Rise and Fall - Open Class
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The show begins with all the battery performers on the ground. During an accelerando drumset solo the members slowly rise up off the floor and grab their instruments. Throughout the first segment, there are many musical interpretations of the theme, including crescendo/diminuendo passages as well as rising and falling melodic material. Battery segment solos are marked with a plethora of rising and falling crescendo/diminuendo phrases. The second segment features the front ensemble members where the main focus is utilizing rising and falling tempos to express the theme. Throughout the segment battery members are breathing in and breathing out, and physically rising and falling to drive home the visual aspect. The closing segment features a great deal of imaginative general effect moments. Some notable moments include a snare feature with a Shephard's tone sample (A shephard's tone is an aural illusion that sounds like it's constantly rising), an advanced dub-step cymbal feature ending with a big toss (what goes up must come down), as well as duet between the bass drums and a group of performers playing talking drums (African drums that allow the player to bend the pitch). The show ends with an Eerie sample where the performers hoist a member up as high as they can and then immediately fall to the ground, ending where they started!
Rise and Fall was commissioned by the Notre Dame Indoor Percussion Ensemble for their 2015 season. The Ensemble received a gold medal in the Ohio Indoor Performance Association's State Championships as well as a fourth place finish in their round during the WGI Open Class Preliminary Competition.
TECHNICAL NOTES:
Total Performance Time: 4:40
Tempo Range (in BPM): 80, 98, 120, 128, 144, 172, 190, 192, 220 (Accelerando and Decellerando)
- Quarter-note Quadruple stops at 190 and 192BPM
- 2-count sixteenth-note run at 192BPM
- 4-count sixteenth-note run at 190BPM
- 8th-note syncopation throughout
- 2 count sixteenth-note inside mallet run at 192BPM
- 8th-note alternating double stops at 192BPM
- Triplet based Permutations with accelerando to 220BPM
- Sixteenth-note 4-1-3-2 Permutations at 190BPM
- Accelerando 8th notes from 88-168BPM as well as 144-200BPM
- Triplet based double-stop/permutation phrases at 190BPM
- 4 count sixteenth-note inside mallet run at 190BPM
- Various sixteenth-note permutations at 120BPM
- The Synthesizer parts contain fairly basic patches throughout the show, including:
- Piano Patch
- Choir 'ahh' patch
- Rock Organ Patch
- Heavy Lead Synth Patch
- Filter Sweep Pad
- String Patch
- Optional Bass Guitar Patch (If no bass guitar is available)
- 16th note paradiddle, and paradiddle-diddle patterns at 190BPM and 192BPM
- 8th note based rolls at 190BPM and 192BPM
- 1 and 2 count triplet rolls at 190BPM and 192BPM
- 8th-note Quintuplet rolls at 190BPM and 192BPM
- Quadruplet (4:3) rolls at 192BPM
- Exposure to playing talking drums or some other instrument capable of changing pitch
- Alternating Quarter-Note Triplet Flams at 190BPM
- 8th-note cheeses and flam drags at 190BPM and 192BPM
- Some cross-over paradiddle patterns at 190BPM and 192BPM
- Some Right Hand 16th note sweeps with Left Hand cross-overs at 190BPM and 192BPM
- Cross-over double stop patterns on drums 3 and 4
- Cross-over sixteenth-note herta patterns at 192BPM
- Sixteenth-note flam accent patterns (with cross-overs) at 120BPM
- 8th note, 16th note and Sextuplet splits at 190BPM and 192BPM
- Dotted Quarter-note and 8th-note unison syncopation at 190BPM and 192BPM
- 16th-note split singles between basses 1 and 2 at 192BPM
- Advanced vocabulary during the closing bass feature including sextuplet single splits between basses 1, 2, and 3, and 32nd note single splits between basses 1 and 2 at 120BPM
- Crashes
- Sizzles
- Crash Chokes
- Tap Chokes
- Taps
- Siz/suc (disco)
- Body Taps
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