Polaris
General Info
Year: 1995
Duration: c. 9:30
Difficulty: IV (see Ratings for explanation)
Marimba Required: 4.5 Octave (Lowest Note F2)
Publisher: Innovative
Cost: Score and Parts - $0.00 | Score Only - $0.00
Movements
Instrumentation
Marimba low f
Program Notes
Annotations
Named after what is commonly referred to as the North Star, this piece is based on a rhythmic theme in ⅞. Not necessarily set in a specific time signature, the composer rather writes in a romantic style, writing out music that the composer wants to hear rather than following a specific set of theory rules. This four-mallet piece opens with slowly moving rolled closed chords. Which moves into an allegro giving the syncopated theme of the piece. Written in a modified rondo form, there are two ostinatos that help unify the music. Challenging aspects of this piece include what is probably the most predominant aspect of this piece, which is the tempo. In order to play this piece effectively, a groove must be established by playing a strict tempo, and by doing that, the melodic are able to be brought out and ‘float’ over the tapestry of ‘groove’ notes. Close one-handed intervals ranging from seconds to fourths, are also utilized throughout the entire piece, the performer must also be comfortable going from very close intervals to wide intervals quickly. Published by Innovative Percussion, Mark Ford has a recording of himself playing the piece that can be found on YouTube.
Review
Mark Ford has distinguished himself as a scholar, a ne performer and as the composer of popular percussion works such as Head Talk and Stubernic. In Polaris, Ford delivers another winning composition. Polaris is an unaccompanied one-movement composition requiring the use of a 4 1/2- octave (low-F) marimba. Mainly in 7/8 time, Polaris is in rondo form utilizing two ostinato patterns to help unify the work. The work opens with a brief chorale setting. The intervals between the notes of the chords used in this section become the foundation of much of the melodic material to come. Polaris proceeds into a fast, driving pattern-oriented tour de force for advanced four-mallet marimbists. Beginning subtly, the ostinato patterns are established, the melodic material presented and eventually developed. The work is primarily of a tonal nature, in minor modes, but does employ a recurring melodic motive of a perfect fourth to a minor second to another perfect fourth. This motive is also material for development. Adding interest as the work progresses, the melody shifts from one voice to another and reappears in thirds and sixths. Rhythmically, Polaris incorporates much constant 16th-note material with sections of syncopated motives. Approximately 9 1/2 minutes in length, Polaris possesses a substantial amount of interesting melodic, harmonic and rhythmic material. This composition not only will challenge the marimbist, but will satisfy performers and audiences alike. Rightfully so, I expect Polaris will nd its way to a variety of percussion recitals. - Rich Holly, April 1997[1]
Errata
Awards
Commercial Discography
Online Recordings
Recent Performances
To submit a performance please join the TEK Percussion Database
Works for Percussion by this Composer
Afta-Stuba! - Percussion Trio - 1 Marimba
Cabasa (Ford) - Percussion Quintet
Head Talk - Percussion Quintet
Heads Up! - Percussion Quintet
IE2 - Percussion Ensemble (15 Players)
Motion Beyond - Marimba
Nightwatch - Percussion Sextet - Steel Band w/ Rhythm Section
One-Eyed Jacks - Percussion Sextet
Polaris - Marimba
Ransom - Marimba
Standup Shadow - Percussion Quartet; Narrator
Stubernic - Percussion Trio - 1 Marimba
Stubernic Fantasy for Orchestra
Stubernic Fantasy for Wind Ensemble
Additional Resources
References