Performance Problems in Akira Miyoshi's Conversation 23

Performance Problems in
Akira Miyoshi 's Conversation

A k i r a Miyoshi is currently President of the Introduction

T¢h~ University School of Music in Tokyo. Conversation was written in 1962 at the request
of Takuo Tamura and was premiered by Tamura in
Mario Gaetano holds degrees and perfor- Japan in the same year. Marimba virtuoso Keiko
mance awards f r o m the State University of New Abe first performed the work in the United States
York, Potsdam, East Carolina University, and also recorded it on Vox Candide records?
Greenville, North Carolina, and the Doctor of Thomas Siwe (University of Illinois) and Michael
Musical Arts degree f r o m Memphis State Rosen (Oberlin College) contacted Miyoshi in
University, Memphis, Tennessee. He is on the 1972 and obtained copies of the work for distribu-
faculty of Western Carolina University, Cul- tion to percussionists in the United States. Keiko
lowhee, North Carolina. Abe subsequently became the editor of the work
for the 1978 edition, published by Ongaku No Tomo
Sha Corporation, Tokyo.
The five movements reflect in music the
conversations between a mother and her infant.
Concerning the programmatic intent of each
movement, Miyoshi says:

Movement 1 - In this tender and satisfying

atmosphere, the utterance of the infant is
reflected in the constant eighth-note pattern of
theme no. 1. The second theme is the soothing
voice of the mother.
Movement 2 - How magnificent it is!.., over and
over again.
Movement 3 - The irony of a lingering chagrin
up to eternal tomorrow.
Movement 4 - The mother answers the infant
vaguely (lento). This irritates the little one
The musical examples presented in this article Conversa- (allegro).
tion by Akira Miyoshi (copyright 1978, Ongaku No Tomo Sha
Corporation, all rights reserved) are used by permission of Movement 5 - T h e mother and child speak very
Ongaku No Tomo Sha Corporation, Tokyo, Japan. gayly, then each has his own say and the
24 Percussive Notes Research Edition. Volume 25, Number 3

dialogue becomes incoherent and totally

illogical. They're at it again!2

The basic pitch content of Conversation is a

tetrachord derived from the letters in the com-
poser's name: (Figure 1).
Akira L a and Re
Miyoshi Mi a n d S i

Fig. 4. M o v e m e n t V, m e a s u r e s 6-8
Fig. 1. Tetrachord 2) The two tetrachords of Figure 2 are divided
and combined to form six additional tet-
This tetrachord is used directly or is transformed, rachords of the same structure, each comprised
transposed, divided, combined, etc., in the of a major seventh, perfect fourth, and a minor
following five ways: 3 second. Another tetrachord is formed by
transposing this structure to F (Figure 5).
1) The tetrachord is transposed down a major
second and then transposed further down an
augmented fourth (Figure 2).

j ~-.¢.-" e,..', c.r, ce~

Fig. 2. T r a n s p o s i t i o n o f t h e t e t r a c h o r d

_Anexample can be found in the opening statement

(measures 1-2) of Movement I (Figure 3). Fig. 5. P e r m u t a t i o n s o f t h e t e t r a c h o r d
Movement V,measures 6-8, employs a juxtaposition
of the newly-derived tetrachord built on C-sharp, Movement W, measure 29, and Movement V,
the tetrachord transposed to D, and the tones of measures 36-37 present themselves as good
the original tetrachord (Figure 4). examples of the employment of tetrachord a
(Figure 6).

Fig. 3. M o v e m e n t I, m e a s u r e s 1-2 Fig. 6. M o v e m e n t IV, m e a s u r e 29.

 Performance Problems in Aldra Miyoshi's Conversation 25

,~ rail. . . . . .

Moderato

Fig. 6. ( c o n t . ) M o v e m e n t V, m e a s u r e s 36-37

3) The tones of the two tetrachords in Figure 2

can be arranged to form a symmetrical scale of
minor seconds and minor thirds (Figure 7).
Fig. 10. M o v e m e n t II, m e a s u r e s 1-4

n _ . ~ ,--~,.~.._.~ ~ d TM- 5) The two central tones of Figure 7 (C-sharp

. . . .

and D), combined with the tetrachord g of

Figure 5, form a symmetrical scale of alternating
minor and major seconds (Figure 11).

Fig. 7. S y m m e t r i c a l scale

Figure 8 shows a four-note descending fragment of

this scale transposed down a whole tone, from
Movement 1, measure 28-29.
Fig. 11. S y m m e t r i c a l s c a l e
Movement W, measures 33-34, represents the best
illustration of this symmetrical scale transposed
down a major seventh and down a major second
(Figure 12). Movement V,measures 22-24, shows
its employment in the two outer voices (Figure
13). The scale has been transposed up a minor
Fig. 8. M o v e m e n t I, m e a s u r e s 28-29 seventh in the uppermost voice and down a major
third in the lowermost voice.
4) The two tetrachords of Figure 2 are divided
and combined to form two new structures, each
comprised of a minor ninth, major second, and a
major seventh (Figure 9).

