Constructive InterferenceConstructive Interference
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Constructive Interference

for solo multipercussion
Level: Med-Advanced
Duration: 6:40
State Lists: Florida | Texas | Missouri
Release Date: 2014
Delivery Method: Physical
Product ID : TSPCS-61
Price: $16.00
Item #: TSPCS-61

Formats Available:



Description

In physics, interference is a phenomenon in which two waves superimpose to form a resultant wave of greater or lower amplitude. If a crest of one wave meets a crest of another wave of the same frequency at the same point, then the magnitude of the resulting wave is larger – this is Constructive Interference. One realization of this concept is found in the creative use of high-and-low pairs of brake drums, cymbals, toms, bass drums, bongos, and congas. Another is the steady, wavelike heartbeat motive that underpins the lyrical first movement and reappears in the second, more energetic one.

This two-movement, medium-advanced solo for multipercussion not only takes its inspiration from physics concepts but is also written by industry veteran Alan Keown for his talented and virtuosic son, Matt Keown. 

Constructive Interference is provided as a professionally bound folio.

Instrumentation

  • Drums (bongos, congas, 2 concert toms, 2 bass drums)
  • Cymbals (16" China cymbal, 18" suspended cymbal)
  • 2 brake drums

Reviews

Composed as a solo for Alan Keown’s son, Matthew, “Constructive Interference” is a two-movement multi-percussion piece that will leave audiences wanting more! The writing is clear and concise, and all instructions are easily understood.

The first movement begins with a “heartbeat” rhythmic motive that is developed throughout. Slow, lyrical playing is a must with this movement, with the player switching back and forth between hard felt mallets and wood sticks. The second movement, however, is a whirlwind, with the player moving rapidly around the setup. Stickings are provided to guide the player to a cleaner performance of the piece. The heartbeat motive enters back in briefly to tie the whole work together.

Rhythmically, there are few challenges to the work. Some difficulty lies in the phrasing and musicality of the first movement and the precision and accuracy of the second. At just around seven minutes, this piece would be a great addition to an undergraduate percussion recital.

—Marcus D. Reddi
Percussive Notes
Vol. 53, No. 1, March 2015

Description

In physics, interference is a phenomenon in which two waves superimpose to form a resultant wave of greater or lower amplitude. If a crest of one wave meets a crest of another wave of the same frequency at the same point, then the magnitude of the resulting wave is larger – this is Constructive Interference. One realization of this concept is found in the creative use of high-and-low pairs of brake drums, cymbals, toms, bass drums, bongos, and congas. Another is the steady, wavelike heartbeat motive that underpins the lyrical first movement and reappears in the second, more energetic one.

This two-movement, medium-advanced solo for multipercussion not only takes its inspiration from physics concepts but is also written by industry veteran Alan Keown for his talented and virtuosic son, Matt Keown. 

Constructive Interference is provided as a professionally bound folio.

Instrumentation

  • Drums (bongos, congas, 2 concert toms, 2 bass drums)
  • Cymbals (16" China cymbal, 18" suspended cymbal)
  • 2 brake drums

Reviews

Composed as a solo for Alan Keown’s son, Matthew, “Constructive Interference” is a two-movement multi-percussion piece that will leave audiences wanting more! The writing is clear and concise, and all instructions are easily understood.

The first movement begins with a “heartbeat” rhythmic motive that is developed throughout. Slow, lyrical playing is a must with this movement, with the player switching back and forth between hard felt mallets and wood sticks. The second movement, however, is a whirlwind, with the player moving rapidly around the setup. Stickings are provided to guide the player to a cleaner performance of the piece. The heartbeat motive enters back in briefly to tie the whole work together.

Rhythmically, there are few challenges to the work. Some difficulty lies in the phrasing and musicality of the first movement and the precision and accuracy of the second. At just around seven minutes, this piece would be a great addition to an undergraduate percussion recital.

—Marcus D. Reddi
Percussive Notes
Vol. 53, No. 1, March 2015



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