Posted By : solopercumio
Piece Title : Wake up MOMO!!
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Composer / Arranger : Passeggi, Carlos
Composer / Arranger Details:

Carlos Passeggi was born in Santiago de Chile and now resides in Argentina.  He started making music in a children`s choir in  San Carlos de Bariloche, Argentina, at the age of 7 and started studying percussion at 13 in Santa Fe, where he did 5-years training in Music at the “Liceo Municipal de Musica”. In 1997 he graduated from the “Instituto Superior de Musica de la Universidad Nacional del Litoral” in Santa Fe with the degree of National Professor of Music in the field of Harmony and Counterpoint.

His musical experiences have been mainly as a drummer, percussionist, technical recording composer and has quite recently started daring to sing!

Among the most important musical endevours he can mention: PSYCHO 1992/98, with two CDs released in all Latin America and USA, he worked on several tours of Argentina, Chile, Ecuador and Uruguay. RIO since 2006, 2 CDs and several presentations. LOS MACKAY since 2006 2 CDs and a joint musical work, together with the Malambo Argentino Ballet of a 51 performance-tour on stages of Portugal and Spain in 2008. TENGO pa`l TRUCO (argentine music) since 2008, 1 CD that we started performing in 2010.

Since 2001 the publishing house Dutch Music Partners, has published more than 20 of his compositions for ensembles or percussion soloists. The same editorial company published in 2004 "Different Paths", a CD with 14 of my compositions for percussion, somehow representing some of the many musical genres that interest him, such as folklore and Argentine Tango, jazz, classical and contemporary music to electronic music and in 2011 “Touched-Tocado” an new CD with 12 percussion pieces and an interactive video of my work “Wake up MOMO!!” .

He have been a drum teacher  in the "Liceo de Musica de Santa Fe" from1988 to 1997, and is a teacher at the "Conservatory of Music Aldo Quadraccia" of Lincoln, in the province of Buenos Aires since 1997. In 2004 he started, together with students, the "Ensamble de Percusion del Conservatorio Aldo Quadraccia".

Some of his compositions have been performed on demand, premiered and/or performed by Tristan Taboada and his Duo "LA CAJA" (Colon Theatre Orchestra), Martín Vicente (percussion soloist), " Ensamble de Percusion de la Fundacion Cultural Patagonia", "Villavicencio Duo", “Ensamble de Percusion del Conservatorio Aldo quadraccia", Leon Camp (percussionist and ensemble conductor, from The Netherlands), "Percussion Ensemble Kempenbloei”, from Achel Belgium, "Mallett and Percussion Ensemble St. Caecilia”, from Hoogland and other ensembles and soloists from Holland, Belgium, Germany, Mexico, Chile and The United States. In addition he has composed, recorded and produced songs, Chamber music, commercials and music for TV and Radio, music for electroacoustic media and soundtracks for films as well as theatre music.

Total Number of Percussionists Required :10+ Percussionist(s)
Categories : World Percussion / Percussion Ensemble / Mixed Chamber Ensemble
Instrument / Discipline :
Instrumentation : Bass / Bongos (Set of) / Cow Bell / Drum Kit / Electric Guitar / Field Drum (with snares) / Pandeiro / Snare Drum / Triangle / Trombone / Trumpet / Vocal / Vocal Percussion
Range of Instruments / Number of Drums :
Written for / Commissioned by : The percussion ensemble Kempenbloei from Achel Belgium
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 Carlos Passeggi
Accompanied :N/A
Publisher :Dutch Music Partners
Publishers Website :www.dutchmusicpartners.com
Publisher Details :

DMP publishes sheet music composed by several international composers like Daniel McCloud, Matt Ownby, Carlos Passeggi, Michael Pagan, Doug Walter etc. They all write outstanding music for keyboard-soloists and small/large ensembles

