Hit
For percussion setup
(one player)
April-May, 2000
Duration ca. 7
| Basic
rhythm: |
 |
| Corresponding
with the ratio of |
6:
|
6:
|
2: |
2: |
2: |
3: |
3 |
This ratio forms the
basis of the rhythm, the detailed as well as larger form and of
the total shape of the work.
Form overview
| |
6 :
|
6
:
|
2
:
|
2
:
|
2
:
|
3
:
|
3
|
|
rehearsal
numbers
|
A
|
B
|
C
|
D
|
E
|
F
|
G
|
|
length
|
108
4
|
108
4
|
36
4
|
36
4
|
36
4
|
54
4
|
54
4
|
|
tempo,
quarternote =
|
54
|
97
|
69
|
Another basic idea of the composition is the one of beat phasing
(explained in the first few measures of the piece).
Two pulses being almost together, are shifting away and towards
eachother as if two metronomes are set just with a minimum of difference
in speed (in ‘A’ this becomes clear in the two temple
blocks). In ‘A’ they join together after every three and
a half bar.
The same idea is used to modify the rhythm. In ‘A’ the
tomtoms play a juxtaposed version of two basic rhythms in different
speeds, namely 4:5 as follows:
The lower one is a stretched-out version of the upper basic rhythm.
They get together again after ten bars. The bongo’s play the
same principle but twice as fast, set in a cut up fashion against
the tomtoms.
Other ‘phased’ ways are:
3:4
At figure ‘D’
gongs are playing a single line switching from one unity to another
as in measure 2.
Finally in ‘D’,
accents show the change from one to another speed-ratio.
The ratio of 6:6:2:2:2:3:3
also shows up within the units of A, B, C etc.
Figure ‘B’ opens with a cow-bell which appears with single
strikes at points of the ratio.
The complete final section ‘G’ with all its brutal changes
is written strictly according to the main ratio.
|
13.5
:
4
|
13.5
:
4
|
4.5
:
4
|
4.5
:
4
|
4.5
:
4
|
6.75
:
4
|
6.75
4
|
or
|
(4
x 3/4) + 3/8 :
|
(4
x 3/4) + 3/8 :
|
9/8
:
|
9/8
:
|
9/8
:
|
3/16
+ (2 x 3/4) :
|
3/16
+ (2 x 3/4)
|
|
6
:
|
6
:
|
2
:
|
2
:
|
2
:
|
3
:
|
3
|
|
same
material
|
same
material
|
same
material
|
Because of tempo changes, figure ‘C’ starts at the Golden
Section instead of halfway of the composition.
Sections and Instruments
| A |
temple
blocks, drums (skin) |
| B |
metal
instruments with elements of skin from ‘A’-section |
| C |
timpani |
| D |
gongs |
| E |
come-back
of the temple blocks, bridge to beginning |
| F |
Chinese
gong-pulse, temple blocks |
| G |
all,
especially skin- field-drum with snares |
Notation
and Notes
 |
1)
- crotales (A’’’)
- metal coil
- cymbal in reversed position on top of timpani (the timpani
here only functions as amplification of the cymbal without
being played itself)
2) – timpani is played
1) bongo’s
2) tomtoms
3) bassdrums (one low and one with foot-pedal)
4) temple blocks
5) field-drum (with snares)
| 1) Chinese
gong |
4) large
cowbell (F) |
| 2) brake
drum |
5) large
gong |
| 3) Balinese
gong (F) |
6) large
tamtam |
|
|
|
:
gracenote òn the beat |
|
|
:
gracenote before the beat |
Where p
is asked from the bongo’s and tomtoms: play near the rim.
Suggestion for mallets/sticks: in general play with the back of
drumsticks, where possible change to triangle-beater for the crotale
and coil and softer mallets/beaters for metal instruments.
This is the first page
of the work:
|