Fig. 12. M o v e m e n t IV, m e a s u r e s 33-34

Fig. 9. P e r m u t a t i o n s o f t h e t e t r a c h o r d

The opening four measures of Movement II employ

fragments of the above structures (Figure 10). Fig. 13. M o v e m e n t V, m e a s u r e s 22-24
26 Percussive Notes Research Edition" Volume 25, Number 3

Performance Problems

Movement I
Theme 1 (measures 1-12) is comprised of a single The polyphonic implications of theme 1 need to
melody with polyphonic implications, as attested be enhanced by the marimbist by the use of
by the employment of double stems on particular differing articulations for the two respective
tones, along with differing articulations for these voices.The D pedal tone in measures 1-4 and the A
tones. One "voice" of the theme is a pedal tone D in pedal tone in measures 5-9 should be played with a
the first two phrases (measures 1-4) and a pedal relaxed stroke while the tones which move above
tone A in the second two phrases (measures 5-9). and/or below the pedal tones should be played
The second voice encompasses a wider range. with a staccato stroke, one in which the mallet is
Compare the opening thematic material with held firmly and moves rapidly to and from the bars.
measures 40-43 (Figure 14). The pedal tone has This differentiation in articulations need not be
moved to C-sharp. The double stems and differing exaggerated: the tender nature of the thematic
articulations are again employed to show material should always be considered and the
polyphonic implications as the second voice differences in articulation can be subtle.The E-flat,
moves above and below the pedal tone. The D, C, F-sharp, and C are notated staccato in measure 2,
and A of measures 1-9 are derived from the first but not in measure 4. This author feels that both
tetrachord (G,A, C, D) and the other tones measures should be articulated identically.The
(G-sharp, F-sharp, and E-flat) are derived from the G-sharp in measure 3 is notated with all accent, but
second tetrachord (C-sharp, D-sharp, F-sharp, note that the accent is not present in measure 1.
G-sharp) from Figure 2. The accented tones (G-sharp, B-flat, and G-flat)
should be slightly louder than the other tones of
the moving voices, but should still be articulated
Allegro m~lertto > ~ Akira MIYOSHI
with a staccato stroke.
No consistent meter signatures are used for this
or any movement of the work, but barlines are
employed to show groupings of eighth notes and
the shifting of accents. If meter signatures were
employed, measures 1-9 would have the following
configuration (Figure 15). The only true meter
changes of the movement occur in measures 6
and 8.

P l j ;j j l ~ _
,._
"~ '-
: :.J J
' ~.--t---J.-
J.~
'~
i I L
I 3
I 4
I 5"

~?~- ~ ,I. ~ i. ! ,
13 3 3

Fig. 15. M o v e m e n t I, m e t e r signatures o f

Fig. 14. M o v e m e n t I, m e a s u r e s 1-9, 40-43 measures 1-9
 Performance Problems in Akira Miyoshi's Conversation 27

In measure 10, a half rest is notated.According There should be a break, however, in the roll
to the editor, this measure should receive three between measures 18 and 19. This will make
beats rest, not two. ~ certain that the listener hears these two phrases
Measures 13-15 contain contrapuntal lines of clearly.
differing characters. Their individuality can be The second theme (measures 26-39) is
assured by carefully observing the subtle differ- characterized by three phrases in a legato style, a
ences in dynamics (Figure 16). decrease in the tension and rhythmic activity, and
a prevailing two-voice contrapuntal texture
(Figure 18). The roll should be broken slightly at
the end of measure 29 and at the end of measure
33. There should be no break in the roll from
measure 39 to the downbeat of measure 40. These
two measures represent an elision of phrases as
the C ascends to the C-sharp and the E descends
Fig. 16. M o v e m e n t I, m e a s u r e s 13-15 to the D.

According to the editor, the tremolos in

measures 17 and 19 must be played with full
emotion without dragging the tempo? The
expressive quality of these measures can be
enhanced by employing a slight crescendo from
beat 1 to beat 2, followed by a slight decrescendo
from beat 2 to beat 3 in each of the two measures.
The tempo will remain steady if the performer
employs a measured roll of six strokes per quarter
note, similar to that indicated below (Figure 17).

i~ • , .. ; ~-. !; I

Fig. 17. M o v e m e n t I, m e a s u r e s 17-20, m e a -

sured roll t o be e m p l o y e d in m e a s u r e 17

Measures 17-18 and measures 19-20 each

represent individual phrases. There should be no
break in the roll from measure 17 to the downbeat
of measure 18. The same holds true for the roll
from measure 19 to the downbeat of measure 20. Fig. 18. M o v e m e n t I, m e a s u r e 26-40
28 Percussive Notes Research Edition. Volume 25, Number 3

