Bachovich Music Publications
Connecting you to the creativity of the world's top percussionists
Quartets
- $20 - # 0816 - Adams, Daniel: Diffusion Two for snare drum quartet [6 min.] (includes 4 parts and score)
| Click Here for Information and Sound |
Haiku written by 17th century Japanese masters are read in this composition in a setting of Flute, and four percussionist playing an assortment of percussion including vibraphone, cymbals, gongs, tin cans and various collections of wind chimes and metal sounds. The piece has been performed at William Paterson University, Rowan College, the Aspen Music festival, and NYU percussion ensemble to name a few. Sample 1 (Click Arrow to Play) |
| Click Here for Information and Sound |
(notes from the composer) Sample 1 (Click Arrow to Play) |
| Click Here for Information and Sound |
The title “Faith in Nights” is taken from a poem by Rilke which reflects on the challenges and rewards of solitude and loneliness. On an emotional level the piece charts a journey from tension-filled introversion and silence to outbursts of extroverted activity. In hindsight I see that the piece represents an attempt to include the mystery of hushed, ceremonial sounds with the exuberance of trance and dance traditions. The mechanics of the piece are as follows: virtually all the harmony is built around an Indian raga whose signature intervals are a flatted second, fifth, and sixth, and a major seventh. A great deal of focus rests on the harmonic hinge created by the major seventh, root, and minor second. Rhythmically the piece owes a debt to traditions from India and W. Africa, suffused with American vernacular. Emphasis is placed on lines in the mallets that pick up off one another, crisscrossing contrapuntally. The opening bass drum rhythm, slowed to a desperate crawl, is a New Orleans Mardi Gras rhythm, which is finally picked up at the end of the piece and allowed to take off. Sample 1 (Click Arrow to Play) |
| Click Here for Information and Sound |
Inspired by traditional rhythms of the Northeast of Brazil, the MarimBa BaSuite draws upon Maculele and Baiao. Common in the states of Ceará,Maranhao, and Bahia, these rhythms found in ceremonial folk dances haveemerged as independent musical styles. The Maculele comes from the Jorge de Bastoes (stick dance), while the Baiao is derived from the Bemba-Meu-Bol (Dance of the Ox). Sample 1 (Click Arrow to Play) |
| Click Here for Information and Sound |
Break It Down explores the ancestral relationship between the American drum set and the traditional West African Drum Ensemble, emphasizing the polyrhythmic and polyanthropomorphic roots of the American drumset and the rhythms played on it. Sample 1 (Click Arrow to Play) |
| Click Here for Sound |
Sample (Click Arrow to Play) |
| Click Here for Sound |
Mvt. I sample (Click Arrow to Play) |
| Click Here for Sound |
Sample (Click Arrow to Play) |
| More Info |
"Room for 4 is an exciting new composition, especially if you are interested in having more world music influence in your ensemble's programming. It requires mature players with excellent technique and ensemble skills. They will grab on to the drum corp influence, but within a rhythmic language that is culturally diverse. My students have proactively taken it upon themselves to rehearse this work outside of our regularly scheduled rehearsal times, because they enjoy it so much."Gordon Stout (Professor of Percussion, Ithaca College) Audio Sample |
| Click Here for Information and Sound |
Facing the Mirror (recorded by the juilliard percussion ensemble) This tour de force for percussion quartet and tape, explores the human voice and it's relationship to percussion instruments. The tape consists of vocal sounds from 4 languages-English, Spanish, Hebrew, and Russian. All meaning of each of the languages is stripped away and reduced to sounds creating a new dialect in combination with the instruments. The performers are placed in the 4 corners of the hall with their almost identical set-up of instruments, a head mic for uttering phonetic sounds, and an output speaker, creating a surround sound of continuousmovement around the hall. Facing the Mirror sample (Click Arrow to Play) |
| Click Here for Information and Sound |
|
This arrangement for four marimbas of the second movement of Ravel's string quartet in F major is marked assez vif – très rythmé (rather lively – very rhythmic). It requires four advanced mallet players to be acutely cognizant of their colleagues' parts as well as their own. The score presents a variety of musical challenges including the need to coax an appropriate quality of sound from the keyboard by means of attack and mallet selection, maintaining proper balance of all voices especially in crescendi and decrescendi, executing rapid passagework at pp and ppp levels, and the accurate placement of rhythms that juxtapose 6/8 measures phrased in three groups of two eighths and those phrased in two groups of three eighths. This juxtaposition of what is essentially the simultaneous performance of 3/4 and 6/8 is found in the interesting, dance-like opening measures played pizzicato in the original, which Gerhart imitates on the marimba by using dead strokes. Gerhart has retained Ravel's original tempo and performance markings. Mallet choice is left to the performer; the use of multiple mallets facilitates performance of the second and third marimba parts. Contributions from the arranger include the addition of rolls, the use of dead strokes, the enharmonic alteration of E sharps and C flats to F and B for ease of reading, and the use of treble and bass clefs in place of the alto clef in the original's viola part. In addition to informative and helpful performance notes, all French terms are translated into English. Another commendable feature is the inclusion of two versions of the fourth marimba (cello) part— one for a low-A instrument, the other for a five-octave marimba. For those with the motivation and ability to master its challenges, the musical rewards in this quartet are numerous. Rehearsing this work should help marimbists perfect their listening skills and develop the ability to match their colleagues' articulation and phrasing. John R. Raush, PAS Notes Sample (Click Arrow to Play) |
| Click Here for Info |
Written in three, attaca "movements," this work uses rhythmic and metric displacement as its primary source of melodic development. The vibraphones are the melodic voices throughout the entire work, constantly shifting their downbeat orientations, and also playing in contrasting meters relative to the marimba accompaniment. Each new pattern in the vibraphones creates a completely new set of contrapuntal relationships between themselves and also with the marimbas. |
| Click Here for Information and Sound |
|
For more information about this piece please visit: www.danieltemkincomposer.com Sample (Click Arrow to Play) |
| Click Here for Information and Sound |
This piece begins with a key element in Glen’s approach to music and drumming: the synchronization of voice and drum. His studies of South Indian and Arabic drumming introduced Glen to the value and depth of this connection. The relationship of 2 to 1, in pitch terms, an octave, is manifested in this piece through interaction of the voices and drums in various multiples of an octave; i.e. 8 to 1 (4 octaves), 4 to 1 (2 octaves), and 2 to 1 (1 octave). Glen credits this melodic approach to drumming to the influence of Arabic drumming. Much of the rhythmic interplay that happens during the course of “Sol Tunnels” is inspired by his appreciation of South Indian drumming. Sample 1 (Click Arrow to Play) |
| Click Here for Information and Sound |
(notes from the composer) Sample 1 (Click Arrow to Play) |