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Overview
Happy Tachyons, commissioned by Dame Evelyn Glennie, pushes the boundaries of technical prowess for the percussionist. Written with exuberance and high spirits, this vibrant work showcases the interplay between the twinkling, bright vibraphone and the resonant depths of the marimba. It demands the percussionist to navigate passages that require simultaneous performance on both instruments, creating a captivating and dynamic musical experience. Throughout Happy Tachyons, melodic bursts from the vibraphone alternate with the rich, woody tones of the marimba, creating contrasting textures and captivating melodies. The percussive lines, executed with flair, skate incessantly over a heavily syncopated piano accompaniment, adding an energetic and rhythmic drive to the composition. I composed Happy Tachyons as my wife Carla and I were eagerly anticipating the arrival of our first child, Emanuel. The joyous and spirited nature of this piece reflects the anticipation and excitement surrounding his impending birth, infusing the music with a sense of celebration and anticipation.
A recording of Happy Tachyons, performed by Jeremy Fitzsimons on percussion and Stephen Gosling on piano, is available on the Trust Records CD Fragments (MMT2047). It captures the technical virtuosity and vibrant energy that define this composition, showcasing the remarkable abilities of the performers.
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Watch and Listen
In Focus:
Happy Tachyons
Project Details
for Mallet Percussion and Piano
Commissioner: Dame Evelyn Glennie
Instrumentation: Marimba/Vibraphone & Piano
Performance Notes
The success of this piece lies in the realisation of the accents and dynamic shapes in the melodic lines. All accents other than those at the end of a crescendo mark should be thought of as very strongly contrasted to non-accented notes. This is illustrated in the first few pages through extensive use of dynamics.
The mallet markings are guides only, as different acoustical spaces may suggest the use of stronger or weaker mallet types. The number of mallets indicated is also only a suggestion although the 4-mallet passages were written with this technique in mind.
The indication of finger-pedalling' in the piano part measure 196 is relevant until the end of the piece. This relates to the various C-octaves in the left hand. The principle is that the octave forms a continuum of sound by always sustaining either the upper or lower note with thumb or fifth finger until it appears again. This way the left hand will be sustained as if it is being pedalled but the right hand lines will not be blurred.
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