music – Page 4 – Derrick Skye

In Our Hands a Canvas

In Our Hands, a Canvas is a sonic representation of the philosophical concept that perception is a main facet of human creativity. The melodic and harmonic framework was inspired by Balinese gamelan music, which uses gongan, a cyclical structure, as well as kotekan, or interlocking parts. A technique similar to ombak, the shimmering vibration that occurs when gongs are tuned slightly apart from each other, is also used. The piece alternates between sections of formal structure and sections that give performers freedom within a set of parameters. The meaning of the work is created by the audience’s perceptions. This work was funded in part by the Composer Assistance Program of New Music USA.

Women’s Choir
Min. 15 Sopranos, 15 Altos

Piccolo
Flutes 1, 2, 3, 4, 5
Oboe 1, 2
Clarinet 1, 2, 3, 4
Bass Clarinet Bassoon
Alto Sax 1, 2
Tenor Sax
Baritone Sax with low “A” capability

Trumpet 1, 2, 3, 4, 5, 6
F-Horn 1, 2
Trombone 1, 2, 3, 4
Tuba 1, 2
Euphonium

Piano
Organ
Electric Guitar with individual amp and effects option

Percussion

PART 1
Timpani
Vibraphone (with bow), Tam Tam, Crotales
Percussion 1: 20’’ Suspended Cymbal
Percussion 2: Concert Bass Drum

PART 2
Timpani
Marimba, Crotales
Percussion 1: 20’’ Suspended Cymbal, Tam Tam, Ceng Ceng, Crash Cymbals
Percussion 2: Marching Bass Drum 4, Concert Bass Drum

Kiara Skye

Lithe Melodies

Flute I, II / Piccolo
Oboe I, II
Bb Clarinet I, II
Bass Clarinet
Bassoon I, II

F-Horn I, II, III, IV
C Trumpet I
C Trumpet II
Trombone I
Trombone II, III
Tuba

Timpani
Tubular Bells
Mallets (Vibraphone + Glockenspiel)
Snare Drum
Roto Toms + Floor Tom
Percussion (Bass Drum + Suspended Cymbal 20’’ + Tam Tam + Tambourine on a stand)

Violin I 10-14
Violin II 10 -14
Viola 8 -10

Violoncello 6-8
Double Bass 3 – 6

Kiara Skye

Prisms, Cycles, Leaps

Premiered by the Los Angeles chamber Orchestra Prisms, Cycles, Leaps is an orchestral piece that bridges the space between the music of the Balkans, the Volta Region of Ghana and North Indian Hindustani classical music. The time signature of the piece is in a foundational 3/2, but shifts its emphasis to 6/4, 12/8, and 7/8 +5/8 in different sections by using polyrhythmic ostinatos that are found in Ghanaian religious drum ceremonies. The melodic lines of Prisms, Cycles, Leaps combine elements of Balkan music and Hindustani classical music. While the melodic lines use an ornamentation specific to Bulgarian women’s choir music (similar to accaciaturas found in Baroque music), the larger form of the melodic lines resembles the tihai rhythmic cadence and the long phrases found in improvised Hindustani classical music. Tihai is a thrice-repeated rhythmic phrase that is used to end a section or conclude a piece in Hindustani classical music. The title Prisms, Cycles, Leaps references a search for beauty in life and nature through multiple and varied yet cyclical experiences.

Part I

Prisms, Cycles, Leaps

14′

Flute I, II / Piccolo
Oboe I
English Horn
Bb Clarinet
Bass Clarinet
Bassoon I
Contrabassoon / Bassoon II

F-Horn I, II
Bb Trumpet I / Bb Piccolo Trumpet
Bb Trumpet II / Bb Piccolo Trumpet
Trombone I
Trombone II

Timpani (set up with second snare drum nearby)
Tubular Bells
Mallets (Marimba + Vibraphone + Xylophone + Bowed Crotales)
Snare Drum
Roto Toms + Floor Tom
Percussion (Bass Drum + Suspended Cymbal 20’’ + Tam Tam + Tambourine on a stand)

Harp
Piano
Five-String Electric Bass with sustain pedal

Violin I 8-12
Violin II 8-12
Viola 6 -7
Violoncello 6
Double Bass 2

Part II

From Here A Path

11′

Flute/Piccolo I, II
Violin I 4-6
Violin II 4-6
Viola 3-5
Cello 2-4

5 String Electric Bass Harp

Piano

Goblet Drum (Darabuka preferred, or Doumbek)
Marimba, Bowed Vibraphone
Percussion I: Cabasa, Suspended Cymbals
Percussion II: Cajón (without snare), Closed Hi-Hat
Percussion III: Clapping Wood Blocks