Evanescence (PDF)
Duration: ca 8’
Difficulty: Advanced
Evanescence (2023), for percussion quartet, is composed for the trio 3D percussion in collaboration with Austin Keck. The piece follows a narrative arc that is evanescent in nature, both in its form and musical motifs. The idea of music slowly disappearing and dissipating into nothing has always fascinated me, and it is the main inspiration for this piece. Another inspiration of mine is the idea that music evokes physical imagery, whether that be an abstract or something tangible. The ideas I present are developed only to be quickly faded out of the texture before moving on to the next idea. All of these motifs presented stem from a single idea that is manipulated and morphed into something new, almost unrecognizable from its original form. As you listen to the piece, my goal is that the audience is taken on an experience that is linear in form, but memorable for the emotion and feeling it evokes rather than the thematic or motivic material. In the end, there is a return of the opening but only to fade quickly into oblivion and be forgotten forever. My hope is that this music and quality of being fleeting or vanishing quickly is evocative and creates an image in the listener’s head, whether it be the beauty of nature, or something more ethereal and other worldly.
Evanescence was commissioned and led by 3D Percussion, with contributors: Michael Burritt – Eastman School of Music, Ryan Boehme, Tommy Dobbs– Oklahoma City University, Ben Koch – Hebron H.S., Brian Teed – Wakeland H.S., Brian Zator – Texas A&M Commerce, Will Newton – Radford University, Scott Herring – University of South Carolina, Connor Stevens – University of Arkansas, Fort Smith, Tyler Tolles, Peter Soroka, Mitchell Gribbroek, Jacob Knight, Ivan Trevino – University of Texas at Austin, Kennan Wylie – Marcus H.S. and Blacktop Percussion.
Duration: ca 8’
Difficulty: Advanced
Evanescence (2023), for percussion quartet, is composed for the trio 3D percussion in collaboration with Austin Keck. The piece follows a narrative arc that is evanescent in nature, both in its form and musical motifs. The idea of music slowly disappearing and dissipating into nothing has always fascinated me, and it is the main inspiration for this piece. Another inspiration of mine is the idea that music evokes physical imagery, whether that be an abstract or something tangible. The ideas I present are developed only to be quickly faded out of the texture before moving on to the next idea. All of these motifs presented stem from a single idea that is manipulated and morphed into something new, almost unrecognizable from its original form. As you listen to the piece, my goal is that the audience is taken on an experience that is linear in form, but memorable for the emotion and feeling it evokes rather than the thematic or motivic material. In the end, there is a return of the opening but only to fade quickly into oblivion and be forgotten forever. My hope is that this music and quality of being fleeting or vanishing quickly is evocative and creates an image in the listener’s head, whether it be the beauty of nature, or something more ethereal and other worldly.
Evanescence was commissioned and led by 3D Percussion, with contributors: Michael Burritt – Eastman School of Music, Ryan Boehme, Tommy Dobbs– Oklahoma City University, Ben Koch – Hebron H.S., Brian Teed – Wakeland H.S., Brian Zator – Texas A&M Commerce, Will Newton – Radford University, Scott Herring – University of South Carolina, Connor Stevens – University of Arkansas, Fort Smith, Tyler Tolles, Peter Soroka, Mitchell Gribbroek, Jacob Knight, Ivan Trevino – University of Texas at Austin, Kennan Wylie – Marcus H.S. and Blacktop Percussion.
Duration: ca 8’
Difficulty: Advanced
Evanescence (2023), for percussion quartet, is composed for the trio 3D percussion in collaboration with Austin Keck. The piece follows a narrative arc that is evanescent in nature, both in its form and musical motifs. The idea of music slowly disappearing and dissipating into nothing has always fascinated me, and it is the main inspiration for this piece. Another inspiration of mine is the idea that music evokes physical imagery, whether that be an abstract or something tangible. The ideas I present are developed only to be quickly faded out of the texture before moving on to the next idea. All of these motifs presented stem from a single idea that is manipulated and morphed into something new, almost unrecognizable from its original form. As you listen to the piece, my goal is that the audience is taken on an experience that is linear in form, but memorable for the emotion and feeling it evokes rather than the thematic or motivic material. In the end, there is a return of the opening but only to fade quickly into oblivion and be forgotten forever. My hope is that this music and quality of being fleeting or vanishing quickly is evocative and creates an image in the listener’s head, whether it be the beauty of nature, or something more ethereal and other worldly.
Evanescence was commissioned and led by 3D Percussion, with contributors: Michael Burritt – Eastman School of Music, Ryan Boehme, Tommy Dobbs– Oklahoma City University, Ben Koch – Hebron H.S., Brian Teed – Wakeland H.S., Brian Zator – Texas A&M Commerce, Will Newton – Radford University, Scott Herring – University of South Carolina, Connor Stevens – University of Arkansas, Fort Smith, Tyler Tolles, Peter Soroka, Mitchell Gribbroek, Jacob Knight, Ivan Trevino – University of Texas at Austin, Kennan Wylie – Marcus H.S. and Blacktop Percussion.