Year Composed / Copyright Date :2011 / 
Duration :12Minutes
No. of Mallets/Sticks Required :8, Various
Special Needs :
Sheet Music Available From :www.dutchmusicpartners.com      Check to see if in stock
Programme Notes / Performance Details :“WAKE UP MOMO!!” CARNIVAL is celebrated in most Catholic countries, such as Spain, Italy, part of Germany and all Latin American countries. These celebrations take place before Lent, between the end of February and beginning of March. Despite having a pagan European origin, these festivities have been adapted by various cultures, to the point of becoming deeply fused with other celebrations of African origin in Uruguay and Brazil, where the world’s most famous carnivals are held. In other countries, such as Bolivia and Peru, as well as in the north of Argentina, these celebrations coexist with some others of pre-Colombian Andean origin. There are also other well-known and famous carnivals, among which we can mention those of Venice, Cadiz, Santa Cruz de Tenerife and still a few others with pretty similar characteristics, sometimes taking place at different times of the year. In all cases these celebrations are very popular with most people, and noisy street parades fill the towns and cities, with dancers dressed in colorfully ornate costumes, sometimes provoking an atmosphere of uncontrolled permissiveness, pretty welcome for the sake of all the participants’ utter joy. MOMO (MOMOS in Ancient Greek or MOMUS in Latin) was a God in Greek Mythology, the son of NIX, Goddess of the Night and HIPNOS, God of Sleep (Dream). Due to his constant pranks and jokes, full of sarcasm and sheer irony, MOMO became intolerable to some people, like HEFESTO and APHRODITA, who complained to ZEUS and forced him to expel the prankster from OLYMPUS. The appearance of this joyous character is usually surrounded by many different stories, in some of which he is sometimes considered a cruel spirit who takes hold of the disguised in order to make them play the actual role they represent. For some other storytellers, he is the personification of sarcasm, jokes, jocose laughter, the mere essence of the celebrations of Carnival, considering MOMO the KING OF CARNIVAL. Momo is very often shown as a character dressed as a harlequin, hidden behind a mask and carrying a sort of scepter ending in a strange doll’s head, symbolizing madness, insanity. “WAKE UP MOMO” is a piece written for a large bass drum - the largest possible- especially prepared, representing Momo himself, and a percussion ensemble. The piece can be interpreted in three different ways: 1.-With the percussion ensemble and a short rhythmical section of an electric guitar and an electric bass together with two trumpets in Bb, trombone and baritone saxophone. (see score for possible substitutions). 2.-Only with percussion instruments using a marimba and a xylophone placed as to replace the rhythmical section and the wind instruments. 3.-On the recorded track including the rhythmical section, the wind instruments and a reference metronome so that it can be followed in perfect synchronism, simultaneously, by the conductor and the ensemble, with or without an extra marimba and xylophone. The members of the ensemble try to wake up Momo by playing different rhythms and calling him with their voices so as to entice him to take part in the musical piece. Momo does not react easily because the rhythms played do not tempt him enough. The King, in fact, makes his first appearance in bar 56, after the insistence of the whole ensemble, and there seems to be a hint of some distinct snoring when the triangle is played, anticipating Momo’s waking up, only to prove again unsuccessful some time later. Thereby follow a few other rhythms and the band appears in bar 156 up to bar 211, when, after the whole ensemble’s begging, Momo appears with a solo, pretty devoid of sounds, simulating a slow awakening by means of a Brazilian samba rhythm. Right here, Momo seems to be quite pleased and thereafter begins to interact with different instruments, first performing a slow samba up to bar 291, and then a faster rhythm up to the great “batucada” from bar 294 to the end in 335. HOW TO PREPARE MOMO The best is to use a large orchestral bass drum, although a 22’ drum set bass drum, could be enough, with a one-layer drum head recommendable for each side. A small hole should be made in the middle of the back drum head, through which to insert a thin plastic rope from the inside out, fixing it to the drum head by means of a knot at one end. In this way, the large drum becomes a large “cuica”. Momo’s snoring sounds can be obtained by waxing the rope, then keeping it tight and rubbing the hands, much better if wet, against it, just like a “cuica”. SOME HINTS ON HOW TO PLAY THE PIECE 1.-The piece begins on a e=96 tempo (swing t). A swing tempo implies not playing all the sixteenth notes in the same way, but rather delaying the 2nd and 4th in each group so that they sound nearer the 3rd and 1st respectively. 2.- It is in bar 12 when the voices start, despite being optional though highly recommend- able, with all the members in the ensemble uttering screams, totally out of tune. 3.- In bar 12 the voices have a text in English, which can, in fact, be adapted to any language as long as it is translated in a simple, if conceptual way. 4.- In bar 31 Misc. 5 some congas should be played with the hands using the typical Latin music technique. 5.