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Passages (Download)

for multipercussion duet
Level: Medium
Duration: 03:45
Personnel: 2 players
State Lists: Florida
Release Date: 2021
Product ID : TSPCD21-006DL
Price: $26.00
Item #: TSPCD21-006DL

Formats Available:


Description

With Passages, Alan Keown aims to develop the players’ communication skills. The whole piece is built around a single rhythmic motif, first presented in the opening phrase. This motif undergoes many variations, often exploring imitation, hocketing, and rhythmic manipulation. Communication is aided by a setup which faces the players towards each other. This duet is ideal recital or contest material for intermediate percussionists!

Use of this product is governed by the license terms outlined here.

Instrumentation

  • bongos (2) — shared
  • 2 congas (high and low)
  • 2 toms (high and low)
  • 2 semi-resonant metals (high and low)*
*i.e. brake drum or similar

Reviews

One of the more visually impressive feats a pair of percussionists can display is splitting their rhythms. We see it in marching bass drums, as well as in a handful of works by Aurél Holló, among others. With Alan Keown’s “Passages,” students can be introduced to this technique while learning a short and fun duet.

Keown uses a couple of compositional devices in this work. In the first portion, when the players are not playing in unison, they are imitating each other. This is done in such a way that a melody from the two metals is almost discernible through the drum-centric texture. Much of the rest of the work is focused on rhythmic interplay and splitting rhythms. This begins with eighth notes but then quickly, yet organically, advances to splitting sets of sixteenth notes. As a change of pace, Keown then inserts a short contrary section based in triplets, which begins in the spirit of Ravel’s “Bolero,” segues to trading sets of triplets, then ends with playing the gestures in unison. The last section utilizes only the duple rhythms of the beginning and is completely in unison.

In terms of drumming techniques, the work requires both players to agree on stickings. Throughout the middle section with the sixteenth-note interplay, Keown writes in a suggested sticking that almost entirely consists of paradiddles or alternating doubles. Along with the splits, seeing these doubles played consistently between the two players will be visually and audibly impressive.

“Passages” is a fun piece that can introduce or strengthen young players’ ability to split rhythms as well as clean their double strokes. It is best suited for high-school students, although anyone who enjoys splitting pairs, sets, or any groupings of sixteenth notes will enjoy performing it.

—Kyle Cherwinski
Percussive Notes
Vol. 60, No. 2, April 2022

Description

With Passages, Alan Keown aims to develop the players’ communication skills. The whole piece is built around a single rhythmic motif, first presented in the opening phrase. This motif undergoes many variations, often exploring imitation, hocketing, and rhythmic manipulation. Communication is aided by a setup which faces the players towards each other. This duet is ideal recital or contest material for intermediate percussionists!

Use of this product is governed by the license terms outlined here.

Instrumentation

  • bongos (2) — shared
  • 2 congas (high and low)
  • 2 toms (high and low)
  • 2 semi-resonant metals (high and low)*
*i.e. brake drum or similar

Reviews

One of the more visually impressive feats a pair of percussionists can display is splitting their rhythms. We see it in marching bass drums, as well as in a handful of works by Aurél Holló, among others. With Alan Keown’s “Passages,” students can be introduced to this technique while learning a short and fun duet.

Keown uses a couple of compositional devices in this work. In the first portion, when the players are not playing in unison, they are imitating each other. This is done in such a way that a melody from the two metals is almost discernible through the drum-centric texture. Much of the rest of the work is focused on rhythmic interplay and splitting rhythms. This begins with eighth notes but then quickly, yet organically, advances to splitting sets of sixteenth notes. As a change of pace, Keown then inserts a short contrary section based in triplets, which begins in the spirit of Ravel’s “Bolero,” segues to trading sets of triplets, then ends with playing the gestures in unison. The last section utilizes only the duple rhythms of the beginning and is completely in unison.

In terms of drumming techniques, the work requires both players to agree on stickings. Throughout the middle section with the sixteenth-note interplay, Keown writes in a suggested sticking that almost entirely consists of paradiddles or alternating doubles. Along with the splits, seeing these doubles played consistently between the two players will be visually and audibly impressive.

“Passages” is a fun piece that can introduce or strengthen young players’ ability to split rhythms as well as clean their double strokes. It is best suited for high-school students, although anyone who enjoys splitting pairs, sets, or any groupings of sixteenth notes will enjoy performing it.

—Kyle Cherwinski
Percussive Notes
Vol. 60, No. 2, April 2022


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