Title: Cry of the Inner Child

Composer: Joanne Bender

Where to get the music: View and print out for free from Joanne's webbsite here

Duration: 5 minutes


Large tam-tam
Water gong
Wind chimes         -high pitched metallic
Tom-toms             -4 different pitches
Temple Blocks      -5 different pitches
Wood Blocks         -3 different pitches
Cowbells                -5 different pitches
Cymbals                 -suspended
                                -3 different pitches (high, medium and low)
Brake Drums         -2 different pitches
Bongos&Congas  -6 different pitches
Large tambourine with head and 2 rows of jingles
Bell Tree
Ching Cymbals

Before working on the piece I asked some questions to Joanne Bender on the notation of different instruments in the score and since the answers where very helpful to me I include them here.

On cymbal notation
S. cymbals - there should be 3 - high, med and low. In bar 4, the note on the ledger line above the staff is played by the med. S. cymbal. All notes on this pitch are med. S. cymbal. Any S. cymb. written slightly below this pitch would be for low S. Cymb., and any S. cymbal notes that are written at a higher pitch are for the higher cymbal. I like the use of the soft mallet throughout, but I am open to using whatever mallet is most convenient at the time. At m. 54-55 the tremolo should be on the low cymbal with the soft mallet.

Substitute for high pithced metallic chimes
I think the top line of the bell line would suffice for the high-pitched wind chimes.

Brake drum notation
M. 44 lower staff - yes, this is a brake drum, soft mallet.

Bongo/conga instrumentation and notation
M.92 top staff - those eighth notes are for bongos.
4 bongos and 2 congos, or 2 bongos and 4 congos - either combination would be fine.

Bars 70 to 84 - use hard mallet for all tam-tam notes.

Readjust between bars 69 and 75 to use only 4 toms.

Composerís Notes
Cry of the Inner Child is a dramatic piece which uses a variety of non-keyboard percussion instruments. It is intended to stimulate both the ear and the eye as the performer uses many techniques in fairly rapid succession to represent the personal and intensely emotional experience of inner growth.

Information on the composer here.