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Shane Mulligan’s solo for hand percussion and electronics entitled Nightscape, features a collection of African instruments like as udu drums, shakers, wooden guiros, kalimba, and djembe. In traditional African drumming, each of these instruments would be played by a different individual and each player would have their own distinct repeated pattern. In Nightscape, however, the performer sequences each pattern with a loop pedal, creating a sonic backdrop for extended, soloistic segments on the udu drums and djembe. With infectious groove layers, a rich sonic palette, and popular looping technology, this is the perfect solo for the 21st century percussive artist.
Nightscape comes as a full, bound score with a color cover.
• Large udu
• Small udu
• Djembe
• 2 egg shakers
• Wooden agogo guiros (5 pitches)
• Kalimba
• Loop station with at least 3-track looping capability (i.e., Boss RC-300)
• 2 microphones
• Audio interface or mixer
• 2 speakers
Looping is becoming an increasingly popular addition to percussion concerts, and with more and more companies making equipment that can accommodate the specific miking and looping needs of percussionists, the possibilities are endless. “Nightscape” makes good use of the technology by quickly setting up several looped ostinato patterns that allow the soloist to play both notated and improvised virtuosic material over a steady accompaniment.
The notations and instructions for both playing and looping are very clear, with suggested equipment and setup diagrams. The piece requires the player to have a comfortable facility with various hand-percussion instruments, but it is written in such a way that someone without much knowledge or prior experience with electronics could perform the piece.
At around five minutes in length, “Nightscape” is long enough to allow for development of musical ideas without the audience getting tired of the original loops. The rhythms are groovy without being too heavy, and the looped pat- terns are tasteful and provide a solid backdrop for the more “melodic” sections without becoming too dense.
For a hand drummer looking to experiment with looping, or even someone wanting a well-rounded hand-percussion piece that can be played solo, “Nightscape” would be a good choice, and would be accessible and impressive to any audience.
—Marilyn K. Clark Silva
Percussive Notes
Vol. 58, No. 2, April 2020
Shane Mulligan’s solo for hand percussion and electronics entitled Nightscape, features a collection of African instruments like as udu drums, shakers, wooden guiros, kalimba, and djembe. In traditional African drumming, each of these instruments would be played by a different individual and each player would have their own distinct repeated pattern. In Nightscape, however, the performer sequences each pattern with a loop pedal, creating a sonic backdrop for extended, soloistic segments on the udu drums and djembe. With infectious groove layers, a rich sonic palette, and popular looping technology, this is the perfect solo for the 21st century percussive artist.
Nightscape comes as a full, bound score with a color cover.
• Large udu
• Small udu
• Djembe
• 2 egg shakers
• Wooden agogo guiros (5 pitches)
• Kalimba
• Loop station with at least 3-track looping capability (i.e., Boss RC-300)
• 2 microphones
• Audio interface or mixer
• 2 speakers
Looping is becoming an increasingly popular addition to percussion concerts, and with more and more companies making equipment that can accommodate the specific miking and looping needs of percussionists, the possibilities are endless. “Nightscape” makes good use of the technology by quickly setting up several looped ostinato patterns that allow the soloist to play both notated and improvised virtuosic material over a steady accompaniment.
The notations and instructions for both playing and looping are very clear, with suggested equipment and setup diagrams. The piece requires the player to have a comfortable facility with various hand-percussion instruments, but it is written in such a way that someone without much knowledge or prior experience with electronics could perform the piece.
At around five minutes in length, “Nightscape” is long enough to allow for development of musical ideas without the audience getting tired of the original loops. The rhythms are groovy without being too heavy, and the looped pat- terns are tasteful and provide a solid backdrop for the more “melodic” sections without becoming too dense.
For a hand drummer looking to experiment with looping, or even someone wanting a well-rounded hand-percussion piece that can be played solo, “Nightscape” would be a good choice, and would be accessible and impressive to any audience.
—Marilyn K. Clark Silva
Percussive Notes
Vol. 58, No. 2, April 2020