- In bar 40 there is a strict indication, meaning that all the sixteenth notes should be played in the same way, without any swing. 6.- It is in bar 56 when Momo, who is apparently asleep, starts waking up, though not wide open yet. If possible, Momo should be placed at the back of the stage on a high stand in total dark ( see spatial disposition ). When the first snoring is heard, the members of the ensemble should look in Momo’ s direction with a mixed expression of awe, mystery and fear. 7.- In bar 56, it is advisable to play Momo, the large drum, with wet hands and keeping the rope properly well waxed in order to make the snoring sound pretty loud and with enough volume. (see the method to prepare Momo). 8.- In bar 77 and 78 and Misc. 4 the bongos and congas should be played in the Latin way, the same as Misc. 5 in bar 31. 9.- In bar 126, if the piece is interpreted with the track substituting the band, PLAY should be pressed, and the conductor should wait the count of the 4-tempo metronome asking the ensemble to join in in bar 127. 10. From bar 205 to 209 there is a noticeable “rallentando”, just like “a huge, heavy train coming to a halt.” 11. In bar 210 all the members of the ensemble should look in Momo’s direction, while he is still in darkness, and they should all shout in an appealing way: “hey, Momo, please wake up!”. 12. In bar 211 Momo is heard again, and the members of the ensemble should look at him and then, with a nervous, nearly scary smile look at one another. 13. Finally in bar 211, Momo does wake up with an extremely free solo, devoid of any perceptible tempo of “snoring and roaring”. Right here, some light starts to appear very slowly, though. In bar 218, after 30” approximately, Momo begins interacting with other instruments, still without any given tempo. In bar 228 the tempo is set on quarter note =96. After this point, whoever plays Momo should combine snoring sounds (by rubbing the rope as before) with simple hits on the head with a wooden hammer. 14. In bar 242, with tempo already set, a samba rhythm becomes audible, played with a pandeiro (Brazilian tambourine), preferably played in the Brazilian way- holding it with the left hand and using the thumb to deaden or free the patch, while the right hand is hitting the patch with the thumb, other fingers and the palm, as indicated on the score. 15. In bar 247 we have the tamborin (small brazilian tambourine of 6” without rattles) starting to play Brazilian-like. It should be held with the left hand, with the thumb in order to control the patch, and hit with the right hand by means of thin plastic sticks. 16. In bar 256, the gongs drums and Momo should be played as Zurdos (Brazilian bass drum) by using a medium hard beater in the right hand and the left hand deadening the head. 17. From bar 294, marimba 2 and xylophone 2 (if they are available) can play the same part as marimba 1 and xylophone 1 respectively or they can be added to other Brazilian instruments. The band musicians can also join in with Brazilian instruments creating all of them a “grande finale” with a great batucada. From here on an atmosphere of joy should prevail, sheer distension during which the musicians can shout, laugh and dance. Besides the Brazilian instruments already used, some others can be added, such as agogo, a cuica, a repenique, and a few others. 18. The ensemble ends up abruptly in bar 326, and in bar 327 Momo experiences a kind of braking, a halt in tempo and dynamics towards bar 333. 19. In bar 333 all the ensemble`s members must make a big and long yawn showing they are very tired after all the “hard work” of awaking up to MOMO. After that, they must put down their heads over their instruments like sleeping. Al movements must be very coordinated to create a good visual effect. While that, the momo`s player must go on tiptoes where is the misc. 6 player and plays, on 334, the triangle like a ringing to awake up, now, all the ensemble members. Then he must come back running to MOMO to go to the big end. 1) If there exists stage lighting, it is advisable for Momo to remain in darkness, only to Be spotted by light as from bar 211. 2) Momo should be placed on a stand, 1.6 mts. high approximately. If possible, and in order to express the spirit of the piece better, it could be covered by a black tunic, hiding the stand, with a big bright crown, and the front patch can be decorated with a smiling face, resembling a sun. 3) It goes without saying that the conductor as well as all the other members of the Ensemble can be wearing disguises and masks, thus creating a cheerful atmosphere Of Carnival. 4) In some countries, the term “momo” can be used to refer to a person in a disparaging or discriminatory way. Considering the fact that this is, by no means, the spirit of the piece, it could be more convenient to use the Latin term “momus”. 5)HAVE A LOT OF FUN AND SHOW IT !!!



MOMO is a “prepared” bass drum:  The best is to use a large orchestral bass drum, although a 22’ drum set bass drum, could be enough, with a one-layer drum head recommendable for each side. A small hole should be made in the middle of the back drum head, through which to insert a thin plastic rope from the inside out, fixing it to the drum head by means of a knot at one end. In this way, the large drum becomes a large “cuica”. Momo’s snoring sounds can be obtained by waxing the rope, then keeping it tight and rubbing the hands, much better if wet, against it, just like a “cuica”. (More info and pictures see score).

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