenew-agey,butitwasameaningfulexperienceinwhichIfoundsomecomfortinlettinggooftheanxietiesthatoftenaccompanydailylifeinthemodernwesternworld.WindowsoftheMalocaisatributetothisexperience.Mygoalwastosymbolizethewayinwhichthecomponentsofanecosystemexisttogetherasacommunity.Nomatterhowsmalltheorganism,itaffectssomeotherpartofthewhole,evenifitdoesn’tseemimmediatelyapparent.Ichosetousearepeatingmetricframeworkof7/8+7/8+7/8+6/8,andthisstructureremainsconsistentthroughouttheentirepiece.Afaint,repetitivepatternontherimofalonesnaredrumintroducesthistheme,andvariouslayersandcolorsslowlystarttointervene,paintingacomplexlandscape.Sometimesmysterious,occasionallyaggressive,andatotherpointssuggestingbeautyandhope,thisworklastsapproximately5.5minutesandrequires14players.WindowsoftheMalocawascommissionedbyBrandonKunka,directoroftheRoswellHighSchoolpercussionensemble(Roswell,Georgia)andwaspremieredattheGeorgiaMusicEducatorsAssociation(GMEA)conferenceinAthens,GeorgiainJanuary2017.”DuendebyFranciscoPerez (worldpremiere)TapspacePublications/Medium-Advanced/7PlayersRequiresfourmarimbas(5.0and4.5needed,buthasoptionalnotesfortwo5.0s),twovibraphones,threecrotalenotes,andaplayerwhoswitchesbetweenglockenspiel,cajon,andmarimba(sharedwithM4).Perezstates:“InspiredbyafondmusicalexperienceinSpain,DuendeisthefusionofmanymusicalidiomsIabsorbedduringthespringandsummerof2017.Inthemonthsleadinguptothework’scomposition,IbegantoexplorethemusicIgrewuplisteningtoasachildatamuchdeeperlevelandwentthrougha“phase”(mostlyAfro-Cubangenresand1980sworksofSteveReich)whereIgravitatedtowardsmusicthatmovedmebothphysicallyandviscerally.Indoingso,IrecalledthebeautifulperformanceofflamencoIwitnessedduringthesummerof2013inMadrid.Theterm“duende”hasavarietyofmeaningsinSpanish.Inflamenco,itreferstoastateofinspirationandextreme—almostmagical—perceptivenesswhichonly“overtakes”aperformerinrareoccasionswhileothersperceivea“duende”asasortofsupernaturalspirit,which,forsomereason,remindsmeofthework’smainrhythmicmotive.DuendewascommissionedbyDr.AndrewEldridgeandtheUniversityofTexasatArlingtonPercussionEnsembleandpremieredinNovember2017.”

