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Work

Turning the Corner : small jazz ensemble

by Nabil Amarshi and Michael Pignéguy (2011)

Score Sample

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This sample is from the Sextets: Percussion version of this work

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Turning the Corner

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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

Turning the Corner

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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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