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Jarvis (ed.)-Drumset Music for the Concert Stage vol. 1

Model: CBM 09-00321

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Drumset Music for the Concert Stage Volume 1 Ten Drumset Solos by the following composers and their pieces: Helmut Calabrese: Seeking Darren Gage: Gimme Five Patrick Hardish: Solo for Pete Peter Jarvis: Four Plus Three Payton MacDonal...
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Jarvis (ed.)-Drumset Music for the Concert Stage vol. 1 - Product Information

Drumset Music for the Concert Stage Volume 1

Ten Drumset Solos by the following composers and their pieces:

Helmut Calabrese: Seeking Darren Gage: Gimme Five Patrick Hardish: Solo for Pete Peter Jarvis: Four Plus Three Payton MacDonald: Bonk Robert Martin: Imperfect Copies Wayne Peterson: Trap Drum Fantasy Gene Pritsker: Opposite Extreme of Benevolence David Saperstein: Drum Set Solo Carlton Wilkinson: Jungle 5 - 7675

Compiled, Edited and Engraved by Peter Jarvis

Program Notes

Helmut Christoferus Calabrese: Seeking Seeking for drum set is respectfully dedicated to Peter M. Jarvis. This piece is a journey into a state of mind whereby a spirit is seeking to fill a void with what appears to give fulfillment, yet these moments of fulfillment are illusive and temporary; consequently, the void continues to manifest itself in progressive transformations until the journey has run its inevitable course.

– Helmut Christoferus Calabrese

Darren Gage: Gimme Five Gimme Five is a two-part invention for drum set. Unlike in the piano variety, where voices would be neatly separated between two hands, the parts in this invention are integrated on one staff and performed simultaneously by some combination of four limbs. While the resulting, embedded counterpoint is often difficult to discern, conventional developmental techniques may be recognized throughout. Thematic material is transformed through augmentation, diminution, and even transposition, where rhythms performed on one drum or cymbal are then shifted to another. This piece and its rhythmic language are inspired by the drum solo in Take Five, the classic Dave Brubeck Quartet recording currently celebrating its fiftieth anniversary. Gimme Five was commissioned by Helmut C. Calabrese and Calabrese Brothers Music, and it serves as a tribute to two of my favorite New Jersey musicians, the visionary percussionist Peter Jarvis and the Brubeck Quartet's legendary drummer, Joe Morello.

– Darren Gage

Patrick Hardish: Solo for Pete Solo for Pete, commissioned by Helmut Calabrese through Calabrese Brothers Music, was written on request for Peter Jarvis and is dedicated to him and the memory of Ron Mazurek. When Peter asked me to compose a piece for drum set I immediately responded with an affirmative yes. I greatly admire Peter's playing and musicianship plus I used to play the drums professionally for several years in dance bands. In fact learning to play the drums was the first thing I ever did musically. I have listened to solo drum set pieces all my life, but they have all been improvised solos by jazz drummers. There are virtually no written out drum set pieces which make's Peter's request so exciting. My piece is totally written out and is essentially not a jazz piece, but the influence of the solos of jazz greats Buddy Rich and Louie Bellson is heard in various places in my piece and to a lesser extent Gene Krupa, Shelly Manne and Sonny Payne. Solo for Pete has been recorded by Peter Jarvis for release on a Composers Concordance CD.

– Patrick Hardish

Peter Jarvis: Four Plus Three I composed Four Plus Three in 2003 for Ryan Jarvis. Ryan's dedication to music, particularly playing the drumset, inspired me to write the piece. The title references the drumset requirements for the piece which are four drums and three cymbals (one being a hi-hat). Four Plus Three has been recorded by Shawn Baltazor.

– Peter Jarvis

Payton MacDonald: Bonk A bonk is a state of extreme exhaustion mainly caused by the depletion of glycogen in the muscles. When an athlete bonks he or she shuts down, both physically and mentally. In the outer sections of Bonk the performer is instructed to play as fast as possible and hold that speed until his or her hands fatigue and cramp—reaching a kind of localized bonk—then move on to the next measure. Thus, physical fatigue determines phrase length, a kind of hyper intense "breath" of the body. The inner section of Bonk presents contrasting material, soft and fluttery phrases played with brushes. The rhythms of that section will be familiar to connoisseurs of percussion music. Bonk is dedicated to and was written for my friend and colleague Peter Jarvis and was commissioned by Helmut Calabrese through his publishing company Calabrese Brothers Music.

