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China Cymbal / Conga (x2) / Crash Cymbal / Floor Tom (x2) / Hi-Hats (x3) / Kick Bass Drum (x4) / Snare Drum (x2) / Splash Cymbal / Tambourine (Headless) / Tom (x6)

I’ve admired John Psathas’ music for years, for its incredible sense of energy, its ability to defy categorization, and its cultural pluralism. With 4BY4 (his first non-pitched percussion piece), John delivers on all counts … and then some. If David Weckl, Christopher Lamb, Steven Schick and Giovanni Hidalgo – all percussion virtuosi from widely different genres – were to have a jam session, I can’t help but think that it would sound something like 4BY4.

Each of the four players plays a drumset-like set-up; one player has two snare drums a hi-hat, a tambourine, and a cymbal, another has two congas and a hihat, and the remaining two have tom-based set-ups. However, what binds these four seemingly disparate voices is the kick drum, which all four drumsets have. At times, these four drums pound a relentless beat in unison, and at others they’re split into complex rhythmic counterpoint.

It is this, in part, that makes 4BY4 such a great piece and a perfect fit for this album. John manages to take culturally different instruments, each with different playing techniques, and link them together with a common element – the kick drum. It is cultural pluralism at its best, with each voice maintaining its unique sound and identity, but seamlessly integrated into a common whole.
- Omar Carmenates

• John Psathas: 4BY4; video 

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• Omar Carmenates: The Gaia Theory CD  Year: 2012 

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  $33.00
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• Hall: and the sound went up like smoke; computer set 

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Percussion: drumkit; mobile instruments; furniture; clothing (full details in score)

• Palmer: Blood Shower; computer-set 

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• Palmer: Blood Shower; computer-set 

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• Palmer: Selected Works I 

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wind chimes; vibraphone; maracas; woodblock; log drum; glockenspiel; triangle; temple blocks; snare drum; suspended cymbal; five tom-toms; finger cymbals; 3 gongs; crotales; marimba; conga; bongos; glasses; chimes; bucket of water and stones; claves; tamtam; tenor drum; bass drum

The work represents four nature images: blue/water, green/forest, red/volcanic activity, black/darkness.

• Grenfell: Blue Green Red Black; computer-set 

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• Grenfell: Blue Green Red Black; computer set 

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• Maria Grenfell: Selected Works 

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• Maria Grenfell: Blue Green Red Black 

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An exciting, positive work for marimba.

This work won first prize in the ‘Tonal 21st Century’ category of the 2009 Classical Marimba League Composition Competition.

• Crehan: Bold Spark; computer-set 

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Tree chimes, small gong, medium gong, large gong, sizzle cymbal, vibraphone, glockenspiel, gogo bells, brake drums, cow bells, spring coils, cabasa, flexatone

Composed at the 1984 Cambridge Summer School, Clouds over Pirongia is a short delicate piece which uses a wide variety of metallic percussion instruments. The resonant sonorities were suggested by various cloud formations over nearby Mt. Pirongia.

• Rimmer: Clouds over Pirongia; facsimile 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

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• Sound Barrier  Year: 2006 

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• Rimmer: Compositions 1-5; electroacoustic part 

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• Rimmer: Composition 5; electroacoustic part 

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• Rimmer: Composition 5; facsimile 

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• Music Players 70: Rimmer, Bartok, Carr  Year: 1971 

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glockenpiel , 2 cymbals, 3 gongs, tam tam, wood block, 4 tom-toms, snare drum, fishing reel, 2 metronomes

• de Castro-Robinson: Conundrums; facsimile 

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• de Castro-Robinson: Conundrums; facsimile 

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Double Resonances explores the idea of the resonances of two cultures (East and West) as a resource for establishing a personal sound resonant of my Pacific locale. Out of stillness half resonances from prepared and altered piano techniques merge with Korean temple gong and Samul Nori metal resonances. Bass sounds in shifting, Filipino-inspired ostinato rhythms propel the piece forward against sudden jazzy intrusions based on dissonant interval-colours. A Filipino scale borrowed from the percussive gone-chime beauty of a particular kulintang – that of world musician, Michael Atherton – underpins the percussion pitches in this stormy first section and later, during recurring still centres, it merges with the gentle sounds of the Chinese Shang-tiao mode as moments of sparky tranquility. They jazz-inspired intrusions and developed repeated note drivers return to form a massive sonic climax which includes moments of controlled improvisation for the players; the climax subsides, ebbing back to the half echoes of prepared piano and transcendence of a temple gong sound.


Double Resonances was written for the Music of the Spirit concert at the Aurora Festival in 2008.


Bruce Crossman

• Crossman: Double Resonances; computer-set  Year: 2008 

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• Bruce Crossman; Double Resonances; video 

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• Double Resonances - Bruce Crossman  Year: 2008 

  CD
  

Also a version for marimba, bass marimba and drumkit

• Psathas: Drum Dances; computer-set  Year: 1998 

  Score and parts | Hardcopy - computer set
  
  $58.00
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• John Psathas: Drum Dances (mvt 4); video 

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• John Psathas: Drum Dances (mvt 3); video 

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• John Psathas: Drum Dances (mvt 2); video 

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• John Psathas: Drum Dances (mvt 1); video 

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• John Psathas: Drum Dances 

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• Psathas: Eight Works 

  DAT
  

• The Next Step; First Steps CD 

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• John Psathas: Rhythm Spike  Year: 1999 

  CD
  
  $30.00
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