PROGRAMNOTESPROGRAMNOTESPROGRAMNOTES

ReveriebyClaudeDebussy,arrangedbyDwayneRiceC.AlanPublications/Medium/8PlayersRequiresfourmarimbas(one5.0needed),twovibraphones,chimes,andglockenspiel.Ricestates:“ClaudeDebussy(1862-1918)wasoneofthemostimportantandinfluentialcomposersattheturnofthelastcentury.Hewrote"whathewantedtohear"andbrokemanyofthethencurrentrulesofcomposition,givinghismusicafreshnewsound.Duetothecolorful,dreamyqualityofhismusicalstylehewasdubbedan"impressionist"bymusiccritics,muchtohisdislike.Thedefinitionofreverieis"astateofbeingpleasantlylostinone'sthoughts;adaydream."Thequiet,reflectivepassagesofthisbeautifullysimpleworkwanderaboutverymuchasifinadream.Reveriewasoriginallywrittenforpianosolobutisheretranscribedformalletensemble.”Bread&ButterbyAndySmithRow-LoffPercussion/Medium/4PlayersRequiresfour5-gallonbuckets,twometalmixingbowls,twobrakedrums,twotoms,twosnaredrums,twosplashes,andtwosmallcymbalstacks.Smithwrites:“Bread&ButterwaswrittenforandpremieredbytheTennesseeGovernor’sSchoolfortheArtspercussionensemblein2013.Thepieceintegrates5-gallonplasticbuckets,brakedrums,andmixingbowlswithconventionaltoms,snares,andcymbals.TheuniquecombinationofinstrumentspayshomagetotheAmericanpost-JohnCageandLouHarrisontraditionofincorporating“foundpercussioninstruments.”Notconceivedasa“noveltypiece,”thecomposer’sintentistosuggestthatthese“found”percussionitems—buckets,brakedrums,andbowls—haveactuallybecomesocommontocontemporarypercussionthattheyfullyintegrateandcanbeconsidered“conventional”themselves.Twoprimarythemes—a3-against-4polyrhythmandastreet-drummerbackbeatgroove—areexplored,combiningaccessibilitywithapost-modernminimalistleaning.Thetitlegetsitsnamefromtheonomatopoeticphrase“passthebreadandbutter,”commonlyusedforthe3-against-4polyrhythm.Thestreet-drummerbeatthatservesasasecondarythemebalancesthepiece’smorepointillisticandminimalisttreatmentofthepolyrhythmtheme.”SeeingtheWorldbyMattMooreC.AlanPublications/Medium-Easy/4PlayersRequiresfourmarimbas,butcanbeplayedbyplayerssharingtwo4.3marimbas.Moorestates:“SeeingtheWorldwaswrittentobeanaccessible,yetmusicallyrichintermediate-levelmarimbaquartet.Thepiecewaswrittenwhiletravelingonadouble-deckerbuswithagrandviewofthesunnycountryside,andaimstocapturetheexcitementandadventureoftravel.Fourplayerssharetwo4.3octavemarimbas,allowingthepiecetobeperformedbythosewithlimitedinstrumentation.Thepieceisconstructedaroundasinglestickingpatternandhasfewchangingnotespermeasure,soperformerscanquicklygetpastthenote-learningphaseandstarthavingfunandsoundinggood!”

PROGRAMNOTES

DopplegängerbyBrianMasonRow-LoffPercussion/Advanced/8PlayersRequirestwo4.3marimbas,2setsofbongos,4toms,andtwo“gatedcrashcymbals”(cymbalstacks).Masonwrites:“Adoppelgängeris‘aghostlycounterpartofalivingperson’(Merriam-Webster).Thecomposerhasnotchosentoexplorethespiritualnatureofthedoppelgänger,buthasborrowedtheconceptofdualityandcreatedanenvironmentofmusicalandvisualmirroringthatpervadesthecomposition.”WhirlwindbyJonathanAndersonSelf-published/Advanced/6PlayersRequiresthreemarimbas(one4.5andtwo5.0),twovibraphones,andoneplayersplitsaxylophone/glockenspielpart.Andersonstates:“AsacomposerItendtogothroughlistening"phases."ThesearetimesthatIdedicatesignificantportionsofmydayslisteningtospecificgenresofmusic.Inspiredbyworkssuchasthe3rdmovementofBeethoven'sMoonlightSonataandSeijiHonda'sfantasticpianoarrangementofnotableJapanesecomposerNobuoUematsu'sThoseWhoFight,Whirlwindistheresultofoneofthesephases.IcompletedtheoriginalcompositionofWhirlwindforpianoin2015,butitbecameobvioustomehowincredibleapercussionarrangementitwouldbealmostimmediately.Inspringofthenextyear,IarrangeditfortheAdvancedPercussionEnsembleatCoppellHighSchoolandwepremiereditPurelyRhythmicthatsamesemester.Theenergyofthepiecerepresentsthedailyhustleandbustleoflife,specificallyabouttheinternalstrugglesweallgothrough.Enjoy!”conVectivemotiVesbyMichaelVarnerSelf-published/Medium-Advanced/6PlayersRequiresfourmarimbas(one5.0andallothers4.3),onevibraphone,twosetsofcongas,fourtoms,onesetofbongos,ribboncrasher,suspendedcymbals,multi-bassdrum,concertbassdrum,glockenspiel,andtwogongs.ThispercussionsextetwascomposedafterreturningfromatriptoHungaryin2016.IwasinterestedintheHungariantonalityandrhythmicaspectsofthatfascinatingcountryfoundthroughoutthemusicofBelaBartok.ThepiecepaystributetotheinterplaybetweenmanyculturesinHungaryrepresentedbyintegratingpercussivesoundswithmelodicfragments.Writtenpredominantlyin6/4,itactuallyphrasesinalternatingbarsof5/8and7/8.The6/4motivicdevelopmentblendsandcreatesarhythmictensionagainstthe2-3-2-2-3beaming.Arhythmicmotifofsixteenthnotesonthe“two”groupingsdrivethepiecesometimestowardmysteriousandothertimesaggressivepresentationsofthemotif.LikemanyofmyworksIhaveintertwinedtheuseofmicroandmacrorhythmicdevelopmentsothatoften5/8-7/8willbeoverlaidwith5/16-7/16or5/4-7/4developmentsofthemes.conVectivemotiVeswaspremieredbytheUniversityofTexasatArlingtonPercussionEnsembleinNovember2016.Itisa“footprint”compositionmeaningthesetupandinstrumentationarethesameasmypartnercomposition“preValentmotiVes”allowingensemblestotransitionseamlesslywithoutdelayfromonepiecetothenext.

