Posted By : TimoPalm
Piece Title : Hush
No. of times Viewed (January 2019) :14
Total No. of times Viewed :1287
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Dificulty Rating :
Level : Senior / Graduate
Composer / Arranger : Kotche, Glen/Campbell, James
Composer / Arranger Details:

The Chicago-based percussionist and composer Glen Kotche has been heralded as one of the most exciting, creative and promising composers and performers in modern music. His eclectic works have focused on the creative use of rhythm and space, navigating the territory between the academic and the primal, the consonant and the disonant. Glenn`s various stints with groups and ensembles have resulted in participation in over 90 albums to date, including three recorded solo works, the most recent of which, Mobile (Nonesuch Records, 2006) was released to critical acclaim from such publications as the Guardian & the New York Times.

Kotche has received international attention for his "unfailing taste, technique and discipline" (Chicago Tribune), and has been commissioned to write pieces for Kronos Quartet, Bang on a Can All-Stars and So Percussion . In addition to collaborating with renowned contemporary music sextet Eighth Blackbird, Kotche`s compositions have been performed at venues as wide-ranging as Highland Park`s Ravinia, Carnegie`s Zankel Hall in New York and Teatro Castro Alves in Salvador, Brasil. In 2006, Kotche was invited as a featured performer at the Modern Drummer Festival, was the headlining performer at the inaugural concert for New York’s Wordless Music, and was an artist-in-residence at SoundRes in Lecce, Italy.

In addition to his work as a composer and solo percussionist, Kotche is member of the ground-breaking American rock band Wilco, with whom he has played since 2001. The first album recorded after Kotche joined the group, Yankee Hotel Foxtrot was met with critical and mass acclaim with Rolling Stone magazine recently calling it the 3rd best album of the decade. Follow-up albums include the Grammy-winning A Ghost is Born, Sky Blue Sky, and Wilco`s latest release, the Grammy-nominated Wilco (The Album).

Regarded as one of the world’s best live bands, Wilco has performed at virtually every major jazz, rock, and folk festival in North America, Europe, Brazil, Japan, Australia and New Zealand and have headlined shows everywhere from Madison Square Garden to Tanglewood to Millennium Park to Massey Hall. The band recently became festival curators successfully launching the inaugural Solid Sound Festival in North Adams, MA.

Beyond Wilco, Kotche records and performs regularly with the jazz experimental duo On Fillmore. Their latest recording, Extended Vacation (Dead Oceans / BounDee, 2009) was released to critical acclaim, with the New York Times calling it “a peculiar update of early-1960s exotica, with a heart of darkness in a place of setting sun.” Their previous release, Sleeps with Fishes (Drag City, 2003 and Columbia Music Entertainment, 2007), landed them at the prestigious 2005 Percussion Pan Festival in Rio de Janeiro, Brazil.


James Campbell has received worldwide recognition as a performer, pedagogue and author, and is a respected figure in the development of the contemporary percussion ensemble. He has toured extensively throughout North, South, and Central America, Europe, and Asia. Currently Provost’s Distinguished Service Professor of Music and Director of Percussion Studies at the University of Kentucky in Lexington, he also holds the positions of Principal Percussionist with the Lexington Philharmonic, drummer with the Kentucky Jazz Repertory Orchestra, and Past-President of the Percussive Arts Society.

Well known for his long past association with the internationally renowned Rosemont Cavaliers Drum and Bugle Corps, Jim has served as their principal instructor, arranger, and Program Coordinator and was named to the Drum Corps International Hall of Fame in 2008. He was Percussion Director for the McDonald’s All-American High School Band and has performed at the International Society of Music Education World Conference, International Patagonia Percussion Festival, Journèes de la Percussion, PercuSonidos Percussion Festival, Australian Percussion Eisteddfod, MENC National In-Service Conference, Midwest Band & Orchestra Clinic, MusicFest Canada, All-Japan Band Clinic, Music for All World Percussion Symposium, state MEA conventions across the country, and frequently appears as an artist at the Percussive Arts Society International Conventions (PASIC).

Among his works for concert and marching percussion, Jim has published with Hal Leonard Publishing, C.L. Barnhouse Co., C. Alan Publications, Innovative Percussion, Row-Loff Productions, Meredith Music and Alfred Publications with whom he serves as Percussion Team Author for the Expressions Music Curriculum. Jim is an endorsee for Innovative Percussion, Evans Drumheads, Grover Pro Percussion and is a member of the Latin Percussion Educational Advisory Board. He is a clinician for the Avedis Zildjian Cymbal Company and a Performing Artist for Yamaha Corporation of America, Band & Orchestra Division.