The dynamic marking ( < > ) notated on beat 1

of measure 27 can, in fact, be interpreted as a slight
crescendo from the E-flat of measure 26 to the
B-fiat of measure 27, followed by a slight decres-
cendo throughout measure 27. The same dynamic
marking is notated on beat 1 of measure 31, and
TTTT
L P,
can be interpreted identically.To enhance the
legato nature of this passage, the E-flat of measures A unique simultaneous employment of 3/8 and
26 and 30 can be played with mallet number 2 2/4 occurs between measures 48 and 51.The
while mallet number 1 is extended to, and hovering quarter notes of the lower voice suggest 2/4, but
over, the B-fiat of measures 27 and 31 respectively. the three-note melodic fragment of the upper
The performer can simply drop mallet number 1 voice suggests 3/8. The following polymetric
onto the B-fiat in both instances. A smooth, legato implication resillts (Figure 19).
sound will be achieved because the mallet motion
of the right hand is at a minimum.
Variations in roll speed should be used through-
out measures 26-29 to enhance the increases and
decreases in musical tension. In measure 28, for r r I'.1" ,,P
example, the tension between the E natural and D
natural, accompanied by the notated crescendo,
can employ an increase in the speed of the roll.The
roll can steadily decrease in speed as the tension is Fig. 19. Movement I, polymetric implications
released, from beat 3 of measure 28 to the end of o f measures 48-51.
the phrase in measure 29. In measure 32, the roll
should increase in speed as the dynamic level Additional stress should be placed on the B
increases and then relax as the upper voice naturals in the upper voice in each of these
ascends to C-sharp, and as the phrase ends in measures to enhance the polymetric implications.
measure 33. The final phrase of the second theme The rallentando of measure 48 continues to
(measures 34-39) contains no notated dynamic measure 51, and the rallentando of measure 55
changes, but an increase in harmonic tension should continue throughout measures 56-58 to
exists in measure 36 with the C against the B-flat add to the release of tension at the close of the
on beat 1 and the B-fiat against the A on beat 3. movement.' The composer gives no definitive
This measure serves as the height of tension in this metronomic indication for the movement.
phrase and should be accompanied by an increase Considering the "tender" nature of the work, this
in the speed of the roll. The roll can decrease in author suggests J = ca. 100.
speed as the tension is released and the section The same mallets can be used for each move-
comes to a close in measures 38 and 39. As always, ment. The mallets should be medium/hard and
variations in roll speed should be very subtle and must be capable of articulating at the highest
never exaggerated. The performer can also register of the instrument at a very soft dynamic
enhance the feelings to tension and release level. There should be as little pause as possible
throughout the second theme by pushing the between movements due to their brevity and the
tempo ahead slightly as the tension increases and programmatic effect of a long running conversation
relaxing the tempo as the tension decreases. between a mother and her infant.
 Performance Problems in Akira Miyoshi's Conversation 29

M o v e m e n t II
Movement II is a theme and variations~in which identical to that of measures 1 and 2. Thus, the
the theme consists of a very brief two-measure lower voice of measures 1-2, 3-4, and 11-12 should
melody that appears nine times throughout the be identical in terms of articulation (Figure 21).
movement. Each time the theme is either trans-
posed, fragmented, extended, used directly, or is
rhythmically altered. Along with the theme is a
countermelody which is also continually and
similarly varied.
The consistent polyphonic nature of this
movement demands that careful attention be paid
to the individual character of the two voices
(Figure 20).

2. ,~ $ ~ ? J ~ , ~ L ...... ~ ' f ~ l
So Nice It W a s . . . R e p e a t e d l y

Moderato

~'~ ' :~,'', ',~---~ r __~

- - " ~$tttk.-~ • •

Fig. 21. Movement II, measures 6-12

In measures 6-8, the theme appears in the lower

voice rhythmically displaced by one eighth note.
(The original downbeat of measure 1 has now
become an upbeat in measure 6.) This author feels
that the passage should be performed identically
t.._--a ' v ,p , to measures 1-2, both in terms of articulation and
ef rhythmic stress. The barlines, therefore, should not
change the character of the theme in any manner.
Fig. 20. Movement II, measures 1-6 This will keep the programmatic intent of the
movement ("So Nice It Was .... Repeatedly") intact.
There are three types of articulation used in this The countermelody (upper voice), which is
movement: 1) staccato; 2) legato; and 3) accent. presented initiallyin measures 2-6 (see Figure 20),
The staccato tones should be executed with a is characterized by an accent on the first tone, an
rapid stroke where the mallet is held firmly in the increase in the dynamic level at the height of
hand. The legato tones should employ a more tension in the middle of the phrase, followed by a
relaxed stroke. The accented tones should be decrease in the dynamic level and a decrease in
played staccato, at a slightly higher dynamic level. tension toward the end of the phrase, followed
It is only in measures 1-2 that the theme is suddenly by an accent and decrescendo on the
notated with changes in articulation. Throughout final five tones. The increases and decreases in the
the remainder of the movement, however, the dynamic level should be consistent throughout the
theme should be articulated in the same maimer, movement, whenever the countermelody is
whenever it appears in a rhythmic pattern present. Thus, the G-sharp in measure 8 (see
30 Percussive Notes Research Edition. Volume 25, Number 3

Figure 21) should receive an accent and the four The performer must always take into considera-
S'lxteenth notes should be accompanied by a slight tion that the extreme upper register of the
crescendo, while the four sixteenth notes in the marimba is not as resonant and does not project as
upper voice of measure 10 should be accompanied well as the middle register. The countermelody is
by a slight decrescendo. The composer's notation often notated in the extreme upper register, while
indicates a dynamic swen only in measure 9, when, the theme is usually notated in the middle register.
in fact, it should encompass measures 8-10 to give To balance the volume between the voices, the
the phrase its proper shape. The first five tones in performer must actually place additional stress on
the upper voice in measure 12 are identical to the tones which are notated in the extreme high
those of measure 6 (except that they are presented register of the instrument, such as the G-sharps of
one octave higher). They may be played identically, measures 4 and 8, the A naturals of measure 9, and
with an accent on the first tone, followed by a B and F naturals of measures 11-12, and the entire
decrescendo. The first beat of measure 18 should melody in the upper voice of measures 19 and 20.
also receive a slight accent for the sake of The playful nature of the movement suggests
consistency. ,~ = ca. 90.