– Payton MacDonald

Robert Martin: Imperfect Copies Imperfect Copies is an etude for drum set. In May 2008, the virtuoso percussionist Peter Jarvis invited me to write an etude for drumset solo. I mentioned to him that I wanted to avoid the usual snare drum sound. He suggested that I have the snare drum tuned to a higher pitch than that of the high tom--this would give the drum set a fresh sound. I liked the idea, but still I had no clear notion about writing the piece. The next evening, after I watched a science program on DNA, I sketched down an etude in an hour or two. What had inspired me was how there are such small variations in the genetic code that produce major differences between various species of animals. First, I created a single strand of percussion DNA then I repeated it six times with very small variations. In other words, each time the short passage was replicated, it was copied imperfectly. Also I separated each repetition with a slightly faster marker for the hi-hat cymbal, also varied with each appearance. Imperfect Copies was composed in the early summer of 2008 in Manhattan, New York, and was possible by Helmut Calabrese, Calabrese Brothers Music.

– Robert Martin

Wayne Peterson: Trap Drum Fantasy

While my Trap Drum Fantasy follows no preconceived form, its two outside Allegro sections are clearly related in their exuberant spirit and substance. In the center, contrast is provided by somewhat slower passages featuring dynamically softer and ominous glissandi on the floor tom-tom. Suddenly, the Allegro vigorously re-asserts itself, developing further the mood of the opening measures. There follows an inexorable buildup of tension accomplished by ever-growing rhythmic irregularity and volume which serves to bring the FANTASY to its rousing conclusion. Trap Drum Fantasy was commissioned for Peter Jarvis by Calabrese Brothers Music.

– Wayne Peterson

Gene Pritsker: Opposite Extreme of Benevolence

Opposite Extreme of Benevolence takes its title from Honore Blazac's novel 'Cousin Pons'. The phrase jumped out at me as I was reading this great novel and in the process of composing this solo drum composition. The piece takes a rhythm and treats it as a melody. These supposed opposites, in my mind, are interchangeable; a catchy rhythm can hold its own just as well as a good tune. I take this rhythm and play it on all the combinations of timbers that a drum set has to offer, change it, disguise it, augment and diminish it and base this whole composition on it. I chose a rhythm that is deceptive; when it is first induced the listener's perception should vary as to where the beat is. Opposite Extreme of Benevolence was commissioned by Calabrese Brothers Music for Peter Jarvis.

– Gene Pritsker

David Saperstein: Drum Set Solo Drum Set Solo (2008) was composed at the request of Peter Jarvis and commissioned by Calabrese Brothers Music, LLC. It was inspired, in part, by Mr. Jarvis' considerable virtuosity and versatility as percussionist, composer, conductor, and editor. The other source of inspiration giving impetus to the completion of this work was the celebration, on the 4th of July, 2008, of our country's 232nd birthday, with what has become traditional in our celebration of this holiday: the fireworks displays, the parades, and other festive cultural events. Inspired by the wise words of our founding fathers and with fond birthday wishes for our great land, I set to work on Drum Set Solo on the long holiday weekend and completed it shortly thereafter. Although the piece is intended as a work of classical music for the concert hall, it employs a set of percussion instruments that is usually associated with popular music and the dance hall. This set of instruments is known as the "drum set" or "trap drums". In this particular piece, a fairly standard drum set combination of seven instruments is required: bass drum, floor tom-tom, mounted tom-tom, a snare drum, a "high-hat" cymbal, a "ride" cymbal and a "crash" cymbal. The work is in three sections: the first section proceeds slowly - an accelerando brings the listener into the second section which contains a "snares off" passage and a very soft passage calling for the use of wire brushes - and a ritardando brings the listener back to the original tempo for the final section."

– David Saperstein

Carlton Wilkinson: Jungle 5 – 7675 Jungle 5-7675 was written on a commission from performer Peter Jarvis and publisher Calabrese Brothers Music. The music is structured around the symmetrical pattern 5-7-6-7-5, with the numbers generating phrase structures and, toward the center of the piece, chains of tuplets. The word "Jungle" refers to the drum-heavy 40s-era "jungle" style developed by Duke Ellington, imitated here in the character of the main theme. The title takes the form of an old-fashioned phone number, after the famous swing standard Pennsylvania 6-5000 made famous by the Glen Miller Orchestra.

– Carlton Wilkinson

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