1.  PASIC 2014 Keyboard Sight Reading Lab Materials

2.  Astral Dance - ending for 5.0 marimba

3.  Skylark Orange Circles - Errata and solutions.

4.  Sedimental Structures - Errata

5.  Rumble Strips - Errata

6.  Northern Lights, by Eric Ewazen - Errata and solutions



  1.  Challenge 1:  2, 3, & 4 mallet solos for keyboard percussion, by Earl Hatch Furioso and valse in D Minor (2 Mallets) pub.Studio 4 Music

  2. Music Speed Reading, by David R. Hickman

pub. Wimbeldon Music Inc.

3.  Selected Duets for Flute, Volume 1 & 2, Compiled and Edited by H. Voxman

pub. Rubank Inc.

4. Little Note Book for Anna Magdalena Bach, by Johann Sebastian Bach

pub. Belwin Mills Publishing Corp.

5.  Pieces for Classical Guitar, Edited by Peter Greenwood

pub. Amsco Music Publishing Co.

6.  Rhythmic Articulation, by Pasquale Bona

pub. G.Schirmer

7.  Album of Easy Pieces by Modern Composers for the piano

(Bartok, Kabalivsky, Shostakowitch, Khachaturian, Prokofierr, Stravinsky) 

pub. Edwin F. Kalmus

8.  Various Short Preludes And Fugues, by Johann Sebastian Bach

Edited by Hans Bischoff

pub. Edwin F. Kalmus

9.  Sonata No. VI in G Minor, by Antonio Vivaldi, (for flute, violin and piano)

pub. McGinnis & Marx (C.F. Peters)

10.  The Library of Guitar Classics, Compiled and Edited by Jerry Willard

pub.  Amsco Publications

11.  Three Duets for Two Flutes, by Friedrich Kuhlau, Op. 10

pub. International Music Company






m.s 1 and 26:  cresc. for two beats, dim. for two beats.

-corrected notation for m.s 41-44.


-add in allargando in m.s 84 and 85, then a tempo in m.86.

-delete m. 93 completely.  It is a useless repeat of the previous bar (m.92).

-corrected notation for m.129 and 130.  Add in tied repeat of C-sharp in m.129, so the last chord is four voices. then add in the low G and D in the middle of the long arpeggiated figure, as below.


-interesting fact: note that the only C-naturals in the entire piece are in m.s 174 and 175.  

1.  Movement 1:  m.1, begin mf, diminuendo to mp m.2.  m.5, begin f, diminuendo to mp m.6.  m. 14, begin ff, diminuendo to mp m.15.  This will make a better musical result, terracing the beginning of the three phrases from mf to f to ff.

2.  Mvnt.1, m.65, reverse the two left hand notes on beat three to G (w/tenuto) followed by low C.  Also in m.67, the same thing.  So the pattern stays the same in m.64 yo the end of the first movement.

3.  Movement 2:  m.14, add a slight comma (breath mark) after the downbeat.  Same in m.23.

4.  m.63:  the first left hand note on beat 3 should still be B-flat, but one octave higher.  

5.  In both m.64 and 65:  the right hand notes on the second half of beat two and four should be reversed.  Keep the tenuto on the B as well (they will now be on the beat of course).

6.  In both m.110 and m.11, change to the following: 



These Errata, realizations, etc. had the blessings of Eric Ewazen, who was present at the recording session when I recorded this piece.  The are also based on the original manuscript from Eric Ewazen. I have also included places where I recorded passages down an octave, while using a 5.0 marimba.

1.  This is my realization of the passage from m.s140-160.  m.160 is the two  important musical climax's of this piece, the other and very most important being m.229.  The volume necessary to play the m.140 passage musically finds this solution more effective than using right hand independent rolls.  My opinion.

2. last pitches of m.39 and 40 should be C-flat, not A-flat.

3. one might consider adding a  low-E-flat on the last note of m.131, but very softly.

4.  m.140 see above.

5.  last note of m.151 should be A-natural, not A-flat.

6.  m.163 play one octave lower.

7.  play m.178 to the first note of m.193 down one octave.  On the downbeat of m.193, the left hand notes are as written, and the right hand notes are down one octave.  From the 2nd sixteenth note of m.193 place in the octave written.

8.  In m.202, the order of the double vertical strokes is incorrect.  If you label each stroke written from 1 to 6, the correct order is: 2,1,4, 3,5,6.  

9.  In m.237, the third double vertical stroke in the left hand should be low B and G-natural, not low B and F-sharp. 

10.  A few comments directly from Eric about the piece:  "The chorale is the most important aspect of the piece.  The basic chorale is in a minor key, giving it a melancholy sound.  Sometimes it is more dissonant, and usually there is a sense of resolution.  The piece grows from one section to another, getting more intense.  Harmonically it is in a neo-romantic style. There is a focused use of dissonance.  During the composition of the piece, his mother became terminally ill.  She did hear the music before it was finished, and she commented on and enjoyed the chorales especially.  Northern Lights: sparkling, shimmering colors,somewhat mysterious, but with beautiful mystery.  Eric resumed and finished the writing of this piece after his mothers passing.  The minor sounds took on a different character to him, serving as a reminder.  C-sharp minor became more the focus, from C major.  The final Allegro is to sum up all the previous material.  The ending remains tonal, and ends more in the major tonality.  The approach to resonance and texture is similar to the Mexican Dances.  George Crumb said:  "percussion is the basso continuo of the 20th century"."

RSS feed

gordon stout

Twitter -- http://www.twitter.com Facebook -- http://facebook.com/gordonbstout