Posted By : TimoPalm
Piece Title : Tempo Distortion No. 4
No. of times Viewed (January 2019) :16
Total No. of times Viewed :1919
No. of Media Uploads :0(Videos -0, MP3 - 0, Photos - 0)
Dificulty Rating :
Level : Intermediate
Composer / Arranger : Kornicki, Steve
Composer / Arranger Details:

From innovative works for the concert hall to background production music heard on television and radio around the world to the creation of experimental video pieces with electronic music, Steve Kornicki’s talent and diversity extends to many aspects of the musical and audio-visual worlds.

Kornicki’s ability to integrate diverse musical elements into his own unique and personal vision has led him to his current practice of composing accessible music based on numerical processes. His concert music since 2005 has been based exclusively on these processes consisting of contrapuntal textures of non-melodic lines and structures built from sustained tones and repeated single note patterns with an underlying tonal or modal harmonic foundation. The resulting music, no matter how conceptual or process oriented, always maintains a continuous sense of drama.

His music has been performed and/or recorded by the Kiev Philharmonic, the Julliard-based New York Miniaturist Ensemble, West End String Quartet, Accessible Contemporary Music, percussionists, Dr. David Gerhart, Scotty Horey and Evan Chapman, Rhodes College Orchestra, California State University Long Beach Percussion Ensemble and the Chicago Miniaturist Ensemble. His electro- acoustic music with video includes presentations at Cal State University Fullerton’s 2011 New Music Festival, New American Art Union (Portland, OR), Grand Valley State University, Unitarian Universalist Church of New York (Manhattan), West Valley Art Museum (Phoenix, AZ), Sweetwater Center for the Arts (Pittsburgh, PA) and the International Video Art Festival 2007 (Tucson, AZ). His chamber ensemble piece, “Horizontal Color Forms #12, 72 Tones” was premiered at Holy Trinity Lutheran Church in New York City along with the premiere of Karlheinz Stockhausen’s “First Natural Durations” by the New York Miniaturist Ensemble in 2006. “Tempo Distortion 4”, a work for marimba and tape, has gained significant attention from percussionists with several video performances posted on YouTube. Kornicki’s music is published by Media Press Inc. and by his own Fragmented View Music. He also composes commercial production music and has numerous placement credits in this area spanning U.S. and international television, motion pictures, radio, and advertising including CSI Miami, The Simple Life, CBS Sunday Morning News, Modern Marvels and various programming on Animal Planet, Discovery, History, E!, Bio, Lifetime and NBC.

Total Number of Percussionists Required :1 Percussionist(s)
Categories : Tuned Percussion
Instrument / Discipline : Marimba Solo
Instrumentation : N/A
Range of Instruments / Number of Drums : 4 1/3 Octave Marimba
Written for / Commissioned by : Written for Dr. David Gerhart
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 With thanks to Evan Chapman
Accompanied :N/A
Publisher :Media Press, Inc.
Publishers Website :www.mediapressinc.com
Publisher Details :

Publishers of Contemporary Music Since 1969. They feature over 200 works by more than 80 composers of the best in contemporary music.

Year Composed / Copyright Date :2007 /  2007
Duration :6Minutes
No. of Mallets/Sticks Required :2
Special Needs :Speakers/headphones required.
Sheet Music Available From :www.mediapressinc.com/product.php?productid=16623&cat=0&page=1      Check to see if in stock
Programme Notes / Performance Details :

Tempo Distortion #4 is a conceptual study in simultaneously occurring patterns in different tempi for solo marimba and pre-recorded and processed marimba samples.  The marimba part is a continuous stream of notes consisting of thirteen repeating patterns that shift gradually in tempo from fast to medium tempo and back to fast.  Each of the marimba’s patterns follows a dynamic effect of soft (mp) to loud (ff) to soft (mp).  The pre-recorded track was assembled from marimba samples recorded by David Gerhart.  The samples were manipulated and transformed through digital looping and pitch shifting techniques and then layered to create a continuum of phasing rhythmic structures.  The combination of the live performance elements and recorded sounds results in a sonic landscape of shifting tempo ambiguities and overlapping textural densities.

The piece can be performed with two speakers very close to the performer with the lights dimmed to create a blurred sonic effect of live and pre-recorded sound.

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