PIRANHA

for solo marimba (six-mallet)

piranha-copia.jpg

Written: 2007
 Duration: ca. 5'
 Instrumentation: 5 octave marimba (played with six mallets)
 PremiereComposers Concordance, Renee Weiler Concert Hall, Greenwich House Music School, New York, NY, USA, May 2, 2008.
 PublisherBill Holab Music

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 Introduction to My Six-Mallet Technique | Basic Six Mallet Exercises

PROGRAM NOTE

After writing Komodo, a piece that shows off the low end of the marimba, I decided to write a piece that focuses on the top end for good measure. Ghoulish creatures fascinate me, and piranhas provide the perfect inspiration. Like Komodo dragons, piranhas are vicious, but their reputation is somewhat exaggerated. Perhaps this piece is a Romanticized take on these fascinating creatures. Piranha begins with a rippled, fluid-like introduction, as if they are rising and falling and poking through the water’s surface. (This section pays tribute to composer Jacob Druckman and his masterpiece for solo marimba, Reflections on the Nature of Water.) The next section is a gradual crescendo, a build-up of tension as hungry piranhas stalk and nip at an unfortunate animal as it wades into deeper water. The animal is then attacked, reflected by the low end of the marimba and “marimshot” cluster chords. Satiated, they gradually calm down in the last section via a gradual diminuendo and the piece ends quietly with soft ripples and chords played with mallet shafts.

...it is clear the composer has delightful musical patterns in his grasp. He can also portray the sense of danger and horror. The shorter Piranha (under five minutes) has color and bite, along with subtle dynamics and articulated storytelling.
— Mark Greenfest, New Music Connoisseur
The purely acoustic pieces also emphasize the richness of the technical means available to contemporary performers. Komodo (2004) and Piranha (2007), composed and performed by American Modern Ensemble music director Robert Patterson, explore in depth the geography of the five-octave marimba as played with six mallets. Each piece is centered on one end of the instrument’s pitch range, laying bare the harmonic subtleties inherent in the resonances of closely spaced, overlapping tones.
— Daniel Barbiero, AvantMusicNews.com
Out of most six mallet music I have heard, yours seems to be the most musical, in the sense that it really concentrates on the music aspect, rather than the fact there are six mallets being used, and that is how it should be. I can’t wait to start playing them... the music is fantastic.
— Gillian Maitland, Marimba Soloist based in the United Kingdom