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During the course of a powwow one can expect to hear a wide variety of drumming patterns, as they accompany different song styles and dances. At a large gathering, the multi-tempo drumming of different tribes can be heard from a great distance, creating an incredibly organic and unintentionally polyrhythmic atmosphere. Pulse Theorem by Benjamin Finley takes much of its inspiration from this atmospheric blending of sounds, utilizing a series of composite rhythms generated by the two players on multipercussion.
Use of this product is governed by the license terms outlined here.
Multiple percussion duets have become increasing popular in recent years, and with quality compositions like “Pulse Theorem” entering the market, that trend will, almost assuredly, continue.
Written for one of his students at East Central University, Benjamin Finley uses simple math to generate much of this composition. Odd-time signatures permeate the entire composition, many of which fulfill the “math quota” referenced earlier. For example, 15/8 is broken down into three groups of five for one player and five groups of three for the other, creating polyrhythms. “Check” patterns written in 3/4 are interspersed to keep the performance together.
The middle section moves away from much of the polyrhythmic writing to focus more on rhythmic development and imitation of rhythmic motives. This is where the piece truly comes to life, as it explores the soundscape from an aural perspective rather than a purely rhythmic one.
—Marcus D. Reddick
Percussive Notes
Vol. 52, No. 2. March 2014
During the course of a powwow one can expect to hear a wide variety of drumming patterns, as they accompany different song styles and dances. At a large gathering, the multi-tempo drumming of different tribes can be heard from a great distance, creating an incredibly organic and unintentionally polyrhythmic atmosphere. Pulse Theorem by Benjamin Finley takes much of its inspiration from this atmospheric blending of sounds, utilizing a series of composite rhythms generated by the two players on multipercussion.
Use of this product is governed by the license terms outlined here.
Multiple percussion duets have become increasing popular in recent years, and with quality compositions like “Pulse Theorem” entering the market, that trend will, almost assuredly, continue.
Written for one of his students at East Central University, Benjamin Finley uses simple math to generate much of this composition. Odd-time signatures permeate the entire composition, many of which fulfill the “math quota” referenced earlier. For example, 15/8 is broken down into three groups of five for one player and five groups of three for the other, creating polyrhythms. “Check” patterns written in 3/4 are interspersed to keep the performance together.
The middle section moves away from much of the polyrhythmic writing to focus more on rhythmic development and imitation of rhythmic motives. This is where the piece truly comes to life, as it explores the soundscape from an aural perspective rather than a purely rhythmic one.
—Marcus D. Reddick
Percussive Notes
Vol. 52, No. 2. March 2014