Total Number of Percussionists Required :10+ Percussionist(s)
Categories : Tuned Percussion / Percussion Ensemble / Mixed Chamber Ensemble
Instrument / Discipline : Percussion Ensemble with Chorus
Instrumentation : 4 1/3 Octave Marimba (Low A) (x2) / Bamboo Wind Chimes / Bongos (Set of) (x2) / Cluster Chimes (metal tubes) / Crotales (Set of) / Drum Kit / Gong (x2) / Pitch Pipe (x4) / Plastic hose tuned to "A" (corrugated drain type) (x2) / Plastic hose-any pitch (corrugated drain type) (x2) / Popcorn Snare Drum / Rainstick (x2) / ratchet / Small Bass Drum / Spiral Cymbal / Thunder Sheet / Timpani (x4) / Toolbox Noise Effect / toy box effect (x5) / Vibra-Slap / Vibraphone (x2) / Voice (x10)
Range of Instruments / Number of Drums : NA
Written for / Commissioned by : University of Kentucky Percussion Ensemble
Permission given for Youtube video by Copyright holder
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Accompanied :Other
Publisher :Bachovich Music Publications
Publishers Website
Publisher Details :

Extraordinary percussion literature for the 21st century! Looking for recital pieces, chamber pieces, and concerti? We`re here to serve you the finest in percussion music 24 hours/day, 7 days/week.

Year Composed / Copyright Date :2011 /  2012
Duration :10Minutes
No. of Mallets/Sticks Required :2
Special Needs :Speaking Chorus (4 or more players) is optional.The opional chorus also plays wind wands (or bull-roarers). Two marimbas are shared between four players.A thin gong can be used instead of a thundersheet if needed.
Sheet Music Available From      Check to see if in stock
Programme Notes / Performance Details :

The original conception of the drumkit was as a multiple percussion configuration incorporating a huge variety of percussive effects and instruments from all over the world. In the instrument’s first century though, the tendency has been to treat it mostly as a timekeeper in groove-based music.  I think the timbral, textural, melodic, and rhythmic possibilities of the instrument haven’t yet been explored nearly enough. I try to do that through my solo performances but jumped at the chance to try it with such an incredible and forward thinking percussion group as So Percussion. 

A new series of pieces came about at the time I was touring extensively with my rock band, Wilco.  I got the notion to come up with an idea for a quartet in each new city that I traveled to. These ideas ranged from mere conceptual blueprints to fully realized and notated pieces.  Many were conceived but not finished and when So Percussion approached me for the Meet The Composer (MTC) studio project, I thought these would be a nice addition to their repertoire and would be a perfect fit for them.  I set out to choose a well-balanced selection of quartets that would focus on different possibilities of the instrument.  Once I was immersed in these pieces, I found that I preferred some of the versions that I re-arranged or re-scored on voices other than drumkits.  Since I’ve learned to trust the music when it deviates from a preconceived plan, I therefore didn’t resist leaving drumkits out of some of the drumkit quartets.  The cities attached to each quartet reflect where the piece was conceived and/or where I was when major breakthroughs occurred.

Although the original Drumkit Quartet #51 (Tokyo, Brisbane & Berlin) was written for drumkits and sound design, I found the arrangement for marimba quartet to be much more compelling. I keep the tonality static in order to direct the focus on the uncoiling rhythmic cycles and use shifts in register and sound design to provide scene changes in the music. The sound design, at times, either supports or contrasts with the serene nature of the music.  These backing collages are mostly comprised of recordings that I made while traveling.  The construction and noise sounds (from the original sound design) were recorded while I was filming a clip in Berlin for the MTC studio website. I wrote the accompanying haiku (which in the original sound design is beautifully recited by Yuka Honda) concurrently while writing the piece during a few days off in Tokyo and Brisbane. 

blinking fresh raindrops  

full ephemeral anchor 

placidity     hush

When Jim Campbell approached me about the University of Kentucky Percussion Ensemble performing this piece for their Showcase Concert at the Percussive Arts Society International Convention – we thought a more fully realized acoustic version of Drumkit Quartet #51 for full percussion ensemble would be an interesting approach.  Given his history and expertise in this realm, I thought Jim was the perfect person to interpret and score the original sound design for live instruments, and we re-titled this arrangement Hush

- Glenn Kotche

Performance Notes

The four marimba players and conductor may perform with a click track. The marimba parts are the central focus of the work and should be positioned in the front/center of the ensemble. The other players can be positioned at the discretion of the conductor for maximum balance and clarity.

Two marimbas are to be shared with one performer positioned on the "natural" side and the other on the "accidental" side, facing each other. The marimbas should be positioned to face stage left and stage right. All other performers face down-stage. The chorus parts are optional and can be performed by two or more performers on each part. The chorus can be positioned down-stage, on the stage wings, or throughout the house.

All vocal parts are spoken sotto voce. Percussion parts 1, 4, 5 and 6 may have vocal parts enhanced with the use of sound reinforcement to balance instrumental parts; and their use of headset or stand mics can be amplified through a PA system or enhanced acoustically with the use of a simple megaphone (often found at a party store). The optional Chorus parts may be enhanced in a similar fashion or balanced acousitcally.



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