Osaka Groove

Item details

Description +
- Duration: 3 min.
  
  Osaka Groove is an energetic and driving duo with a strong groove, yet laid-back in its feel and whimsical nature based on the nature of the Japanese city of Osaka. This dichotomy in Osaka Groove represents Osaka's thriving and bustling metropolis that often counterbalances with its more relaxing and friendly culture. With this in mind, I wrote this piece for my friend Kana Omori in 2023 as a celebration of two events - Kana's long-awaited return to my home city of Perth as a faculty artist for Marimbafest 2023, and the news that Kana was now a professor at her alma mater, the Osaka College of Music.
  
  Kana's style of performing was an inspiration for the feel of Osaka Groove - a Latin-style groove base with J-pop style chord structures and harmonies, energised by classical percussion style cross rhythm and complexity. Kana often performs works and covers like Jounetsu Tairiku, Senbonzakura and Gurenge with incredible flair and dynamism while on stage, so this energy is replicated by both parts in Osaka Groove. Both parts contain flashy 32nd note runs that juxtapose with satisfying unison chordal blocks, making this an ideal duo work for anyone looking to go all out in their ensemble performance practice.
  
  Osaka Groove is also written for two 4.3 octave marimbas, making it more accessible for anyone looking to play 'big' duos with a smaller setup.
Instrumentation +
- Marimba Duo (4.3 Octave)
Watch+
- Performance by Adam Tan & Kana Omiro
About the composer +
- Adam Tan is a marimba soloist, educator and composer based in Perth, Western Australia. Adam is most known for being a YouTube content creator on THE STUDIO, a self-produced YouTube show uploading weekly episodes for education and entertainment relating to percussion.
  
  Adam has performed and presented in-person in Australia, Hong Kong, Japan, Malaysia, Taiwan and the United States, and has also presented online classes in Argentina, Central America and the United Kingdom. Highlights include solo performances at the Percussive Arts Society International Convention (PASIC), inc. percussion days (Japan), PAS Hong Kong Days of Percussion and Oh! Asian Percussionists Series (Hong Kong), Malaysia Percussion Festival, Chosen Vale Percussion Seminar (USA), Australian Percussion Gathering and masterclass presentations at the 505A Percussion Gathering (Hong Kong), MalletLab Summer Intensive (USA), WA Day of Percussion (Australia) and various universities and schools across Taiwan.
  
  As a composer, Adam's works for percussion are performed regularly as they appear in repertoire lists for auditions, examinations and competitions around the world, such as the UIL Texas Prescribed Music List (PML). Adam’s works can be listened to on all music streaming platforms and stores.
  
  Adam is the founder and director of Marimbafest Australia, a non-profit organisation dedicated to the promotion of percussive arts in Australia, curating various events including the annual marimba festival and competition Marimbafest, as well as the annual concert series Percussion All-Stars.
  
  Adam has a Master of Music (Research, Percussion) and Bachelor of Music (1st Class Hons) from the University of Western Australia Conservatorium of Music.
  
  Adam is a Marimba One Premier Artist and a Signature Artist of Encore Mallets with his own signature series of mallets. Adam's compositions are published by Edition Svitzer.
Reviews +
- Review (Percussive Notes, June 2024)
  
  Grab a friend, because Adam Tan’s new marimba duo, “Osaka Groove,” begs to be played, and what’s more fun than duets? Smartly written for two low-A marimbas, this hard-driving duo showcases versatility and offers an exciting original piece inspired by Tan’s friend Kana Omori, Japanese pop music, and of course the city of Osaka.
  
  The first marimba part plays most of the melodic content and faster runs, while the second marimba part plays a straightforward arpeggiated accompaniment. This is not a hard-and-fast rule, as throughout Rehearsal D the second marimba plays the melody, and briefly during Rehearsal C, the first marimba part becomes an extension of the accompaniment. Given the unique textures throughout, both parts would be interesting to play, and neither calls for specialized four-mallet techniques, such as triple lateral strokes or onehanded rolls that might be prohibitive for some players. It should be noted there are a few mixed meters throughout that may prove challenging to coordinate between the two parts.
  
  I’m very impressed with the way Tan’s library of pieces continues to grow and diversify. Yet for me, with its infectious groove and excitement throughout, “Osaka Groove” stands out as unique within his catalog. Tan incorporates faster groove sections in other works such as his two-mallet solo “Level 100” and his marimba and drumset trio “We Are Heroes”; however, “Osaka Groove” remains high energy throughout while offering a few unexpected challenges for the performers and pleasant surprises for the listener.
  
  At three minutes long “Osaka Groove” feels almost too short, but that length allows it to be a great fit for a variety of situations, and it might make an interesting choice as an encore at the end of a recital or showcase concert.
  
  —Quintin Mallette

Item details

Related publications