M o v e m e n t III
The theme of Movement III consists of a two- All of the phrases in Movement HI are two
measure melody of rapid triplet figures moving, for measures in length except measures 34-36, a
the most part, in conjunct motion (Figure 22, three-measure phrase, and measures 11-14,with
measures 1-2). four one-measure phrases. Many of the phrases are

Allegro molto

~f

Fig. 22. M o v e m e n t III, m e a s u r e s 1-6

Performance Problems in Akira Miyoshi's Conversation 31

delineated by an eighth-note rest, a rising and _Although most of the movement is perceived
falling contour, and a dynamic swell at the height monophonically,measures 13-14 and 32-33 imply
of each phrase as in Figure 22. polyphony (Figure 24). In measures 13 and 14, the
In measures 1-2, for example, a crescendo is upper voice descends from G to F-sharp to E-flat to
notated to beat 3 of measure 1, followed by a D, while the lower voice descends chromatically
decrescendo from the end of measure 1 to the end from E-flat to A-flat. By accenting each tone of the
of measure 2. The B natural of measure 1 serves as upper voice and using the sticking pattern in
the height of the melodic contour in the phrase: Figure 24, the polyphonic implications of the
the performer should crescendo to this tone and passage will be made clear to the listener.A similar
be careful not to begin the decrescendo until the procedure applies to measures 32-33.
E-flat of beat 4. The thematic material of measures
3-4 is displaced by one eighth note: the performer 8va . . . . . . . . . . . . . . . . . . . . . . . . . . . .

should not begin the decrescendo until the ; "r ; ' : : : - : , - _fDr:_ :. :~ ?L.. ~ # P x . : . _&)r:_
downbeat of measure 4. Similarly, in measures 5-6, ~-=: '. "i "i F ii- i" [ °i" "' ~ ~ ~ "i i" i "F f l
the performer should crescendo steadily to the D
of measure 5 and be careful not to begin the
decrescendo until the F-sharp of beat 1 in measure
6.
Measures 7-10 employ two two-measure
phrases. The performer should crescendo steadily
through the first phrase (measures 7 and 8) as
notated, keep the dynamic level of forte in measure
9, and decrescendo throughout measure 10, again Fig. 24. Movement III, sticking suggestions
as notated. Measures 11 and 12 each represent for measures 13-14 and 32-33
one-measure phrases. The performer should
crescendo to beat 3 in both instances, then Below are the three cadential formulae of the
decrescendo to the end of each of the measures as movement, measures 17-18,20-21, and 42-44
notated. Measure 12 is actually an echo of measure respectively, all employing the melodic interval of a
11. This author feels that measure 11 should tritone (Figure 25).These cadential formulae close
employ a crescendo from mezzo forte to forte, three major sections of the movement. They use
followed by a decrescendo back to mezzo forte. dyads for a change in texture and color, and to
Measure 12 should employ a crescendo from subito provide a decrease in the rhythmic activity. The
piano to mezzo piano followed by a decrescendo to original manuscript actually contained three- and
piano. four-note chords at these points. These sonorities
Measure 30 and 31 represent an increase in were removed by the editor, who felt that the
texture leading to the climax of the movement at movement should be played with two mallets,
measure 32 (Figure 23). This passage will be easier rather than four, and as rapidly as possible.8 This
to execute if the dyads are played with mallet author feels that the additional color provided by
numbers 4 and 3, and the E and A naturals are the three- and four-note chords is significant to
played with mallets numbers 2 and 1 respectively. warrant the use of four mallets, rather than two.
Figure 26 shows the original version of measures
17-18, 20-21, and 42-43.

- ,,,,~. ,,~ , ~ , r ,~; :i

cr~sc,

Fig. 23. Movement III, measures 30-31 Fig. 25 Measures 17-18, 20-21.
32 Percussive Notes Research Edition. Volume 25, Number 3

dw

- . =F 'r i .e ii,,

f ~ ' ~ p "- Fine

r~ " ' " : ~ i'2 '

Fig. 25 (cont.) 42-44.

Fig. 26. Movement III, original manuscript
edition o f measures 17-18, 20-21, and 42-43

In measures 16, 19, 40, and 41, the composer has getting his mallets caught in the spaces between
notated glissandos on the accidentals. Pointing the the groups of two and three accidentals. The
head of the mallet down, getting the shaft high and movement should be performed as rapidly and as
out of the way, and executing the glissando quickly clean and articulate as possible.
and aggressively will help the marimbist avoid

M o v e m e n t _IV
Movement IV contains a single theme which is
continually varied by fragmentation, extension,
transposition, rhythmic diminution, textural
changes, and combinations of these procedures.
The theme is presented in measures 1-7 (Figure
27) and is characterized by two phrases, one
antecedent and the other consequent in nature. Fig. 27. Movement IV, measures 1-7
The principal element of the antecedent phrase is
the interval of a major seventh which begins, According to the editor, there should be a clear
closes, and balances the phrase. The principal differentiation between the "question and answer"
element of the consequent phrase is the tritone. character of the sustained phrases. 9 Measures 1-4
Both phrases are initially presented monophoni- should employ an intense roll, but measures 5-7
cally in a legato style, and, because of the intervallic should employ a relaxed roll due to the consequent
relationships, they have very distinct contours. nature of the latter phrase (See Figure 27). Like-
wise, measures 8-13 should employ an intense roll
Lento
while measures 14-17 should employ a relaxed roll.
= - . ,
Measures 20-21 should employ an intense roll to be
answered by a relaxed roll in measures 22-23
(Figure 28).
 PerformanceProblems in Akira Miyoshl'sConversation 33

