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Robert McClure’s Integrated Elements series aims to use sounds created by instruments, digital audio, and sounds made by the human voice or mouth to create an integrated sound world. Integrated Elements No. 2 - "Not a Haiku" is constructed in three large sections, breaking down into a five-part arch form. The ratio 5:7:5 devises the length of the three large sections as well as the metric scheme of 5/8, 7/8, and 5/8. Despite the 5-7-5 structure, McClure states that the piece was not inspired by the Japanese “haiku” form of poetry and is, as such, not a haiku.
The setup includes unpitched percussion instruments such as toms, mini timbales, kick drum, and wooden instruments, while the accompanying audio track contains a unique sound design via metallic percussion effects, reverse effects, static, and gongs. The piece also calls for a constructed wooden-headed tom which creates a singularly unique sound. Simple instructions are included on how to turn a regular tom into a wooden-headed drum.
This piece comes with a full, bound score and includes the full-quality audio file for the prerecorded sound, as well as an audio recording of a live performance to use as reference.
This 10-minute piece for multiple percussion and pre-recorded sound is the second in McClure’s “Integrated Elements” series. The instrumentation, which is divided into membranophones and woods, consists of four concert toms, pedal bass drum, two mini timbales (bongos can substitute), two woodblocks, log drum, and a wooden-headed tom (building instructions provided). For performances, these sounds are integrated with pre-recorded sounds of metals (gongs, cymbals, pipes), electronically produced sounds (static, pitches, clicks), and yells, hums, and pitches produced by a human voice.
While ratios of 5:7:5 exist throughout the music with regards to time signatures and section lengths, the composer states that it was not inspired by the Japanese form of poetry with the same syllabic structure, hence is it “not a haiku.”
The rhythmic phrases that open the work are excitingly fragmented and effectively reinforced with punctuations from the audio accompaniment. The middle section is sparse and pensive as it echoes and develops snippets of previous material, while the piece closes with a powerful and frenzied ending. A high level of musicality is required from a performer who has consistent timekeeping abilities and can effectively communicate lyricism on toms and articulate wooden instruments. This piece would be appropriate for a senior or graduate performer looking to round out a classical percussion recital with a bit of rock’n’roll mayhem.
–Joshua D. Smith
Percussive Notes
Vol. 48, No. 4, July 2010
Robert McClure’s Integrated Elements series aims to use sounds created by instruments, digital audio, and sounds made by the human voice or mouth to create an integrated sound world. Integrated Elements No. 2 - "Not a Haiku" is constructed in three large sections, breaking down into a five-part arch form. The ratio 5:7:5 devises the length of the three large sections as well as the metric scheme of 5/8, 7/8, and 5/8. Despite the 5-7-5 structure, McClure states that the piece was not inspired by the Japanese “haiku” form of poetry and is, as such, not a haiku.
The setup includes unpitched percussion instruments such as toms, mini timbales, kick drum, and wooden instruments, while the accompanying audio track contains a unique sound design via metallic percussion effects, reverse effects, static, and gongs. The piece also calls for a constructed wooden-headed tom which creates a singularly unique sound. Simple instructions are included on how to turn a regular tom into a wooden-headed drum.
This piece comes with a full, bound score and includes the full-quality audio file for the prerecorded sound, as well as an audio recording of a live performance to use as reference.
This 10-minute piece for multiple percussion and pre-recorded sound is the second in McClure’s “Integrated Elements” series. The instrumentation, which is divided into membranophones and woods, consists of four concert toms, pedal bass drum, two mini timbales (bongos can substitute), two woodblocks, log drum, and a wooden-headed tom (building instructions provided). For performances, these sounds are integrated with pre-recorded sounds of metals (gongs, cymbals, pipes), electronically produced sounds (static, pitches, clicks), and yells, hums, and pitches produced by a human voice.
While ratios of 5:7:5 exist throughout the music with regards to time signatures and section lengths, the composer states that it was not inspired by the Japanese form of poetry with the same syllabic structure, hence is it “not a haiku.”
The rhythmic phrases that open the work are excitingly fragmented and effectively reinforced with punctuations from the audio accompaniment. The middle section is sparse and pensive as it echoes and develops snippets of previous material, while the piece closes with a powerful and frenzied ending. A high level of musicality is required from a performer who has consistent timekeeping abilities and can effectively communicate lyricism on toms and articulate wooden instruments. This piece would be appropriate for a senior or graduate performer looking to round out a classical percussion recital with a bit of rock’n’roll mayhem.
–Joshua D. Smith
Percussive Notes
Vol. 48, No. 4, July 2010