PROGRAMNOTES

InstitutionalizedbyJoshGottryC.AlanPublications/Medium/4PlayersRequiresfourcajons,onekick-pedalbassdrum,hi-hat,pedaledcowbell,andpedaledplasticblock.Gottrywrites:“DanSmithigerandIbothattendedNorthernArizonaUniversitytogether,inthepercussionstudiesprogramdirectedbyDr.StevenHemphill.Fortunately,we’vebeenabletostayintouchandcollaborateonafewprojectsovertheyears.Severalyearsago,hewaspartofaconsortiumthatresultedinmypercussiontrio“BasicGeometry,”andshortlyafterthat,in2016,heapproachedmeaboutspecificallywritingapieceforhimtousewiththefacultyathisannualSouthernIllinoisUniversity–EdwardsvilleSummerPercussionInstitute(afacultythatincludesbothDanandDr.Hemphill).SinceI’vebeendoingalotofwritingforcajon,hesuggestedthepossibilityofapieceincludingthatinstrumentalongwithsomeauxiliarypercussionsounds.Weagreedonaquartetforfourcajons,witheachplayeralsoplayinganinstrumentwiththefoot.Thepieceopenswithanaggressivepassageforunisoncajonensemble.Pedalbassdrumandhi-hatcrashesprovideabitofaddedimpact,whilethepedalcowbellandwoodblockengageinasofter7/8dialogthatcontraststheunisonfigures.Aftertheopeningmotivesareestablished,theworksettlesintoahalf-timegroovein3/4timeandavarietyofinterlockingrhythmicfiguresareintroduced.Eventually,a6/8Afro-Cubanfeelemerges,centeringaroundthecajonandcowbellofplayer2andtheenergyandvolumeoftheensembleclimaxeswithareturntotheopeningunisonmotives.The3/4slowergroovereturns,thistimedeconstructingintoasofterpassagehighlightedbyuseofrutes/brushesoncajonandaccessoryinstruments.Abriefrepriseofthe6/8Afro-Cubanpassageagainbuildsintoafinalaggressiveunisonstatementbytheensemble.Sinceitscommission,ithasbeenperformedtwiceatSIUE,onceatNorthernArizonaUniversity,oncebymyensembleatChandler-GilbertCommunityCollege,andisnowpublishedbyC.AlanPublications.”Ida/SomeofTheseDaysbyEddieMunson/SheltonBrooks,arrangedbyJonSingerKeyboardPercussionPublications/Advanced/5PlayersplusxylophonesoloistRequirestwomarimbas(4.5and5.0octaves)andonexylophone.Singerstates:“ArecordingofBillyGladstone’sperformanceof‘Ida/SomeofTheseDaysMedley’surfacedonaMyspacepagepayinghomagetothelifeandlegacyofGladstoneasagreatmusician,inventor,andeducator.RememberedmostlyforhisabilitiesasasnaredrummerandtenurewiththeRadioCityHallOrchestra,Gladstone’sxylophoneplayinghadanastonishingimpactonme.Thisrecordingdatesfrom1928-1931,theyearsGladstoneperformedattheCapitolTheaterwithMajorBowes,theannouncerontherecording(aliveradiobroadcast).Gladstone’sperformancefeatureshighlyrefineduseoftechniquesemployedbyxylophonistoftheera.Toheartheoriginalrecording,visit:http://www.myspace.com/williamdgladstone.”FeverDreambyNathanDaughtreyC.AlanPublications/Medium-Advanced/4PlayersRequireseighttunedaluminumpipes,threegraduatedtriangles,fourhardwoodslats,kickdrum,twobrakedrums,chinacymbal,fourconcerttoms,twosnaredrums,concertbassdrum,onesetofbongos,twocongas,twocymbalstacks,sizzleride,belltree,Dbcrotaleplacedontimpano,belltree,tam-tam,andchinacymbal.Daughtreywrites:“Inthefallof2016,Iexperiencedanastyboutoftonsillitisthatlandedmeintheemergencyroom,asmytonsilsweresoswollentheywerestartingtocloseoff.Leadinguptothis,theclimaxofmysickness,Ihadaseeminglynever-endingseriesofhighfevers.Witheachpassingcycle,Iwouldfadeinandoutofrestlesssleep,whichproducedsomeofthemostvividandbleakdreamsI’deverexperienced.These

