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Synergetic Simpatico is an exploration of the musical possibilities of two percussion instruments with two very different stereotypes in the percussion world. The drumset is often construed as a groove-oriented instrument, playing repeating patterns that create an ostinato for other instruments to play along to. The multiple-percussion setup is often looked at in a more contemporary view. The idea of putting together multiple percussion instruments played by one player has been embraced by the contemporary concert realm in the form of modern percussion ensemble pieces and solos, notably pioneered by Stravinsky’s L’Histoire du Soldat.
Composer John Max McFarland attempts to break these stereotypes by utilizing the drumset as a contemporary percussion instrument and showing off the multiple-percussion setup as a groove-oriented instrument. The piece begins with an explosive introduction leading into a more contemporary writing approach to the drumset. The second section contains a fugue-like passage featuring five voices that eventually play all at once. With a metric modulation to signify the end of the fugal section, the piece then picks up speed, driving until the end. This last section demonstrates the groove possibilities of the multiple-percussion setups.
The name of the piece is derived from the way each instrument assists the other in breaking out of their stereotypical mold. This is done through the playing of like instruments and the use of musical motives and phrasing throughout the piece.
For ambitious players, Synergetic Simpatico will offer a challenging and rewarding performance opportunity while providing audiences with an unforgettable experience of percussive artistry in its most intricate and modern form.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
This duet for drumset and multiple percussion seeks to break the stereotypical viewpoints in which each instrument tends to be utilized. The drumset is used as a contemporary, traditional percussion instrument, and the multiple percussion setup is used in a more groove-oriented way.
The instrumental configurations for each player are quite large. The standard six-piece drumset is augmented with a high set of octabons, timbales, high and low Jam Blocks, and a cowbell (all played with foot pedals), and four cymbals. The multiple setup includes bongos, hi, mid, and low Roto Toms, concert bass drum, piccolo snare drum, brake drums, cowbells, sizzle cymbal, splash cymbal, high and low log drums, mark tree, temple blocks, 13-inch hi-hats, China cymbal, and ride cymbal. Setup diagrams and notation guides are provided.
A recording of the piece and notes on performance are included with the score. This is a high-energy piece involving lots of odd meters (11/8, 17/16, 21/16, 6/4, and 13/16, all within the first nine bars), mixed meters, and some metric modulation. Each player is featured in soloistic passages with the other player accompanying. There are canonic sections that are very effective and complex unisons that are spectacular, often occurring unexpectedly. The conclusion builds to a fff unison that is a fitting ending to the work.
This is a very challenging duet that will require players well grounded in 21st century rhythmic devices. It would be an exciting addition to any percussion recital or percussion ensemble concert.
–Tom Morgan
Percussive Notes
Vol. 47, No.2, April 2009
Synergetic Simpatico is an exploration of the musical possibilities of two percussion instruments with two very different stereotypes in the percussion world. The drumset is often construed as a groove-oriented instrument, playing repeating patterns that create an ostinato for other instruments to play along to. The multiple-percussion setup is often looked at in a more contemporary view. The idea of putting together multiple percussion instruments played by one player has been embraced by the contemporary concert realm in the form of modern percussion ensemble pieces and solos, notably pioneered by Stravinsky’s L’Histoire du Soldat.
Composer John Max McFarland attempts to break these stereotypes by utilizing the drumset as a contemporary percussion instrument and showing off the multiple-percussion setup as a groove-oriented instrument. The piece begins with an explosive introduction leading into a more contemporary writing approach to the drumset. The second section contains a fugue-like passage featuring five voices that eventually play all at once. With a metric modulation to signify the end of the fugal section, the piece then picks up speed, driving until the end. This last section demonstrates the groove possibilities of the multiple-percussion setups.
The name of the piece is derived from the way each instrument assists the other in breaking out of their stereotypical mold. This is done through the playing of like instruments and the use of musical motives and phrasing throughout the piece.
For ambitious players, Synergetic Simpatico will offer a challenging and rewarding performance opportunity while providing audiences with an unforgettable experience of percussive artistry in its most intricate and modern form.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
This duet for drumset and multiple percussion seeks to break the stereotypical viewpoints in which each instrument tends to be utilized. The drumset is used as a contemporary, traditional percussion instrument, and the multiple percussion setup is used in a more groove-oriented way.
The instrumental configurations for each player are quite large. The standard six-piece drumset is augmented with a high set of octabons, timbales, high and low Jam Blocks, and a cowbell (all played with foot pedals), and four cymbals. The multiple setup includes bongos, hi, mid, and low Roto Toms, concert bass drum, piccolo snare drum, brake drums, cowbells, sizzle cymbal, splash cymbal, high and low log drums, mark tree, temple blocks, 13-inch hi-hats, China cymbal, and ride cymbal. Setup diagrams and notation guides are provided.
A recording of the piece and notes on performance are included with the score. This is a high-energy piece involving lots of odd meters (11/8, 17/16, 21/16, 6/4, and 13/16, all within the first nine bars), mixed meters, and some metric modulation. Each player is featured in soloistic passages with the other player accompanying. There are canonic sections that are very effective and complex unisons that are spectacular, often occurring unexpectedly. The conclusion builds to a fff unison that is a fitting ending to the work.
This is a very challenging duet that will require players well grounded in 21st century rhythmic devices. It would be an exciting addition to any percussion recital or percussion ensemble concert.
–Tom Morgan
Percussive Notes
Vol. 47, No.2, April 2009
