not only that one but that one & that too (2016) for percussion quartet
duration: ca 29'

commissioned by Sandbox Percussion 

first performance: October 28, 2016 - Sandbox Percussion - California Percussion Warehouse in Los Angeles, CA

instrumentation:

Part 1:
percussion 1: 7 pieces of wood, claves, whip
percussion 2: guiro, wood drum, vibraslap, claves
percussion 3: guiro, 5 piccolo woodblocks, claves, wood drum
percussion 4: 7 pieces of wood, claves, whip

Part 2:
percussion 1: kick drum, 4 high tom-toms, 2 bongos, wood drum
percussion 2: kick drum, 2 congas, 4 bongos, wood drum, wood plank
percussion 3: kick drum, 4 medium tom-toms, snare drum, 2 bongos, wood drum
percussion 4: kick drum, large surdo, 4 low tom-toms, 3 high rototoms, wood drum

Part 3:
percussion 1: metal pipes, glockenspiel keys, finger cymbals
percussion 2: deskbells, temple bowls, metal pipes, crotales, 1 suspended finger cymbal
percussion 3: deskbells, temple bowls, metal pipes, crotales, 1 suspended finger cymbal
percussion 4: metal pipes, glockenspiel keys, finger cymbals

program note:
not only that one but that one & that too is divided into three large parts which each focus on a different family of percussion instruments: wood, skins, and metal. A majority of the piece’s direct inspiration came from Sandbox Percussion themselves. All the instruments were drawn from the list of instruments that Sandbox Percussion had in their studio and I aimed to write unique music for each specific player within the ensemble — Victor on percussion 1, Jonny on percussion 2, Terry on percussion 3, and Ian on percussion 4. Every moment of the piece that has an idiosyncratic solo of some kind was written with that person in mind.

In Part 1, which focuses on wooden instruments, I was fascinated with exploiting orchestral percussion instruments which typically would be given a single hit in most symphonic works (whip, vibraslap, or the woodblock for example). These instruments’ typical function is turned upside down in the piece as they become extensively utilized in a solo or an accompaniment. 

Part 2 is all about drumming and was simply born out of my love of drums. I grew up being infatuated with the drum line in marching bands, seeing STOMP and Blue Man Group, and watching street drummers for hours at a time. All these influential elements found their way into the piece.

Part 3 is made up of all pitched metal instruments (temple bowls, deskbells, metal pipes, etc.) and finger cymbals. There are five principle melodic lines of counterpoint in this piece and they are divided up amongst the entire ensemble. Each player is continually passing a fragment of a melodic line to the next player so that in the composite sound, the music seems to be constantly revolving around the ensemble and surrounding the listener.