PROGRAMNOTES

dreams/nightmarescreatedavisionofapost-apocalypticworldfilledwithcrumblingrubble,twistedmetal,andsunlessskiesthatIwasdesperatelytryingtoescape.Iattemptedtocaptureoneofthesefeverdreamcyclesinthis,myfirstbattery-onlypercussionquartet.Istartedwiththeword“fever”andtranslatedeachletterintoanumberusingoneofmyfavoriteindeterminatetools.Theresultwasthenumericpalindrone5-4-9-4-5.Thesenumbersinformedeverythinginthepiece,frombasicrhythmstoaccentpatternstotimesignaturestophrasestooverallformtothealuminumpipepitches.FeverDreamwascommissionedbytheUniversityofTexasatArlingtonPercussionEnsemble,directedbyDr.MichaelVarnerandDr.AndrewEldridge,andreceiveditsworldpremiereonApril10,2017.”TheSurfaceoftheSkybyBlakeTysonSelf-published/Medium-Advanced/6PlayersRequiresthreemarimbas(one5.0andtwo4.3),twovibraphones,andaglockenspiel.Tysonwrites:“TheSurfaceoftheSkywaswrittentocommemoratethe60thanniversaryoftheintegrationofLittleRockCentralHighSchoolandisdedicatedtotheninestudentswhocourageouslyledtheway.In1957,LittleRockCentralHighSchoolbecameaninternationalsymbolofthefightagainstracialsegregationandthestruggleforequalrightsintheUnitedStates.Thisisbecausetherewereninestudentswhotriedtowalkthroughthedoorsoftheschool,butwhowereturnedaway.Theywereturnedawayforonlyonereason.Theywereblack.Today,theimagesoftheLittleRockNinefrom1957havelostnoneoftheirpower.Sixdecadeslaterwenotonlyseethepastinthosephotos,butreflectionsofourtime.Ourselves.Weseethebest,andworst,ofhumannature.Weseehate,bigotry,andfearjuxtaposedwithcourage,braveryandresolve.TheSurfaceoftheSkydoesnotattempttodepictanyspecificeventofthecrisisthroughmusic.Instead,I'vetriedtofindawaytohonorthebraveryandcourageoftheninestudents,andtheirfamilies,throughmusic.Theytrulyriskedeverythingtomoveusallforward.Tostanduptothebullying,thethreats,andthehatredtookincrediblestrengthandcharacterfromeachoneofthem,andweallowethemourgratitudeandourrespect.ThereisareflectingpoolinfrontofCentralHighSchool.Approachingtheimmensebuilding,youseeitsnowfamousdoorwaysreflectedinthewater.WhenIbeganwritingthepiece,IwasusingthetitleReflectingPool.Itsymbolizedtheideaoflookingatimagesfromthepastandseeingreflectionsofthepresent,butIwasnevercompletelyhappywithit.OnedaywhenIwasveryclosetofinishingthepiece,IdrovetoLittleRocktovisittheschoolagain.Iwalkedfromthestreet,towardtheschool,anddowntothepool.Approachingitsedge,Inoticedthereflectionofthebuildingbegantorecedeastheskyovertookthewater.IrealizedthatIshouldhavebeenlookingup,notdown;thattheendlessexpanseofthesky,insteadofasmallpoolofwater,isafarbettersymboloftheaccomplishmentsoftheLittleRockNine.Theystillradiateoutward.Theystilltouchourlivestoday.Andtheywilltouchthelivesofthegenerationsthatfollowus.Thedetailsofthepast,nomatterhowsignificant,canfadeandbelosttotime.CarlottaWallsLanier,oneoftheLittleRockNinewhoregularlyspeakstoyoungstudentsaboutherexperiences,wrotethatsheisoftenaskedthequestion,"Whyhaven'tweheardmoreaboutthisuntilnow?"Thatisagoodquestion.IhopeTheSurfaceoftheSkywillinspirethosewhohearandperformittolearnmoreabouttheachievementsoftheLittleRockNineandtodiscovermoreaboutthesacrificesmadebyallthosewhohavefoughtagainstracismandinjusticeacrossthecountry.Learningmoreaboutourpastwillhelpusbekinderandmorecompassionatetothose

