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Toucan Summer
Toucan Summer by Kirk J. Gay is an intermediate-level piece for steel pan ensemble written at a moderate tempo in a quasi-Latin style. It requires at least 6–7 players, but parts may be doubled as personnel and equipment allow. The bass pan part may be doubled on bass guitar, and a separate bass guitar part written in the appropriate range is provided.
Toucan Summer ships as a fully bound score and includes individual parts in PDF format for either printing or tablet viewing.
Tenor
Double tenors
Double seconds
Cello pans
Bass pans
Drumset
Bass guitar (optional)
“Toucan Summer,” Kirk Gay’s first original composition for steel band, is written in a very recognizable form. He uses two main themes that alternate, and since the melodies for both sections are quite singable and constructed in simple eight-bar phrases, it is easiest to refer to this piece using song terms. So, this review will refer to these themes as they would be in a pop song: the verse and the chorus.
As with most songs, each iteration of the chorus is almost verbatim. The verse, too, is almost the same both times it appears, which makes sense since a song would have different lyrics in the separate verses while the melodies and harmonies remain consistent. This will make it easy for students who play this piece to create their own lyrics, which will undoubtedly happen (kids will be kids). This is a compliment to the composer, because he wrote likable and singable melodies that lend themselves very well to having lyrics. They are rhythmically uncomplicated, mostly written in eighth notes, stay within a limited range, and utilize mostly stepwise motion. All these elements make the piece easy and fun to learn, and enjoyable to listen to by any audience.
The feature that gives this piece more of a contemporary feel is the “breakdown” section. The above-mentioned verse and chorus are written in a Latin style, everything based in duple rhythms with several syncopated gestures. After the second playing of the chorus, however, the style changes drastically. The drummer and the lead pan now play straight triplets, and the mode is quickly reestablished to the relative minor, giving a much more ominous character compared to the danceable style from before. A further contrast is the featuring of the double seconds and the triple cellos, who carry the melody. To get back to the original style, the composer does a great job of committing to the triplets and letting them build tension to the point where the re-arrival of the chorus is incredibly satisfying.
This will be a fun piece to play with any steel band. There are also opportunities for an expanded rhythm section, should necessity require. Besides the optional electric bass, it is entirely feasible to include other Latin percussion instruments, such as congas, guiro, claves, etc. There are several possibilities, and a lot of ways that a group can enjoy playing this work.
—Kyle Cherwinski
Percussive Notes
Vol. 62, No. 4, August 2024
Toucan Summer by Kirk J. Gay is an intermediate-level piece for steel pan ensemble written at a moderate tempo in a quasi-Latin style. It requires at least 6–7 players, but parts may be doubled as personnel and equipment allow. The bass pan part may be doubled on bass guitar, and a separate bass guitar part written in the appropriate range is provided.
Toucan Summer ships as a fully bound score and includes individual parts in PDF format for either printing or tablet viewing.
Tenor
Double tenors
Double seconds
Cello pans
Bass pans
Drumset
Bass guitar (optional)
“Toucan Summer,” Kirk Gay’s first original composition for steel band, is written in a very recognizable form. He uses two main themes that alternate, and since the melodies for both sections are quite singable and constructed in simple eight-bar phrases, it is easiest to refer to this piece using song terms. So, this review will refer to these themes as they would be in a pop song: the verse and the chorus.
As with most songs, each iteration of the chorus is almost verbatim. The verse, too, is almost the same both times it appears, which makes sense since a song would have different lyrics in the separate verses while the melodies and harmonies remain consistent. This will make it easy for students who play this piece to create their own lyrics, which will undoubtedly happen (kids will be kids). This is a compliment to the composer, because he wrote likable and singable melodies that lend themselves very well to having lyrics. They are rhythmically uncomplicated, mostly written in eighth notes, stay within a limited range, and utilize mostly stepwise motion. All these elements make the piece easy and fun to learn, and enjoyable to listen to by any audience.
The feature that gives this piece more of a contemporary feel is the “breakdown” section. The above-mentioned verse and chorus are written in a Latin style, everything based in duple rhythms with several syncopated gestures. After the second playing of the chorus, however, the style changes drastically. The drummer and the lead pan now play straight triplets, and the mode is quickly reestablished to the relative minor, giving a much more ominous character compared to the danceable style from before. A further contrast is the featuring of the double seconds and the triple cellos, who carry the melody. To get back to the original style, the composer does a great job of committing to the triplets and letting them build tension to the point where the re-arrival of the chorus is incredibly satisfying.
This will be a fun piece to play with any steel band. There are also opportunities for an expanded rhythm section, should necessity require. Besides the optional electric bass, it is entirely feasible to include other Latin percussion instruments, such as congas, guiro, claves, etc. There are several possibilities, and a lot of ways that a group can enjoy playing this work.
—Kyle Cherwinski
Percussive Notes
Vol. 62, No. 4, August 2024