provide a smooth, legato style of execution and

prevent an accented articulation. This technique
will work particularly well wherever leaps of
tritones and major sevenths exist (such as in
measures 1, 2, 3-4, 8, 9,10,11-12,14,16-17, 22, and
43-44).
There should be a clear break in the roll between
each phrase indicated by the legato markings (i.e.,
8 9 10 11 12 13 between the C-sharp and the C natural in measure
11 and between the E natural and the E-flat in
measure 16). However, there should be no break in
measure 15 where grace notes are utilized in the
middle of the phrase.
14 15 16 17 The performer must pay careful attention to the
changes in articulation throughout the movement.
The tritone and the major seventh are the
principal intervals for much of the melodic and
harmonic content, and they are often delineated by
differing articulations. Measure 19 (Figure 29), for
20 21 22 23
example, employs a slur marking from the C
natural to the F-sharp. The F-sharp is also notated
staccato and with an accent. The tones notated
legato should be executed with a relaxed stroke,
while the F-sharp should employ a quick, firm
Fig. 28. M o v e m e n t IV, m e a s u r e s 8-17, 20-23 stroke. The trritone B to F natural, in the same
measure, is notated staccato. Similarly, in measure
Throughout the work, the marimbist must be 25, the scale passage from D to G-sharp is notated
careful to connect the roll smoothly from one note with a slur marking, while the major seventh
to the next. This is difficult to execute due to the (C-sharp to C natural) is notated staccato. Similar
numerous large leaps involved. This problem can passages of differing articulations for the delinea-
be solved easily by using three mallets (mallets tion of the tritone and major seventh are found in
numbers 3, 2, and 1) to execute the rolls instead of measures 25, 26, 30, 31, 39, 46, and 47 (Figure 30:
two. In measure 1, for example, mallets 3 and 1 will the tritone is illustrated with a circle while the
play the B while mallet 2 is extended to, and major seventh is illustrated with a bracket).
hovering over, the C, which will be played with
mallets 3 and 2. in measure 2, the F-sharp will be
played with mallets 3 and 1 while mallet 2 is
extended to, and hovering over, the G, which in
turn will be played with mallets 3 and 2. A reverse Allegro
8va ..............
of this process should be used to connect smoothly
the D on beat 3 of measure 3 and the downbeat of " ~- ~ ~-~'~
measure 4 (mallet numbers 3 and 2 on D, 3 and 1
/ L.-L.t " " " '
on C-sharp). In a series of rolled notes, the
smoothest connection is made by starting each
tone slightly softer than the previous tone and
quickly increasing the volume to the level of the
previous tone. The marimba bars decay very
quickly in volume: using this technique will Fig.29 M o v e m e n t IV, m e a s u r e s 18-19.
 34 Percussive Notes Research Edition" Volume 25, Number 3

Allegro in the lower voice. The upper voice moves into the
extreme high register of the instrument while the
I I lower voice moves in the upper middle register of
24 the instrument. To balance the volume between
the two voices in this contrapuntal passage, the
upper voice (right hand) must actually be played
stronger than the lower voice (left hand). The
upper register is simply not as resonant, and does
25 26 27 not project as well, as the middle register. (The
"8va" beginning in measure 32 applies to the lower
voice as well as the upper.) There are sticking
problems in this passage. This author suggests the
following sticking patterns for measures 32-36
28 (Figure 31).
Measures 28 and 45 employ two-voice counter-
point. Speed and clarity are difficult to obtain in
these measures when only two mallets are used, as
suggested by the editor. 1°By employing all four
29 30 31 mallets, the independent nature of the lines will be
clearer to the listener, along with the subtle
changes in the dynamic level. The performer will
also be able to execute these measures without
poco tit. dragging the tempo (Figure 32).This author
39 46 47 suggests J = ca. 50 for the lento sections and J. =
Fig. 30.Movement IV, m e a s u r e s 24-31, 39, 46-47 ca. 100 for the allegro sections.
8ua . . . . . . . . . . . . . . . . . . :
The movement continually alternates between
tempos of lento and allegro. The thematic material
is presented in the initial lento where quarter and
half notes prevail. No meter signature is used, but
the groupings suggest 3/4. The three thematic L~=,.,_~ 8 .................] >
statements are delineated by silence. All lento
passages which follow are very brief in duration ~. r. ~ 7':%L~ h:.~-~.-~! v "~-~ " ~ L ~ i
and serve as closures to the allegro passages by 3~ 5 ~3~
presenting only a fragment of the initial thematic
material.
Fig. 31. Movement IV, sticking suggestions for
The allegro sections of the movement suggest a
measm:es 32-36
meter of 6/8 because of the eighth-note grouping.
Rhythmic variety is provided by hemiolas, as in ~ ,.~
measure 30 and measures 46-47 (see Figure 30)
which strongly suggest a meter of 3/4 in juxtaposi-
tion with the prevailing 6/8 feeling of the second A]le|~o
and final allegro passages. The performer should
exaggerate the accents in these measures to bring
off the hemiolas.
Measures 32-35 employ two-voice counterpoint
where intervals of a tritone and major seventh Fig. 3~. M o v e m e n t IV, sticking suggestions for
prevail in the upper voice against a synthetic'scale m e a s u r e s 28 and 45
 Performance Problems in Akira Miyoshi's Conversation 35