PROGRAMNOTES

whoselivesandstruggleswedonotyetunderstand.Whilehateandangermaymakeusfeelstrong,theydonotactuallymakeusstrong.Truestrengthliesinunderstandingandkindness,anditalwayswill.TheSurfaceoftheSkywascommissionedbytheUniversityofCentralArkansasCollegeofFineArtsandCommunication.ItispartofaprojecttocommemoratetheeventsatLittleRockCentralHighSchoolentitled"ImagineIfBuildingsCouldTalk:MappingtheHistoryofLittleRock'sCentralHighSchool.”Thepiecewillbeusedasthesoundtrackforalarge-scaleprojectionmapping,createdbyateamledbyUCAprofessorScottMeador,onthefrontofCentralHighduringtheweekendofthe60thAnniversarycommemoration.TheprojectissupportedbygrantsfromtheNationalEndowmentfortheArtsinpartnershipwiththeNationalParkService.ToccatabyJacobRemingtonC.AlanPublications/Advanced/12PlayersRequiresfour5.0marimbas,twovibraphones,xylophone,glockenspiel,chimes,timpani(5),multiplesuspendedcymbals,chinacymbal,sizzlecymbal,twotriangles,slapstick,seventoms,snaredrum,concertbass,multi-bass,marchingmachine,tworotarycultivators,andechochimes.Remingtonstates:“ToccatawascommissionedbyTannerTriggandtheHebronHighSchoolPercussionEnsemblein2017,andcompletedinthesameyear.Theoriginalsketchesforthispiecewereintended(stayingtruetoToccataform)asavirtuosickeyboardsolotoshowcasetheperformer’stechniqueanddexterityonthemarimba.Whenapproachedtowriteforthisensemble,Iwasaskedtowriteachallenging,keyboard-centricpiece,andimmediatelyrecognizedthatthesolopiecewouldtranslateverywellasaworkforpercussionensemble.Thepieceopenswitharousingburstofsoundthatintroducesboththerhythmicandharmonicmaterialforthepiece,whilequicklycoveringtherangeofeachinstrument.Followingabriefpause,themainmelodicthemeofthepiecebeginsinthelefthandofthemarimbawhilecontinuingthestabbingthree-noterhythmicmotifintherighthand.Afterafewvariationsofthetheme,thissectionsendswithaflourishofthirty-secondnotepassagesandadramaticcrescendo.Thenextsectionismorerelaxedintempoandutilizesvariousarticulationeffectssuchasdeadstrokes,bowedvibraphone,andpiercingpercussiveaccentsbeforegraduallyslowingdowntoachorale-likesectionthatintroducesanewmelodicthemeinthevibraphone,playedoveralightlayeroftriangles,windchimes,andothermetallicobjects.Fastandfrenziedthirty-secondnotescalarpassagesrisefromthelowrangeofthemarimbatothehighestrangeofthexylophone,eventuallylandingonthedominantforaclimacticcrescendo,andalthoughtheharmonyisslowtochangethekeyboardplayersarepushedtothelimitoftheirtechnicalabilitybysustainingthechord,beforeadramaticgrandpauseandthereturnofthemaintheme.Followinganotherforaythroughthismaterialandaprolongedcadence,thechoralethemeisreintroducedasasextupletinthemarimbaandxylophoneandembellishedbysweepingarpeggiatedpassagesupanddowntheinstruments.Heavy,repetitiverhythmsfromthepercussionsectiondeliberatelyincreasewitheachphrase,buildingmomentumandleadingtoatriumphantandgrandiosechordprogressionastheclimaxoftheentirepiece.Theopeningbarsmakeafamiliarreturnbeforequicklybeingovertakenbyathirty-secondnoterunthatissplitbetweenplayers.Thesepassagesbuildgradually,movinghigherintherangeofeachinstrument,leadingtoaquickpausebeforefinallyplummetingdowntoadefinitivelypointedendingtothepiece.”

