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Publishing
The
4-MALITY players are not only musicians but composers!
Below
is a list of repertoire written by the 4-MALITY members, and are
available by emailing the composer. Click the piece for the programme
notes.
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Composer (email)
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Work
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Price
GBP
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10
+ p&p
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15
+ p&p
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15
+ p&p
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18
+ p&p
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15
+ p&p
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30
+ p&p
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Dance
for BooBams and Tom-Toms (Solo) - Jan Bradley
This piece is in three short sections. Each section uses the minimalist
technique of gradually adding notes to a continuously repeated pattern.
The right hand (on the top Boo-Bam) mostly plays an accompanying
role whilst the left hand plays the "tune". The final
section contains a brief reference to the first section.
Supersonic
(Duo Multi-Percussion) - Jan Bradley
Supersonic subverts the traditional roles of soloist and accompanist.
One player plays half the accompaniment with the left hand and half
of the tune with the right. The second player mirrors this, with
the other half of the tune in the left and the other half of the
accompaniment in the right. The middle section is quieter and introduces
new timbres (metal pipes, or bottles) to the existing line up of
tom-toms, bongos, and cowbells. The title of the piece was discovered
using the anagram function on my computer.
Piece
for Claves and Tom-Toms (Percussion Trio) - Jan Bradley
Two sets of tom-toms form an uneasy alliance when confronted by
two small bits of wood. The two sides carefully sound each other
out in an attempt to find some common ground. After a heated discussion
all forces agree to unite against their common enemy: the pretentious
program note.
For
Timps and Tape (Comes with CD) - Jan Bradley
The idea of timpani being a successful solo instrument is one, which
I find deeply suspicious. The occasional solo or exposed phrase
in the context of a work for orchestra can be gripping, but too
much can lead the listener to a state comparable to that of a child
given unlimited access to it's favourite chocolate. To overcome
my prejudices I wrote the timpani part first, knowing that I would
then add a tape track as a partner with which the timpani would
converse.
Chieba
- Jan Bradley
Chieba was commissioned by Adrian Spillett and Alison Balsom and
first performed in the Purcell Room in October 2002. When it was
first performed I hadn’t decided on a name, so the original programme
notes invited the audience to submit their suggestions. Jonathan
Bower came up with “Chieba”, because he claimed it sounded a bit
CHinese, Indian, Eastern, Bebop, and African. I wasn’t actually
there, so I can’t comment!
In-line
- Jan Bradley
In-line adj.
1
having parts arranged in a line.
2
constituting an integral part of a continuous sequence of operations
of machines.
There
is no soloist, but each player contributes to the solo line, while
also maintaining the accompaniment. Visual patterns emerge as well
as tonal and rhythmic ones.
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