Movement V
Movement V employs a single theme which is
constantly varied by transposition, fragmentation,
rhythmic alteration, and numerous combinations
thereof. The theme appears initially as a "black
note" pentatonic scale (F-sharp, G-sharp, A-sharp,
C-sharp, D-sharp) where G-sharp functions as the
tonic. This scale is actually an expansion of the
original tetrachord in Figure 2, with the addition of Fig. 34. tetrachords employed in Movement V
an A-sharp. The thematic material of the movement
In measure 1, it appears as if a fragment of the
has as its basis a small fragment of the principal
accompaniment, in the form of two dyads,
theme of Movement I. This serves to give cyclic
precedes the thematic material. These two dyads
unity to the entire work (Figure 33).At the climax
are notated staccato and should be played with a
of the movement, fragments of themes or principal
rapid stroke, at a softer dynamic level than what is
elements from all previous movements reappear
actually notated. (A dynamic level of piano is
and further unify the entire work.
notated: the dyads may, instead, by played
Movement V employs a texture of melody plus
pianissimo.) This author feels that the thematic
accompaniment, where the latter is based entirely
material actually begins on beat 2 of measure 1
on the tetrachords (transposed) of Figure 2. The
and should employ a more relaxed stroke at the
accompaniment is presented as an ostinato of two
notated dynamic level of piano (see Figure 33).
dyads of perfect fourths moving stepwise (Figure
The opening two dyads return in the lower clef of
34). The principal sections of the movement are
measure 6, where they are clearly part of the
delineated by the transposition of the tetrachord
accompaniment figures, and are notated staccato
in the accompaniment and the scalewise thematic
(Figure 35). Throughout the entire movement the
material b y a major seventh; thus, when the
accompaniment may be executed in the same
melody utilizes the black note pentatonic scale, the
manner (staccato, and at a softer dynamic level),
accompaniment simultaneously utilizes the white
although the composer makes little differentiation
note tetrachord, and when the melody utilizes a
between the thematic material and the accompani-
while note modal scale, the accompaniment
ment in terms of articulation and dynamic level.
simultaneously utilizes the black note tetrachord.
The accompaniment figures could also be played
closer to the nodes of the bars for a slightly
different tone color.

AUegro vlvo
P

IT% / .... r: : : : :,?~;~Frirrfi 'r;++/ • T 77 : i 7-F ~'÷': Zi÷'=f ; ÷i:~-!'- ::~f:z=:

: :'-S F :-
i
! J J J I J J J A I J J J .I
i..,=,. '(s;~ = ~ = '~ : ; = ' ; ; ; • '

Fig. 33. Movement V, measures 1-5 Fig. 35. Movement V, measures 6-10
36 Percussive Notes Research Edition. Volume 25, Number 3

From measure 19 to 21 (Figure 36), four-voice 11-18, 23, 25, and 29-32 applies only to the upper
homophony is employed. The first sonority in each clef.
measure is notated with an accent, while the final In measures 36-38, themes or principal elements
sonority in each measure is notated tenuto. The from all previous movements reappear briefly as
accented tones should employ an increase in the the climactic section of the movement comes to a
dynamic level, along with a firm, rapid stroke. The close (see Figure 37). The performer should
tones notated tenuto should be played with a articulate carefully each tone in this passage and
relaxed stroke and may employ a tilting forward of observe the rallentando beginning on beat 2 of
the mallets, so as to play near the crown of the measure 36. By doing so, the listener will be better
mallets. This will result in a change of tone color. (It able to sense the musical unity of the entire work
should be noted that the accent is missing in the and relate this passage to the melodic content of
upper voice, beat I of measure 21, and the tenuto the previous movements.
mark is missing in the upper and lower voices, beat
4 of measure 21. The musical function of measures
19, 20, and 21 is identical: they should each employ
identical articulations.)

Fig. 37. M o v e m e n t V, m e a s u r e s 36-38

I~_> .:! The composer has notated a crescendo and a
decrescendo over the first tone in measures 40 and
,~ . ~ & ._~_ _ ~ 42 (Figure 38). These tones are actually the high
points of tension in two two-measure phrases
(measures 39-40 and 41-42 respectively). This
dynamic notation may be interpreted as a
crescendo from measure 39 to the downbeat of
Fig. 36. M o v e m e n t V, m e a s u r e s 19-21 measure 40 at the height of tension in the phrase,
followed by a decrescendo throughout measure 40
as the melodic contour descends. Similarly, the
In measure 22, the upper voice ascends stepwise
performer may crescendo from measure 41 to beat
from A to D and is accompanied by a crescendo.
1 of measure 42, and then decrescendo throughout
This melodic motion is imitated in the lower voice
measure 42 as the melodic contour descends.
of measure 23, but the crescendo is not present.
The performer should crescendo in the lower
voice of measure 23 to enhance the imitative
nature of the passage. The lower voice of measure
25 should be accompanied by a crescendo as well,
for this measure is identical to measure 23.
When executing the glissando in measure 10, Fig. 38. M o v e m e n t V, measures 39-42
the A-sharp, G, and D should not be rearticulated The tempo ofthismovement shouldbe
because of the tie.The composer has also notated a determinedby how fastthe performercan execute
glissando in measure 34 on the accidentals. the acceleratedpassagebetween measures 31 and
Considering the dynamic level and tempo of this 34 with clarity and at a dynamic level of fortissimo.
passage, this author suggests playing this glis- This passage functions as the tension climax of the
sando, as well as the glissando in measure 10, on movement. Considering the 'L4.11egroVivo"
the white keys. A greater degree of volume and a indication and the gay, spirited conversation
more rapid, aggressive sounding glissando will be suggested by the program, J = ca. 110 should be
achieved (see Figure 35). The "8va" of measures considered a minimum tempo.
Performance Problems in Akira Miyoshi's Conversation 37

Summary
Performance problems for the marimbist are tension and repose, such as the "question and
abundant throughout Conversation. Technical answer" character of the thematic material of
difficulties lie in executing rapid two-mallet Movement W. Careful attention must be paid to the
passages with finesse and fluidity while holding differing articulations of the two voices of
four mallets, or by using the four mallets inter- Movement II to enhance the contrapuntal nature
changeably, particularly in Movements H, III, and W. of the movement. Equal attention needs to be paid
Movement V presents a coordination problem in to the differing articulations involved in the
that the left hand must execute a moving ostinato delineation of the tritone and major seventh in the
while the right hand executes an independent allegro passages of Movement W. Lastly, the
melody which, at times, is highly syncopated. marimbist must have knowledge of the passages of
Achieving a legato sound in the rolled passages of implied polyphony which occur in Movements I
Movements I and IV requires special sticking and HI to delineate the individual voices by
patterns, particularly with the wide melodic leaps differentiations in tone color, articulation, and
of the latter. The marimbist must employ changes dynamic level.
in the roll speed to enhance the moments of

