'Caleidoscópio' by Gene Koshinski (two-mallet marimba solo)

Performed by Gene Koshinski

Audio: Don Schraufnagel and Gene Koshinski
Video: Marc Hill

GEAR: 5 Octave Adams Alpha Marimba

PROGRAM NOTES

This piece is one of 10 works in the book "TWO" by Gene Koshinski, a collection of concert pieces for two-mallet marimba solo with a comprehensive guide to technique and performance practice.

"Caleidoscópio" was inspired by my study of a coordinational independence method called "Ritmica," developed by Brazilian conductor Jose Gramani, and a series of courses on the subject taught by Gramani's protégé Rogerio Boccato. Portions of the "Ritmica" method focus on the simultaneous performance of unrelated meters and ostinati as well as contradictory melodic material, which is what the bulk of "Caleidoscópio" is founded upon. The "B" section of the piece pays homage to the Brazilian roots of the Ritmica method by hinting at a light samba feel and providing more of a melodic focus.

[epicdrumz]

The only thing I dislike about this piece is that its too short. Love this composition.

[mb]

The independence between the right and left hand that he gives is amazing

[exquisiteoath]

The interplay of ideas in this is so wonderful.

[jonastechmanski]

For anyone wishing to develop their independence in the 15/16 polymelody, here's what I did:

1: Graph out the sum of the two rhythms. Start with a common denominator of the 3/16 (dotted eighth notes) pattern and the 7/16 (123-12-12) pattern: one measure of 21/16. Graph the two rhythms as if it's a kick and snare: say, the 7/16 pattern on top, and the 3/16 on bottom. The 7/16 pattern will fit thrice within the measure of 21/16, and the 3/16 pattern will fit 7 times within the 21/16 measure. Once completed, practice the two rhythms together, with two hands. Here's my best textual representation of the two together, with #'s as the 3/16 and +'s as the 7/16 (#+ is a double stop between both), with -'s as 16th rests:



Repeated over and over and over...

Alright, totally disregard the jumbled syntax above if you didn't understand it- it's an attempt at best.

Essentially, once you get the two rhythms together as one rhythm between two hands, master it. It's strange (21/16), but if you can get that engrained into your muscle memory, the next steps will be easy.

2: Add pitches to the 7/16 ostinato. The pitches of the 7/16 are F#, E, and D. Once you know the rhythm mentioned earlier, put it on an idiophone. Implement those notes into whichever hand is playing the 7/16 pattern. Get this down to muscle memory.

3: Add the 3/16 pitches. With every repetition of a dotted eighth note (3/16), you switch to a different pitch. This is the largest bump, as the 3/16 pattern is written in phrases of 5 (hence the 15/16 time signature). Keep the combined rhythm from the first step in the back of your mind while your left hand switches between notes over the 7/16 pattern.

Practice the third step slowly at first. Once accurate, speed it up.

Ultimately, boil it down, then add all the ingredients back in. Here are all 3 steps, simplified into a sentence:

1: Learn what rhythm the two patterns make together
2: Add pitches to the treble clef pattern
3: Add pitches to the bass clef pattern.

I hope that this helped anyone who had a hard time comprehending the material at play, and the execution of it. It is a challenging piece!

Note: Forgive me if my detailed steps were a bit complex. It is not easy translating visual and physical information into text.

[Michael-Oh]

love this is as a percussionist but also as a genius composition.

[vermine]

My god man this makes me want to play the marimba again. One of the most beautiful peaces I've ever heard👌

[justinnash]

doing this for my solo this year. if the poly rhythm is getting to you, just give it some time, practice making each hand independent and dont lose confidence. took me two days to figure out the basic rhythm.

[wholegrain]

About a year ago, I started playing percussion. Now I am a million times better than when I knew absolutely nothing. I got more into music for marimba, and this really stuck with me. I already got the book, and started practicing for Solo & Ensemble. Thank you for this composition, and hopefully I get a 1 this spring.

[olisch]

Great piece! Not sure if I would recognize it as a two mallet piece in blind test...

[FriedmanVibe]

Absolutely gorgeous, elegant playing!

[conormulford]

RIP to the video I posted a few years back. Beautifully played, beautifully written, great to listen to. Nice work Gene!

[jenn]

Beautiful. So many years of practice and dedication. Thank you for posting. - - Wow

[charakter-etudenjohannesst]

Gene Koshinski - Genius of percussion literature! 👏

[eddyed]

This is such a beautiful piece of music. Definitely gonna try to learn it once I get the chance to play a marimba again.

[Willhelm]

found someone on tiktok referencing this and had to come see it! This is marvelous! Thank you for your contributions to culture!

[abcrtzyn]

I did this piece for my high school senior recital. Such a fun little piece.

[Dragonsshadow]

Great piece playing it for my solo! It's so fun to have the independent patterns

[Jacob]

0:50 is so happy and stuff idk this piece is really good

[arnoldrivera]

Please do more of your TWO book! Maybe walking on the white? Or running with scissors!? Prelude Nuevo?! Homage??!!

[User-fvjx]

This is wonderful! Love the key changes haha