Name: Meanwhile in a Parallel Universe Redux (Jim Casella) by Tapspace in stuff
Duration: 8 min 40 s
Description: Sheet music available from Tapspace at http://www.tapspace.com.

stuff

Composed by Clifton Taylor for solo marimba with percussion ensemble. Solo performed by Jason Baker, percussion ensemble audio electronically rendered by Tapspace Publications.

Concertpiece For Marimba and Percussion Ensemble

The River is a groove-oriented piece that depicts a trip down the chilly, clear water, and waterfalls, of the Ammonoosuc River.

The River (by Seth Adams)

Clean and beautiful, with creative use of instrumentation in the accompanying ensemble, this solo makes excellent use of changing meters. For more info, visit Tapspace at http://www.tapspace.com

Cold Light (by Benjamin Finley)

Sheet music available from Tapspace at http://www.tapspace.com.

Meanwhile in a Parallel Universe Redux (Jim Casella)

Some Things - Mvt. 3 (Eric Willie)

Compound Autonomy builds its character from a variety of independent patterns. Written in the meter of 7/8, a primary ostinato comprised of two pitches repeated in a pattern of 4+3 begins the piece. This ostinato permeates the entire work as overlapping and intermingling lines get introduced little by little. At times, a hi-hat rhythm gives the illusion of 4/4 time...but it is only an illusion. Opposing (or autonomous) elements break the barrier of the typical barline as they blend (or compound) together, occasionally landing on a common downbeat but always providing a churning and weaving fabric upon which the main melodic material can be framed.

Written for a larger ensemble (15 players, or 17 if marimba parts can be doubled), groove, balance, and strong individual and ensemble timing skills are essential. Mathematic, complex, and mysteriously beautiful, Compound Autonomy is sure to take your audiences to new sonic landscapes.

Sheet music is availablt from http://www.tapspace.com

Compound Autonomy (Jim Casella)

Cop Drama is an homage to the groovy, retro sounds of classic American TV cop shows such as "S.W.A.T," "The Mod Squad," and "The Streets of San Francisco." With a large ensemble of colorful sounds and stylized interpretation, Cop Drama is an enjoyable piece for medium to advanced percussion ensembles.

A genre piece through and through, the rhythm section of guitar, keyboard, bass guitar, and drumset is the stylistic glue that keeps the mood intact. Combining the sounds of funky 70's cop rock, mysterious noir jazz, and modern themes in multiple meters, Cop Drama will provide some fun and entertainment during percussion ensemble concerts or indoor concert competitions.

Sheet music available from http://www.tapspace.com

Cop Drama (Jim Casella)

UFO Tofu is a popular Béla Fleck tune adapted for modern percussion ensemble. At the bright tempo of 225 beats per minute, the piece has an upbeat, cut-time feel that weaves in and out of some advanced meter changes. Many of the mallet orchestrations will require a solid grasp of 4-mallet independence concepts.

This arrangement first premiered at the DCI Individual & Ensemble Competition by the Santa Clara Vanguard Percussion Ensemble. The exuberance of the piece naturally gives it audience appeal and would make for a perfect encore piece at the end of a concert.


UFO Tofu (Fleck; arr. Tom Gierke)

The title It's in 4 comes in the form of an answer to a question that was posed during a parade in which this cadence was utilized to "coordinate" the footsteps of the performers. In this case, the performers were the members of the Santa Clara Vanguard, the questioner was an SCV staffer (who shall not be named), and the "questionee" was drumline instructor Murray Gusseck. The dialog went something like this: "That sounds like $&#. What $*%*#@^ meter is that in??"

Gusseck's answer became the new name for the cadence. And now It's in 4 has been refurbished and shined up with new life for your listening and downloading pleasure. Clocking in at over two minutes, this behemoth has some old school and some new school mixed together that would challenge anyone. The piece has been tweaked for increased playability and less ticks, so don't be afraid to dive in and start swimming.


It's in 4 (Murray Gusseck)

"POOF! You're loose!" was what Scott Johnson used to say to the members of SCV's 1992 drumline when they complained about needing to warm up. This old-school 60-second warmup was then marching member Murray Gusseck's tip of the aussie to Scott and the gang. Don't let the phrase "old-school" fool you though...POOF! runs the rudimental gamut in short order, so have your chops at the ready!

POOF! (Murray Gusseck)

The word "scintilla" was originally Latin for "spark." It is currently defined on dictionary.com as a minute amount; hint, trace, or particle. Newcomer Andrew Ziehm's Scintilla for marching battery ensemble has a hint of some spark, alright…lots of it. The phrase, "It's all in the details" seems apropos when listening to this sophisticated work by a very young composer.

The piece effortlessly mixes 6/8, 4/4, and 7/8 and keeps dancing the whole time. Particularly scintillating bits are during the 6/8 sections where the interplay between snares, tenors, basses, AND cymbals create not so much a theme as a vibe. Very cool stuff!


Scintilla (Andrew Ziehm)

Josh Brickey raises the battery etude bar a couple notches higher with Seven Is Heaven. Brickey masterfully weaves in and out of 7/8 time in a way that is at once both complicated and groovy. Performers must master both density and dynamics in order to get a grip on the piece. From start to finish, you'll get more than your fill of notes with this one…and a healthier understanding of odd time signatures to boot. Kudos Josh!


Seven Is Heaven (Josh Brickey)

Champion snare drummer Jeff Queen serves up a juicy plate of "get some" with this new parking lot jam for battery entitled Uncle Ted. Performers will have all aspects of their playing challenged--dynamics, density, and rhythmic integrity. Audiences will have their minds blown. Written in the spirit of early 90's warmups (only in 7/8 this time!), the piece goes from single-hand sections to chop-busting hybrid rudiment phrases the whole family can enjoy…especially Uncle Ted! Those swung 16ths are for you buddy!

Meanwhile in a Parallel Universe Redux (Jim Casella)

Tapspace

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