Wanderlust
for percussion ensemble and optional voice
Wanderlust is defined as “a strong desire to travel,” but composer Chad Heiny aims to go deeper with this piece. He writes: “I appreciate wanderlust as a meandering of the mind that takes place (hopefully) for all of us a little each day. It’s where dreams come from, as well as goals, ideas, etc… the good stuff.”
Heiny crafts this sense of wonderment through a soundscape that features several unique elements. Improvised solo opportunities are provided with the intent of allowing the performers to “roam” as they play. Other optional elements for groups to explore include a voice line, steel pan doubling for featured players, and a live looping section within a marimba part. The drumset and percussion players are encouraged to embellish grooves to taste. This work is an adventurous expression of discovery, technically appropriate for an intermediate-level ensemble. Ideal for recitals or contests!
Wanderlust ships as a printed, professionally bound score, and includes individual parts in PDF format for printing or tablet viewing.
- Glockenspiel
- Vibraphone
- 2 marimbas — (1) 4-octave, (1) low A
- Steel pans (optional) — (1) lead pan, (1) double seconds
- Drumset (kick, snare, 2 toms, hi-hats, ride cymbal, splash cymbal, crash cymbal)
- Drums — bongos, conga (1), cajon
- Cymbals & gongs — sizzle cymbal, crash cymbal, wind gong (or tam-tam)
- Accessories — egg shaker, rainstick, mark tree, triangles (2), claves, cabasa
- Optional voice (can also be performed by one or more of the keyboard players)
- Optional live looping station (for marimba 2)
Reviews
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Josh Armstrong –
“Wanderlust” was commissioned by the John Marshall High School Percussion Ensemble from West Virginia. The piece creates a sonic landscape that has a steady groove underneath. Although the word “wanderlust” refers to the desire to travel, the composer mentions that in this setting, it is more based on the ability of the mind to wander and think up ideas, goals, or even dreams.
Written for seven to eight players, the piece maintains a groove with drum set and cajon players. The mallet parts range in difficulty, with the bell player having interjections at the beginning of phrases, while the marimba player needs to be adept at four-mallet technique and syncopated rhythms. At one point the marimba player can use looping to keep a pattern going while performing over it, or optionally the marimbist can maintain the pattern acoustically.
The sonic landscape has no real, definable melody; however, the rhythms between the instruments create the groove, allowing the wandering feeling. Towards the end of the piece there is room for every player to improvise over an established chord progression and meter. This allows for the ensemble to create its own sense of wanderlust among the players. The optional voice part consists of the sounds oo, ooh, and aa.
This work would be appropriate for a younger college or advanced high school ensemble. Allowing the performers to improvise is a huge plus, as it provides the opportunity for players to be creative. “Wanderlust” would work well in the middle of a concert, and is sure to please the audiences. Chad Heiny has given the percussion world a great piece, and I look forward to hearing it on many concerts.