RIP TIDE
Technique – focusing on range of piece (A3-D4), 1. I improvised random chromatic and diatonic patterns in 8th note rhythmic unison at 1/4 note = 150bpm; 2. I had LH alternate Eb and Bb (pattern found at beginning of piece a lot), while improvising chromatic/diatonic patterns in RH at 1/4 note = 130bpm.
I worked page 1 at 1/4 note = 130bpm hands together, and 1/4 note = 150 hands apart; page 2 at 1/4 note = 100 with hands together, and 130bpm hands apart; worked all of Layout 2 hands separate at 1/4 note = 130bpm and hands together 1/4 note = 92-100bpm. Read through Layout 3-4-5 at 1/4 note = 130bpm hands separate.
Not a bad day, quite surprising actually… hands were feeling really strong, without tension while moving around at these tempos for the first time.
SURFACE DRIFT
Technique – SI – each mallet individually, focusing on strength right now; SA scales 121212 and 343434; played ii V I chord progressions with DV rolls, ripple rolls and SA rolls.
Layout 1 – worked hands separately at 1/4 note = 65bpm; memory tested page 1 = I’ve got it!! Started working on memorizing page 2… by end of day, I actually had 3/4 of page 2 memorized as well… learning curve people!!
Layout 3 – worked through with DV rolls and metered SA rolls. I am starting to think that this section will actually end up being a combination of various types of rolls, maybe depending on the dynamics, not sure… still need to record and send to the composer. I am having a very hard time playing the last few lines = SA roll on the highest Bb/C in the RH, while playing the A right next to it with the mallet 2 in LH at ff. It is a very awkward angle, and needs to be so loud. I feel like I need to switch to DV strokes in RH just to make it loud enough, but it sounds too much like a rhythm and not a roll. Here is a sample from the end of Surface Drift. Any suggestions?? Sounds coming soon, I promise!
