Tinplay

Item details

Description +
- Tinplay was composed during the summer of 2004 and is my first work for percussion. It revolves mainly around polymetric structures and should be performed at a constant and relentlessly tempo of approximately 160 BPM (or higher, I dare you).
Instrumentation +
- Percussion Quartet
  
  Player 1:
  Hi Hat (1)
  Bongos (2)
  Tin Cans (5)
  Temple Blocks (5)
  Crotale (1)
  Splash Cymbal (1)
  China Cymbal (1)
  
  Player 2:
  Bass Drum with pedal (1)
  Gran Cassa (1)
  Tom Toms (4)
  Tin Cans (5)
  Wood Blocks (2)
  
  Player 3:
  Gran Cassa (1)
  Tom Tom (1)
  Octobans (2)
  Tin Cans (3)
  Brake Drum (1)
  Metal Pipes (2)
  
  Player 4:
  Hi Hat (1)
  Floor Tom (1)
  Octobans (2)
  Snare Drum (1)
  Metal Objects (4)
  Metal Disc (1)
  Metal Pipe (1)
Watch+
- Other YouTube Performances:
  
  The Ohio State University Percussion Ensemble, Susan Powell & Joseph Krygier, directors
  
  DePaul University Percussion Ensemble, Michael Kozakis (Director)
  
  Matt Witten, Ivan Trevino, Chris Jones & Maria Finklemeier
  
  University of North Florida Percussion Ensemble (Jody Morgan, Michael Taylor, Mike Evans & Gary Donald)
  
  The Pioneer High School Percussion Ensemble, directed by Dan Piccolo (PE Showcase 2011 entry)
  
  Ann Arbor Pioneer High School (2011 National GRAMMY Signature School), directed by Dan Piccolo
  
  The Ohio State University Percussion Ensemble, Susan Powell and Joseph Krygier, directors
  
  Benni Kurz, Simon Klavzar, Stefan Landes & Alexej Gerassimez (Munich Conservatory)
About the composer +
- To come
Reviews +
- Percussive Notes, March, 2012
  
  Imagine if your favorite funk drummer had eight arms, three legs, and an array of timbres to explore. Now, picture several short, syncopated, sixteenth-note based motives. However, don’t combine these motives all at once. Some sections need density, yet others require space for the polyrhythmic, hocketing ideas to be perceived. After experiencing this composition, I have a vivid image of Per Andreasson using the above scenario to create this funky piece. Approximately seven minutes in duration, this percussion quartet should be strongly considered when programming your next percussion ensemble concert.
  
  Opening with a clock-like pulse on tom-tom rims, several motivic fragments foreshadowing future material are presented. Continuing to use these thematic ideas throughout, Andreasson does an exceptional job of creating tension. Juxtaposing a handful of short thematic ideas, the composer is never satisfied with direct repetition. He provides variation to familiar motives in several ways: dynamic change, augmentation, diminution, and scoring. This idea holds true for the metric structure. A large majority of the piece is in 4/4 and 3/4. However, Andreasson occasionally inserts 12/16, 2/4, 6/16, and 9/16 measures. While these instances create a slight sense of instability, they are nothing compared to the last dramatic moment of the piece. Moving through 10/16, 8/16, 7/16, 5/16, 4/16, 5/16, and 5/8, several singlemeasure motives are repeated. Unstable at first, they eventually transition back to four measures of recognizable material to close.
  
  Using an extensive instrumentation, the composer provides an apology for the time and energy needed for assembling the multiple percussion setups. He does, however, provide a clear notation legend, suggested setup picture, and specific performance instructions for the individual parts. Do not allow the instrumentation and logistical issues deter you from considering this piece. It is energetic, exciting and will likely bring a crowd to its feet.
  
  —Darin Olson
Credits +
- Front Cover Artist: Ronni Kot Wenzell & Lars Sundqvist
  Engraving: CPH Engraving
  Copyright © Edition Svitzer
  Printed in Copenhagen, Denmark
  www.editionsvitzer.com

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