Bell Patterns was written in 2017 for Sandbox Percussion. Each player repeats a different rhythmic cell based on the numbers 2, 3, 4, or 5. The resulting composite rhythm creates a kaleidoscopic effect as the different parts weave in and out of one another. The piece ends when all the rhythmic cells loop back around to their starting place. This is a live recording from the String Theory Concert Series on October 23, 2018.

Bell Patterns

A Part, Apart was written in 2015 for Sandbox Percussion. I wanted to write a piece that was intense, and that could showcase the rhythmic complexities a percussion quartet is able to achieve. All the rhythmic ideas in this piece are derived from a single simple rhythmic cell. The material then gets spun out and contorted in many different ways to achieve a dense hocketed composite rhythm. This recording is from the live performance at Verboten in Brooklyn on January 29, 2016.

A Part, Apart

Chatter was the first piece I ever wrote for Sandbox Percussion. It was composed in 2014. While writing this piece I was thinking about how "chatter" can be a word to describe two different kinds of sounds. One can be the way it sounds when fast rhythms are played together to create a dense texture. The second is the sound of many people talking all at once, a sound we are all familiar with. Both of these sounds have found their way into this piece for percussion quartet.

Chatter

I arranged this movement from the F Major keyboard concerto by J.S. Bach for a performance at the Cosmos Club in Washington D.C. This is a live recording from the String Theory Concert Series on October 23, 2018.

Piano Concerto in F Major, BWV 1056 II. Largo by J.S. Bach (for percussion quartet)

Point Reyes was originally a saxophone sextet by David Crowell. I arranged it in 2014 for two marimbas and 4 percussionists. The world premiere was given on November 18, 2014 in Brooklyn, NY.

Victor Caccese

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