Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi Theodore Tavi Hein
Journey to Danbury
A Childhood Fantasy, Dreams of a Danburite Dig For Percussion Quartet
Instrumentation
Percussion 1: Glockenspiel and Xylophone
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
Percussion 2: Vibraphone (Doublebass bow), Triangle, Suspended Cymbal (size to be determined), Crash Cymbals (size to be determined), and Tom-Toms (four toms from low to high) Percussion 3: Marimba ( . octaves-C -C ), Snare Drum, Bass Drum, Wood Block Percussion 4: Marimba ( . octaves-C -C ), Triangle, Tambourine
Performance Notes
While most of the piece is self-explanatory, some aspects garner further clarification.
Percussion and will sometimes be asked to play more than one instrument simultaneously. This has been done idiomatically; please see the set-up diagram for how the composer thinks the instruments might be best positioned for optimal ease of playing.
At N and O, the vibraphone is asked to bow an individual vibraphone bar in order to create a reverberating sound that crescendos from pp to ff. I am pointing this out because it is an extended technique and it is important to the effect that I am seeking in this passage. At measure , please hold the pedal until the end of the pedal marking, please do not clean harmonies, and please put the motor on the highest possible vibrato setting. This is intended to create a blurry, eerie effect that represents the child-like experience of dreams. At L, the tom-toms are played. These are arranged on the staff from low to high starting on the second line from the bottom. Please see the set-up diagram for more information about how the composer thinks that these might be optimally be set up. All tremolos start from the bottom note. Drags and flams are all written without ties or slurs.
Program Notes
With gratitude for their encouragement of young musicians and composers, I dedicate my percussion ensemble piece Journey to Danbury: A Childhood Fantasy, Dreams of a Danburite Dig to the Charles Ives Music Festival and the Western Connecticut Youth Orchestra, for whom it was written. Journey to Danbury was inspired by the music of Charles Ives and my childhood fascination with finding, collecting, and learning everything possible about rocks and minerals, including the collector’s prize Danburite.
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
Danburite, a rare, highly durable, calcium boron silicate mineral, used as a highly-sought-after, specialty gemstone due to its brilliant and glassy luster that rivals topaz, was discovered in by Charles Upham Shepherd in Danbury, Connecticut. Danburite, that has been mined from Danbury, is exceedingly rare because the city of Danbury built over the originally-found deposit of it. Modern pieces are sourced today from locations such as Mexico, Myanmar, and New York. Finding a piece of Danburite from Danbury is a collector’s dream-come-true. My personal Journey to Danbury began when I was five years old, when I became enamored with rocks and minerals. By age seven, I wanted to spend all of my spare time at museums, rock and mineral shows, rock and mineral dealers, excavation sites, and libraries learning more. Later, I participated in a dig in Connecticut and discovered that Connecticut is a state full of mineralogical history, resources, and sites, helping to fuel a lifelong interest that also led to me meeting a lot of interesting people. I am continually fascinated by how minerals are formed, their unusual structures, their beautiful or strange qualities that seem like nature’s art, which for me parallels the uniqueness of music. The music of Charles Ives is like a rare gem, forged in a fire of fierce creativity, it exudes a magical mix of influences: European traditions and American folk songs and hymns. Charles Ives brought forth a new, experimental sound like nothing that came before. As an homage to Ive’s complex creations, my percussion piece incorporates polytonality, polyrhythms, and dissonance. Like Ives, my current body of work has often been inspired by folk music, hymns, the human voice, art, nature, literature, and poetry, as well as finding resonance with the everyday experiences of life in America, in all of its ups and downs. Journey to Danbury also references my early childhood, which was filled with creativity, improvisation on a wide variety of musical instruments, the freedom to follow my interests deeply, and the encouragement to express my imagination through play. In Journey to Danbury, I sought to weave a tapestry of sound, a journey through childhood memories and dreams, and an immersion into a musical representation of my fascination with all things unique, odd, strange, beautiful, and compelling. The music of Journey to Danbury is at play. Like the play of children, which often includes references to the adult world around them, my musical representation of play mimics the working world through sounds of digging, mining, discovering, and trains journeying to unknown places. Traveling through the quickly changing states of consciousness of a young child living in a twilight world of the imagination, the music shifts in the middle section from the regular rhythmical mining and digging sounds of high activity to an otherworldly, slightly eerie, dream-like state. The music returns back to the original theme and mood, ending with an imaginary train drifting away, journeying on to the Danbury of my childhood dreams.
