Always, Never, Again, 2008
A intricate, pattern based compostion for four performers on two marimbas. Highly polyrhythmic with influences from Ghana, South India, and Turkey. Published by Norsk Music Publishing, Oslo.
One Never Knows, 2009
Originally scored for four Uchiwa-Daiko (Japanese Fan Drums), this compositon can equally be performed on a variety of percussion instruments by one or two performers. The compostion highlights the binary dialogs between the percussive voices. Published by Norsk Music Publishing, Oslo.
Dar Skala, 2014
A highly energetic piece written for 10 pitched conga. Written in Essouira, Morocco, 2014. Commisioned and premiered by The Next Step Percussion Group.
Muttekopf is scored for four Uchiwa-Daiko (Japanese “Fan Drums”) performed by three players. It is a composition designed to explore the dialogs between the musicians using only simple tones from the instruments. The piece was written in a location called “Muttekopf”, an Alpine cabin on a mountain peak in the region of Imst in Tirol, Austria. There are various sections of the composition that are inspired by the nature and geography of the area, such as the intimidation of the steep climb up the mountain, the rapid flowing streams and waterfalls, rocks falling into the canyon, the uneasy sense of balance along the peak, and the rapid descent returning down to the base.
Bacchanal: Music for 6 Percussionists. Seven independent pieces, total duration approximately 50 minutes. Recorded and premiered by the Next Step Percussion Group, 2007.
The term Bacchanal, being free of inhibitions or restrictions, describes precisely the spectrum of music on this release, and of the innovation and resolve of the group itself. The sounds of the Amadinda, traditionally a xylophone instrument from the east African nation of Uganda, mixed with a ground based custom drum set, Kpanlogos from Ghana, Dun-Duns from Senegal, and Surdos from Brazil, all composed in a rare time meter based on folkloric rhythms from Mesopotamia, are a powerful example of this eclectic style at the debut. The compositions move swiftly forward to utilizing two Marimbas with an Indonesian theme, followed by a free improvisational dialog between the musicians before returning to the Gamelon side with the use of tuned gongs from Burma, accompanied by hand drums from Syria. Influences from Morocco are evident with the composition Jnane Mogador, written for metal hand castanets and gut stringed frame drums. Riad Numéro 10, a composition written over the course of one year of intense travel, is reflective in the number of diverse instruments used, as well as the rapid variances in the thematic development. The predominant use of steel drums from Trinidad bring a unique Caribbean flavor to the uncommon rhythmic cycles. Rhythms from West Africa are featured on the compositions 1 Star, 2 Pusher and A Passage to Sogakopé, which highlight the full energy and drive of the ensemble.
5 vor 6, for 35cm, 40cm, & 45cm Mizhar
This piece was originally written as an exercise for developing hand/pulse co-ordination and rhythmic ear training for recognizing various cues for pattern changes. Over time, I gradually evolved the exercises into a more concrete musical form; a form which contains composed elements and minimal improvisation. The basis of the composition is comprised of rhythmic patterns in cycles of five and six. The performers play in unison or in counterpoint patterns. Cues are made at discretion to change to different patterns/variations. The optimal duration of this composition should be not less than 45 minutes.
The Mizhar is a specific type of frame drum, typically found in the Arab Middle East. The dimensions and variations of the drum (whether jingles are mounted or not), differ from region to region. These drums were constructed by hand by Eckermann Drums, based on the designs of Sufi drums found in Syria.
5 vor 6, for Percussion Ensemble
This piece is an orchestrated percussion enemble variation of 5 vor 6 for 35cm, 40cm, & 45cm Mizhar. It is scored for 6 performers is the following formation: There are three performers with 1 pitched tom-tom, 1 pitched snare drum, and a variety of pitched cowbells/woodblocks. Two performers with rattle percussion, such as shekere/caxixi. And finally one cue master with two pitched bongos. The piece is pattern oriented; the patterns change at discretion from the cue master. All patterns consist of rhythms in cycles of five and six.