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Invisibles Pass By

percussion sextet
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Composer: Yo Goto
Publisher: Innovative Percussion, Inc.
Instrumentation: Suspended Cymbal, Claves (high), Triangle (high), Crotale (B), Snare Drum (low), Xylophone, Vibraphone, 2 Wood Blocks (high-medium), Triangle (medium), Marimba, 5 Temple Blocks, Crotales (F#, C#), Marimba (5 octave), Sizzle Cymbal, 2 Wood Blocks (high-medium), Drum (meduim), Triangle (low), Marimba, 3 Wood Blocks (medium-low), Glockenspiel, 4 Log Drums, Claves (low). Crotales (E, A), Snare Drum (high)

Program Notes:
Invisibles Pass By (2006) was commissioned and premiered by the Kunitachi College of Music Percussion Ensemble in Tokyo, Japan, on October 1, 2006 under the direction of Kazunori Momose. This composition is based on an illusion that spirits (or elves) appear for fun in our field of vision. The piece also utilizes a concept of musical simultaneity creating contrast between momentary events and stillness. Six players occasionally perform in separate tempos, as the music subtly dances from player to player with the nimbleness of imps. These spatial gestures of musical events create the illusion that “invisibles are passing by" in front of us.

"This advanced percussion sextet is certain to challenge the most mature percussionists. Each performer has a multiplepercussion setup—some with keyboard percussion instruments as well. Player 1 plays suspended cymbal, claves, triangle, a crotale and a snare drum; player 2 uses xylophone, vibraphone, two woodblocks and triangle; player 3 needs marimba, temple blocks and two crotales; player 4 uses marimba, sizzle cymbal, two woodblocks, snare drum and triangle; player 5 performs on marimba, three woodblocks and glockenspiel; and player 6 uses four log drums, claves, two crotales and snare drum.

Commissioned by the Kunitachi College of Music Percussion Ensemble in Tokyo, "Invisibles Pass By" begins very slowly (quarter note marked 42 bpm) with a very soft entrance in the lowest register of player 4's marimba (rolling perfect fifths), with a layering structural effect in player 3's marimba, followed by continual added rhythmic and timbral contrast with claves, woodblocks and temple blocks. This texture transitions to an ostinato underpinning in the vibraphone and marimba, and then returns to the "layering" technique presented earlier.

Overall, this composition is a study in contrasting timbres of keyboard percussion and wooden percussion sounds, with numerous, complex "stretto" (or overlapping) entrances that will demand tremendous interdependence among the six performers. The fastest tempo marking is quarter note equals 66, and that is only for a few measures. This 105-measure percussion sextet will take about 8-9 minutes to perform." -  Jim Lambert Percussive Notes, August/September 2009

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