For my first composition for more than two instruments, I decided to write for three as this would allow me to experiment with a slightly different approach to my previous works for percussion duet without being too complex at this stage. In this piece I wanted a clear leader throughout, with the other two instruments performing a supporting role.
I chose a time signature of 6/8, and fairly quickly I established that I wanted the clear and bright tone of the woodblock as my main instrument. I then created my principle idea based on a semiquaver triplet. This motif is reiterated throughout the piece, with variations to keep interest, and bars 10-13 provide a development of the idea.
The maraca part was a process of development, initially being comprised of continuous semiquavers, as I wanted a constant 'backdrop' to the woodblock theme. Next, I decided to give the maraca part some more shape by placing accents at each quarter of the bar. I felt this was much better, but thought I could do more with the instrument. I wanted to create more interest with the maracas without inadvertently turning it into the main instrument! I carefully placed some semiquaver rests in every other bar to briefly break up the continuous flow, and also alternated the dynamics between forte and piano. I was very pleased with the end result for this instrument, and feel I have the right balance between making it interesting but ensuring it stays within a supporting role.
For my final instrument I initially wanted a fairly deep drum of some kind, to perforate the texture at suitable moments. I tried several different instruments including the tenor and bass drums but couldn't quite find exactly what I wanted. Eventually I tried the bongos, which has two different (unspecified) pitches. I was very pleased with how the sound worked with the other instruments, and decided to take a different direction than initially conceived. I created an ostinato type pattern which alternated between the two pitches of the bongos, and which would stay constant throughout. Again, I needed to be careful with my writing here so that the bongo's didn't become the dominant instrument. I used a 'trill' and an acciaccatura in opportune places for the instrument to generate interest.
In terms of the overall structure of the piece, I didn't want to create too lengthy a work this time, instead I wanted to work around a small idea. It is a fairly standard 16-bar setup, with an additional 17th bar in the middle with a change of time signature to 5/4. The longer note values and pause sign here slow the forward motion, and provide anticipation for the development section in the following four bars.
Working with multiple instruments provides a new set of challenges, and also a new set of freedoms. I found in this piece I had to plan and write carefully, making sure I didn't over-complicate all instruments involved and that there was a firmly established hierarchy, without individual parts being too bland. I think I succeeded in my aims, and I'm happy with the final result.
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