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Bateria
Bateria by Darin Kamstra for solo timpani is an ideal selection for any percussionist looking for something off the beaten path of timpani literature. Inspired by Brazilian samba batucada rhythms, the piece explores "call and response" patterns, surdo and repenique technique, and brush patterns employed by Brazilian drumset players. All in all, Bateria is a friendly and fun introduction to basic Brazilian rhythms and patterns and a great way to do something different with timpani.
This piece ships as a printed, professionally bound folio with a full-color cover.
Performed by Dr. Darin Kamstra
“Bateria” is a solo work for four timpani (23-, 26-, 29-, 32-inch) with an ossia part for a fifth drum (20-inch). Based on the music from samba schools of Brazil, the piece uses grooves and call/response patterns of samba batucada. Throughout the six-and-a-half-minute piece, the performer uses wood and soft mallets, brushes, and hands to emulate the sounds of the surdo and tamborim parts in the batucada. The score is clear, and the performance notes offer directions about the various performance techniques used in the solo.
The numerous tuning changes, which are clearly marked throughout the score, generally occur over an ostinato pattern. Only once in the piece does the performer have to change all the pitches. This happens near the end of the solo and requires a pause, which unfortunately takes away from the final restatement of the theme, especially since there are only about 16 measures of the piece remaining after this tuning.
The piece opens with a flourish on all the drums interspersed with offbeat accents and buzz strokes. This introduction material is reminiscent of the repinique and call/response sections in a bateria. The end of the first part transitions into a left-hand surdo part on the low drum with the right hand playing syncopated tamborim-like patterns on the upper drums. The piece changes color and groove with the use of different mallets and playing techniques. Later in the piece the brush is swept in a side-to-side motion on the top drum imitating the ganza pattern. If the performer does not wish to use the brush on the timpani during this section, the composer suggests using a tom-tom for the brush pattern. The complexity of the pattern increases in rhythmic density as the piece progresses and builds energy to the climax. After retuning all of the drums, the introduction material returns and finishes off with a loud sixteenth-note pattern crescendo to the end.
With the numerous tuning changes and rhythmic coordination between the hands, this piece requires a mature player. It is extremely enjoyable to listen to and would be an excellent addition to any college percussion recital.
–Dave Gerhart
Percussive Notes
Vol. 51, No. 3, May 2013
Bateria by Darin Kamstra for solo timpani is an ideal selection for any percussionist looking for something off the beaten path of timpani literature. Inspired by Brazilian samba batucada rhythms, the piece explores "call and response" patterns, surdo and repenique technique, and brush patterns employed by Brazilian drumset players. All in all, Bateria is a friendly and fun introduction to basic Brazilian rhythms and patterns and a great way to do something different with timpani.
This piece ships as a printed, professionally bound folio with a full-color cover.
Performed by Dr. Darin Kamstra
“Bateria” is a solo work for four timpani (23-, 26-, 29-, 32-inch) with an ossia part for a fifth drum (20-inch). Based on the music from samba schools of Brazil, the piece uses grooves and call/response patterns of samba batucada. Throughout the six-and-a-half-minute piece, the performer uses wood and soft mallets, brushes, and hands to emulate the sounds of the surdo and tamborim parts in the batucada. The score is clear, and the performance notes offer directions about the various performance techniques used in the solo.
The numerous tuning changes, which are clearly marked throughout the score, generally occur over an ostinato pattern. Only once in the piece does the performer have to change all the pitches. This happens near the end of the solo and requires a pause, which unfortunately takes away from the final restatement of the theme, especially since there are only about 16 measures of the piece remaining after this tuning.
The piece opens with a flourish on all the drums interspersed with offbeat accents and buzz strokes. This introduction material is reminiscent of the repinique and call/response sections in a bateria. The end of the first part transitions into a left-hand surdo part on the low drum with the right hand playing syncopated tamborim-like patterns on the upper drums. The piece changes color and groove with the use of different mallets and playing techniques. Later in the piece the brush is swept in a side-to-side motion on the top drum imitating the ganza pattern. If the performer does not wish to use the brush on the timpani during this section, the composer suggests using a tom-tom for the brush pattern. The complexity of the pattern increases in rhythmic density as the piece progresses and builds energy to the climax. After retuning all of the drums, the introduction material returns and finishes off with a loud sixteenth-note pattern crescendo to the end.
With the numerous tuning changes and rhythmic coordination between the hands, this piece requires a mature player. It is extremely enjoyable to listen to and would be an excellent addition to any college percussion recital.
–Dave Gerhart
Percussive Notes
Vol. 51, No. 3, May 2013
