2014

Kristina Warren

percussion quartet c. 9'

#1. Each player has a pair of sticks, a flowerpot, a metal pipe, and a metal pot/pan #2. Each player has a pair of soft mallets, a conga, and a crash cymbal GENERAL: - Each number is the player number who should change their rhythm at a given moment. - Hand signals are opportunities for rhythmic transformation; these may be interpreted rigorously (by number/angle of fingers, etc.) or not (as inspiration for new phrase shape, e.g.) BEFORE PLAYING: - Decide where in the numbers to begin. Groups of numbers (e.g., m. 1 beat 1) signify several players changing at once. Thus, some parts of the score (e.g., mm. 1-2) are dense with rhythmic change, while other parts (e.g., mm. 6-10) mostly have one player changing at a time. TO START: - All begin together, looping the START motive. TO CHANGE: - At first, only signals A-F are available. When the shading in the numbers changes, signals G-L become available too. When the shading changes again, signals M-R become available too, and all signals are available for the rest of the piece. - EXAMPLE: - Say you've decided to begin at measure 6. All have started together, looping the START motive for a bit. Now it's Player 2's turn to change. They should choose a signal A-F, and figure out how to use this to effect a rhythmic change. Player 2 experiments for a few measures and settles into a new rhythmic loop (not necessarily 4/4 meter or same tempo), then strikes the reserve instrument (maybe on the downbeat or at the end of the new phrase) to signal completion of the change to the new rhythm. - Now Player 1 can undergo the same process of change whenever they're ready. - At m. 7, the shading changes, so signals G-L become available. GROUP COORDINATION: - The circled player should cue (in cases of multi-player changes and new bars). - Multi-player changes should all begin at roughly the same time: the player who cues should make eye contact with the other(s) and nod (e.g.) to signal for the change process to begin. - Barlines are for visual ease and group coordination. The circled player on each "downbeat" should raise a hand (e.g.) to ensure all are at the same place in the score. If there's a multi-player change on a downbeat, the arm cue replaces the nod cue (in this case, change begins with the bar). OTHER: - When your number comes up, you may choose to change rhythm as described above, or you may choose not to change (but still strike the reserve instrument) or to lay out until your number recurs. - Experiment with different rates of moving through the piece, and different degrees of planning before playing. - Stop when it's appropriate to do so. The piece will likely last 8-10'. - In the attached recording, each player has a pair of sticks, a tabletop, and a tin can. This is a recording of an earlier (longer) version of the score, but it is a good representation of the idea of a group finding its way through various rhythmic transformations.

lefthand | How to Play

i

For percussion quartet. Instrumentation flexible; 'found' instruments encouraged. Example setups:

Each player should reserve one instrument for signaling the end of each rhythmic transformation.

This piece is about processes of rhythmic change. It follows the general pattern:

Loop one rhythmic motive for a bit, take your time to find a new rhythm, loop that for a bit, etc.

lefthand Kristina Warren

23

23

341

2

13

24

123

124

234

234

234

1 234

1 2342

2

2 2 21 1 133 34

1 2 21 3 4

44

1 12 24 2

2

copyright 2014

START

AG

M N O

HB

CI D J

E

P Q R

K LF