Difference between revisions of "BeyonD the bEnd"
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[[Gene Koshinski]] | [[Gene Koshinski]] | ||
| − | ==General Info== | + | == General Info == |
| − | Year | + | '''Year''': 2021 <br /--> |
| − | + | '''Duration''': c. <br /--> | |
| + | '''Difficulty''': Professional<br /--> | ||
| + | '''Publisher''': [[Title Publisher]]<br /--> | ||
Commission: Ju Percussion Group <br/> | Commission: Ju Percussion Group <br/> | ||
| + | '''Cost''': Score and Parts - $0.00 | Score Only - $0.00<br /--> | ||
| + | == Instrumentation == | ||
| + | === Solo === | ||
| + | Large Singing Bowl (C#4), Glass [[Wind Chimes]], Talking Drum, 3 [[Roto-Toms]], Large Pair of Chinese Cymbals (on hi-hat stand), Small concert [[Bass Drum]] (muted), 3 [[Chinese tom-toms]], [[Log Drum]], LP [[Vibra-Tone]] (C5) <br/> | ||
| − | == | + | === Ensemble === |
| − | + | Player 1: Voice, [[Crotale]] (Bb, high octave), Water container, [[Chime]] (Bb), [[Vibraphone]] <br/> | |
| − | + | Player 2: Voice, [[Crotale]] (Ab, high octave), Water container, [[Chime]] (Ab), Bow, [[Marimba]] (5.0 octave) <br/> | |
| − | + | Player 3: Voice, [[Crotale]] (Gb, high octave), Water container, [[Chime]] (Gb), Bow, [[Wind Chimes]], Large Metal Slide Whistle, [[Marimba]] (4.3 octave) <br/> | |
| − | + | Player 4: Voice, [[Crotale]] (Eb, high octave), Water container, [[Chime]] (Eb), Bow, [[Suspended Cymbal]] (18” or similar), [[Glockenspiel]], Large [[Chinese tom-toms]] <br/> | |
| − | |||
| − | ==Program Notes== | + | == Program Notes == |
BeyonD the bEnd is scored for percussion soloist with percussion ensemble (1 + 4 players) and was commissioned by the Ju Percussion Group. In the opening of the work the ensemble sings, in unison, chant-like lines that present, simultaneously, both the sonic thematic material and the poetic reference the piece is hinged on. Musically, the piece is tied to a three-note motive of Bb, Db, and Eb (those letters highlighted in the title) that can be heard throughout, initially heard in the opening voices and thread through the ensemble for the duration of the piece. This theme refrains from developing, yet transforms throughout the work as it morphs ever so slightly into various rhythmic patterns and bends in and out of different timbres within the ensemble. Concurrently, the work is structured around a poetic theme, which is inspired by a short unfinished poem by Brandon Reid Swaim: | BeyonD the bEnd is scored for percussion soloist with percussion ensemble (1 + 4 players) and was commissioned by the Ju Percussion Group. In the opening of the work the ensemble sings, in unison, chant-like lines that present, simultaneously, both the sonic thematic material and the poetic reference the piece is hinged on. Musically, the piece is tied to a three-note motive of Bb, Db, and Eb (those letters highlighted in the title) that can be heard throughout, initially heard in the opening voices and thread through the ensemble for the duration of the piece. This theme refrains from developing, yet transforms throughout the work as it morphs ever so slightly into various rhythmic patterns and bends in and out of different timbres within the ensemble. Concurrently, the work is structured around a poetic theme, which is inspired by a short unfinished poem by Brandon Reid Swaim: | ||
| Line 22: | Line 27: | ||
Bending is a constant musical and literal theme as the composition specifically calls for many instruments that bend pitches such as talking drum, roto toms, singing, whistling, slide whistle, vibra-tone, and bending the pitches of the crotales by dipping them in water as they are being bowed. Another usage of the poetic reference is how the soloist interacts with the ensemble and how that relationship changes over time. | Bending is a constant musical and literal theme as the composition specifically calls for many instruments that bend pitches such as talking drum, roto toms, singing, whistling, slide whistle, vibra-tone, and bending the pitches of the crotales by dipping them in water as they are being bowed. Another usage of the poetic reference is how the soloist interacts with the ensemble and how that relationship changes over time. | ||
| + | |||
| + | === Review === | ||
| + | |||
| + | |||
| + | == Errata == | ||
| + | |||
| + | <!-- Enter errata...if there is none, enter this: {{none}} You may delete this text once this is done.--> | ||
| + | |||
| + | == Awards == | ||
| + | |||
| + | <!-- Enter any awards this composition may have won. If there are none, then delete the entire category. You may delete this text once this is done.--> | ||
| + | == Commercial Discography== | ||
| + | |||
| + | ===Online Recordings=== | ||
| + | |||
| + | <!-- <embedvideo service="youtube">SAMPLENAME</embedvideo> --> | ||
| + | |||
| + | <!-- <div style="max-width: 750px"><multimediacontainer /></div> | ||
| + | {{#multimediaitem:SoundCloud|16040214|SoundCloud test}} --> | ||
| + | |||
| + | <!-- Enter any COMMERCIALLY available recordings or downloads...if there are none, enter this: {{none}} You may delete this text once this is done.--> | ||
| + | |||
| + | ==Recent Performances== | ||
| + | |||
| + | {{performances}} | ||
| + | |||
| + | <!-- Enter any recent performances, but leave the above template to encourage further submissions. You may delete this text once this is done. --> | ||
==Works for Percussion by this Composer== | ==Works for Percussion by this Composer== | ||
{{Koshinski, Gene Works}} | {{Koshinski, Gene Works}} | ||
| + | |||
| + | |||
| + | == Additional Resources == | ||
| + | |||
| + | <!-- Enter any resources...if there are none, enter this: {{none}} You may delete this text once this is done --> | ||
| + | |||
| + | <br /--> | ||
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==Reference== | ==Reference== | ||
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[[Category:Percussion Ensemble Works]] | [[Category:Percussion Ensemble Works]] | ||
[[Category:Percussion Quartet Works]] | [[Category:Percussion Quartet Works]] | ||
| − | [[ | + | [[Category:Percussion Quintet Works]] |
| + | [[Category:Concerto Works]] | ||
| + | [[Category:Percussion Concerto Works]] | ||
| + | [[Category:Percussion Concerto With Percussion Ensemble Works]] | ||
Latest revision as of 23:41, 8 August 2025
General Info
Year: 2021
Duration: c.
