Yet, the depth within the orchestration is, at times, rather cloudy an ominous. The essence of Japanese haiku seems to have a parallel sensibility with many of the smaller gardens I have visited while touring throughout Japan over the past three decades. In particular, the tiny gardens within the very small Daisenin Temple located in Kyoto remind me of the purity of this poetic form.
Ensemble: Pic, 2 Fl, Ob, Eng. Hrn, 3 Cl. As the brass take up this theme the percussionist shifts to a wide variety of bells and then vibes and gongs, the materials transition into a highly energetic mixed-metered melodic section played in octaves on the vibraphone, doubled by various instruments in the ensemble at different times. The percussionist shifts to another virtuosic passage, this time on drums with harmonic metric punctuations provided by the ensemble.
Shadow Drum and Bugle Corps
A spirited section occurs for the soloist, section percussionist and the woodwinds in a twisted setting; while not quoting anything specific, there is a sensibility in the orchestration that perhaps Percy Grainger might have appreciated. The finale features the soloist playing a large drum with overlapping transformations of the previously introduced melodic materials.
Hrn, 2 Cl. I am particularly fond of reworking a wonderful 16th Century Swedish melody, Gaudete, gaudete!!! Christus ist na!!! The compound, dual meter, section that ends the work is in a loose sense, my impressions of one of the many styles of Japanese taiko drumming melded with my impressions of Irish folk rhythms. Chamber version 2 of Moon Shadows: [Solo Perc.
Sax, Hrn, Tromb, Ens. All players have engaging parts that make this collaborative effort worthwhile for the performers and creates an equally engaging experience for the audience. Based on Bosho Haiku, the melodies were set syllabically and the harmonic structure was then superimposed over those lines while at times, thicker textures of active contrapuntal melodic materials were created.
This works is intended for advanced players. Chamber version 1 of Moon Shadows: Solo Perc. Kindly view the compositional description in the percussion ensemble version of the work for more details. This version of the composition would work well on a student recital or community concert series presentation. While the composer prefers the implied harmonic clarity when 5 or 6 timpani are employed with extensive inside drum pedaling, it is possible to use as many as 8 drums and as such the virtuosity shifts to extended physical arm reaches. Michael premiered the work at the Percussive Arts Society International Convention on the Focus Day — collaborations for dance and percussion.
This theatrical work is scored for tap dancer, three percussionists, and a background sound track of work-songs, which appears twice in the performance. The score provides a scenario with basic staging directions for the performers and rhythms for the tap dancer. The work is intended to be fully staged with costumes and lighting. This is the meaning, for me, of Black Shogun and Black Shogun II , a later reworking of the composition for solo multi-percussionist and 3 percussion see below.
C — Sample Score. This work for solo timpanist and percussion quartet 4 or 5 timpani, vibraphone, glock, chimes, metals demands a high level of interlocking inner pulse skills with across the bar-line phrasing. I composed, this, my first composition, when I was in Junior High School. Thus, I was compelled to debate with myself if it would be viable to bring this work out of moth balls.
There have been a few recent performances of Four Constructions both in the USA and abroad with High School and young undergraduate college students.
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In coaching the performances, I found that the performers enjoyed working on the details of precise rhythmic playing, care in selecting and realizing subtle timbre relationships within the four movements, Skin, Metal, Wood and Mixtures of the three. I can recommend this work for a strong junior high school, decent high school and a small, inexperienced college ensemble, as there are viable concepts worth exploring in detailed rehearsals. Aside from the standard instruments found in a typical school band room, the score also includes steel pipes, brake drums and a galvanized washtub.
Premiered by The New Verbal Workshop. This work for twelve percussionists uses ham boning body slapping along with 2 marimbas 4 octave 2 vibes, 10 toms, 10 roto toms, 5 timbales, 5 bongos, 2 bass drums, 4 suspended steel plates, 2 gliss gongs; aside from the fact that the music is presented in text rather than through verbal instructions the work is learned not unlike the way gamelan musicians would learn a new work; this piece is quite appropriate for a university ensemble in which developing skills of memorization, strong inner pulse, understanding of shifting cross-rhythms and performance bravura are goals.
There is now a percussion ensemble version of the work kindly see above that may also be combined for a joint performance.
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So in January , I orchestrated that version of the work. The pan and percussion ensemble versions may also be combined in a joint performance. The motivic materials have their roots in scenes from my opera, Twelve Years a Slave. I am pleased that each duo work is quite distinct from the other, yet both have clear traces that connect back to the source. A smile comes to me as I think about the wonderfully fresh and creative energy of composer, William Albright, who, in his music, was usually gleefully full of shocking surprises. Keiko Abe, this work, for solo marimba and 3 — 8 percussionists, is appropriate for a recital or professional concert; the melodic material, composed from images of Japanese Haiku, is derived from the work, Over the Moon , as well as from concepts of West African and North Indian drumming.
Premiered by junior high school students at the National Music Camp, Interlochen Global mythology based on the writings of Dr. The protagonist character, Sun , is searching for the meaning of life. Moon , a wizard, with the elusive character, Wind , and the chorus help Sun on his quest as he searches for The Meaning of Life. A - Straight Outta Compton. What follows 40 seconds later is one of the most popular drum beats in hip-hop history. The simplicity of The Big Beat is at the heart of its popularity. Uncluttered, with no hi-hats, the dotted-quaver rhythm of the bass drum and flammed snare hits are pure rock staples.
Hear it on: Jay Z - 99 Problems.
Long before it became a hip-hop staple, Apache already lived twice as a twangy surf guitar instrumental. While King Errisson provided the distinctive percussion part, as noted in documentary Sample This , confusion still surrounds exactly who played drums on the original.
Dance to the drummer’s beat (PART 1)
Viner actually held two separate sessions to track parts for Apache. It is unclear as to whether Hendriks, Gordon, or a comp of the two parts was used for the final mix. Hear it on: Nas - Made You Look. When The Levee Breaks is unique for multiple reasons - it was played by the greatest rock drummer of all time, but just as distinctive are the sonics of the track. Engineer Andy Johns ran the huge roomy sound through Binson Echorec delays to add further slap, and the legendary swampy groove was complete. The opening bar of Impeach The President remains one of the most widely recycled beats in hip-hop history, yet very little is actually known about the musicians who played on the track.
Is President, or Notorious B. G using it twice on debut album, Ready To Die, keeping the break intact during the chorus for the title track, and chopping it for Unbelievable.