Voltage
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Claire Edwardes-percussion Preview and Purchase the Recording (R) |
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Programme Note
Voltage is a work that possesses influences from the domain of electronic music and is scored for a concise percussion setup including bass drum, 2 tom toms and wood/temple block. Its rhythmic material is based predominantly on the number 240 and/or divisions of this number. Much of the work also possesses an almost super-human quality.
The first section is an example of the work’s influence from the electronic domain. Various complex cross-rhythms between the drums and wood/temple block that relate to the rhythmic divisions used in the second section appear, resulting in a collage of different delay speeds. These gestures are developed by speeding-up and slowing-down either one or both parts of a cross-rhythm, colour changes between soft or hard mallets and distorting the natural dynamic envelope of the gesture.
The second section is very mechanical and uses a variety of polyrhythms. Each sub-section is either 120, 180 or 240 events in length, and uses progressively smaller rhythmic divisions emphasised by either hard or soft mallet strikes. This creates a machine-like effect, and culminates in a series of rapid passages that are almost super-human.
Reviews of this work
Andrew Aronowicz, Limelight Magazine - Sideband: Visceral performances embrace the shock of the Australian new
Peter Leung, classikON - Vast range of tone colours in Sideband’s first CD
Gwen Bennett, The Music Trust - Sideband. Music by Coelho, Gill, Kos, McNamara and Williams
Performances of this work
21 Aug 2016: Sideband: Light Wells, Sydney Conservatorium of Music, featuring Brad Gill.
Programme Note
Voltage is a work that possesses influences from the domain of electronic music and is scored for a concise percussion setup including bass drum, 2 tom toms and wood/temple block. Its rhythmic material is based predominantly on the number 240 and/or divisions of this number. Much of the work also possesses an almost super-human quality.
The first section is an example of the work’s influence from the electronic domain. Various complex cross-rhythms between the drums and wood/temple block that relate to the rhythmic divisions used in the second section appear, resulting in a collage of different delay speeds. These gestures are developed by speeding-up and slowing-down either one or both parts of a cross-rhythm, colour changes between soft or hard mallets and distorting the natural dynamic envelope of the gesture.
The second section is very mechanical and uses a variety of polyrhythms. Each sub-section is either 120, 180 or 240 events in length, and uses progressively smaller rhythmic divisions emphasised by either hard or soft mallet strikes. This creates a machine-like effect, and culminates in a series of rapid passages that are almost super-human.
Reviews of this work
Andrew Aronowicz, Limelight Magazine - Sideband: Visceral performances embrace the shock of the Australian new
Peter Leung, classikON - Vast range of tone colours in Sideband’s first CD
Gwen Bennett, The Music Trust - Sideband. Music by Coelho, Gill, Kos, McNamara and Williams
Performances of this work
21 Aug 2016: Sideband: Light Wells, Sydney Conservatorium of Music, featuring Brad Gill.
