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Clangor by Wesley Denkins is a work for eight beginning to intermediate level percussionists. Using graduated drums and resonant metals, the players layer simple rhythms and accents individually and in subgroups to render an energetic dialogue reminiscent of a train yard or industrial workshop.
Each player alternates between a drum and a metal object, reinforcing the concept of a multi-percussion setup. While much of the work is played in unison, there are moments where each performer must play their own unique role in the rhythmic conversation.
The composer offers suggestions for drum and metallic selection as well as ways in which to add some visual flair. The piece is also scored to be playable with just four players.
Use of this product is governed by the license terms outlined here.
8 graduated drums
8 graduated resonant metals (with matching/similar timbre)
“Clangor” would be an effective opening piece on a high school or college undergraduate percussion ensemble concert. The relatively open scoring of eight graduated drums and eight graduated metal sounds makes it accessible to a wide variety of programs and ideal for traveling ensembles. Additionally, Wesley Denkins indicates how the work can be performed by four players by eliminating certain parts.
There is a good deal of “safety” built into the piece, with much of the effect derived from dense unison scoring. This is contrasted by instances of the ensemble divided into two antiphonal sections and a couple of transitions that either layer parts in or out in a follow-the-leader fashion. There are a handful of metric modulations and odd meters, but everything is carefully crafted to sound intuitive and is cushioned with the “safety in numbers” approach mentioned above.
In addition to the pedagogical benefits for younger ensembles, “Clangor” offers serious musical substance for the audience. The juxtaposition of bombastic unison figures, antiphonal counterpoint, and subtle transitions, combined with minimalist instrumentation that stretches across the concert stage, is both visually impressive and aesthetically satisfying.
—Jason Baker
Percussive Notes
Vol. 62, No. 4, August 2024
Clangor by Wesley Denkins is a work for eight beginning to intermediate level percussionists. Using graduated drums and resonant metals, the players layer simple rhythms and accents individually and in subgroups to render an energetic dialogue reminiscent of a train yard or industrial workshop.
Each player alternates between a drum and a metal object, reinforcing the concept of a multi-percussion setup. While much of the work is played in unison, there are moments where each performer must play their own unique role in the rhythmic conversation.
The composer offers suggestions for drum and metallic selection as well as ways in which to add some visual flair. The piece is also scored to be playable with just four players.
Use of this product is governed by the license terms outlined here.
8 graduated drums
8 graduated resonant metals (with matching/similar timbre)
“Clangor” would be an effective opening piece on a high school or college undergraduate percussion ensemble concert. The relatively open scoring of eight graduated drums and eight graduated metal sounds makes it accessible to a wide variety of programs and ideal for traveling ensembles. Additionally, Wesley Denkins indicates how the work can be performed by four players by eliminating certain parts.
There is a good deal of “safety” built into the piece, with much of the effect derived from dense unison scoring. This is contrasted by instances of the ensemble divided into two antiphonal sections and a couple of transitions that either layer parts in or out in a follow-the-leader fashion. There are a handful of metric modulations and odd meters, but everything is carefully crafted to sound intuitive and is cushioned with the “safety in numbers” approach mentioned above.
In addition to the pedagogical benefits for younger ensembles, “Clangor” offers serious musical substance for the audience. The juxtaposition of bombastic unison figures, antiphonal counterpoint, and subtle transitions, combined with minimalist instrumentation that stretches across the concert stage, is both visually impressive and aesthetically satisfying.
—Jason Baker
Percussive Notes
Vol. 62, No. 4, August 2024
