Drum Dances

PROMETHEAN EDITIONS 

JOHN PSATHAS 

Drum Dances 

Drum Kit and Piano

John Psathas 

Drum Dances 

Drum Kit and Piano 

PROMETHEAN EDITIONS 

WELLINGTON

Drum Dances (PE008), for Drum Kit and Piano by John Psathas 

(1993). Dedicated to Carla Psathas 

© John Psathas 1993 

Published exclusively by Promethean Editions Limited 

First edition © 1997 Promethean Editions Limited (201506) 

Series Editor: Ross Hendy 

Editor: Ross Hendy 

ISBN: 978-0-9583679-7-4 (print) 

ISBN: 978-1-77660-008-3 (ebook) 

ISMN: 979-0-67452-088-1 

Promethean Editions Limited 

PO Box 10-143 

Wellington 

NEW ZEALAND 

http://www.promethean-editions.com 

No part of this publication may be reproduced in any form or by 

any means without permission in writing from the Publisher. 

Drum Dances was commissioned by Evelyn Glennie with financial 

support from Creative New Zealand, Arts Council of New Zealand Toi 

Aotearoa. 

PE008 – ii

John Psathas (1966) 

John Psathas is one of New Zealand’s most frequently performed composers. With works 

in the repertoire of such high profile musicians as Evelyn Glennie, Michael Brecker, Pedro 

Carneiro, Michael Houstoun, Joshua Redman, Federico Mondelci, the Takács Quartet, the 

Netherlands New Blazers Ensemble, the Hallé Orchestra and others, he has established an 

international profile and is receiving regular commission offers from outside New Zealand. 

Psathas grew up in Taumaranui and then Napier, and left high school early to study 

composition and piano at Victoria University of Wellington. Psathas studied further with 

composer Jacqueline Fontyn in Belgium before returning to New Zealand, where he has since 

lectured in music at the New Zealand School of Music and continued to fulfil a busy schedule 

of commissions. 

Early success came in 1991 with Matre’s Dance, a maximum-energy duet for percussion and 

piano that has since made Psathas’ name internationally known through having been taken 

up and championed by percussionist Evelyn Glennie. This work and Drum Dances are now 

standard repertoire for percussionists throughout the world. 

In August 2000, the premiere of his saxophone concerto, Omnifenix, by legendary jazz 

saxophonist Michael Brecker in Bolgna, Italy, brought international acclaim; further 

prominent performances of his works have included the 2001 Klangspuren Schwaz Festival 

of Contemporary Music in Austria; Psyzygysm, performed by Pedro Carneiro with Strike and 

Stroma in the 2002 New Zealand Festival; the premiere of View From Olympus at the 2002 

Royal Gala Concert in Manchester, and the premiere of Orpheus in Rarohenga in November 

2002. This last, a major work for choir, soloists and orchestra, was a joint commission from 

poet Robert Sullivan and John Psathas by the Orpheus Choir of Wellington. In April 2004, 

pianist Stephen Gosling first performed Psathas’ piano concerto, Three Psalms, with the New 

Zealand Symphony Orchestra, who commissioned the work for pianist Michael Houstoun. 

Saxophonist Federico Mondelci commissioned Psathas to write his second saxophone 

PE008 – iii

concerto, Zahara, which he first performed with the New Zealand Symphony Orchestra, 

conducted by David Atherton, at the Michael Fowler Centre, Wellington, New Zealand on 

22 September 2006. In 2008, Chamber Music New Zealand commissioned Psathas to write 

a string quartet, A Cool Wind, for the world renown Takács Quartet, who presented the first 

performance in the Auckland Town Hall, Auckland, New Zealand on 23 July 2008. 

Psathas’ recent career highlights include the creation of key ceremonial music for the 

2004 Athens Olympic Games and more recently Zeibekiko, an entire programme of music 

celebrating the heritage of Greek music from antiquity and the present day. Zeibekiko was 

commissioned by the Eduard van Beinum Foundation at the request of the Nederlands 

Blazers Ensemble and toured Holland in 2004. It was a highlight of both the 2004 Bath 

Festival (UK) and the 2006 New Zealand International Festival of the Arts. 

