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Publication Date

4-6-2018

Year of Release

2018

Note(s)

Jonathon Shuff, composition, vibraphone

Matt Bradley, marimba, drumset, timpani, xylophone

Jarohn Grandstaff, soprano saxophone

Randall Miller, alto saxophone

Cody Henley, tenor saxophone

Adam O'Neal, baritone saxophone

Evan Grover, marimba

MU Percussion Ensemble

Jonathon Shuff

Déclencheurs de Saxophone is a piece that has material generated from an idea first meant to be for piano and live sound processing. As the piece progressed, it seemed that it was more meant to be performed by a small ensemble. After rewriting, this has turned into a viable piece for a saxophone quartet. Because of the origin of this piece, the name, which translates to Saxophone Triggers seems very fitting.

Heuschreckenpest is a piece exploring the generation of sounds and pitch material using Audacity and Pure Data. In the work, musical textures are created by feeding random pitches into a sampler housing electronically generated sounds; these were recorded and shaped further using signal processing. Heuschreckenpest translates loosely into "Plague of Locusts," which is a fitting metaphor for the sound of this piece, as many of the sounds have an insect-like quality.

Convulsions for Soprano Saxophone is a piece loosely based on the stages of a panic attack. It features three movements: the first is a beginning realization that a panic attack is happening, the second is an attempt at calming oneself, and the third is a frantic scramble to conquer the panic attack in itself.

Falling Stars is a new vibraphone solo written based on a four-note theme. Falling Stars is focused on the range of the vibraphone and the beautiful overtones in the intervals in the higher range of the instrument. The title refers to the falling order in which those intervals are presented.

Imperfect Thoughts is the first piece that I started exploring bitonality, which is my interest at the point of the composition. I really enjoyed the idea of harmonizing through the tri-tone interval. Through this, I started writing in two different tonal centers. As I moved on, I decided to use aleatory method of presenting the pitches at the beginning of the piece to present a meditative approach. This piece is more of a collection of sounds than a traditional piece.

Suite for Alves is a collection of short pieces for guitar duo. The collection started out of experimentation with guitar. It is named after guitarist Julio Alves, after suggesting that the first movement written should be titled something strong, akin to his name. These pieces are arranged as percussion duets.

Octatango is a piece that was generated solely through one melodic line: the first figure heard in the piece. It is named for the type of scale utilized and some of the syncopated ideas featured in the piece. Originally meant for duo guitar this a fixed media orchestration.

Not Yet for marimba quartet is a process-based piece using a pitch set. Most parts of the piece use two-bar cells and a predefined transitional period for each performer within the cell.

Probe in Funk is a piece from this year's collaboration with dancer from Florida School of the Arts. I originally composed this piece after watching a series of short skits from Saturday Night Live, and was inspired by a particular skit about alien abduction.

Matt Bradley

Etude in C Major is one of three pieces by Pius Cheung to be awarded the Classical Marimba League Prize. Etudes are short pieces that are intended to develop a certain skill or techniques. Cheung likes to think of his etudes as less of solely technical exercises, but more of "short pieces of individual musical moments." The technical focus of the piece is the use of 4-note "block" chords. The rhythmic pulse of the block chords keep the motion of the piece moving forward. The melodies used resemble a Schubert-style song for voice and piano.

Sarabande I was originally written in 1887 for piano, as the first movement of a set of three. The three sarabandes are some of Satie's most important early works. The sarabande is a slow dance in three, popularized in Europe in the 17th and 18th centuries. Satie uses similar rhythmic structure and form of some earlier sarabandes, but a much more advanced tonal structure. Sarabande I includes many extended harmonies, such as adding ninths, sevenths, and flat fives. This adds lots of "color" to the piece. It is a great piece to show the natural resonance and the possible dynamic contrast of the marimba.

Recitative and Improvisation are two-movements from Elliot Carter's Fight Pieces for Four Timpani, which have become a staple in modem percussion repertoire. These pieces use many extended techniques, such as playing with different implements, including homemade moleskin mallets and snare drum sticks, and varying the playing area on the timpani. Both the Recitative and Improvisation use varied playing areas; the music dictates between center, rim, and the normal playing zone (a few inches away from the rim). The Recitative also uses harmonics, where the fingers are placed about half-way between the center and the middle of the head to produce an overtone that sounds an octave above the drum's fundamental pitch. The attention to striking zones in these pieces give the timpani the ability to produce different and unusual sounds.

Just For The Funk Of It was written in 1980 by Murray Houllif, a performer and composer from Woodbourne NY. The first of eight published in a set of contemporary drumset solos, this piece features many different funk/rock grooves. Starting with a relaxed half-time groove, the piece develops with many different drum fills and patterns. The last section features a fast double-time groove with loud cymbal impacts.

The Whistler is one of George Hamilton Green's many xylophone rags composed in the early 20th century. Green came from a very musical family and quickly became a virtuosic pianist. By age 11, he was a virtuoso xylophonist and began writing and arranging for the instrument. In 1917, Green and his brothers started recording with the Edison Company, serving as the sound crew for the first three Disney cartoons. Several of his ragtime pieces were later edited and popularized again in the late 70's. The version you are hearing this evening was edited by Bob Becker, which include the marimba accompaniment parts.

This recital is presented in partial fulfillment of the requirements for the BFA Composition degree. Jonathon Shuff is a student from the Composition Studio.

Thus recital is presented in partial fulfillment of the requirements for the BA Music Education degree. Matthew Bradley is a student from the Percussion Studio.

Note

Smith Recital Hall

Disciplines

Arts and Humanities | Fine Arts | Music | Music Performance

Marshall University Department of Music Presents a Senior Recital, Jonathon Shuff, Composition, Matt Bradley, Percussion

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