Difference between revisions of "BUBBLEGUM"
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== Program Notes == | == Program Notes == | ||
There is something refreshingly familiar and nostalgic about rock/pop music from the early-1960s. In a time where the music industry looked to take back the mainstream audiences from the first wave of controversial rockabilly musicians (Elvis, Buddy Holly, Chuck Berry, etc.), a record label in Detroit, Michigan called Motown created music by African American artists that could be eagerly received by audiences of all types. Groups such as the Temptations, the Shirelles, the Four Tops, and the Supremes topped the airwaves with simple but catchy hit after hit from the studio with the sign "Hitsville U.S.A." above the entrance. [[Bubblegum]] is intended to captivate the simplicity in form, chord structure, and groove of those early rock and roll hits released by Motown in a percussion ensemble setting. The A section features the harmonic progression from "Sugar Pie Honey Bunch" released by the Four Tops and the contrasting B section uses the chords (adapted slightly) from the bridge section of "Will You Still Love Me Tomorrow" recorded by the Shirelles. Neither song's melody or bass line is used, but you will hopefully notice a similar character in all elements of this piece relative to the music of the era. | There is something refreshingly familiar and nostalgic about rock/pop music from the early-1960s. In a time where the music industry looked to take back the mainstream audiences from the first wave of controversial rockabilly musicians (Elvis, Buddy Holly, Chuck Berry, etc.), a record label in Detroit, Michigan called Motown created music by African American artists that could be eagerly received by audiences of all types. Groups such as the Temptations, the Shirelles, the Four Tops, and the Supremes topped the airwaves with simple but catchy hit after hit from the studio with the sign "Hitsville U.S.A." above the entrance. [[Bubblegum]] is intended to captivate the simplicity in form, chord structure, and groove of those early rock and roll hits released by Motown in a percussion ensemble setting. The A section features the harmonic progression from "Sugar Pie Honey Bunch" released by the Four Tops and the contrasting B section uses the chords (adapted slightly) from the bridge section of "Will You Still Love Me Tomorrow" recorded by the Shirelles. Neither song's melody or bass line is used, but you will hopefully notice a similar character in all elements of this piece relative to the music of the era. | ||
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+ | == Recent Performance == | ||
+ | <embedvideo service="youtube"> https://www.youtube.com/watch?v=lkwsnE84InY </embedvideo> | ||
== Works for Percussion by this Composer == | == Works for Percussion by this Composer == |
Latest revision as of 23:38, 6 October 2022
General Info
Year of Published: 2020
Publisher: C. Alan Publications
Series: The EDGE Series
Difficulty: Intermediate
Duration: 00:03:10
Cost: $32.00
Instrumentation
Player 1: Glockenspiel
Player 2: Xylophone
Player 3: Vibraphone
Player 4: Marimba 1
Player 5: Marimba 2
Player 6: Tambourine & Wind Chimes
Player 7: Drumset
Program Notes
There is something refreshingly familiar and nostalgic about rock/pop music from the early-1960s. In a time where the music industry looked to take back the mainstream audiences from the first wave of controversial rockabilly musicians (Elvis, Buddy Holly, Chuck Berry, etc.), a record label in Detroit, Michigan called Motown created music by African American artists that could be eagerly received by audiences of all types. Groups such as the Temptations, the Shirelles, the Four Tops, and the Supremes topped the airwaves with simple but catchy hit after hit from the studio with the sign "Hitsville U.S.A." above the entrance. Bubblegum is intended to captivate the simplicity in form, chord structure, and groove of those early rock and roll hits released by Motown in a percussion ensemble setting. The A section features the harmonic progression from "Sugar Pie Honey Bunch" released by the Four Tops and the contrasting B section uses the chords (adapted slightly) from the bridge section of "Will You Still Love Me Tomorrow" recorded by the Shirelles. Neither song's melody or bass line is used, but you will hopefully notice a similar character in all elements of this piece relative to the music of the era.
Recent Performance
Works for Percussion by this Composer
Solo Works
Solo Works with Orchestra
Solo Works with Wind Ensemble
Solo Works with Percussion Ensemble
Percussion Ensemble
DUETS
- All Hands on Deck
- COLORING SHEET
- IN TANDEM
- KLEPTOMANIA
- MINOR PLOT
- MUTUAL INTEREST
- OUTSIDE THE BOX
- SUITE MARIMBA
- THANKS FOR LISTENING
- THIS ONE DAY
TRIOS
- All Hands on Deck
- BASIC GEOMETRY
- BULK TRASH
- CC'D
- CHRISTMAS THREE
- Conversations for Percussion Trio
- DUET TRIO
- Hands Up
- LEVEL PLAYING FIELD
- ROUNDABOUT
- TRISKAIDEKAPHOBIA
- Wood, Metal, Skin
- XEROSIS
QUARTETS
- ALL HANDS ON DECK
- CHIPBOARD
- FRAMED
- INSTITUTIONALIZED
- LEAVES FELL PLAYFULLY
- OF HANUKKAH
- PADS IN ISOLATION
- SILHOUETTE
- SMALL BOX
- TIGHT QUARTERS
- TING
- ZEUG
QUINTETS
MEDIUM ENSEMBLE
- 120 DEGREES
- BOY OH BOY
- BUBBLEGUM
- BUMP IN THE NIGHT
- CC'D
- CHA-CHA BLUES
- Deck Park Tunnel
- From This Viewpoint
- Hole In The Wall
- Joy of Every Heart
- The Juggler
- LANCERAN SATU SLENDRO
- Northern Workshop
- O Come, O Come, EMMANUEL
- OF HANUKKAH
- Pliplets
- plusFIVE
- Prime Numbers
- Puzzle Pieces
- Shifting Waves
- SOCA-ING WET
- SOME PEOPLE'S KIDS
- STELLER'S JAY
- Tight Quarters
- Tubz
- UNSETTLED SURFACE
- Ups And Downs
- VENN DIAGRAM
- Villanesca
LARGE ENSEMBLE
- Bump in the Night
- Clouds make Songo Away
- Combo Meal
- Danse Macabre
- Molto Vivace
- Spare Change
- Strawberry Blonde
- Unintended Consequence
- Whatcha Baion?
- Northern Workshop