Duration Ca. 6'
World Premiere
To be performed by the Charles Ives Music Festival Percussion Ensemble led by Russel Fisher in August .
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
Set-Up Diagram
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
This diagram shows a possible way to set up the percussion instruments in this piece on a concert stage. While the composer has given much thought to this diagram, he ultimately leaves the set-up entirely to the performers. Also, one may consider using multiple music stands with parts so that the instrumentalists can more easily view their parts when moving from instrument to instrument.
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
Dedicated to the Charles Ives Music Festival and the Western Connecticut Youth Orchestra, for whom it was written.
JOURNEY TO DANBURY A Childhood Fantasy, Dreams of a Danburite Dig THEODORE TAVI HEIN (2026)
Measured, Slow Build Until Measure 9 = 60
Percussion 1
Xylophone Vibraphone
motor off cresc. poco a poco
cresc. poco a poco
Percussion 3
Percussion 4
2
3
4
Marimba
2 mallets per hand.
A With Constant Propulsive Motion, Lively = 120 Xyl.
1
Bass Drum
cresc. poco a poco
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
Percussion 2
cresc. poco a poco
7
cresc. poco a poco Sn. Dr
Use bass drum beater to play the roll and subsequent measures.
Cym. Cr.
Mar. B. Dr
11 Xyl. 1 2 Sn. Dr
3
4
Mar., 1 mallet per hand.
Copyright 2026 Theodore Tavi Hein, All Rights Reserved
2
Journey to Danbury by Theodore Tavi Hein
14 Xyl. 1
Tri.
2
You may switch to different beaters or drumsticks here rather than still using the bass and snare beaters or drumsticks combo.
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
3
4
Mar.
B
18 1
Glock.
3 Vib.
2
4
C
22
Glock.
7
4
Mar.
Vib.
7
W. Bl.
3
Mar.
1 2
Journey to Danbury by Theodore Tavi Hein
25 1
Vib.
2
W. Bl.
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
3
Glock.
3
4
1 28
Mar.
B. Dr.
3
4
Mar.
3
4
Vib.
Sn. Dr.
D With a Child-Like Sense of Play and Humor
32 1 2
Glock.
Vib.
2
Xyl.
lyrically
Tamb.
Shake
4
Journey to Danbury by Theodore Tavi Hein
36 1 Xyl.
Vib.
2
Mar. lyrically
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
3
4
40 1
Vib.
2
3
4
Mar.
Tamb.
4
Mar.
Mar. lyrically
Vib.
3
Xyl.
Sim.
44 1 2
Xyl.
Tamb.
Journey to Danbury by Theodore Tavi Hein
48
1
Xyl.
Sn. Dr. 3 Vib.
E Chaotic, Funny
2
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
Mar.
4
1 2
3
51
Xyl.
Vib.
Mar.
55 1
4
2
3
4
Mar.
Xyl.
Vib.
Mar.
Mar.
2 mallets per hand.
Sn. Dr
5
6
Journey to Danbury by Theodore Tavi Hein F Hysterically Loud, Like a Child Banging Rocks and Pretending to Mine for Danburite
58 1 Vib. Cr. Cym. 2 Xyl.
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
Mar.
3
4
d
Mar.
Xyl.
2 3
4
Mar.
d
Mar.
Xyl. 65 1 2
3
4
Mar.
Mar.
d
62 1 Vib.
Journey to Danbury by Theodore Tavi Hein
1
Xyl.
69
2
Vib.
d
molto
B. Dr.
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
3
Mar.
7
4
1
2
Mar.
4
Vib.
B. Dr
End this tremolo whenever you need to to get to the next bar on time.
possibile possibile
3
molto rit.
4
B. Dr
Mar.
possibile
Xyl.
76 1 2
G Go Crazy!
molto
possibile
Mar.
Xyl.
3
2 mallets per hand.
73
gliss.
8
più possibile a tempo
. gliss
78 1
Journey to Danbury by Theodore Tavi Hein
Xyl.
cantibile
Do not release the pedal until the end of the pedal marking. Do not clean harmonies. Set the motor to the highest possible vibrato setting.
Vib. motor on
possibile
Sn. Dr
più possibile
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
2
Glock.
H Misterioso, Dream Sequence
3
B. Dr
84 1
Glock.