Footnotes
Keiko Abe, Contemporary Music From 5Ibid.
Japan: Music ForMarimba, Volumes 1 and 2,Vox 8Ibid
Candide No. CE31051.
2A personal letter from the composer dated 7The terms "theme and variations" are that of
June 13, 1983. the composer.The variation techniques are limited
to pitch transposition and rhythmic displacement
3The analytical discussion of the five permuta-
and alteration.
tions of the tetrachord is that of the composer,
provided in a letter dated June 13, 1983. The letter
was in French, therefore the discussion of these 8A personal letter from the composer dated
permutations has been paraphrased rather than June 13, 1983.
quoted directly. All musical examples which
accompany this discussion have been provided by oAbe, Modern Japanese Marimba Pieces, Vol.
the composer. 2,p.31.
4Keiko Abe, editor, M o d e r n Japanese Marimba
Pieces, Volume 2 (Tokyo: Ongaku No Tomo Sha ~0A personal letter from the composer dated
Corp., 1978), p. 31. June 13, 1983.
38 PercussiveNotes Research Edition"Volume 25, Number 3

Appendix A

The Works of Akira Miyoshi

Percussion: Sonata for piano

Concerto for Marimba and Orchestra Sonata for violin
Conversation for Mariraba String Quartet No. 1, No. 2
Etude Concertante for two marimbas
Litania for doublebass and percussion
Nocturne for flute, clarinet, doublebass, marimba, Orchestra:
Concerto for Piano and Orchestra
and percussion
Pri~re for bass, flute, marimba, and percussion Concerto for Orchestra
Concerto for Violin and Orchestra
Torse III for marimba
Concerto for ViolinceUo and Orchestra
Torse Vfor three marimbas
Duel for soprano and orchestra
Chamber: En-soi-lointain
Chaines for piano Noesis
En Vers for piano Requiem for chorus and orchestra
Hommage-Series for violin, flute, and piano Rheos
Miroir for violin Three Symphonic Movements

Appendix B

Analytical Summaries

Movement I
I:A:I- Measures 1-12: Theme 1 consists of a single
melody with polyphonic implications where one
voice acts as a pedal while the other voice leaps
above and below; the dynamic level is mezzo piano;
the tempo is allegro moderato; the melodic style is
detached.
C - Measures 26-39: Theme 2 is presented; the
J tension has decreased, along with the dynamic
level and rhythmic activity; a two-voice contrapun-
tal texture prevails; the melodic style has changed
to legato (all tremolos); the phrases have been
extended in length to four and six measures.

B - Measures 13-25: An increase in texture to I ~¢" 1

two-voice counterpoint and three-voice If| I |
homophony exists; the dynamic level is increased
to mezzo forte with a decrescendo to piano; a
suggestion of theme 1 closes the section.
 Performance Problems in Akira Miyoshi's Conversation 39

A 1- Measures 40-54: Theme 1 is presented in a 1- Measures 7-10: The dynamic level has
variation and transposition; the dynamics shape increased to mezzo forte with a swell in measure 9
the section ( p < m f > p ) ; a retardando and fermata at the climax of the phrase; there is no change in
close the section; the detached style returns; style or rhythmic activity; the phrase begins
two-voice counterpoint is used; melodic sequenc- monophonically and ends in unison.
ing (measures 44-47) leads to the climax of the
movement; rhythmic interest is increased by
polymetric implications.

~u

a 2- Measures 11-14: The theme is transposed and

presented in stretto; an increase in the rhythmic
independence of the lines exists; and there is no
change in the dynamic level; the voices end the
phrase in unison.

A - Measures 1-12

B - Measures 13-25

C o d a - Measures 55-58: The tempo is slower and

the dynamic level has decreased ( p > p p p ) ;
two-voice counterpoint is present; theme 1 is I:b:l - Measures 15-16, repeated: A decrease in the
presented in its original tones; a cadence (D to dynamic level to mezzo piano characterizes this
G-sharp) and a fermata close the movement. phrase, along with a decrease in the rhythmic
activity.
~VA

I-
Movement I I
a - Measures 1-6: The theme and countermelody a 3 - Measures 17-20: The rhythmic activity
are presented; the tempo is moderato; a dynamic increases along with the dynamic level from mezzo
level of mezzo piano prevails with a swell in piano to forte; melodic sequencing leads to the
measure 4 at the climax of the phrase; the phrase climax of the movement.
begins and ends monophonically in a detached
style.

~"a,v.o,e ; @A

4
40 Percussive Notes Research Edition. Volume 25, Number 3

a 4- Measures 21-24: The theme is presented in

BvA
stretto; the dynamic level decreases from forte to
pianissimo; a falling melodic contour prevails; the
rhythmic activity is increased in measures 21 and
22 with the use of syncopation and rests; the
rhythmic activity decreases in measures 23 and 24
by the use of a retardando and longer note values.

