by Evan Chapman 756 views
"24 degrees at the lake" was a commission by the percussion group Identity Cubed, based out of Ann Arbor, Michigan. They are great people and stellar players, and I was very excited to write for them. I also was honored that they allowed me to play the third part in this video recording. If you are interested in performing this piece, e-mail me at email@example.com for the score & parts.
This piece, as you can tell by the not-so-subtle title, was written out at my family's lakehouse in western Maryland when it was cold (24 degrees, to be exact) and blizzard-y. It is inspired by the crisp, twinkling sounds of ice, icicles, distant wind chimes, etc. While you are hopefully enjoying this piece from the warm comfort of a home, I hope it conveys an atmosphere of the winter wonderland in which it was written.
by Evan Chapman 4,157 views
"When percussionist Steve Schick asked me to write him a solo piece I wanted to do something that showed percussion's connection to real life activities. I didn't want to work with the pretty instruments, like vibraphone or chimes, that were invented so that percussionists could play politely with other musicians. I wanted to write a piece that reminded the listener of the glorious history of percussion - that since the beginning of time people have always banged on things as a result of their professions.
Then I remembered that I had once read a book on the history of blacksmithing, and I had become particularly interested in how medieval blacksmiths used song to help them in their work. Although small jobs could be accomplished by individual smiths, larger jobs created an interesting problem - how could several smiths hammer on a single piece of metal without getting in each other's way? Smiths solved this problem by singing songs together which would control the beat patterns of the hammers. There was a different song for each number of participating blacksmiths - obviously, a song that allowed for three hammer strokes would be confusing and even dangerous if used to coordinate four smiths.
My solo percussion piece The Anvil Chorus also uses a "melody" to control various beat patterns. The "melody" is played on resonant junk metals of the percussionist's choosing, and, by adding certain rules, it triggers an odd accompaniment of non-resonant junk metals, played both by hand and by foot."
by Evan Chapman 3,405 views
This is a piece I wrote that is inspired (not so subtly) by Jason Treuting from So Percussion. I am a big fan of Jason's writing, and got the chance to work with So Percussion at the So Percussion Summer Institute this past July. This is my take on some of Jason's compositional ideas. Many thanks to Sean, Carlos, & Bobby for playing my piece with me!
This piece is dedicated to the memory of my mother.
by Evan Chapman 2,563 views
One of the coolest solo snare drum solos I've ever heard. It's very possible that I spent entirely too long editing this video, but I think it came out pretty cool. :P Special thanks to Kevin Eikenberg for helping me film this one!
by Evan Chapman 5,964 views
BUY MY DEBUT SOLO ALBUM HERE:
Casey Cangelosi writes some REALLY fun stuff.
by Evan Chapman 3,303 views
I am a huge fan of Steve Kornicki's writing, especially this marimba solo. Here are the notes about the piece, from Steve -
"Tempo Distortion #4 is a conceptual study in simultaneously occurring patterns in different tempi for solo marimba and pre-recorded and processed marimba samples. The marimba part is a continuous stream of notes consisting of thirteen repeating patterns that shift gradually in tempo from fast to medium tempo and back to fast. Each of the marimbas patterns follows a dynamic effect of soft (mp) to loud (ff) to soft (mp). The pre-recorded track was assembled from marimba samples recorded by David Gerhart. The samples were manipulated and transformed through digital looping and pitch shifting techniques and then layered to create a continuum of phasing rhythmic structures. The combination of the live performance elements and recorded sounds results in a sonic landscape of shifting tempo ambiguities and overlapping textural densities."
Hope you like it! Many thanks to Steve for being so supportive. I look forward to working with him more in the future. Also, many thanks to Carlos Pacheco for filming this!
by Evan Chapman 2,539 views
I know I already have a video of "Mobile" up, but this is a redone version for my audition for the So Percussion Summer Institute. Enjoy!
by Evan Chapman 2,695 views
"My compositions for acoustic instruments with 1-bit electronic music explore a sonic and conceptual space I began exploring with 1-Bit Music in 2004: the foundations of electronic and acoustic sound. The simplest electronic tones can be created by sending on and off pulses of electricity to a speaker, effecting an oscillation at the desired pitch. These pulses are represented digitally in binary as 1-bit information, where a 1 or 0 signifies the corresponding electrical state. Reducing electronic music to the most basic components probes its very roots, inspired by similar investigations in the foundations of mathematics or physics by the likes of Kurt Gödel or Werner Heisenberg.
