Alan Keown
Constructive Interference
for solo multipercussion
Constructive Interference by Alan Keown Š 2014 Tapspace Publications, LLC (ASCAP). Portland, OR. All rights reserved. International copyright secured. Printed in USA. www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of this composition requires the written consent of the copyright owner. No part of this composition may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.
TSPCS-61
Program Notes In physics, interference is a phenomenon in which two waves superpose to form a resultant wave of greater or lower amplitude. Interference usually refers to the interaction of waves that are correlated or coherent with each other, either because they come from the same source or because they have the same or nearly the same frequency. Interference effects can be observed with all types of waves, for example, light, radio, acoustic and surface water waves. If a crest of one wave meets a crest of another wave of the same frequency at the same point, then the magnitude of the resulting wave is larger – this is constructive interference. If a crest of one wave meets a trough of another wave, then the two waves cancel each other out and the resulting wave is a straight line – this is known as destructive interference. This piece is not a literal representation of this principle but takes its inspiration from the concept. The slow,t opening movement should be played as lyrically as possible, legato and following the phrase markings. The movement begins and ends with a “heartbeat” motive that is consistent throughout the piece. This movement was written on a plane after hearing an amazingly lyrical marimba performance by Pius Cheung at a PASIC concert. The second, fast movement builds upon a driving sixteenth-note motive that is interrupted by the “heartbeat” motive that was presented in the first movement.
Instrumentation Constructive Interference requires 1 player with the following instrumentation: • • • • • • •
1 china cymbal (16") 1 suspended cymbal (18") 2 brake drums (1 high, 1 low) 1 set of bongos 1 set of congas (1 high, 1 low) 2 concert toms (1 high, 1 low) 2 bass drums (1 high, 1 low)
f f
f7
Suggested Setup æ fæ fm
Roll Notation
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Be ll
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suspended cymbal m ba l
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Br a
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Notation Key ‹
Level: Med-Advanced Approx. playing time: 6’40”
for Matt Keown
Constructive Interference
Alan Keown
Movement I
q=68 hard felt mallets
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© 2014 Tapspace Publications, LLC, Portland, OR. (ASCAP) International copyright secured. All rights reserved.
Constructive Interference – Keown
2
3
22
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niente TSPCS-61
3
Constructive Interference – Keown
Movement II q=160
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Constructive Interference – Keown
4
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TSPCS-61
5
Constructive Interference – Keown
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mp TSPCS-61
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Constructive Interference – Keown
6
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TSPCS-61
7
Constructive Interference – Keown 3 . . . . m m m m æ f f f . . f æ æf R R R m fm fm. m. f f f f f
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TSPCS-61
Constructive Interference – Keown 115
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TSPCS-61
www.tapspace.com