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This sample is from the Sextets: Percussion version of this work
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Parts
Turning the Corner : percussion ensemble / composed and arranged by Michael Pignéguy ; A Section bass line by Nabil Amarshi.
Version: This product features the Sextets: Percussion version of this work
Score [ePDF]
Turning the Corner : percussion ensemble [eScore] / composed and arranged by Michael Pignéguy ; A Section bass line by Nabil Amarshi.
Version: This product features the Sextets: Percussion version of this work
Display all products featuring this work (1 more) 
Work Overview
Turning the Corner brings
together soul-jazz influences with serious syncopation in 7/4.
Opening with multiple layers of unpitched percussion instruments
over the core rhythms of toms and guiro, the introduction
culminates with an exciting crescendo into section A. It is here
that the piece showcases it's undeniably funky side which stays
at the forefront for the most of the work.
After the introduction Percussion 1 & 2 continue
to lay down the core rhythmic groove while the bass line, played
by marimba 2, consolidates the rolling feeling of 7. Above this
the highly syncopated melodic part is outlined by the vibes and
xylophone. This polyphonic approach is completely contrasted at B
where the whole ensemble emphasizes a hypnotic rhythmic pattern
that ebbs and flows with changes in dynamics.
Section E features an exciting and challenging
vibraphone solo which builds to section G where different members
of the ensemble seems to throw musical ideas back and
forth. The performers receive a few bars
of R & R at section H before the funk and jazz returns in full
force at I followed by an exciting duel between percussion 1 & 2.
The initial introduction is then referenced with a restatement of
the signature melodies prior to the ending which includes a
twist!
Suffice it to say this piece packs a powerful
musical punch for performers and audience members
alike.
Central to pulling the various strands of this
piece together is the importance of internalising the vibe and
feeling of the bassline at A. Once this secure, and sitting along
side percussion 1 & 2, the remaining elements of the piece can be
successfully added. Soon the performers
should be feeling as comfortable in 7 as they normally would in
4/4.
Work Details
Year: 2011
Instrumentation: Jazz ensemble.
First performance: by Awakenings Ensemble — 2011. The Ellington Jazz Club, Perth, Western Australia
The composer notes the following styles, genres, influences, etc associated with this work:
Soul Jazz, Tuned and Untuned Percussion
Subjects
- In the form/style of: Jazz
Performances of this work
Jun 15: American School of Doha High School, Qatar
2011: The Ellington Jazz Club, Perth, Western Australia. Featuring Awakenings Ensemble.
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