The inspiration for this piece came when I heard the saying “everything comes ’round full circle,” by several people in a short period of time, Zolnowski notes. “Full Circle” is based on that saying. The piece has three main sections; the opening section begins with a three bar statement that is taken on a wild journey of variations. After the middle chorale section, the opening statement returns for its second journey. There are many motives and circular gestures that overlap to create interplay amongst the voices. These small circles should be given a light emphasis so they are “felt but not heard” by the audience.
Mallet choice should create a dark but articulate sound on the marimba.
The chorale section (measures 76-111) may be improvised using motives from the entire piece.
This is marimbist’s marimba solo, obviously derived from a technique-oriented compositional approach, and while novel at one time, this approach has become a well-trod path in all-too-familiar territory.
This title of this 5.0-octave marimba piece is inspired by a popular saying that manifests itself in the tripartite (ABA) form. The outer sections are comprised of unrelenting sizteenth notes, much of which consists of a soloistic right-hand part, juxtaposed with a left-hand ostinato. The center section is a rolled chorale, which according to the minimal performance notes, “may be improvised using motives from the entire piece.”
— Ron Coulter, Percussive Notes — November 2011