PROGRAMNOTES

Dr.AndrewEldridgeisSeniorLecturerofPercussionandnewly-appointedCoordinatorofPercussionattheUniversityofTexasatArlington.PriortoUTA,Dr.EldridgetaughtpercussionandmusictheoryatTexasChristianUniversity,andtaughtpercussionatTexasWesleyanUniversity.Underhisdirection,theUTAPercussionEnsemblewasrecentlyselectedtopresenttheNewLiteratureSessionatthe2017PercussiveArtsSocietyInternationalConvention(PASIC).TheensemblealsoperformedaShowcaseConcertattheTexasMusicEducatorsAssociation(TMEA)annualconventioninFebruary2017.

AndrewservedasaninstructorfortheTCUdrumlinethatreceivedFirstPlaceandtheprestigiousFredSanfordAwardinthe2012PASICIndoorDrumlineCompetition.HewasawardedMostInfluentialTeacherfor2011whileteachingasDirectorofPercussion/AssistantBandDirectoratRockwall-HeathHighSchoolinRockwall,Texas.Andrewhasalsoheldfull-timefacultypositionsatBirdvilleHighSchool,NorthRichlandHills,Texas;KaufmanHighSchool,Kaufman,Texas;andNaamanForestHighSchoolintheGarlandIndependentSchoolDistrict.AndrewservesonthePercussionEnsembleCommitteeforthePercussiveArtsSociety.From2011to2014,heservedathree-yeartermontheLoneStarWindOrchestraBoardofDirectors,andhasbeenperformingwiththegroupasasectionpercussionistsince2009.Andrewwasselectedtopresentacliniconcrowd-fundingatthe2013MidwestClinicand2014TexasMusicEducatorsAssociationannualconvention.Mostrecently,hewasselectedtopresentacliniccalled“LaunchingtheMIDIControllerintotheMusicCurriculum”atthe2018TexasMusicEducatorsAssociationannualconvention.Anavidperformerofnewmusic,AndrewhasindividuallycommissionedandgiventheworldpremieresofmusicwrittenforpercussionbyDanWelcher,KyleKindred,DwayneRice,MartinBlessinger,RyanGeorge,andDavidMaslanka.Additionally,hewasafinalistinthe2012and2014SouthernCaliforniaInternationalMarimbaCompetition,asemi-finalistinthe2013GreatPlainsInternationalMarimbaCompetition,andawarded2ndplaceinthe2002PASICInternationalMulti-PercussionCompetition.Asanarranger,hewrotethedrumlinepartsforthe2004Fed-ExOrangeBowland2006Chick-fil-APeachBowl.Dr.EldridgeholdsaDoctorofMusicalArtsdegreeinPercussionPerformancefromTexasChristianUniversity,aMasterofMusicinPercussionPerformancefromtheUniversityofIllinois-Urbana-Champaign,andaBachelorofScienceinMusicEducationfromTexasA&MUniversity–Commerce.HeisproudtobeaYamahaPerformingArtistandendorsedbyRemoDrumheads,Sabian,andVicFirth.

