Wood & Water-SAMPLE

ANTHONY DI SANZA WOOD & WATER

for frame drum duo or solo frame drum with audio accompaniment

Wood & Water by Anthony Di Sanza © 2023 Tapspace Publications, LLC (ASCAP). All rights reserved.

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TSPCD23-006

PROGRAM NOTES

Wood & Water was initially composed in 2017–2018 as a duet for two frame drums and later reimagined as a solo with audio accompaniment in 2021. The duet and solo versions consist largely of the same material, but there are some slight differences in form and composition, and the solo contains an additional portion of music not present in the duet (letter D to E in the solo).

The work explores three thematic ideas (four in the solo version) that, while mathematically related, are set in different tempi, creating a unique identity for each. The structure of the work is not conventional but hopefully perceptible to the listener. Beginning in unison with an unadorned statement of the first theme, ornamentation is systematically introduced through an additive process, bringing this material to its fully flowered state before moving on to the brief and melodically based second theme (letter B).

Following an improvised solo, the first two themes are presented in oscillation, highlighting their tempo and stylistic contrasts. The third theme (letter C), which has more of a half-time feel, bookends a second improvised solo (duet version) or the fourth theme (solo version), ultimately leading back to a truncated statement of the first theme. The work concludes with a tihai (a thrice repeated rhythmic cadence used in Indian classical music) composed by Todd Hammes.

I initially composed basic material for the accompanying audio track acoustically, layering instruments via simple audio recording/editing software. I then asked Marc Hill to realize my raw, acoustic ideas electronically while giving him creative freedom to experiment and enhance the sonic landscape with his own ideas.

The title is a reference to the Birch Creek Summer Percussion Academy in Egg Harbor, Wisconsin, where I was teaching when I began composing the work.

—Anthony Di Sanza

PLAYERS AND INSTRUMENTATION

Wood & Water may be performed as a duet for two frame drums or as a frame drum solo with audio accompaniment. If performing the solo with audio accompaniment, no click track is needed; only a two-channel playback/monitor system is required.

PERFORMANCE NOTES (DUET VERSION)

Measures 1–10: The non-accented Teks are intended to be somewhat ghosted so that the hemiola is presented clearly.

Measures 11–22: If the performers choose, the Tek material can be lightly ornamented with 16th notes. Be careful not to get too busy.

Measures 19–22 (and subsequent appearances of this material): It is preferable that the Doums be played with the finger rather than the thumb so that the tone is as pure as possible, creating a clear melody between the drums.

Measure 23–26 and 67–70: The ostinati can be subtly varied via improvisation. Additionally the performers may choose to create slightly different ostinati, keeping the core identity of the composed material.

Measure 23–26: The Doums in frame drum 2 are intended to be muted so as not to get in the way of the soloist.

Measures 35, 43, and 51 (downbeats): Play as Pa the first time and Tek (in parentheses) the second time.

Measures 67–70: The brush is held in the non-dominant hand.

Fingerings are presented only on the initial appearance of figures to avoid cluttering the score. All fingerings are presented for right-handed players. Left-handed players can simply invert as desired. The indicated fingerings can be adjusted to the performers’ needs.

While the piece was composed with the intent of holding the drum in “lap position,” the performers are free to make adjustments to the music as needed to accommodate other drum holding positions.

NOTATION KEY

* Finger indications for finger rolls:

2 = right index finger

3 = right middle finger

4 = right ring finger

L = any finger on left hand

WOOD & WATER

PERFORMANCE NOTES (SOLO VERSION)

Measures 1–10: The non-accented Teks are intended to be somewhat ghosted so that the hemiola is presented clearly.

Measures 11–22: If the performer chooses, the Tek material can be lightly ornamented with 16th notes. Be careful not to get too busy.

Measures 19–22 (and subsequent appearances of this material): It is preferable that the Doums be played with the finger rather than the thumb so that the tone is as pure as possible, creating a clear melody between the frame drum and the audio track. The performer can improvise the Doum material; just avoid playing on top of the track Doums. A buoyant conversation is the goal.

Measures 35, 43, and 51 (downbeats): Play as Pa the first time and Tek (in parentheses) the second time.

Fingerings are presented only on the initial appearance of figures to avoid cluttering the score. All fingerings are presented for right-handed players. Left-handed players can simply invert as desired. The indicated fingerings can be adjusted to the performers’ needs.

While the piece was composed with the intent of holding the drum in “lap position,” the performer may make adjustments to the music as needed to accommodate other drum holding positions or personal technique.

Letter D to E: The split-hand material in this section is composed using three “rolling” groupings. The fingerings for these groupings are consistent throughout this section. Groupings are identified by the number of eighth notes occupied and most often start on a Doum, although the 3-note groupings fluctuate between using the Doum as the starting or ending points. There are also two different fingerings for the 3-note grouping. Brackets in the score help to identify the 4-note and 5-note groupings. (The 3-note groupings do not have brackets as they are easier to absorb.)

The performer is encouraged to play the exercises provided as a way to see and hear these figures as grouped metered rolls (see “Rolling” Groupings and Exercises).

SUGGESTED TUNING & AUDIO TRACK PITCH INFO

Below is an outline of the pitch material used in the audio track, as the performer may want to tune their drum to complement the track melodies. If a single drum is used, the ideal pitch is Bb

Suggested tuning based on drum size:

18” — Bb

20” — Gb

15” — C or Db

Pitch focus in audio track:

A section — none

B section — C

Solo section — oscillation between Bb and C

C section — low drum in Gb

D section — Eb (bass pitches are Eb, Gb, Ab, A, Bb)

“ROLLING” GROUPINGS

3-beat grouping (starting from Doum) 3-beat grouping (leading to Doum)