A 1- Measures 37-40; 5-15, 41-44: This section is

identical to section A except for measures 37-40
where a piano dynamic level prevails instead of
mezzo forte, and the passage is presented one
octave higher; the section closes with a rhythmic
decrescendo, rallentando, a decrease in the
dynamic level to pianissimo, and a falling melodic
M o v e m e n t III
contour to the lowest note of the movement.
I:A:I-Measures 1-2t:The theme is presented; the
section begins at a dynamic level of mezzo forte;
constant dynamic swelling shapes the two-
measure phrases; an increase in the dynamic level
to forte along with a rise to the height of the
melodic range takes place in measure 9; the
section reaches a tension climax in measure 11
through sequencing and an increased frequency of
tritones; a rhythmic slowdown to quarter notes M o v e m e n t IV
and a whole note, along with dyads and a fermata A - M e a s u r e s 1-17: The theme, consisting of
close the section. antecedent and consequent phrases, is presented
twice, the second time in variation; the intervals of
a major seventh and tritone characterize the
antecedent and consequent phrases respectively;
the tempo is lento and the section is in a legato
style; a dynamic level of piano prevails with swells
at the climax of the phrases; the section ends with
a fermata.
By^
B - Measures 22-36: The thematic material is
fragmented and transposed; the section begins at a
dynamic level of mezzo piano and crescendos to
forte in measure 29 along with a rise to the height
of the melodic range; an increase in texture with
dyads in measures 30-3t along with a crescendo to A ' - Measures~-23: The theme is presented in its
fortissimo lead to the tension climax of the original tones in diminutionand is fragmented; the
movement in measure 32; melodic sequencing and interval of a tritone is frilled in stepwise; the tempo
the interval of a tritone prevail in the climactic is allegro and the style is detached; the dynamic
phrase: rising scale passages, a decrease in the level is increased to forte; dyads, a retardando, a
dynamic level, and a retardando close the section. fermata, and a return to lento close the section.
 Performance Problems in Akira Miyoshi's Conversation 41

B - Measures 24-31: The principal elements of a

tritone and major seventh are developed by Movement V
employing them as harmonic sonorities, filling in A - Measures 1-10: The theme is presented
the intervals stepwise, or by juxtaposition; the monophonicallyin the first phrase (measures 1-6);
dynamic level begins piano and crescendos to an accompaniment ostinato of parallel fourths is
fortissimo in measure 28; a decrease in the presented in the second phrase (measures 7-10);
dynamic level begins in measure 29; an increase in the thematic material is rhythmically varied in the
texture exists with dyads in measures 26-29, and second phrase; the first phrase begins and ends at
31; the section closes with silence. a piano dynamic level while the second phrase
begins piano and crescendos to forte; the section
closes on a three-voice glissando.

A 2 - Measures 32-44: The theme is presented in its

original tones in two-voice, imitative counterpoint
and in rhythmic diminution; the tempo is allegro; B - Measures 11-26: The accompaniment is
the dynamic level begins mezzo piano and transposed up a major seventh to the black note
crescendos to fortissimo in measure 35, which tetrachord while the thematic material is trans-
serves as the tension climax of the movement by posed to a white note scale; the dynamic level
an ascending melodic line in the lower voice and begins mezzo piano and crescendos to forte; the
sonorities of minor seconds and major ninths opening rhythmic figures are fragmented; four
four-measure phrases are employed.
prevailing; a diminuendo to piano, a retardando,
and a return to lento close the section.

C - Measures 27-38: This section begins in silence;

a dynamic level of mezzo piano follows the silence
along with a crescendo to fortissimo and a
C o d a - Measures 45-48: Ascending scale passages decrescendo to pianissimo, accompanied by an
lead to the highest note of the movement in accelerando and retardando respectively; the
measure 45; short gestures of thematic fragments section closes with a fermata; motives from
are separated by silence; the tempo is allegro; a previous movements reappear; this section is
retardando, a rhythmic decrescendo, and hemiolas characterized by an increase in the rhythmic
are presented in measures 46-48; a dynamic level activity; the original theme and rhythmic motives
of mezzo piano begins the coda followed by a are fragmented; a glissando is used at the highest
decrescendo and subito fortissimo; the work point of tension; the melody employs the black
closes on a two-note thematic fragment which note pentatonic scale while the accompaniment
employs the principal element of a major seventh. employs a white note tetrachord.
42 Percussive Notes Research Edition. Volume 25, Number 3

fragmented to the close of the work; the dynamic

level diminishes from mezzo piano to pianissimo; a
rallentando and a fermata close the movement.

C o d a - Measures 39-52: A decrease in the tempo to

meno mosso exists; the opening theme and
accompaniment figures are transposed and

Appendix C

Conversation
Movement Item 1972 manuscript 1978 edition

titles for all movements missing yes

measure 2, staccato missing yes
measures 8 and 9, diminuendo missing yes
measure 19,E natural onbeat 3 yes missing
measure 29, legato continues to yes legato stops onbeat I
the end of the measure
measures 41-43, staccato missing yes
measure 44,accent onbeat 1 yes missing
II measure 1,rap missing yes
measure 2,staccato on beat 1 yes missing
measure 24,accented dotted-half note missing yes
HI measures 17-18,triads yes dyads
measures 20-21, triads yes dyads
measure 24,mf missing yes
measure 26,rap missing yes
measure 41,beat 2,two C-sharps yes one C-sharp
measure 42,beat 3, D-sharp yes missing
measure 42,beat 4,four-voicechord yes chord missing,two-voiceglissando
with a monophonic glissando
IV measures 1-2 legato missing yes
measure 35,accent on beat 1 missing yes
measure 37, accent on beat 1 missing yes
measure 46,"poco retardando" missing yes
V measure 1,staccato missing yes
measure 5, missing yes