STEVE YEAGER
Music Production
PURCHASE
All of my printed music for Solo Vibraphone, Duets, Percussion Ensemble and Suite MJQ
are available in the USA and Europe.
LISTEN
Chasing Windmills | Solo Vibraphone
Bachanova | Marmba / Vibe Duet
Eric Strom : Marimba
Fall River | Solo Vibraphone
Traveling | Vibe / Piano duet
Steven Gores : Piano
Blackbird (Lennon/McCartney)| Vibes / Bass
David Elvin : Bass (1987)
Well You Needn't is a Thelonious Monk tune arranged by Steve Yeager for solo vibraphone. Yeager's arrangement utilizes four-mallet technique and is great for working on improvisational skills. Three sections are earmarked for improvisation, but Yeager has also written out solos for each of the three sections to act as a model or guide for the performer. The print and markings found in this arrangement are very clear. Yeager states in the preface: This arrangement uses a two stave notation system to clearly show left-hand accompaniment to support a right-hand melody. Dynamics, pedaling and dampening are indicated where necessary. Other musical direction has been used sparingly and is meant only as a guide for the intended flow of the piece." In addition, I would suggest that any vibraphonist performing this arrangement needs to become very familiar with other works by Thelonious Monk in order to ensure a wonderful performance.
LISA ROGERS
This duet for vibraphone and piano is a wonderful training piece for jazz improvisation with the intermediate four-mallet vibraphonist. In the preface Yeager writes, "Traveling represents the first in a series of pieces designed for the intermediate to advanced mallet player. Although written as a vibraphone/piano duet, the piece can easily be performed on marimba as well. The lead sheet style of notation is used showing chord symbols throughout. A solo section with chord changes is included allowing the player to improvise a solo of any length." In addition a companion tape is included with the work, which provides a performance on side one and the piano part with a click track on side two. The work follows a true duet format with vibraphone and piano playing the thematic material together and separately by use of piano and/or vibraphone interludes. Additionally, piano and vibraphone solo sections are employed. The vibist will use four mallets, and good double vertical playing is essential along with relatively advanced independent technique. Traveling would be a wonderful addition to an undergraduate recital.
LISA ROGERS
Blue March is an ensemble scored for piano, vibraphone and six percussion players. In addition to the piano and vibraphone, the keyboard and melodic parts include a low-A marimba and bells.
Written mostly in five sharps, the vibraphone and marimba parts require four mallets, and the bell part is actually easier to perform with four mallets because of shift patterns. The rhythmic content and style employ two measure ostinato patterns that are jazz like syncopations. Meters include common time, 4/4, 5/4, 614, 714. Scored for four timpani the ranges are quite low and one tuning change is required. The colors of the supporting percussion include snare drum, bongos, caxixi, mounted tambourine, rain stick, ride cymbal and chimes. This ensemble is appropriate for advanced high school and young college ensembles. It should be fun for the players and audience alike.
GEORGE FROCK
Bachanova is scored for vibraphone and a low-A marimba, and four-mallet technique is required for each performer. The composition begins in F major, and other tonal centers are employed with D major being the dominant key. The motives and rhythmic syncopation are a major feature, and are often reflective of the motives and sequences found in the Bach Inventions or Fugues. The work is in common time with occasional meter changes to enhance phrase endings. Each part is equally challenging with various types of strokes utilized. The composer provides an opportunity for improvisation if desired. In addition to a score, separated parts are provided for each performer. The print is clear, and all dynamics and nuance are clearly indicated. This is an excellent work for advanced players, and certainly worth programming on the student or class recital.
GEORGE FROCK
