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David Reeves' three-movement work for percussion ensemble and rhythm section will challenge its players, but all will be satisfied by the musical result. The atmospheric opening of the first movement, Begin the Night, expands like the night sky to showcase all manner of rhythms and timbres before settling into a groove. Like the best conversations, Quiet Conversations is a study in balancing the lead and counterlines. The closing movement, Until Morning Sings the Night to Sleep, is a salsa that will have everyone up and dancing until long after sunset.
Use of this product is governed by the license terms outlined here.
This multi-movement composition beautifully combines the energy of Afro-Cuban music with contemporary percussion ensemble writing in a way that grooves while allowing for a variety of expressive moments.
Movement I, “Begin the Night, ” introduces a mysterious mood highlighting counterpoint between the two vibraphone voices. The movement features the drumset and congas trading solo licks as well as a vibraphone soloist. Movement II, “Quiet Conversations, ” is predominantly in 5/8 time. It begins with two vibraphones and adds layers as the piece develops into a thick polyphonic texture. The layering of contrasting rhythmic material requires the players to have a strong grasp of the odd-time feel. Movement III, “Until Morning Sings the Night to Sleep, ” is a high-energy salsa tune that grooves hard and features vibe, marimba, and percussion solos. This movement really cooks and is worth the purchase price alone!
At nine minutes and twenty seconds, this piece would be a big commitment for many ensembles. Although it is written in three movements, the first and third movement, in particular, could be performed independently. Much of the work could be performed without a conductor; however, the composer recommends using one for those instances when timekeeping does not occur in the percussion parts. This piece would be a good choice for advanced players that have limited experience with Afro-Cuban music. Because of the attention to detail in rhythmic notation and idiomatic devices, students will sound more versed and “authentic” in the style than they may actually be.
—John Willmarth
Percussive Notes
Vol. 52, No. 2, March 2014
David Reeves' three-movement work for percussion ensemble and rhythm section will challenge its players, but all will be satisfied by the musical result. The atmospheric opening of the first movement, Begin the Night, expands like the night sky to showcase all manner of rhythms and timbres before settling into a groove. Like the best conversations, Quiet Conversations is a study in balancing the lead and counterlines. The closing movement, Until Morning Sings the Night to Sleep, is a salsa that will have everyone up and dancing until long after sunset.
Use of this product is governed by the license terms outlined here.
This multi-movement composition beautifully combines the energy of Afro-Cuban music with contemporary percussion ensemble writing in a way that grooves while allowing for a variety of expressive moments.
Movement I, “Begin the Night, ” introduces a mysterious mood highlighting counterpoint between the two vibraphone voices. The movement features the drumset and congas trading solo licks as well as a vibraphone soloist. Movement II, “Quiet Conversations, ” is predominantly in 5/8 time. It begins with two vibraphones and adds layers as the piece develops into a thick polyphonic texture. The layering of contrasting rhythmic material requires the players to have a strong grasp of the odd-time feel. Movement III, “Until Morning Sings the Night to Sleep, ” is a high-energy salsa tune that grooves hard and features vibe, marimba, and percussion solos. This movement really cooks and is worth the purchase price alone!
At nine minutes and twenty seconds, this piece would be a big commitment for many ensembles. Although it is written in three movements, the first and third movement, in particular, could be performed independently. Much of the work could be performed without a conductor; however, the composer recommends using one for those instances when timekeeping does not occur in the percussion parts. This piece would be a good choice for advanced players that have limited experience with Afro-Cuban music. Because of the attention to detail in rhythmic notation and idiomatic devices, students will sound more versed and “authentic” in the style than they may actually be.
—John Willmarth
Percussive Notes
Vol. 52, No. 2, March 2014
