Posted By : TimoPalm
Piece Title : Book of Grooves
No. of times Viewed (January 2019) :5
Total No. of times Viewed :990
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Dificulty Rating :
Level : College / Professional
Composer / Arranger : Vinao, Alejandro
Composer / Arranger Details: Unknown
Total Number of Percussionists Required :2 Percussionist(s)
Categories : Tuned Percussion / Percussion Ensemble
Instrument / Discipline : Marimba Duet
Instrumentation : N/A
Range of Instruments / Number of Drums : NA
Written for / Commissioned by : a consortium of players/composers
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
Accompanied :N/A
Publisher :(Unpublished)
Publishers Website :Unknown
Publisher Details : Unknown
Year Composed / Copyright Date :2011 /  2011
Duration :22Minutes
No. of Mallets/Sticks Required :N/A
Special Needs :NA
Sheet Music Available From      Check to see if in stock
Programme Notes / Performance Details :

 The `groove` or `feel` of a piece is understood to consist of a pattern or sequence that repeats periodically in such a way as to create in the listener the desire to move, or dance, or to foot-tap following the repeated rhythm. A groove is therefore a rhythm `locked` into a pattern of repetition. To `unlock`  a groove would mean -to some extent- to threaten its very existence. This is precisely what happens in this piece. The grooves are presented at first in their simple `locked` form, so that the listener may swing unequivocally with the initial grooves. But gradually these grooves are `unlocked`, that is to say, they are subjected to transformations that change the point at which they repeat. In this way the shape of each groove is changed.

This involves a risk because the listener may stop feeling the `desire to move` with the groove. If this were to happen, one could say that the groove has been `killed`. My idea in Book of Grooves was to explore changes that would transform each groove without `killing` it.
t is a risky compositional strategy: new grooves must be created or `cloned`  from the original ones without disturbing the delicate balance that makes the music `groove`.
f the piece is successful the listener should be able to follow the process of `unlocking` or changing of the original grooves into new ones, and experience this as a voyage of transformation.  But unlike what happens with grooves in popular music, in Book of Grooves the voyager never returns to the port of departure. The process is not cyclical but developmental. And yet, while the music material is permanently transforming into something new, I wanted to make sure that the listener would never ceases  to `swing` with a groove.
This much I wanted to achieve.

AV. April 2011        

Book of Grooves Consortium was organized by Pedro Carneiro & Kunihiko Komori.  The Consortium was administered by William Moercsh at `New Music Marimba Inc`.


Book of Grooves was commissioned by a consortium of players consisting of:
Kunihiko Komori
Pedro Carneiro
Jeffery Davis
Paul Lin
Robert McCormick
UT Butler School of Music Percussion Program
James Beauton
Garrett Arney
Christopher Lizak
Sao Aoki
Four Mallets percussion quartet
Ayano Kataoka
Matthew Teodori -Line upon Line
Johan Bridger & Patrick Raab - Malleus Incus
Sisco Aparici - NEXEnsemble
William Moersch
Michael Burritt
Alan Zimmerman
Gwendolen Burgett Thrasher
Kevin Dufford
Mike Zell
Kyle Acuncius & Garrett Mendelow
Jamieson Carr
Mark Ford
Megan Arns
Edward Hong & Derek Tywoniuk
Oliver Molina
Ingrid Gordon
Haruka Fujii
Percussion Studio Illinois

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