AbouttheConductors

Dr.MichaelVarnerhasrecentlyretiredfromthepositionofDirectorofPercussionattheUniversityofTexasatArlingtonafter36years.Previously,hewasDirectorofPercussionatWesternMichiganUniversity.HehastaughtPercussionandWorldMusicattheUniversitylevelforatotalof40years.HeholdsadegreeinMusicEducationfromBowlingGreenStateUniversity,aMastersinPerformancefromTheUniversityofMichigan,andaDoctorateinPerformancefromTheUniversityofNorthTexas.Withalonghistoryasaperformerhedrawsfromover40years’experienceperformingnewandtime-honoredrepertoiretothehigheststandards.In2014,hereleasedhislatestCD“reVelations”featuringhisowncompositions.ExcerptsfromDr.Varner's

performancescanbeseenonYouTubeandTEDX.HehasbeeninvitedtopresentPercussionclinicsforMusicEducatorsNationalConferences,ChicagoBandandOrchestraConventions,TexasMusicEducatorsConventions,TexasBandmastersConventionsandvirtuallyeverystate,Europe,andJapan.HeisactiveincomposingSoloandPercussionEnsemblerepertoirethatisregularlyperformedinternationallyandacceptscommissionsregularlyforhisuniquecompositions.HehasperformedchambermusicandstudioworkintheDallas/Ft.WorthareaincludingappearanceswiththeFortWorthSymphonyOrchestraandTylerSymphony.DuringhistimeinMichiganhewasprincipalpercussionistwiththeKalamazooSymphonyOrchestraandPrincipalTimpanistwiththeKalamazooChamberOrchestra.Hehaslongbeenactivenationallyinthefieldofmarchingpercussionadjudicatingandpresentingclinics.Underhisguidance,theUT-ArlingtondrumlinehasbeennationallyrecognizedperformingatnumerousmarchingexhibitionsincludingPercussiveArtsSocietiesInternationalcompetitions.Hehasworkedwithrenowneddrumandbuglecorps,includingtheDCIchampionChicagoCavaliersandtheToledoGlassmen.HisinterestinworldmusicledtoasabbaticalinNigeriaand“Study-Abroad”classestoGhana.Hisarticle“SkinThatSpeaks”waspublishedinPercussiveNotesJournalandhereceivedaGranttoacceptaninvitationfromObafemiAwolowoUniversityinNigeriaforteachingandresearch.HewaschosenastheonlyUT-ArlingtonMusicFacultytobeamemberoftheHonor’sCollegeFacultyandsubsequentlychosenasHonor’sfacultymemberoftheYear.HeisproudtobeanartistperformerforRemoWorldPercussion,VicFirthmallets,Yamahadrums,andSabiancymbals.ForvideoandmoreinformationonDr.Varnervisit:http://www.uta.edu/faculty/mulberry/acover.

AbouttheConductors

AbouttheUTADepartmentofMusic

LocatedintheheartoftheDallas/FortWorthMetropolitanArea(thefourth-largestmetroareaintheUnitedStates),UTArlingtonisamajorNCAADivisionIresearchuniversitywithanenrollmentofover33,500undergraduateandgraduatestudents.TheMusicDepartmentoffersperformanceopportunitiesforbothmajorsandnon-majorsalike,withafullcomplementofBand,Choral,Jazz,andOrchestralensembles,includingmanysmallchambergroups.LocatedintheFineArtsBuilding,thedepartmentishometoIronsRecitalHall,abrand-new,world-classrecordingstudio,andmanytalentedstudents.Theareaoffersmanyculturalopportunitiesforstudentsandfaculty,includingtheDallasSymphony,FortWorthSymphony,DallasWindSymphony,FortWorthJazzOrchestra,theDallasMuseumofArt,theKimbelArtMusem,andexcellenttheaters.Arlingtonisalsohometoamyriadofentertainmentoptions,suchasSixFlagsoverTexas,theDallasCowboys,theTexasRangers,HurricaneHarborWaterPark,andmore.TheUTArlingtonDepartmentofMusicisanaccreditedmemberoftheNationalAssociationofSchoolsofMusic(NASM)withaworld-renownedfacultyandapproximately325graduateandundergraduatestudents.

