Figure 1 – This is the ‘World Kit’ in which Caleb was using to perform this piece. It consists of a djembe and three dun dun’s arranged like a drum kit, as well as a snare drum, crash cymbal and hi-hat, using splash cymbals. Whilst I am aware that this is not close to hoe these instruments should be played traditionally, I feel that given the ever-changing nature of the piece, this was the most efficient set up to be able to tackle the part.Figure 2 – The collection of gamelan instruments at the ‘Musée des Instruments de musique de Bruxelles’
Figure 3 – A video of myself, one of the percussionist and our percussion teaching, having a go at playing the vibraphone and crotales parts.
Figure 4 – A TikTok video of percussionist Gene Koshinski demonstrating his finger cymbal sticks on his vibraphone (Koshinski, 2023).Figure 5 – An extract from the score, showing the bell tree part to follow the contour of the melody, rather than aim for specific pitches.Figure 6 – The collection of gongs used in the composition.Figure 7 – The pitches of those gongs. The highest note equalling the smallest gong.Figure 8 – The ‘pelog’ scale. The collection of notes used within the flute solos in the gamelan section of music.
Figure 9 – A video demonstrating the ceng ceng.
Figure 10 – A video that I took at a Leeds International Concert Season lunchtime concert at Leeds Conservatoire with South Asian Arts.Figure 11 – The Phrygian dominant scale that is used in the Klezmer section of this composition.
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