Rule of Three, The

Admittedly, there is something special about the “rule of three.” For those unfamiliar with this literary device, it focuses very generally on the repetition or emphases of three things. The devices can be seen across poetry, novels, and religious texts, and in many ways are ubiquitous. In “The Rule of Three,” Clif Walker explores the contrapuntal possibilities of three percussion sextets, each focusing on one of three tone colors within the percussion soundscape: drums, woods, and/or metals. Given these parameters, my expectations were an experiment somewhere between drum corps and Ferneyhough. What Walker delivered was something much more reminiscent of a post-minimalist percussion orchestra á la Phillip Glass or John Adams.

In “The Rule of Three,” Walker writes a piece that is as technically and musically accessible as a percussion work for 20 players can be; while it has four marimba parts, they can be played on two 4-octave and two 4.3-octave marimbas; while it uses a truckload of percussion accessories, the most niche instruments are two Zil-Bels and a high octave of crotales.

The rhythms can largely be played by advanced middle-school percussionists, although given the independence required to play within an ensemble of this magnitude, it is probably most appropriate for high school or college ensembles. In short, this piece is a breath of fresh air; it is big and bold, and approachable for a wide variety of music programs with the number of percussionists to play it.

Sometimes, when a work is accessible, it can be difficult to rehearse, as you don’t want to over-rehearse the piece to the point of boredom. However, given the size of the orchestration, there are many layers of musical texture within and across the three sextets, leaving room to refine balance, blend, and articulations in a way that will challenge ensembles at all levels.

While “The Rule of Three” can be gaudy and in your face at moments, it is also subtle and spacious; it is the percussion orchestra piece I didn’t know I was missing, and I am grateful to have come across it. Whoever programs this is sure to have a show-stopping piece that could work great as a concert opener or closer!

—Quintin Mallette
Percussive Notes
Vol. 61, No. 1, February 2023