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Taking its aesthetic cue from Taiko and Kyoto style drumming by using “floating” arm motions, Steven Wulff’s Taiko à la Tom-tom features four percussionists, each with a single tom. The musical material of the piece consists of quarter, eighth, and sixteenth-note motives which are passed around the ensemble. This gives the performers a perfect first-time exposure to chamber music, where they will develop their listening and responding skills.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
• 4 graduated concert toms
Steven Wulff’s Taiko a la Tom-Tom is a great addition to chamber literature for younger percussionists. It is intended for middle school students hwo have recently been introduced to sixteenth-note subdivisions, and it uses 3/4 as the time signature. Wulff indicates that the title refers more to the inspiration for the work rather than any specific rhythms, providing an outlet for students to explore the traditions of Taiko and Kyoto drumming. The bound score includes a CD with individual parts and audio recordings for reference.
The performance notes give detailed insight into the musical and logistical needs of the composition. A recommended ensemble configuration is included, as well as tuning recommendations for each of the drums. Wulff indicates that stickings for all players should be uniform so that the implied visual elements remain intact.
Taiko a la Tom-Tom offers a number of educational advantages. The balanced use of unison and independent figures promotes aural awareness and gives each player manageable yet soloistic features. There is a tremendous amount of dynamic contract, consisting mostly of tiered or staggered entrances that differ from player to player. While each player is only responsible for one instrument, all the parts utilize the head and rim regularly throughout the piece, requiring an additional level of coordination. I am very pleased to see a variety of notated articulations including staccato and tenuto markings, which can often be forgotten in repertoire for this level.
It is important to note that although the piece is appropriate for middle school percussionists, it requires four confident players who can play independently from their peers while maintaining there musical awareness. An excellent introduction into chamber playing, this two-minute composition would fit nicely into any music event or band concert.
–Danielle Moreau
Percussive Notes
Vol. 57, No. 2, November 2017
Taking its aesthetic cue from Taiko and Kyoto style drumming by using “floating” arm motions, Steven Wulff’s Taiko à la Tom-tom features four percussionists, each with a single tom. The musical material of the piece consists of quarter, eighth, and sixteenth-note motives which are passed around the ensemble. This gives the performers a perfect first-time exposure to chamber music, where they will develop their listening and responding skills.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
• 4 graduated concert toms
Steven Wulff’s Taiko a la Tom-Tom is a great addition to chamber literature for younger percussionists. It is intended for middle school students hwo have recently been introduced to sixteenth-note subdivisions, and it uses 3/4 as the time signature. Wulff indicates that the title refers more to the inspiration for the work rather than any specific rhythms, providing an outlet for students to explore the traditions of Taiko and Kyoto drumming. The bound score includes a CD with individual parts and audio recordings for reference.
The performance notes give detailed insight into the musical and logistical needs of the composition. A recommended ensemble configuration is included, as well as tuning recommendations for each of the drums. Wulff indicates that stickings for all players should be uniform so that the implied visual elements remain intact.
Taiko a la Tom-Tom offers a number of educational advantages. The balanced use of unison and independent figures promotes aural awareness and gives each player manageable yet soloistic features. There is a tremendous amount of dynamic contract, consisting mostly of tiered or staggered entrances that differ from player to player. While each player is only responsible for one instrument, all the parts utilize the head and rim regularly throughout the piece, requiring an additional level of coordination. I am very pleased to see a variety of notated articulations including staccato and tenuto markings, which can often be forgotten in repertoire for this level.
It is important to note that although the piece is appropriate for middle school percussionists, it requires four confident players who can play independently from their peers while maintaining there musical awareness. An excellent introduction into chamber playing, this two-minute composition would fit nicely into any music event or band concert.
–Danielle Moreau
Percussive Notes
Vol. 57, No. 2, November 2017
