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Strata by Sean Patrick Harvey is a collection of three short pieces: One Big Hocket, Particle Emission, and Changing Phases. Advanced in level and ranging in duration from 2:00 to 3:45, all three pieces showcase the intricate textures that result from composite rhythms, canon, and interwoven layers.
An adaption of the 13th-century polyphonic form that takes its name from the French word for hiccup, One Big Hocket contains split rhythms in every bar and includes a flexible improvisatory section. Particle Emission creates textural interest in part by its use of brushes and sticks along with a shared brake drum, and the vivace Changing Phases is a rhythmic showpiece. It is an excellent finale if performed as a suite but, like the other two pieces in the set, it is musically effective individually as well.
Use of this product is governed by the license terms outlined here.
Since I first listened to “Strata,” I found myself looking for an opportunity to perform it with a willing accomplice. It is, simply put, well-written fun! In addition to incorporating the normal sounds and techniques you’d expect from a snare drum duet, it also features a number of additional textures that help to expand the sonic palette.
“One Big Hocket,” the first of three movements, is mostly in 4/4 and contains a split part or rhythmic sequence in each measure. While the tempo is not particularly fast (100 bpm), a lot of quick rhythms help create a slow groove with fast motion within. “Particle Emission” is perhaps the most unique of the three movements. A shared brake drum, brushes, and frequent rim notes provide a unique, almost celestial soundscape. Frequent hemiolas and echo-like interplay between parts give the impression that the tempo (a constant 112 bpm) is constantly shifting.
“Changing Phases” utilizes a quick tempo (144 bpm) and a constant barrage of sixteenth-note rhythms. Overlapping and layering of thematic material creates a sense of tension and interest. Often player 1 presents a theme, then player 2 restates the same theme either in unison or at staggered intervals.
“Strata” comes as a simple stapled score with cover and CD ROM containing audio files and individual parts. Performers may find that, due to the complexity between parts, it is more practical to read from the score rather than the printable individual parts. Utilizing creative rhythms, unique sounds, and intricacies, Sean Patrick Har-vey has breathed new life into a very traditional performance medium.
—Eric Rath
Percussive Notes
Vol. 53, No. 1, March 2015
Strata by Sean Patrick Harvey is a collection of three short pieces: One Big Hocket, Particle Emission, and Changing Phases. Advanced in level and ranging in duration from 2:00 to 3:45, all three pieces showcase the intricate textures that result from composite rhythms, canon, and interwoven layers.
An adaption of the 13th-century polyphonic form that takes its name from the French word for hiccup, One Big Hocket contains split rhythms in every bar and includes a flexible improvisatory section. Particle Emission creates textural interest in part by its use of brushes and sticks along with a shared brake drum, and the vivace Changing Phases is a rhythmic showpiece. It is an excellent finale if performed as a suite but, like the other two pieces in the set, it is musically effective individually as well.
Use of this product is governed by the license terms outlined here.
Since I first listened to “Strata,” I found myself looking for an opportunity to perform it with a willing accomplice. It is, simply put, well-written fun! In addition to incorporating the normal sounds and techniques you’d expect from a snare drum duet, it also features a number of additional textures that help to expand the sonic palette.
“One Big Hocket,” the first of three movements, is mostly in 4/4 and contains a split part or rhythmic sequence in each measure. While the tempo is not particularly fast (100 bpm), a lot of quick rhythms help create a slow groove with fast motion within. “Particle Emission” is perhaps the most unique of the three movements. A shared brake drum, brushes, and frequent rim notes provide a unique, almost celestial soundscape. Frequent hemiolas and echo-like interplay between parts give the impression that the tempo (a constant 112 bpm) is constantly shifting.
“Changing Phases” utilizes a quick tempo (144 bpm) and a constant barrage of sixteenth-note rhythms. Overlapping and layering of thematic material creates a sense of tension and interest. Often player 1 presents a theme, then player 2 restates the same theme either in unison or at staggered intervals.
“Strata” comes as a simple stapled score with cover and CD ROM containing audio files and individual parts. Performers may find that, due to the complexity between parts, it is more practical to read from the score rather than the printable individual parts. Utilizing creative rhythms, unique sounds, and intricacies, Sean Patrick Har-vey has breathed new life into a very traditional performance medium.
—Eric Rath
Percussive Notes
Vol. 53, No. 1, March 2015
