Difference between revisions of "Cold Pressed"
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[[Dave Hollinden]] | [[Dave Hollinden]] | ||
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== General Info == | == General Info == | ||
| − | + | '''Year of Published''': 1990 <br /--> | |
| − | '''Year''': | + | '''Publisher''': [[C. Alan Publications]]<br /--> |
| − | ''' | + | '''Series''': [[The Hollinden Signature Series]] <br/> |
| − | ''' | + | '''Difficulty''': Advanced<br /--> |
| − | ''' | + | '''Duration''': 00:08:00<br /--> |
| − | '''Cost''': Score and Parts - $ | + | '''Cost''': Score and Parts - $24.00 | Score Only - $0.00<br /--> |
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== Instrumentation == | == Instrumentation == | ||
| − | [[ | + | Mallets: [[Crotales]] <br/> |
| − | + | Drums: [[Drumset]] & [[Bongos]] <br/> | |
| − | + | Auxiliary Percussion: [[Tambourine]] & 3 [[Cowbells]] & 3 [[Woodblocks]] & [[Temple Blocks]] <br/> | |
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== Program Notes == | == Program Notes == | ||
| + | The term “cold pressed” refers to the method of extracting olive oil which results in the most robust and full-bodied flavor. Syncopation, contrasting timbres and rock-influenced style are blended together in music which is vivid, spicy and obsessively persistent. Cold Pressed is set up as a modified drum set with timbral notation, meaning each instrument is assigned a pitch and arranged like a keyboard. If you read keyboard music well, learning the notation will be a piece of cake. <ref>http://www.davehollinden.com/cold.html</ref> | ||
| − | == | + | === Review === |
| + | This new addition to the multi-percussionists solo repertoire by [[Dave Hollinden]] is welcome literature for the college level player. The instruments required should be readily accessible to college performers. There have been nearly as many notational schemes devised for writing music for the myriad configurations required in multiple percussion performance as there have been compositions written. Hollinden's work uses "timbre staff" notation, a clever system which takes advantage of the performer's familiarity of the bars of a keyboard-mallet instrument. In this approach, the instruments required in the piece are set up in the configuration of a large keyboard-mallet instrument. For example, the large [[tom tom]] in Hollinden's piece is positioned as if it were middle "C", the medium [[tom tom]] as "C#", the [[snare drum]] as "D", etc. Thus, the player reads a melodically notated part and can readily find the instruments in the configuration, but there is absolutely no correspondence between the notated and the sounding pitches. This approach to multi-percussion notation is the topic of Michael Udow's interesting article "Visual Correspondence Between Notational System and Instrument Configurations," found in the Percussionist, No. 18, (Winter, 1981). The composer does, however, require some instrument tuning, although specific pitches are not required, as, for example, tuning the medium tom a perfect fifth below the snare drum, and choosing the lowest crotale so as to match the pitch of the snare drum. Hollinden keeps his player busy, moving rapidly over the nineteen instruments in the set-up, except for a brief interlude where the tempo slows. The performance directions pencilled in reflect the spirit of the music: "pungent, vivid," "urgent, animated," "obsessive, persistent," "spirited, with swing," and "eager, anxious." If you need a dynamic work to close your recital, Cold Pressed may be just the piece you are looking for. <ref> John R. Raush, Percussive Notes, June 1992 </ref> | ||
| − | + | == Performance Notes == | |
| + | First, choose your instruments carefully, and get the best sounding instruments possible. Pay attention to the tuning instructions when you are choosing the drums so as to ensure that you choose instruments of an appropriate size. This will help make sure that the drums sound good when they are tuned to the specified pitches. Next, create your set up. Jan Williams made an interesting remark at PASIC 2005. He suggested that when he plays a multi-percussion piece, he creates the set up and then improvises on it until he knows it really well, essentially treating the set up as a single instrument. Then, after he has become familiar with this instrument, he learns the music on the set up. | ||
| + | Finally, when learning the music, pay particular attention to the phrasing as it is indicated. To my ear, the best performances of my music occur when the performers understand the phrasing and are able to bring it out in their playing such that each phrase is articulated. | ||
== Awards == | == Awards == | ||
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==Recent Performances== | ==Recent Performances== | ||
| − | + | <embedvideo service="youtube"> https://www.youtube.com/watch?v=Zo9xROGuV3k </embedvideo> | |
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== Works for Percussion by this Composer == | == Works for Percussion by this Composer == | ||
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== Additional Resources == | == Additional Resources == | ||
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<br /> | <br /> | ||
| − | [[Category: | + | [[Category: Solo Works]] |
