BRIAN BLUME ROOTED

for solo percussion with audio accompaniment

Rooted by Brian Blume tapspace.com

© 2023 Tapspace Publications, LLC (ASCAP).

All rights reserved.

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.

TSPCS23-002

Program Notes

The motivation for Rooted came as a result of much reflection on the many changes my life has seen in recent years. Through seasons of change, many aspects of my life have been uprooted or thrown into disorder, yet some things remain and persist through those changes—my marriage, my family, my faith in an immutable God. The piece also grew from meditation on Psalm 1, which speaks of one who is “like a tree planted by streams of water that yields fruit in its season, and its leaf does not wither” (v.3, ESV). When we are rooted in the right things, trying changes of seasons do not have to break us, but instead, they can strengthen us.

Musically, I attempted to capture this through the persistence of the pitch G, as well as the G major harmony. We may leave G major, at times straying far away, but we always return. And even when the music travels elsewhere harmonically, the G is still present somewhere, reminding us of our roots. Certain rhythmic motifs occur throughout the piece as well, sometimes in altered forms, demonstrating change over time, but rooted in the same material. Rooted also acknowledges the musical roots from which it has sprung, including the works of Bob Becker, Brad Mehldau, Arvo Pärt, and Francisco Turrisi, among others.

Rooted was commissioned by the World Percussion Group (Tim Palmer, Artistic Director).

Performance Notes

• Drags may be played open or closed, as the performer wishes.

• Any notes/passages without sticking indications may be played using the performer’s preferred stickings.

• Tenuto markings indicate a slight emphasis (not as much as an accent).

Brian Blume

• Snares should be turned off on the snare drum when possible to avoid unnecessary sympathetic vibrations. Suggested places to turn off snares are at letter B (or at the least, letter D) until letter F, mm. 99–102, end of the cadenza to letter I, and at letter L.

• Measures 102–105 comprise a brief cadenza in which the meter and tempo vary to create a sense of disorientation. The soloist may perform exactly what is written in this segment, or he/she may alternately perform improvised or composed material similar in nature to what’s written, as long as the cadenza ends precisely on the downbeat of letter G.

• A clear balance between the audio track and the solo performer is essential, so be sure to check live balance and choose appropriate sticks, drums, and muffling to achieve the best possible balance.