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Eight on 3 and Nine on 2 is a multipercussion duet like no other. Written for eight pitched tom toms, 2 rototoms, 2 bongos, and a bass drum, this piece tests percussionists' abilities to split rhythms. Two players perform the piece facing each other, sharing instruments just as they share in playing almost every rhythm in the piece. The listener is engaged aurally and visually as both performers sound like one in an exciting and captivating percussive showcase.
Written in 2007 for George Clements' senior recital at the Eastman School of Music, the piece's unique name comes from unique experience. Robert Marino played 3rd bass drum for the Cadets Drum and Bugle Corps eighth DCI World Championship in 2000, and George played 2nd bass drum in the Cadets for their ninth DCI World Championship in 2005. The piece was written with the goal of combining drum corps elements into a formal recital piece that would challenge any percussionist, regardless of his or her level of experience.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
Performed by Robert Marino and George Clements.
For those bewitched by the technocracy of modern drum corps, this is the composition you have been waiting for. "The piece was written with the goal of combining drum corps elements into a formal recital piece that would challenge any percussionist, regardless of his or her level of experience." This statement from the score epitomes the technocratic impulse that derived this dexterous spectacle of a composition. While it is easy to be shocked and awed by a successful technical delivery of this work, it is important to look past the spectacular artifice and see the aesthetic destitution and machismo that constitute this one-dimensional work.
Composed in 2007, this six-and-a-half minute duet is a fast and furious fixation on hocket, or "split rhythms" in the dialect. Beyond demonstrating virtuosic technical ability within a limited rhythmic vocabulary, the work requires extensive ensemble communication for successful execution and the economical use of shared instruments.
The publication includes program notes and extensive performance notes in the score as well as an instrument list, notation key, and setup diagram. Parts are available on the included CD that also contains a video recording, albeit a student recital, of the work.
–Ron Coulter
Percussive Notes
Vol. 50, No. 4, July 2012
Eight on 3 and Nine on 2 is a multipercussion duet like no other. Written for eight pitched tom toms, 2 rototoms, 2 bongos, and a bass drum, this piece tests percussionists' abilities to split rhythms. Two players perform the piece facing each other, sharing instruments just as they share in playing almost every rhythm in the piece. The listener is engaged aurally and visually as both performers sound like one in an exciting and captivating percussive showcase.
Written in 2007 for George Clements' senior recital at the Eastman School of Music, the piece's unique name comes from unique experience. Robert Marino played 3rd bass drum for the Cadets Drum and Bugle Corps eighth DCI World Championship in 2000, and George played 2nd bass drum in the Cadets for their ninth DCI World Championship in 2005. The piece was written with the goal of combining drum corps elements into a formal recital piece that would challenge any percussionist, regardless of his or her level of experience.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
Performed by Robert Marino and George Clements.
For those bewitched by the technocracy of modern drum corps, this is the composition you have been waiting for. "The piece was written with the goal of combining drum corps elements into a formal recital piece that would challenge any percussionist, regardless of his or her level of experience." This statement from the score epitomes the technocratic impulse that derived this dexterous spectacle of a composition. While it is easy to be shocked and awed by a successful technical delivery of this work, it is important to look past the spectacular artifice and see the aesthetic destitution and machismo that constitute this one-dimensional work.
Composed in 2007, this six-and-a-half minute duet is a fast and furious fixation on hocket, or "split rhythms" in the dialect. Beyond demonstrating virtuosic technical ability within a limited rhythmic vocabulary, the work requires extensive ensemble communication for successful execution and the economical use of shared instruments.
The publication includes program notes and extensive performance notes in the score as well as an instrument list, notation key, and setup diagram. Parts are available on the included CD that also contains a video recording, albeit a student recital, of the work.
–Ron Coulter
Percussive Notes
Vol. 50, No. 4, July 2012
