drum set

dmkit

II-V Fanfare for brass choir, jazz clarinet and jazz rhythm section

Composer:

Mark Thome

Instrumentation freestyle:

solo clarinet; piano, cb, drums; 4 tpt, 4hn, 3tbn, tba

Dedicated to the Washington Center for the Performing Arts in Olympia, WA in honor of their silver 25th anniversay (II - V).Premiere November 7, 2010 by the SOGO Brass Choir with clarinetist Jeff Brooks; Greg Allison conducting.

Ensemble Type

SOGO Brass Choir with Jeff Brooks, clar solo

Instruments

Genre/Theme

List Price:

$11 conductors score; inquire for set of parts

COLLAGE CONCERTANTE

Composer:

Elliott Schwartz

Instrumentation freestyle:

cl, tpt, pno, guitar, drumset, boom box for CD playback

Collage Concertante is a two-movement work which uses the a multifaceted concerto model as its springboard, and also (in a manner related to visual “collage”) incorporates pre-existing fragments – musical and otherwise – into its texture. The first movement, Birthday Tribute, began as a piano piece honoring the bicentennials of Chopin and Schumann (both born in 1810), and evolved into a miniature neo-Romantic piano concerto. (The “orchestra” in this instance includes live performers and recorded sounds.) The entire fabric draws upon quotations – musical and otherwise – from Robert, Clara, Frederic and George. Round Robin, on the other hand, is influenced by the model of Baroque concerto grosso. In this movement the pianist (having held the spotlight earlier) becomes a bit player. The other four ensemble members take turns as soloist, with tutti passages separating each solo section. This format gave rise to the title “Round Robin,” which in turn led me to use pre-existing materials related to robins. (Sources range from the 13th-century Adam de la Halle to Edward MacDowell to English folk song to Al Jolson.)

Ensemble Type

schwartzcollageconcertanteexcerpt.mp3

Instruments

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BUST A FLAME

Composer:

Ross Bauer

Instrumentation freestyle:

tenor saxophone, electric guitar, piano and percussion (mostly drum set).

Bust a Flame, composed for Flexible Music, was written during February of 2009. It’s dedicated, with love, to my son, Isaac. I want to express my gratitude to Flexible Music for their musicality, virtuosity, and commitment.

I found my way into the language of the piece gradually, a language conditioned by Flexible Music's unusual instrumentation of tenor saxophone, guitar, piano and percussion. This instrumentation, suggestive of a jazz group, steered me further in a direction that I'd already been pursuing: incorporating some of the vitality and spontaneity of the music that I first played as a saxophonist (and love to this day) into the music I've been composing. I knew early on that I wanted to take advantage of Dan Lippel's considerable skill and experience as an electric guitarist and that I wanted to use a drum set, instead of the percussion instruments that I'd written for in the past. The 'drumsetness' of the percussion part comes into prominence little by little until it emerges completely fairly late in the piece.