The 1-bit tones are generated by microchips that I program, which become instruments themselves in these duets between human musicians and code. When working with 1-bit waveforms, data becomes equivalent to sound and vice versa; no higher-level translation is need. The most basic method of electronic sound production couples with the most basic method of acoustic sound production: vibrating strings, resounding wind chambers, oscillating percussive objects, etc. While 1-bit sound is also the palette of aggressive electric alarm clocks, I find its primitive timbre inspiringly fresh and mysteriously organic when combined with classical acoustic instruments.
These works are about this relationship of basic sonic systems and the point found at their intersection."
by Evan Chapman 2,581 views
This is me performing Casey Cangelosi's "Character No. 5" for solo marimba. I am a HUGE fan of Casey's playing and composing, and I got the opportunity to catch his concert at PASIC this past year... totally blown away! Definitely an up & comer worth knowing about. Check out Casey's channel here:
by Evan Chapman 2,551 views
This is a marimba duet called "Once Removed" by John Fitz Rogers. I did this with my good friend Sean Gill, who's way better than me at marimba. I hope you enjoy this gorgeous piece of music! And, check out Sean's channel:
Also, many thanks to Carlos Pacheco for filming this!
by Evan Chapman 3,716 views
DOWNLOAD FREE MP3 HERE: http://www.mediafire.com/?ddnea8ej34v9shc
An original piece I wrote recently. Hope you like it!
by Evan Chapman 5,971 views
"Clapping Music is a minimalist piece written by Steve Reich in 1972. It is written for two performers and is performed entirely by clapping.
A development of the phasing technique from Reich's earlier works such as Piano Phase, it was written when Reich wanted to (in his own words) "create a piece of music that needed no instruments beyond the human body". However, he quickly found that the mechanism of phasing slowly in and out of tempo with each other was inappropriate for the simple clapping involved in producing the actual sounds that made the music.
Instead of phasing, one performer claps a basic rhythm, a variation of the fundamental African bell pattern in 12/8 time, for the entirety of the piece. The other claps the same pattern, but after every 8 or 12 bars s/he shifts by one eighth note to the left. The two performers continue this until the second performer has shifted 12 eighth notes and is hence playing the pattern in unison with the first performer again (as at the beginning), some 144 bars later. The variation of the African bell pattern is minimal; it contains just one additional beat. However, this minimal addition results in a much more interesting piece from the point of view of the variation of syncopation as the piece progresses."
...and I just decided to learn it by myself. :P
by Evan Chapman 3,380 views
This is a gorgeous piece by John Cage entitled "Dream". It is originally written for solo piano, but I decided to do it on vibes.
"John Cage had already gained a reputation as a leading figure of the avant-garde—largely for his development of the prepared piano—when he wrote Dream in 1948. This was near the end of a period during which Cage wrote prolifically for modern dancers; Dream, in fact, was composed at the request of Cage's longtime collaborator, dancer/choreographer Merce Cunningham. As was his usual practice, Cage began work on Dream only after the dance was completely planned and Cunningham had given him a list of the metric patterns for each dance as a template from which Cage could proceed.
The music consists of groups of pitches that are allowed to resonate (either by holding the keys down or by using the sustaining pedal); the degree of resonance of the performing instrument determines the rhythmic flow of the piece. Foreshadowing later developments in Cage's aesthetic, Dream creates for the listener an otherworldly sense of time suspension. It is a gentle, slightly haiku-like work."
by Evan Chapman 10,545 views
A little marimba ditty. Originally written for solo piano, this is a beautiful piece of music composed by Philip Glass. I saw a fellow classmate do this arrangement at his percussion recital at IU and I got inspired to do it myself. Enjoy!
PS - Sorry about the loud buzzing that gets louder and louder. My MacBook decided to be a bad audience member and was making lots of noise. Hope it isn't too distracting!