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Inspired by the topography and history of Temple Mountain, Utah, Temple Mountain by Darin Kamstra is an exciting work for the experienced timpani soloist requiring extended techniques to bring out the mystique of rich Native American traditions as displayed in petroglyphs near the mountain.
The piece is written for five timpani and also requires four glockenspiel bars (written pitches G-sharp 3, C-sharp 4, D4, and E4), a suspended cymbal, frame drum (12” or larger), and a bowl of grain to create a variety of textures.
Use of this product is governed by the license terms outlined here.
5 Timpani
Glockenspiel bars — written pitches G#3, C#4, D4, E4 (may substitute with crotales)
Suspended cymbal
Frame drum (12” or larger recommended)
Bowl of grain (such as dried lentils)
It is difficult to find timpani solos that are musically interesting without being overly virtuosic, prohibitively esoteric, or repeating the same pieces over and over. This new work by Darin Kamstra will provide a welcome challenge while also being unique enough to maintain the interest of the performer and audiences.
“Temple Mountain” is an 8-minute work for timpani inspired by the topography and history of Temple Mountain, Utah. Kamstra pulls from the influences of Native American petroglyphs as well as uranium mining to craft extended techniques that will be engaging for the audience. Throughout the work the performer is asked to glissando on a drum while rolling on a suspended cymbal, execute pitch bends while striking glockenspiel bars placed on the lowest timpano, pouring a bowl of grains such as lentils into a frame drum, and maneuvering quick shifting between drums in several of the rapid passages.
One of the notable challenges will be in the “jagged theme,” a recurring sixteenth-note-triplet motif inspired by the landscape. While the theme is fast, the melody can be easily overpowered by the fast playing and will require care by the performer. Other notable obstacles will be the maneuvering of implements on and off the drum in a timely fashion without extraneous noise, and balancing the melody between the glockenspiel bars and the other drums.
This work is beautifully engraved and contains page turns in favorable locations. While “Temple Mountain” would be enjoyable and a challenge for most performers, given its length and the extended techniques, it is best suited for a recital setting and would be appropriate for college or advanced high school players. Congratulations to Darin Kamstra on this new work!
—Quintin Mallette
Percussive Notes
Vol. 62, No. 4, August 2024
Inspired by the topography and history of Temple Mountain, Utah, Temple Mountain by Darin Kamstra is an exciting work for the experienced timpani soloist requiring extended techniques to bring out the mystique of rich Native American traditions as displayed in petroglyphs near the mountain.
The piece is written for five timpani and also requires four glockenspiel bars (written pitches G-sharp 3, C-sharp 4, D4, and E4), a suspended cymbal, frame drum (12” or larger), and a bowl of grain to create a variety of textures.
Use of this product is governed by the license terms outlined here.
5 Timpani
Glockenspiel bars — written pitches G#3, C#4, D4, E4 (may substitute with crotales)
Suspended cymbal
Frame drum (12” or larger recommended)
Bowl of grain (such as dried lentils)
It is difficult to find timpani solos that are musically interesting without being overly virtuosic, prohibitively esoteric, or repeating the same pieces over and over. This new work by Darin Kamstra will provide a welcome challenge while also being unique enough to maintain the interest of the performer and audiences.
“Temple Mountain” is an 8-minute work for timpani inspired by the topography and history of Temple Mountain, Utah. Kamstra pulls from the influences of Native American petroglyphs as well as uranium mining to craft extended techniques that will be engaging for the audience. Throughout the work the performer is asked to glissando on a drum while rolling on a suspended cymbal, execute pitch bends while striking glockenspiel bars placed on the lowest timpano, pouring a bowl of grains such as lentils into a frame drum, and maneuvering quick shifting between drums in several of the rapid passages.
One of the notable challenges will be in the “jagged theme,” a recurring sixteenth-note-triplet motif inspired by the landscape. While the theme is fast, the melody can be easily overpowered by the fast playing and will require care by the performer. Other notable obstacles will be the maneuvering of implements on and off the drum in a timely fashion without extraneous noise, and balancing the melody between the glockenspiel bars and the other drums.
This work is beautifully engraved and contains page turns in favorable locations. While “Temple Mountain” would be enjoyable and a challenge for most performers, given its length and the extended techniques, it is best suited for a recital setting and would be appropriate for college or advanced high school players. Congratulations to Darin Kamstra on this new work!
—Quintin Mallette
Percussive Notes
Vol. 62, No. 4, August 2024
