Drive

b. 1972
b. 1994
He/Him | b. 1979
She/Her
He/Him/His | b. 1983
He/Him
He/Him
He/him | b. 1994
She/Her
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She/Her | b. 1932
He/Him | b. 1979
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She/Her | b. 1997
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She/Her
b. 1989
He/Him | b. 1978
He/Him
He/Him
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He/Him | b. 1978
He/Him | b. 1983
He/Him | b. 1983
He/Him | b. 1984
He/Him | b. 1984
He/Him | b. 1984
He/Him | b. 1984
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He/Him | b. 1985
He/Him | b. 1985
He/Him | b. 1981
He/Him | b. 1994
He/Him | b. 1994
He/Him | b. 1994
He/Him | b. 1994
He/Him
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He/Him | b. 1994
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He/Him | b. 1984
He/Him
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She/Her | b. 1953
He/Him | b. 1980
She/Her | b. 1932
He/Him | b. 1998
He/Him/His | b. 1991
In Drive, a singular marimba starts grooving, finishing their musical sentence. A second marimba comes and joins them, saying “you don’t get all of the attention!” Even sooner than the second marimbist entered, a third comes in with a syncopated cluster to hook everyone’s ear. Back and forth they go, passing the main theme that the first marimbist started. There is an attitude, yet teamwork, whos variation is the best version of the theme? We continue to wind around until we end up in the same exhausted unison. We move into a much more peaceful section, where they have learned, it is about the entire presentation and they need to work together. It is almost like a marimba ballet; a marimballet. Until...oh? Someone wants attention? The theme is coming back!? We hear a conversation where the marimbists are continually interrupting each other faster then before, getting, louder, and trying to get that attention like at the beginning! And boom. We climax to a final return of the theme. ~M. Neumeyer

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Length
3:30
instrumentation
4.5-octave marimba, two 4.3-octave marimbas
level
Medium-Advanced
performance setting
Trio
Technical Focus
Collegiate
Encore Pieces

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