Eight Condensed Pieces for Four Timpani
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SKU: A0.596501
Composed by Juan María Solare. Contemporary,Instructional,Latin,Standards. Individual part. 12 pages. Juan Maria Solare #3223009. Published by Juan Maria Solare (A0.596501).Eight Condensed Pieces for Four Timpani
I - Intrada
II - Rustico
III - Recitativo
IV - Deciso
V - Vigoroso
VI -Riflessivo
VII - Cantabile bagualesco
VIII - Animoso
Suite of eight pieces for four timpani. In theory, one could perform them individually. However, they are so short that I would highly recommend playing at least three of them.
Use a standard set of timpani: 81 cm / 74 cm / 66 cm / 58 cm.
Don't dissimulate the re-tuning (pedaling) between the pieces, rather celebrate it and make it sound as a short musical interlude (say, 15 seconds? Do you need more?). In a recording, however, I wouldn't include those retunings.
Each piece is one minute long or slightly more. The complete duration of the cycle, including the retuning between movements, is therefore around 10 minutes.
The title is clearly an allusion to Elliott Carter's pieces. By pure chance, my pieces were finished on 30th August (2017), exactly the same day of the date (but in 1966) on the manuscript of Saëta, the first of Carter's Eight Pieces.
Except for the third piece (Recitativo), which should be performed with the fingers (without mallets) and some short passages in other pieces, this cycle doesn't call for "hardcore" extended techniques or instrument preparation. In this sense, it might be also adequate for students or orchestral competitions.
Juan María Solare, 31 August 2017
Composition techniques involved
The key to this cycle of pieces is the following table of motivic changes (the arrows mean "becomes in the next phrase":
a → e
b → f
c → a
d → g
e → d
f → h
g → b
h → c
At the beginning of each piece I wrote the table of motifs concretely used in that piece. Notice that when a motif reappears it is usually transformed in some way - not just copy+paste.
Each piece has an own metric, metronome speed and number of phrases according to the following general plan:
Piece I: 4/4, q=70, two phrases of 8 motifs
Piece II: 7/8, q=74, three phrases of 7 motifs
Piece III: 3/4, q=60, four phrases of 5 motifs
Piece IV: 5/4, q=100, five phrases of 4 motifs
Piece V: 4/4, q=80, five phrases of 4 motifs
Piece VI: 7/8, q=70, four phrases of 5 motifs
Piece VII: 5/8, q=105, three phrases of 7 motifs
Piece VIII: 3/4, q=54, two phrases of 8 motifs
This plan strives to achieve variety in the rhythmic feeling at various levels (including form segmentation), but doesn't try to be absolutely systematic, i.e. it doesn't include all possible kinds of metrics or a graduated scale of metronome speeds (in this sense, is not serially conceived).
Juan María Solare, 31 August 2017
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