| − | + | [[Category: Multiple Percussion Works]] | |
| − | + | [[Category: Examination Materials]] | |
| − | + | [[Category: Associated Board of the Royal Schools of Music Percussion Examination Materials]] | |
| − | + | [[Category: FRSM Repertoire Works]] | |
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Latest revision as of 22:10, 7 November 2025
General Info
Year of Published: 1990
Publisher: C. Alan Publications
Series: The Hollinden Signature Series
Difficulty: Advanced
Duration: 00:08:00
Cost: Score and Parts - $24.00 | Score Only - $0.00
Instrumentation
Mallets: Crotales
Drums: Drumset & Bongos
Auxiliary Percussion: Tambourine & 3 Cowbells & 3 Woodblocks & Temple Blocks
Program Notes
The term “cold pressed” refers to the method of extracting olive oil which results in the most robust and full-bodied flavor. Syncopation, contrasting timbres and rock-influenced style are blended together in music which is vivid, spicy and obsessively persistent. Cold Pressed is set up as a modified drum set with timbral notation, meaning each instrument is assigned a pitch and arranged like a keyboard. If you read keyboard music well, learning the notation will be a piece of cake. [1]
Review
This new addition to the multi-percussionists solo repertoire by Dave Hollinden is welcome literature for the college level player. The instruments required should be readily accessible to college performers. There have been nearly as many notational schemes devised for writing music for the myriad configurations required in multiple percussion performance as there have been compositions written. Hollinden's work uses "timbre staff" notation, a clever system which takes advantage of the performer's familiarity of the bars of a keyboard-mallet instrument. In this approach, the instruments required in the piece are set up in the configuration of a large keyboard-mallet instrument. For example, the large tom tom in Hollinden's piece is positioned as if it were middle "C", the medium tom tom as "C#", the snare drum as "D", etc. Thus, the player reads a melodically notated part and can readily find the instruments in the configuration, but there is absolutely no correspondence between the notated and the sounding pitches. This approach to multi-percussion notation is the topic of Michael Udow's interesting article "Visual Correspondence Between Notational System and Instrument Configurations," found in the Percussionist, No. 18, (Winter, 1981). The composer does, however, require some instrument tuning, although specific pitches are not required, as, for example, tuning the medium tom a perfect fifth below the snare drum, and choosing the lowest crotale so as to match the pitch of the snare drum. Hollinden keeps his player busy, moving rapidly over the nineteen instruments in the set-up, except for a brief interlude where the tempo slows. The performance directions pencilled in reflect the spirit of the music: "pungent, vivid," "urgent, animated," "obsessive, persistent," "spirited, with swing," and "eager, anxious." If you need a dynamic work to close your recital, Cold Pressed may be just the piece you are looking for. [2]
Performance Notes
First, choose your instruments carefully, and get the best sounding instruments possible. Pay attention to the tuning instructions when you are choosing the drums so as to ensure that you choose instruments of an appropriate size. This will help make sure that the drums sound good when they are tuned to the specified pitches. Next, create your set up. Jan Williams made an interesting remark at PASIC 2005. He suggested that when he plays a multi-percussion piece, he creates the set up and then improvises on it until he knows it really well, essentially treating the set up as a single instrument. Then, after he has become familiar with this instrument, he learns the music on the set up. Finally, when learning the music, pay particular attention to the phrasing as it is indicated. To my ear, the best performances of my music occur when the performers understand the phrasing and are able to bring it out in their playing such that each phrase is articulated.
Awards
Commercial Discography
Recent Performances
Works for Percussion by this Composer
Solo
A Different Drummer - Multiple Percussion
Alchemy (Hollinden) - Multiple Percussion
Cold Pressed - Multiple Percussion
Dusting the Connecting Link - Multiple Percussion
Lead - Multiple Percussion; Piano
Of Wind and Water - Marimba
Platinum - Multiple Percussion; Piano
Six Ideas for Snare, Bass, and Cymbal - Multiple Percussion
Slender Beams of Solid Rhythm - Multiple Percussion
Ensemble
Locomotion - Percussion Quartet
Percussion Quartet No. 2 (Hollinden) - Percussion Quartet
Reckless - Percussion Octet
Release (Hollinden) - Percussion Octet
Surface Tension - Percussion Duo
The Whole Toy Laid Down - Percussion Quartet
what clarity? (with perc. ens. version) - Multiple Percussion; Percussion Ensemble (11)
With Other Instruments
Boundary Conditions - Multiple Percussion; String Quartet
Flux - Marimba; Flute; Clarinet; Alto Saxophone
Immersion - Percussion Quartet; Saxophone Quartet
In Time to Come - Marimba; Alto Saxophone
what clarity? (with strings version) - Multiple Percussion; Orchestra
Additional Resources
References
- ↑ http://www.davehollinden.com/cold.html
- ↑ John R. Raush, Percussive Notes, June 1992