Includes score and audio accompaniment (wav files). (Three scores needed for performance).
Print size: 11 x 17"
Review from Percussive Notes (2021):
Shadow Chaser
Steven C. Medley
At around 5 1⁄2 minutes, “Shadow Chaser” is a unique piece that features a keyboard percussion trio with electronic tape. While the piece begins with the electronic tape part introducing a theme that is then shadowed somewhat canonically by individuals within the percussion trio, the texture is not a strict imitation. This mix of contrapuntal imitation keeps the piece fresh without being overly predictable. To add further interest, Steven Medley has empowered the performers to craft a unique interpretation of the piece through octave displacement, octave doubling of the accents, changing chord voicings, and even adjusting the instrumentation. All of these take a straightforward concept and allow for a piece that can look and sound a variety of ways.
While the piece is scored for a percussion trio with tape, the tape part features as many as four distinct parts with MIDI sounds that range from dark woody tones reminiscent of a marimba to much brighter and resonant sounds reminiscent of a vibraphone or glockenspiel. Throughout the piece, the electronics play these sounds simultaneously, which achieves a unique timbre that should blend well with the percussion trio, who are performing on two marimbas, xylophone, vibes, and glockenspiel.
While there are a lot of notes, the limited pitch range and approachable tempo would make this piece a great opportunity for undergraduate or graduate percussionists to experiment with interpretation within a chamber-music setting. “Shadow Chaser” comes with an oversized score and a CD recording of the electronic tape. As there are no parts, the performers would need to find a performance solution to negotiate the various instruments and lengthy score.
Overall, I am intrigued by “Shadow Chaser” and would recommend it for those looking to introduce electronics to their percussion ensemble in an approachable way without obscure or experimental sounds.
—Quintin Mallette
