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Stretched, warped, distorted, de-tuned, and mangled. Such was the fate of the recordings composer Pat Jacobs made using only a snare drum in order to create the fresh and energetic soundscape that complements the solo snare drum in this unique piece. Listeners will surely enjoy the high-energy result of the interplay between the soloist and soundscape’s echoing, mocking, and battling alter ego. Medium-advanced in level, this powerful showpiece won first place in the Percussive Arts Society 40th Annual Composition Contest.
Alter Ego is provided as a professionally bound folio and includes audio files with both stereo and mono methods of implementing soundscape and click track.
Due to the widespread use of such music software programs as Garage Band, Logic Pro, and Audacity, to name but a few, the concept of playing a piece with an “audio soundscape” isn’t all that original. It’s when the soundscape complements the composition in a very unique and entertaining way that the value of such technology is appreciated. Pat Jacobs opens “Alter Ego” with a repeated groove in 7/4, performed by the CD. Gradually, the performer “takes” a few notes at a time, until the groove is being played by the performer in its entirety.
The middle of the composition explores a host of sounds that are possible from the snare drum, including echo effects, playing the snares with a guitar pick, cross sticking, hand dampening, and playing on the rim of the drum. During the last section, the soundscape gradually steals the original groove back from the performer in much the same fashion as the opening, only this time, the “alter ego” (i.e., the soundscape) walks away with the groove!
All notation, sticking, and directional suggestions are written clearly and are easy to interpret, including sections of playing at somewhat random intervals of time against the “steady” pulse of the recording. This work will require advanced snare drum technique, but will make a great performance piece for a college or professional recital.
—Marcus D. Reddick
Percussive Notes
Vol. 53, No. 1, March 2015
Stretched, warped, distorted, de-tuned, and mangled. Such was the fate of the recordings composer Pat Jacobs made using only a snare drum in order to create the fresh and energetic soundscape that complements the solo snare drum in this unique piece. Listeners will surely enjoy the high-energy result of the interplay between the soloist and soundscape’s echoing, mocking, and battling alter ego. Medium-advanced in level, this powerful showpiece won first place in the Percussive Arts Society 40th Annual Composition Contest.
Alter Ego is provided as a professionally bound folio and includes audio files with both stereo and mono methods of implementing soundscape and click track.
Due to the widespread use of such music software programs as Garage Band, Logic Pro, and Audacity, to name but a few, the concept of playing a piece with an “audio soundscape” isn’t all that original. It’s when the soundscape complements the composition in a very unique and entertaining way that the value of such technology is appreciated. Pat Jacobs opens “Alter Ego” with a repeated groove in 7/4, performed by the CD. Gradually, the performer “takes” a few notes at a time, until the groove is being played by the performer in its entirety.
The middle of the composition explores a host of sounds that are possible from the snare drum, including echo effects, playing the snares with a guitar pick, cross sticking, hand dampening, and playing on the rim of the drum. During the last section, the soundscape gradually steals the original groove back from the performer in much the same fashion as the opening, only this time, the “alter ego” (i.e., the soundscape) walks away with the groove!
All notation, sticking, and directional suggestions are written clearly and are easy to interpret, including sections of playing at somewhat random intervals of time against the “steady” pulse of the recording. This work will require advanced snare drum technique, but will make a great performance piece for a college or professional recital.
—Marcus D. Reddick
Percussive Notes
Vol. 53, No. 1, March 2015
