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Written by Ian Briskey to convey a progression of continuous motion, this relatively short piece provides percussion quartets with numerous opportunities to demonstrate musicality. Be it through extreme dynamic ranges, demanding rudimental control, and ensemble timing and blend, the range of musical touches will be enjoyed by players and listeners alike.
Use of this product is governed by the license terms outlined here.
With minimal instrumentation and various style shifts, this is a hip, drum oriented quartet that doesn’t sound “drummy.” Throughout the work, Ian Briskey intelligently hints at a variety of genres without settling on any single one. Written to “convey a progression of continuous motion, ” the music seamlessly shifts through moments reminiscent of John Cage’s melodic tom writing, through sections of drum corps-style punctuations, and includes music containing ensemble vocal calls like those heard in “Marimba Spiritual. ” Even with these shifts in character, along with a variety of time signatures and tempo changes, this work remains attainable for most college and experienced high school ensembles.
Adding to the production value of the piece, the composer suggests a stage setup with the two snare drummers oriented towards each other. This serves to highlight the ensemble connection between all players, as rhythmic figures commonly get passed around the work, creating a symbiotic relationship between all performers. With attainable individual parts and challenges in ensemble awareness, timing, and blend, this piece offers many teachable moments for even moderately experienced performance groups. Clocking in at just over two minutes, my only complaint is that this piece is too short! So many cool moments that don’t last long enough leave me wanting more.
—Joshua D. Smith
Percussive Notes
Vol. 52, No. 2. March 2014
Written by Ian Briskey to convey a progression of continuous motion, this relatively short piece provides percussion quartets with numerous opportunities to demonstrate musicality. Be it through extreme dynamic ranges, demanding rudimental control, and ensemble timing and blend, the range of musical touches will be enjoyed by players and listeners alike.
Use of this product is governed by the license terms outlined here.
With minimal instrumentation and various style shifts, this is a hip, drum oriented quartet that doesn’t sound “drummy.” Throughout the work, Ian Briskey intelligently hints at a variety of genres without settling on any single one. Written to “convey a progression of continuous motion, ” the music seamlessly shifts through moments reminiscent of John Cage’s melodic tom writing, through sections of drum corps-style punctuations, and includes music containing ensemble vocal calls like those heard in “Marimba Spiritual. ” Even with these shifts in character, along with a variety of time signatures and tempo changes, this work remains attainable for most college and experienced high school ensembles.
Adding to the production value of the piece, the composer suggests a stage setup with the two snare drummers oriented towards each other. This serves to highlight the ensemble connection between all players, as rhythmic figures commonly get passed around the work, creating a symbiotic relationship between all performers. With attainable individual parts and challenges in ensemble awareness, timing, and blend, this piece offers many teachable moments for even moderately experienced performance groups. Clocking in at just over two minutes, my only complaint is that this piece is too short! So many cool moments that don’t last long enough leave me wanting more.
—Joshua D. Smith
Percussive Notes
Vol. 52, No. 2. March 2014