AbouttheUTAPercussionStudioTheUTAPercussionStudioiscommittedtoteachingstudentstheskillsnecessarytocultivateacareerinthearts.Throughawell-roundedpercussioncurriculum,studentsaregivenmultipleopportunitiestohonetheirskillsinavarietyofperformingensemblesandadirectedappliedlessonstructure.Thestudiosizeiskeptbetween25-30studentstomaximizetheteacher/studentratio.StudentsoftheUTAPercussionStudioenjoyamulti-facetedapproachtolearningabroadspectrumofmusicalidioms,withmanyparticipatinginDCIandWGIensembles,aswellasseminarsandcompetitionsacrossthecountry.UTAoffersbothundergraduateandgraduatedegreesinpercussion.

UTAPercussionFaculty Dr.AndrewEldridge CoordinatorofPercussion Prof.MikeDrake DrumsetInstructor Prof.JacobGarcia PercussionInstructor

MaverickPercussionAUDITION

February10 February24 Undergraduate/Graduate Undergraduateonly

ScholarshipsandassistantshipsavailableFormoreinformationaboutscholarshipopportunitiesandauditioningfortheUTAPercussionStudio,visitwww.music.uta.eduorcontact:

AndrewEldridgeSeniorLecturerofPercussionandCoordinatorofPercussionandrew.eldridge@uta.edu

TheUniversityofTexasatArlington

SpecialThanks

WewanttothankourUTAUniversityPresidentDr.VistaspM.Karbhari,theDeanoftheCollegeofLiberalArtsDr.ElisabethA.Cawthon,andChairoftheDepartmentofMusicDr.RickBogard.ItiscomfortingtoknowthatouradministrationrecognizesthevalueinperformingatthePercussiveArtsSocietyInternationalConvention.Withouttheirfullsupportinpreparingasessionofthismagnitude,ourpresentationwouldnothavebeenpossible.Theamountofin-kindsupportfromoursponsorsYamahapercussion(ChrisManners,DaveGerhart,andJenniferVierling),VicFirthSticksandMallets(NeilLarriveeandBrianStockard),RemoDrumheads(BruceJacoby),andSabianCymbals(NickPetrella)isverymuchappreciated.Thesecompaniesconstantlyremindusoftheimportanceofcultivatingasenseofcommunitywithintheprogram.Theircontinuedsupportofourprogramensuredthatwesoundedthebestwecouldtoday!Thelandscapeofpercussionpublishinghaschangedtremendouslyoverthepasttenyears.Manypublishersnowofferperusalscoresandaudiothroughtheirwebsites.Especiallywhencombiningsocialmediawiththeuseofvideo-sharingwebsites,apercussionistcanbecomeinundatedwithinformationonprogramming.Manyofourselectionswerefoundthroughsocialmediaposts.However,Ialsoreceivedseveralrecommendationsfromassociatesatthemajorpublishers.ManythankstoNathanDaughtrey(C.AlanPublications),JimCasella(Tapspace),andChrisCrockarell(Row-LoffProductions)forsendingmeseveralpiecestoconsider.Iwishwecouldhaveperformedeverything,buttherewassimplytoomuchgreatmusictoprogram.Iffact,allofthesubmittedmusicwouldhavefilled3-4moreNLPsessions.ManythankstoJoshuaSimonds(ExecutiveDirector–PAS),Dr.BrianWest,andthePASPercussionEnsembleCommitteefortheinvitationtopresentthissession.Itisaveryrewardingsessiontoputtogether.Ihighlyencouragealluniversitiesapplytopresentthissession.Iwanttothankthestudentsthemselvesforpreparinga90-minuteconcert.Thesestudentspulledtogethertofundraisemostofthecostforthistrip,thenputlonghoursintopractice,organizesectionals,andmoveeverypieceofgearbetweenrehearsalsites.Theircommitmenttoperformingatthehighestlevelisverymuchthethingthatdrivesourstudio.Lastly,thankyouforattendingthissessionofnewmusic.Throughyourattendancehere,youarehopefullyinterestedinexpandingourrepertoire.Allofusshouldfeelobligatedtogeneratenewmusicforourinstrument.Thepercussionensemblegenreencompassesalargerangeofmusicfromduetstolarge-scalepercussionorchestra.Itismyhopeindividualswilltaketheinitialsteptowardcommissioningnewmusicfromallcomposers.ThiscollaborationbetweencomposerandperformerisonethatIfindverygratifying.

UTABox19105|Arlington,TX76019|817.272.2526| music.uta.edu