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Inspired by the "creative seating solution" composer Chad Floyd used when performing on hand drums in tight spaces, Chatterbox is aptly named and does a lot with a little. Utilizing a cajon, a set of bongos, and a set of congas, this medium-advanced solo is packed with a ton of musical interest. Just as the listener settles in with one tasty groove, an accent here or a melodic phrase there spins it off in an entirely different direction. Effectively and delightfully, this solo walks the line between what audiences expect from a concert solo and what they expect from a hand drum performance.
Bring on the backbeat! With its infectious groove and accessibility, this three-minute solo is sure to get heads bobbing in the audience. Stemming from the composer’s experiences of providing hand percussion music from limited instrument choices, this work combines traditional conga and bongo performance techniques with groovy cajon punctuations that serve as the heartbeat of the piece.
While the interlocking sixteenth-note patterns and odd time signatures might seem daunting on the page, once a performer learns the foundational rhythmic scheme of the piece, the rest of the sections will easily fall into place. Equally, sitting on the cajon while playing the other hand drums makes sense when one realizes that part of the solo’s flavor includes moving the heel of the foot up and down the face of the cajon to alter the pitch and timbre.
The steepest section of the “Chatterbox” learning curve relates to becoming comfortable with playing cajon grooves in the right hand while looping various conga and bongo patterns with the left hand. As no sections require rhythms more complex than sixteenth notes, along with a moderate tempo (quarter note equals 112), this piece is worthy of a look for those wanting to expand their repertoire, experience level, or simply have a great time playing hand percussion.
—Joshua D. Smith
Percussive Notes
Vol. 53, No. 1, March 2015
Inspired by the "creative seating solution" composer Chad Floyd used when performing on hand drums in tight spaces, Chatterbox is aptly named and does a lot with a little. Utilizing a cajon, a set of bongos, and a set of congas, this medium-advanced solo is packed with a ton of musical interest. Just as the listener settles in with one tasty groove, an accent here or a melodic phrase there spins it off in an entirely different direction. Effectively and delightfully, this solo walks the line between what audiences expect from a concert solo and what they expect from a hand drum performance.
Bring on the backbeat! With its infectious groove and accessibility, this three-minute solo is sure to get heads bobbing in the audience. Stemming from the composer’s experiences of providing hand percussion music from limited instrument choices, this work combines traditional conga and bongo performance techniques with groovy cajon punctuations that serve as the heartbeat of the piece.
While the interlocking sixteenth-note patterns and odd time signatures might seem daunting on the page, once a performer learns the foundational rhythmic scheme of the piece, the rest of the sections will easily fall into place. Equally, sitting on the cajon while playing the other hand drums makes sense when one realizes that part of the solo’s flavor includes moving the heel of the foot up and down the face of the cajon to alter the pitch and timbre.
The steepest section of the “Chatterbox” learning curve relates to becoming comfortable with playing cajon grooves in the right hand while looping various conga and bongo patterns with the left hand. As no sections require rhythms more complex than sixteenth notes, along with a moderate tempo (quarter note equals 112), this piece is worthy of a look for those wanting to expand their repertoire, experience level, or simply have a great time playing hand percussion.
—Joshua D. Smith
Percussive Notes
Vol. 53, No. 1, March 2015
