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Time’s Arc is Anthony DiSanza’s second concerto for darabukka. Premiered at the Percussive Arts Society International Convention in 2013, DiSanza uses a wide range of tempos and styles, driven by a colorful instrumentation. Suggestions for substitutions are included in cases where some of the less common instruments are unavailable.
The musical content of Time’s Arc is based on Middle Eastern Iqa’at (rhythmic cycles), each in a different time signature and each having unique characteristics. While there is a significant amount of specifically-composed material for the soloist, this piece provides extensive opportunities for improvisation.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
* The “timbrack” is comprised of the following small instruments laid out in the configuration of a chromatic keyboard to form one multipercussion instrument. See performance notes for more specific information.
“Time’s Arc” is a virtuosic, tour-de-force concerto for darabukka and percussion trio. Composed in arch form, the piece takes listeners through three rhythmic cycles common in Middle Eastern music: Karsilama, in 9/8, Maqsum, in 4/4, and Zaar, in 2/4. An alap, or introduction, occurs at the opening of the piece, and a brief 6/8 section, not based on any traditional rhythmic cycles, falls squarely in the middle. In each section, the soloist can show knowledge of traditional darabukka playing techniques and rhythms as well as improvisatory skills. Throughout the piece, there is a mixture of written darabukka parts (some designed to be played as written while others function as skeleton patterns) and improvisatory slashes, allowing the performer freedom within the rhythmic cycle of each section. Mastery of traditional sounds (doum, tek/ka, slap, and puk), as well as strong improvisatory training, is required to perform the work. In addition, the soloist must possess solid slide-whistle chops, as the alap section requires several precise melodic gestures in unison with pitched percussion.
The ensemble parts are well-written, interesting, and require a level of ability that would be suitable for advanced undergraduates or graduate students. There are several specialty instruments (see above list) requiring the ensemble members to have extensive skills in hand percussion. Although the instrumentation list is vast, Anthony Disanza provides instrument pictures, substitutions, and clear setup diagrams for many of the more difficult-to-find instruments or unusual setups. This will aid university programs greatly in programming this work.
“Time’s Arc” is a refreshing addition to the “concerto with percussion ensemble” repertoire, and greatly adds to the composed repertoire for darabukka. Kudos to Dr. DiSanza for such an inventive, exciting piece!
—Justin Alexander
Percussive Notes
Vol. 56, No. 1, March 2018
Time’s Arc is Anthony DiSanza’s second concerto for darabukka. Premiered at the Percussive Arts Society International Convention in 2013, DiSanza uses a wide range of tempos and styles, driven by a colorful instrumentation. Suggestions for substitutions are included in cases where some of the less common instruments are unavailable.
The musical content of Time’s Arc is based on Middle Eastern Iqa’at (rhythmic cycles), each in a different time signature and each having unique characteristics. While there is a significant amount of specifically-composed material for the soloist, this piece provides extensive opportunities for improvisation.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
* The “timbrack” is comprised of the following small instruments laid out in the configuration of a chromatic keyboard to form one multipercussion instrument. See performance notes for more specific information.
“Time’s Arc” is a virtuosic, tour-de-force concerto for darabukka and percussion trio. Composed in arch form, the piece takes listeners through three rhythmic cycles common in Middle Eastern music: Karsilama, in 9/8, Maqsum, in 4/4, and Zaar, in 2/4. An alap, or introduction, occurs at the opening of the piece, and a brief 6/8 section, not based on any traditional rhythmic cycles, falls squarely in the middle. In each section, the soloist can show knowledge of traditional darabukka playing techniques and rhythms as well as improvisatory skills. Throughout the piece, there is a mixture of written darabukka parts (some designed to be played as written while others function as skeleton patterns) and improvisatory slashes, allowing the performer freedom within the rhythmic cycle of each section. Mastery of traditional sounds (doum, tek/ka, slap, and puk), as well as strong improvisatory training, is required to perform the work. In addition, the soloist must possess solid slide-whistle chops, as the alap section requires several precise melodic gestures in unison with pitched percussion.
The ensemble parts are well-written, interesting, and require a level of ability that would be suitable for advanced undergraduates or graduate students. There are several specialty instruments (see above list) requiring the ensemble members to have extensive skills in hand percussion. Although the instrumentation list is vast, Anthony Disanza provides instrument pictures, substitutions, and clear setup diagrams for many of the more difficult-to-find instruments or unusual setups. This will aid university programs greatly in programming this work.
“Time’s Arc” is a refreshing addition to the “concerto with percussion ensemble” repertoire, and greatly adds to the composed repertoire for darabukka. Kudos to Dr. DiSanza for such an inventive, exciting piece!
—Justin Alexander
Percussive Notes
Vol. 56, No. 1, March 2018
