With Passages, Alan Keown aims to develop the players’ communication skills. The whole piece is built around a single rhythmic motif, first presented in the opening phrase. This motif undergoes many variations, often exploring imitation, hocketing, and rhythmic manipulation. Communication is aided by a setup which faces the players towards each other. This duet is ideal recital or contest material for intermediate percussionists!
Use of this product is governed by the license terms outlined here.
Instrumentation
bongos (2) — shared
2 congas (high and low)
2 toms (high and low)
2 semi-resonant metals (high and low)*
*i.e. brake drum or similar
Reviews
One of the more visually impressive feats a pair of percussionists can display is splitting their rhythms. We see it in marching bass drums, as well as in a handful of works by Aurél Holló, among others. With Alan Keown’s “Passages,” students can be introduced to this technique while learning a short and fun duet.
Keown uses a couple of compositional devices in this work. In the first portion, when the players are not playing in unison, they are imitating each other. This is done in such a way that a melody from the two metals is almost discernible through the drum-centric texture. Much of the rest of the work is focused on rhythmic interplay and splitting rhythms. This begins with eighth notes but then quickly, yet organically, advances to splitting sets of sixteenth notes. As a change of pace, Keown then inserts a short contrary section based in triplets, which begins in the spirit of Ravel’s “Bolero,” segues to trading sets of triplets, then ends with playing the gestures in unison. The last section utilizes only the duple rhythms of the beginning and is completely in unison.
In terms of drumming techniques, the work requires both players to agree on stickings. Throughout the middle section with the sixteenth-note interplay, Keown writes in a suggested sticking that almost entirely consists of paradiddles or alternating doubles. Along with the splits, seeing these doubles played consistently between the two players will be visually and audibly impressive.
“Passages” is a fun piece that can introduce or strengthen young players’ ability to split rhythms as well as clean their double strokes. It is best suited for high-school students, although anyone who enjoys splitting pairs, sets, or any groupings of sixteenth notes will enjoy performing it.
—Kyle Cherwinski Percussive Notes Vol. 60, No. 2, April 2022
Description
With Passages, Alan Keown aims to develop the players’ communication skills. The whole piece is built around a single rhythmic motif, first presented in the opening phrase. This motif undergoes many variations, often exploring imitation, hocketing, and rhythmic manipulation. Communication is aided by a setup which faces the players towards each other. This duet is ideal recital or contest material for intermediate percussionists!
Use of this product is governed by the license terms outlined here.
Instrumentation
bongos (2) — shared
2 congas (high and low)
2 toms (high and low)
2 semi-resonant metals (high and low)*
*i.e. brake drum or similar
Reviews
One of the more visually impressive feats a pair of percussionists can display is splitting their rhythms. We see it in marching bass drums, as well as in a handful of works by Aurél Holló, among others. With Alan Keown’s “Passages,” students can be introduced to this technique while learning a short and fun duet.
Keown uses a couple of compositional devices in this work. In the first portion, when the players are not playing in unison, they are imitating each other. This is done in such a way that a melody from the two metals is almost discernible through the drum-centric texture. Much of the rest of the work is focused on rhythmic interplay and splitting rhythms. This begins with eighth notes but then quickly, yet organically, advances to splitting sets of sixteenth notes. As a change of pace, Keown then inserts a short contrary section based in triplets, which begins in the spirit of Ravel’s “Bolero,” segues to trading sets of triplets, then ends with playing the gestures in unison. The last section utilizes only the duple rhythms of the beginning and is completely in unison.
In terms of drumming techniques, the work requires both players to agree on stickings. Throughout the middle section with the sixteenth-note interplay, Keown writes in a suggested sticking that almost entirely consists of paradiddles or alternating doubles. Along with the splits, seeing these doubles played consistently between the two players will be visually and audibly impressive.
“Passages” is a fun piece that can introduce or strengthen young players’ ability to split rhythms as well as clean their double strokes. It is best suited for high-school students, although anyone who enjoys splitting pairs, sets, or any groupings of sixteenth notes will enjoy performing it.
—Kyle Cherwinski Percussive Notes Vol. 60, No. 2, April 2022
This is solo also utilizes a multipercussion setup of concert toms, woodblock, sizzle cymbal, and wind gong. It is an ideal selection for percussionists looking for a dramatic and virtuosic timpani solo.
Written for two multi-percussion stations configured in mirror-image, split by a shared bass drum, "Double Take" launches at a blistering speed for nearly 7 minutes of exciting counterpoint.
Duration: 7:00 | Level: Medium | Personnel: 2 players
Utilizing a variety of colorful timbres, "Two Days" allows the multi-percussion soloist to make a musical statement with melody laid over single-handed ostinato patterns.
Written for an abbreviated drumset (played while standing) and three semi-resonant metals, the piece uses a series of hemiola-driven rhythmic gestures to weave a complex tapestry of percussive sound.
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