This work may be found under the title 180.
Percussion I-II-III-IV-V, including:
- Sticks I-II
- Body Percussion
None discovered thus far.
One Eighty was written for the TCNJ [The College of New Jersey] percussion ensemble under the direction of Bill Trigg. From its conception, it was designed to be a piece performed virtually, and with flexible instrumentation, though I suspect it would work quite well live, too.
Still under tight restrictions due to many universities’ responses to COVID-19, Professor Trigg and I discussed some necessary considerations for this piece: it couldn’t use any percussion equipment the students didn’t have access to at home, it had to be flexible in instrumentation, and the tempo had to be steady and crystal clear.
So came about One Eighty, a piece performed with a metronome present throughout at exactly 180 bpm (though the tempo of the piece itself does change, placing the metronome beats in different contexts). It was arranged for two stick parts, a body percussion part, and a shaker voice that can use anything from a cabasa to a basic elementary-classroom egg shaker!
Throughout the work, different voices take features, explore different grooves, and stack simple rhythmic ideas to create exciting multi-layered patterns. One section in particular forces the musicians to interpret the steady metronome beat no longer as the quarter-note pulse, but a triplet in which the actual tempo feels more like 120. By the end of the piece, familiar material returns and the piece goes full 360!
- Program Note by composer
- Sticks should be played on a basic practice pad or similar surface. An 'X' note head indicates clicking both drum sticks together.
- The shaker can be covered by a variety of appropriate instruments, including tubular shakers, egg shakers, sand blocks, maracas, or cabasas.
- Body Percussion is all covered by the same performer(s). The top line indicates a snap with both hands. The middle line indicates a clap with cupped hands (as opposed to flat). The bottom line is an open palm against one's chest or other area with similar resonance. One-handed snaps are occasionally necessary.
- The metronome should be visible, audible, set to exactly 180 bpm, and placed to contribute to the sound roughly at a dynamic relative to the performers. It should be set and stopped to match the number of notes written at the beginning and end. An acoustic metronome is preferred, but if it must be digitally recreated, the timbre should mimic an acoustic sound and avoid any digital beep tone.
Finally, the balance of all instruments is left to the discretion of the ensemble or its director. Each part may have as many players as desired, with the exception of measures marked for solo, provided that the overall sound of the ensemble is relatively balanced.
None discovered thus far.
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Works for Winds by This Composer