Difficulty: Professional
Publisher: Title Publisher
Commission: Ju Percussion Group
Cost: Score and Parts - $0.00 | Score Only - $0.00
Instrumentation
Solo
Large Singing Bowl (C#4), Glass Wind Chimes, Talking Drum, 3 Roto-Toms, Large Pair of Chinese Cymbals (on hi-hat stand), Small concert Bass Drum (muted), 3 Chinese tom-toms, Log Drum, LP Vibra-Tone (C5)
Ensemble
Player 1: Voice, Crotale (Bb, high octave), Water container, Chime (Bb), Vibraphone
Player 2: Voice, Crotale (Ab, high octave), Water container, Chime (Ab), Bow, Marimba (5.0 octave)
Player 3: Voice, Crotale (Gb, high octave), Water container, Chime (Gb), Bow, Wind Chimes, Large Metal Slide Whistle, Marimba (4.3 octave)
Player 4: Voice, Crotale (Eb, high octave), Water container, Chime (Eb), Bow, Suspended Cymbal (18” or similar), Glockenspiel, Large Chinese tom-toms
Program Notes
BeyonD the bEnd is scored for percussion soloist with percussion ensemble (1 + 4 players) and was commissioned by the Ju Percussion Group. In the opening of the work the ensemble sings, in unison, chant-like lines that present, simultaneously, both the sonic thematic material and the poetic reference the piece is hinged on. Musically, the piece is tied to a three-note motive of Bb, Db, and Eb (those letters highlighted in the title) that can be heard throughout, initially heard in the opening voices and thread through the ensemble for the duration of the piece. This theme refrains from developing, yet transforms throughout the work as it morphs ever so slightly into various rhythmic patterns and bends in and out of different timbres within the ensemble. Concurrently, the work is structured around a poetic theme, which is inspired by a short unfinished poem by Brandon Reid Swaim:
When You Bend (unfinished)
When you bend something
It will strike back and bend you
This is the relationship
Between society and nature
Bending is a constant musical and literal theme as the composition specifically calls for many instruments that bend pitches such as talking drum, roto toms, singing, whistling, slide whistle, vibra-tone, and bending the pitches of the crotales by dipping them in water as they are being bowed. Another usage of the poetic reference is how the soloist interacts with the ensemble and how that relationship changes over time.
Review
Errata
Awards
Commercial Discography
Online Recordings
Recent Performances
To submit a performance please join the TEK Percussion Database
Works for Percussion by this Composer
Mallet Solo
Afternoon in March - Marimba
Caleidoscópio - Marimba
Memento - Marimba
Punchline
Prelude Nuevo
Variations (after Viñao) - Marimba
Snare Drum Solo
Homage to Carter
Swerve
Tom-Tom for Tom
Multiple Percussion Solo
Captions
Echo Song
Farewell
SyNc
Solo with Ensemble
BeyonD the bEnd - Multiple Percussion, Percussion Quintet
Concerto for Marimba and Choir with Percussion - Marimba; Percussion Trio; Choir
Jing Fling - Jing Cymbal; Percussion Sextet (Optional)
Prelude Nuevo - Marimba
Percussion Duo
And So the Wind Blew...
As One
Ceci N'est Pas Un Jouet
Impressions of Chinese Opera
Long Exposure
Ingrained
Sammy's Scales
Song and Dance
Together & Not
Whiz-Bang
Chamber Ensemble
BeyonD the bEnd
BOOMeRANG - 4 Players
Circuit Breaker - Percussion Sextet
Quench - Percussion Quartet
Ragtime Collection - Marimba Quartet
Rattle the Cage - Mallet Ensemble
Stir Crazy - Percussion Quartet
Streamline - Percussion Ensemble - (Hand Drums)
The Electric City - Percussion Trio
Works with Other Instruments
Free Spins - Percussion Duo; Bass Clarinet
Get It! - Multiple Percussion; Bassoon
Killjoy - Multiple Percussion; Guitar
Sky Songs - Multiple Percussion; Voice
soniChroma - Percussion Duo; Orchestra
Additional Resources