Vib.
2
4
90 1 2
3
4
Glock.
Vib.
W. Bl.
Tri.
Glock. 94 1 Vib. 2
Tri.
W. Bl. Tri. 4 3
più possibile 4 Mar.
I
Glock. 98 1
2
W. Bl.
Tamb.
9
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
3
Vib.
Journey to Danbury by Theodore Tavi Hein
4
Glock. 102 1
Vib.
2
3
4
Glock.
Vib.
Tri.
4
112 1
Glock.
Vib.
3 2
4
dim. poco a poco
motor off
5
rit.
J Meno Mosso = 60
Sn. Dr.
W. Bl.
Sn. Dr
2
3
Tamb.
107 1
molto accel.
ss. gli
K
Xyl.
ss. gli B. Dr. Mar. 2 mallets per hand. sub.
end of pedal
From I to K is a calculated return back to the previous tempo. At the fermata at I, the vibraphone should take a moment to turn the motor off. Then, the fermata in the next measure should be held for a moment before the bass drum continues playing. This fermata in the bass drum functions to give a little fall-back for the vibraphone to prepare for J and to give an expressive pause. These fermatas should not be held for an unusually long amount of time. The accelerando should be played as a gradual increase of tempo into K, set by the pulse of the bass drum which should get quicker and quicker within reason, until J. The marimba serves to link up the transition with the bass drum and to prolong the vibraphone’s last notes before J. Also, the glisses at J need not be in time with each other. As long as everyone lands at K on the downbeat, the passage will sound ne.
10
Journey to Danbury by Theodore Tavi Hein L Tempo II, Like Kids Mining Danburite! = 120
118 1 gli ss.
Xyl.
gliss.
2
Vib.
3
B. Dr
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
4
sub. Mar.
Xyl. 121 1
2
3
4
This tremolo is as fast as possible.
Vib.
B. Dr
Mar.
2
3 4
B. Dr
Mar.
This tremolo is as fast as possible.
Xyl.
1 125
M A Humorous Antiphonal Section
Mar. Tom.
Journey to Danbury by Theodore Tavi Hein
129 1 Xyl.
2
Mar.
f
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
3
Tom.
11
4
Mar.
2 3
4
Tom.
Mar.
d
Mar.
2
3
4
Glock.
d
Mar.
Mar.
N
138 1
134 Xyl. 1
O
Vib. *) bowed
arco
*) Please see performance notes for an explanation.
12
Journey to Danbury by Theodore Tavi Hein
144 1
Glock.
Vib.
2
P
arco
bowed
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
3
Mar.
4
Mar.
Q With Propulsive Motion
150 1 Vib. 2 3
4
Glock.
d Mar.
Mar.
153 1 2
3
4
Glock.
Vib.
Mar.
d
Mar.
Journey to Danbury by Theodore Tavi Hein
13
R Loud and Dramatic
1 Xyl.
156
Hit the cymbal and the bottom note of the tremolo, D, with the vibraphone mallet and then start the tremolo as soon as you can.
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
2
Vib.
3
4
Mar.
Mar.
159
1
Xyl.
cresc. poco a poco
2
Vib.
cresc. poco a poco
3
4
Mar. d
cresc. poco a poco
Mar.
cresc. poco a poco
14
Journey to Danbury by Theodore Tavi Hein
162
1
Xyl.
2
Mar.
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
3
Vib.
4
Mar.
165 1
Xyl.
2 3
4
Vib.
Mar.
Mar.
1 2
3
4
Xyl.
Vib.
d
Mar.
Mar.
più
più
più
più
168
1
Vib.
possibile
Hit the cymbal and the bottom note of the tremolo, D, with the vibraphone mallet and then start the tremolo as soon as you can.
possibile dim. poco a poco possibile
S Like a train leaving Danbury….
possibile dim. poco a poco
15
Snare Drum
Pe ru C Th o sal p eo yr O n do ig ly h He re t in Ta vi
2
173
Xyl.
Journey to Danbury by Theodore Tavi Hein
3
4
1
2
3
4
1
4
Bass Drum
possibile dim. poco a poco
possibile
Sn. Dr
B. Dr
Mar.
Xyl.
176
Vib.
180 2 3
Mar.
possibile dim. poco a poco
Vib.
Sn. Dr
possibile B. Dr
possibile possibile
possibile Mar.