Drumming , Part I for Four Percussion Zakir Hussain b. Duration: 14 minutes. Chalan No. The modern history of the percussion ensemble centers on the confluence of three maverick composers from the West Coast.
His two chief disciples were John Cage and Lou Harrison, who mounted groundbreaking percussion concerts in Seattle, where Cage worked as a rehearsal pianist for dance classes, and San Francisco, where Harrison lived. In one of his first works for percussion ensemble, completed as a year-old in , Harrison chose the somewhat subversive title Fifth Simfony.
Harrison and company were consciously turning away from the hierarchical system of musical interplay that Beethoven epitomized, leaning instead into an Asian sensibility that was less attached to forcing sounds into fixed relationships, or even recognizable pitches. There is no doubt that the four percussionists are sounding together in meaningful ways, even in the complete absence of identifiable pitches, and this proof-of-concept helped to establish the percussion ensemble as a viable and permanent addition to the concert music landscape.
Alex Orfaly, a Bay Area based percussionist and composer, has an active performance career, having played with numerous Bay Area orchestras in recent years including the San Francisco Symphony. As a composer, Mr. Orfaly has a growing body of pieces to his credit, many featuring percussion.
Orfaly explains,. After that I wanted to create a Latin-inspired ensemble so the piano, vibes and bass all seemed to fit very naturally. The title of the piece has a double meaning. In literal translation, the title suggests a Moon Dance. But Mr. Orfaly also has composed the piece as a tribute to his beloved black standard poodle named Luna, who passed away last year. Orfaly has the pianist mute the strings inside the piano for greater percussive effect.
The Latin percussion instruments are layered on top of this ostinato, joined by a quick moving pentatonic pattern in the timpani. The timpani eventually picks up the syncopated rhythm of the piano introducing a jagged rising melody that is irresistibly catchy and will form the basis for the rest of the piece. After a metrically dynamic duet passage with the bongos and timpani, the texture begins to gradually build until a sudden drop exposing an unusual harp trill that sets the tone for a contrasting groove.
Another sudden drop has the bongos and other Latin instruments lead the timpani towards its brief cadenza, based on the earlier metrically shifting passage. In Part I, a single measure of rhythmic material provides all the raw material needed to elaborate a continuous structure for four pairs of tuned bongos that can stretch to 20 minutes.
This interpretation of this well-known piece is improvised and performed ex tempore by the players. Zakir Hussain worked in four jam sessions with some School of Music faculty members and students on an arrangement that is the next 4 piece in this program.
It is based on Raga Simhendra Madhyam. In this piece, just the two opening lines of the composition are used as a theme, from which ex tempore improvised solos are launched.
Note how the second line of the composition resolves on the augmented fourth G. This may be unfamiliar to the western ear, but the success of this piece illustrates how such experiments can build cross-cultural bridges. The traditional Tabla solo gives a Tabla player the opportunity to exhibit his artistry by expounding a wide range of material for the Tabla.
Such a solo recital starts with a section called Peshkar literally meaning a presentation which is a leisurely exposition of the temporal structure of the tala selected for exposition. After establishing a familiarity with the tala structure, the performer tries to highlight mastery over several other types of pieces in the extensive repertoire of Tabla such as Kaida, Rela, Tukda, Gat, and so on.
These pieces are generally based on the same Tala structure that has been chosen initially. Each piece is composed by assigning Tabla syllables to beats of the cycle, and a single composition can extend over several repetitions of the cycles. Syllables for various compositions for Tabla are recited, and then played. It brings cultural musical conventions together in a rainbow of beautiful sounds.
Originally, this genre was formed as a way to identify non-Western cultural music. Today, the primary focus of World Music is on showcasing songs from the local traditions of exotic, often-forgotten cultures.
This genre also contains several hybrid sub-genres such as worldbeat, ethnic fusion and world fusion. Shop with confidence Compare our great selection and lower prices. Written or stamped "voids" do not constitute verified proof.
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