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Drum Dances

by John Psathas | for Drum Kit and Piano

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PROMETHEAN EDITIONS<br />

JOHN PSATHAS<br />

<strong>Drum</strong> <strong>Dances</strong><br />

<strong>Drum</strong> Kit and Piano


John Psathas<br />

<strong>Drum</strong> <strong>Dances</strong><br />

<strong>Drum</strong> Kit and Piano<br />

PROMETHEAN EDITIONS<br />

WELLINGTON


<strong>Drum</strong> <strong>Dances</strong> (PE008), for <strong>Drum</strong> Kit and Piano by John Psathas<br />

(1993). Dedicated to Carla Psathas<br />

© John Psathas 1993<br />

Published exclusively by Promethean Editions Limited<br />

First edition © 1997 Promethean Editions Limited (201506)<br />

Series Editor: Ross Hendy<br />

Editor: Ross Hendy<br />

ISBN: 978-0-9583679-7-4 (print)<br />

ISBN: 978-1-77660-008-3 (ebook)<br />

ISMN: 979-0-67452-088-1<br />

Promethean Editions Limited<br />

PO Box 10-143<br />

Wellington<br />

NEW ZEALAND<br />

http://www.promethean-editions.com<br />

No part of this publication may be reproduced in any form or by<br />

any means without permission in writing from the Publisher.<br />

<strong>Drum</strong> <strong>Dances</strong> was commissioned by Evelyn Glennie with financial<br />

support from Creative New Zealand, Arts Council of New Zealand Toi<br />

Aotearoa.<br />

PE008 – ii


John Psathas (1966)<br />

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

in the repertoire of such high profile musicians as Evelyn Glennie, Michael Brecker, Pedro<br />

Carneiro, Michael Houstoun, Joshua Redman, Federico Mondelci, the Takács Quartet, the<br />

Netherlands New Blazers Ensemble, the Hallé Orchestra and others, he has established an<br />

international profile and is receiving regular commission offers from outside New Zealand.<br />

Psathas grew up in Taumaranui and then Napier, and left high school early to study<br />

composition and piano at Victoria University of Wellington. Psathas studied further with<br />

composer Jacqueline Fontyn in Belgium before returning to New Zealand, where he has since<br />

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

of commissions.<br />

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

piano that has since made Psathas’ name internationally known through having been taken<br />

up and championed by percussionist Evelyn Glennie. This work and <strong>Drum</strong> <strong>Dances</strong> are now<br />

standard repertoire for percussionists throughout the world.<br />

In August 2000, the premiere of his saxophone concerto, Omnifenix, by legendary jazz<br />

saxophonist Michael Brecker in Bolgna, Italy, brought international acclaim; further<br />

prominent performances of his works have included the 2001 Klangspuren Schwaz Festival<br />

of Contemporary Music in Austria; Psyzygysm, performed by Pedro Carneiro with Strike and<br />

Stroma in the 2002 New Zealand Festival; the premiere of View From Olympus at the 2002<br />

Royal Gala Concert in Manchester, and the premiere of Orpheus in Rarohenga in November<br />

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

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

pianist Stephen Gosling first performed Psathas’ piano concerto, Three Psalms, with the New<br />

Zealand Symphony Orchestra, who commissioned the work for pianist Michael Houstoun.<br />

Saxophonist Federico Mondelci commissioned Psathas to write his second saxophone<br />

PE008 – iii


concerto, Zahara, which he first performed with the New Zealand Symphony Orchestra,<br />

conducted by David Atherton, at the Michael Fowler Centre, Wellington, New Zealand on<br />

22 September 2006. In 2008, Chamber Music New Zealand commissioned Psathas to write<br />

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

performance in the Auckland Town Hall, Auckland, New Zealand on 23 July 2008.<br />

Psathas’ recent career highlights include the creation of key ceremonial music for the<br />

2004 Athens Olympic Games and more recently Zeibekiko, an entire programme of music<br />

celebrating the heritage of Greek music from antiquity and the present day. Zeibekiko was<br />

commissioned by the Eduard van Beinum Foundation at the request of the Nederlands<br />

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

Festival (UK) and the 2006 New Zealand International Festival of the Arts.<br />

Psathas’ inclination to work in a collaborative capacity with artists from a wide range of<br />

musical genres and backgrounds has resulted in projects such as Elect the Dead Symphony<br />

with Serj Tankian, and Pounamu with New Zealand roots musician Warren Maxwell. In 2011,<br />

Psathas produced his first film score for the feature-film, Good for Nothing, and further film<br />

music followed with White Lies in 2013. Psathas’ involvement with Booktrack—a company<br />

focused on developing synchronised soundtracks for eBooks—saw the opportunity to write<br />

music for the Salman Rushdie novel, In the South.<br />

Psathas has received a number of awards and honours, including twice winning the SOUNZ<br />

Contemporary APRA Silver Scroll Award (2002 and 2004) for individual works and taking<br />

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

he was made a New Zealand Arts Foundation Laureate and in 2005 was appointed an Officer<br />

of the New Zealand Order of Merit (ONZM).<br />

In 2014 Victoria University of Wellington awarded Psathas a Higher Doctorate in the degree of<br />

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

Latest information about the composer may be found at www.johnpsathas.com.<br />

PE008 – iv


<strong>Drum</strong> <strong>Dances</strong> (1993)<br />

Commissioned by renowned percussionist Dame Evelyn Glennie, Psathas’ <strong>Drum</strong> <strong>Dances</strong><br />

is a standard for drum kit and piano repertoire.<br />

The composer writes:<br />

Each of the four dances was stimulated by a certain rhythmic interaction possible<br />

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

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

fourth movement (where both parts are synchronised) the two performers gradually<br />

begin working together instead of battling for priority. The second movement includes<br />

a glockenspiel part for the percussionist, and is a loosely written, stately dance. The<br />

third movement involves very tight rhythmic interaction and is driven by syncopation<br />

simultaneously occurring on several levels (i.e. from the semiquaver to the crotchet).<br />

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

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

pianistic styles of Keith Jarret and Chick Corea, and the enormous energy in the music of<br />

guitarists like Steve Vai.<br />

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

interest in my music has had a major positive impact on my experiences as a composer.<br />

This work is dedicated to my wife, Carla.<br />

Performance notes<br />

• The piano must be amplified.<br />

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

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

PE008 – v


• Accidentals are relevant only in their specific register and effect an entire measure.<br />

<strong>Drum</strong> Kit<br />

• The open hi-hat under the stave is a foot splash.<br />

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

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

rhythm and so must be audible.<br />

• In the second movement the glockenspiel beaters can be used on the snare, toms, and<br />

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

change from drum sticks and back to glockenspiel beaters.<br />

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

after striking.<br />

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

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

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

punctuations — it is recommended that the china crash be saved for the more important<br />

cadences.<br />

Instrumentation<br />

<strong>Drum</strong> Kit<br />

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

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

cymbals i.e. Splash); glockenspiel. <strong>Drum</strong> sticks, glockenspiel beaters.<br />

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PE008 – vi


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This edition © 1997 Promethean Editions Limited PE008 —– 1<br />

ISMN: 979-0-67452-088-1


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PE008 — 11


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PE008 — 12


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PE008 — 14


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PE008 — 15


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PE008 — 22


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PE008 — 27


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PE008 — 28


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PE008 — 29


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PE008 – 33<br />

PE008 — 33


PROMETHEAN EDITIONS

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