A very effective, exuberant and joyful marimba quartet with echoes of Reich and Zimbabwe. Canonic imitation and lots of rhythmical interest. Written for four intermediate two-mallet players using rubber mallets and fingers. By Mark Goodenberger.

This exceptional composition for marimba quartet mixes elements of the minimalist music of Steve Reich, traditional Zimbabwean marimba playing and funk. Each player is required to play with rubber and yarn mallets as well as their fingers.
Changing time signatures provide a challenging and unpredictably exciting canonical opening, with each player passing around the main thematic material. The introduction ends with a sudden but exuberant tutti statement. Flowing additive melodies build themselves among the players twp to,es before transitioning to a slower but rhythmic section that is a combination of 14/16, 15/16 and 7/16. In this section, all players play with their fingers, providing a wonderful color change. Finger snaps are gradually added before a return of a variation of the opening material.
Players with a strong sense of rhythm and two-mallet technique are necessary for a performance of this piece. While the piece is not overly fast and choppy, note accuracy could be tricky in certain passages. A strong sense of already existing ensemble cohesion will make a performance of this piece especially successful.
— Brian Nozny, Percussive Notes — March 2017