Psathas’ inclination to work in a collaborative capacity with artists from a wide range of 

musical genres and backgrounds has resulted in projects such as Elect the Dead Symphony 

with Serj Tankian, and Pounamu with New Zealand roots musician Warren Maxwell. In 2011, 

Psathas produced his first film score for the feature-film, Good for Nothing, and further film 

music followed with White Lies in 2013. Psathas’ involvement with Booktrack—a company 

focused on developing synchronised soundtracks for eBooks—saw the opportunity to write 

music for the Salman Rushdie novel, In the South. 

Psathas has received a number of awards and honours, including twice winning the SOUNZ 

Contemporary APRA Silver Scroll Award (2002 and 2004) for individual works and taking 

three Classical CD of the Year awards (2000, 2004 and 2007) in the NZ Music Awards. In 2003 

he was made a New Zealand Arts Foundation Laureate and in 2005 was appointed an Officer 

of the New Zealand Order of Merit (ONZM). 

In 2014 Victoria University of Wellington awarded Psathas a Higher Doctorate in the degree of 

Doctor of Music (DMus) for the immense body of work he has contributed to his field. 

Latest information about the composer may be found at www.johnpsathas.com. 

PE008 – iv

Drum Dances (1993) 

Commissioned by renowned percussionist Dame Evelyn Glennie, Psathas’ Drum Dances 

is a standard for drum kit and piano repertoire. 

The composer writes: 

Each of the four dances was stimulated by a certain rhythmic interaction possible 

between two performers. From the chaotic first movement (which is like a game where 

both players attempt to force each other’s cadences), to the ending of the prestissimo 

fourth movement (where both parts are synchronised) the two performers gradually 

begin working together instead of battling for priority. The second movement includes 

a glockenspiel part for the percussionist, and is a loosely written, stately dance. The 

third movement involves very tight rhythmic interaction and is driven by syncopation 

simultaneously occurring on several levels (i.e. from the semiquaver to the crotchet). 

This work is heavily influenced by jazz and rock music, particularly from the late 1980s 

to early 1990s. I am greatly inspired by the drumming of Dave Weckl, the very different 

pianistic styles of Keith Jarret and Chick Corea, and the enormous energy in the music of 

guitarists like Steve Vai. 

I would like to add that it is a great privilege to write for Evelyn Glennie and that her 

interest in my music has had a major positive impact on my experiences as a composer. 

This work is dedicated to my wife, Carla. 

Performance notes 

• The piano must be amplified. 

• The first two movements are to be played as one with no break in the sound. 

• The third and fourth movements are to be played as one with no break. 

PE008 – v

• Accidentals are relevant only in their specific register and effect an entire measure. 

Drum Kit 

• The open hi-hat under the stave is a foot splash. 

• Where ever possible a closed hi-hat immediately following an open hi-hat is a ‘footclosed-hi-hat’. 

• While the snare ghost notes are meant to be very quiet, they form an integral part of the 

rhythm and so must be audible. 

• In the second movement the glockenspiel beaters can be used on the snare, toms, and 

the crash cymbal. It is also acceptable if the performer feels comfortable to make a quick 

change from drum sticks and back to glockenspiel beaters. 

• In m.31 of the second movement the performer is to mute the crash cymbal immediately 

after striking. 

• It has been left to the performer to decide where to use the various crash cymbals. The 

only suggestion I have is that in the third movement, as there are an abundance of 

cymbal crashes, a variety of sound should be aimed for to help sustain the impact of these 

punctuations — it is recommended that the china crash be saved for the more important 

cadences. 

Instrumentation 

Drum Kit 

Bass drum with pedal; snare drum (high register, preferably piccolo); three toms, high -midlow; 

hi-hat with pedal; ride/crash cymbal, medium crash, china crash (optional - extra crash 

cymbals i.e. Splash); glockenspiel. Drum sticks, glockenspiel beaters. 

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PE008 – vi

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Drum Dances DEDICATED TO CARLA PSATHAS 

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This edition © 1997 Promethean Editions Limited PE008 —– 1 

ISMN: 979-0-67452-088-1

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