The 4-MALITY players are not only musicians... we have a clever composer!
Below is a list of repertoire written by the
4-MALITY members and are available by emailing
Jan the composer. Click the piece for the programme notes.
| Composer (email) |
Work |
Price GBP |
| Dance
for 5 Drums (Solo percussion) formally known as "Dance
for Boobams and Tom Toms" |
10
+ p&p |
|
| 15 + p&p |
||
| 15 + p&p |
||
| 18
+ p&p |
||
| 15
+ p&p |
||
| 30
+ p&p |
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 its 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.