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This mixed-meter jam by Scott Higgins does masterful things with timbral interplay without losing any of its forward motion or rhythmic creativity. The triangle part underpins more disjunct figures in the toms and bass drum, with wood block hits punctuating the alternation between 5/8 and 6/8 bars, or between 2/, 3/, and 4/4 later in the piece. For everyone’s sake, let’s hope that no one tries to clap along at your concert. The audience can just save their clapping for the end of this fantastic bit of fun and funk!
Use of this product is governed by the license terms outlined here.
The Urban Dictionary defines funkadunk as “the act of knocking someone’s ballcap off of their head via an upward swiping motion on the bottom of the sun visor portion of said cap. Points can be earned for style. ” Scott Higgins has written a piece that will definitely score serious style points while taking the hat off your head. The only difference here is your hat will come off from groovin’ so hard instead of being knocked off.
Shifting time signatures between simple, compound, and asymmetric meters will require mature players to execute this piece, as counting, dynamic control, and metric consistency are paramount in performing the written rhythmic interplay between voices. This piece would be ideal for any percussion concert and would translate very well to virtually any audience, because of its rhythmic complexity, groove factor, and visual elements. Performing the piece without a conductor, albeit very tricky due to the shuffling time signatures, would be well worth the extra effort in preparation.
The only slight downside is the equipment requirement. Smaller programs will have to get creative in acquiring seven woodblocks and six tom-toms of varying size and pitch. Whatever effort is needed, be it disassembling temple blocks or marching toms to get the right numbers, will pay off big in the end.
—Marcus D. Reddick
Percussive Notes
Vol. 52, No. 2. March 2014
This mixed-meter jam by Scott Higgins does masterful things with timbral interplay without losing any of its forward motion or rhythmic creativity. The triangle part underpins more disjunct figures in the toms and bass drum, with wood block hits punctuating the alternation between 5/8 and 6/8 bars, or between 2/, 3/, and 4/4 later in the piece. For everyone’s sake, let’s hope that no one tries to clap along at your concert. The audience can just save their clapping for the end of this fantastic bit of fun and funk!
Use of this product is governed by the license terms outlined here.
The Urban Dictionary defines funkadunk as “the act of knocking someone’s ballcap off of their head via an upward swiping motion on the bottom of the sun visor portion of said cap. Points can be earned for style. ” Scott Higgins has written a piece that will definitely score serious style points while taking the hat off your head. The only difference here is your hat will come off from groovin’ so hard instead of being knocked off.
Shifting time signatures between simple, compound, and asymmetric meters will require mature players to execute this piece, as counting, dynamic control, and metric consistency are paramount in performing the written rhythmic interplay between voices. This piece would be ideal for any percussion concert and would translate very well to virtually any audience, because of its rhythmic complexity, groove factor, and visual elements. Performing the piece without a conductor, albeit very tricky due to the shuffling time signatures, would be well worth the extra effort in preparation.
The only slight downside is the equipment requirement. Smaller programs will have to get creative in acquiring seven woodblocks and six tom-toms of varying size and pitch. Whatever effort is needed, be it disassembling temple blocks or marching toms to get the right numbers, will pay off big in the end.
—Marcus D. Reddick
Percussive Notes
Vol. 52, No. 2. March 2014
