Swerve for Solo Snare Drum by Gene Koshinski Gene Koshinski 2017-01-18 | "Swerve" was commissioned by Tom Sherwood for the 2017 Modern Snare Drum Competition. The composition is episodic and the title references the rapid change of ideas and diversions from the primary musical material, which keeps returning. FAQ - the door stop (found at any home improvement store) is easily attached to the stick with one screw. More detail about door spring selection is in the score.Score available here: squareup.com/store/gene-koshinskiwww.genekoshinski.comVideo by Marc HillAudio by Gene Koshinski and Don SchraufnagelMALLETS: Innovative Percussion CL-1 Maple Concert SD Stick, Koshinski Swerve Stick, Size 6 knitting needleGEAR: 14"x6.5" Pearl Jimmy DeGrasso Signature Snare Drum (JD1455) Gold Plated Hammered Brass, Remo M-5 Coated Ambassador SD Head.Because SO many people ask:The stick is made with a 3-inch spring doorstop attached to a standard drumstick. The doorstop is found at a local hardware or home improvements store (Home Depot, Lowes, Menards, etc). Availability really varies in countries outside the US. The doorstop comes with 1 screw to mount the base of it to the stick. Some doorstops come with short screws and some come with longer ones. The screw should not go through the stick. So, you might want to switch out for a shorter screw if necessary. It's also important you pre-drill a small pilot hole, otherwise it will be very difficult to screw it to the hardwood stick. I've tried dozens of doorstops and some are better than others. They also stretch over time so older ones become more flexible (give it some time). It is best to find a model that had a wider base and goes to a thinner end (rather than those that a skinny throughout). It's ideal to try a few different kinds. Some of the best options I have found are from Menards - just like this:menards.com/main/tools-hardware/household-hardware/door-window-hardware/doorstops/national-hardware-reg-brass-spring-door-stop-2-pack/p-1444448889247-c-9686.htm?tid=-1250888735025165460&ipos=85The knitting needle in this video is Size 6.
Quey Percussion Duo Studying Txalaparta in Pamplona, Spain Gene Koshinski 2024-10-11 | A news story on Quey Percussion Duo studying traditional txalaparta with the txalaparta group "Hutsun" in Pamplona, Spain.Air date: September 29, 2024.
Rauschen (2024) by Lila Meretzky (UD Graduate Percussion Group) Gene Koshinski 2024-09-22 | "Rauschen" (2024) by Lila Meretzkyfor percussion quintet, commissioned by the University of Delaware Graduate Percussion groupPerformed by the University of Delaware Graduate Percussion GroupJake GrimsleyBensen KwanGabriel LabellKyle SkinnerCarl TafoyaAudio: Nick GingerichVideo: Jake Grimsley
BeyonD the bEnd (2021) by Gene Koshinski Gene Koshinski 2024-07-19 | "BeyonD the bEnd" (2021) by Gene Koshinskifor percussion soloist with percussion ensemblePerformed by the University of Delaware Graduate Percussion Group Gene Koshinski, solo percussion Tim Broscious Gabriel Labell Kyle Skinner Carl TafoyaVideo: Four Ten MediaAudio Capture: Nick GingerichAudio Editing: Gene KoshinskiAudio Mixing/Mastering: Andy ThompsonPROGRAM NOTESBeyonD the bEnd is scored for percussion soloist with percussion ensemble (1 + 4 players) and was commissioned by the Ju Percussion Group. In the opening of the work the ensemble sings, in unison, chant-like lines that present, simultaneously, both the sonic thematic material and the poetic reference the piece is hinged on. Musically, the piece is tied to a three-note motive of Bb, Db, and Eb (those letters highlighted in the title) that can be heard throughout, initially heard in the opening voices and thread through the ensemble for the duration of the piece. This theme refrains from developing, yet transforms throughout the work as it morphs ever so slightly into various rhythmic patterns and bends in and out of different timbres within the ensemble. Concurrently, the work is structured around a poetic theme, which is inspired by a short unfinished poem by Brandon Reid Swaim:When you bend somethingIt will strike back and bend youThis is the relationshipBetween society and natureBending is a constant musical and literal theme as the composition specifically calls for many instruments that bend pitches such as talking drum, roto toms, singing, whistling, slide whistle, vibra-tone, and bending the pitches of the crotales by dipping them in water as they are being bowed. Another usage of the poetic reference is how the soloist interacts with the ensemble and how that relationship changes over time.
Air Friction (2023) by Jinxin Fu (performed by the University of Delaware Percussion Ensemble) Gene Koshinski 2024-06-10 | Performed LIVE on April 20, 2024"Air Friction (for ping pong balls and percussion quartet) was written in 2023. Air Friction is inspired by the physical phenomenon that air particles collide with a moving body, even if it is just a small ping pong ball. Because the existence of air, the ball bounces lower and lower every time, and so does the energy go. There are a lot of moments in this piece where this physical law can be "heard," starting with a single series of bounces of a ping pong ball, growing toward a colorful sound world..." -Jinxin FuPerformersBensen Kwan, ping pong ball soloistHaolin LiKyle SkinnerJoe TremperYiming ZhongGene Koshinski, conductorAudio: Nick GingerichVideo: University of Delaware (live stream)
Sequences by Bruce A. Russell (performed by the University of Delaware Percussion Ensemble) Gene Koshinski 2024-06-07 | "Sequences" (for synth and percussion) was written by Canadian composer Bruce A. Russell in 2000 and revised/extended in 2024 for its premier performance given by Gene Koshinski and the University of Delaware Percussion Ensemble.For more information about the piece and the composer, visit:elmahboob.comPerformersHaolin Li and Joe Tremper (marimba)Gene Koshinski (synth, kick, rim knock)Video and Lights: Ben HausmanAudio: Gene Koshinski
Everything I Thought I Wanted by Robert Maggio (performed by the UD Graduate Percussion Group) Gene Koshinski 2024-05-17 | "Everything I Thought I Wanted" by Robert Maggio1. unexpected overture - 0:08 2. imaginary friend - 3:41 3. polygroove - 7:544. expanding circular dream - 9:46 5. glass carousel - 15:08 6. endless possibilities - 17:51Performers: University of Delaware Graduate Percussion Group Jake Grimsley, Gabriel Labell, Kyle Skinner, Carl TafoyaAudio: Ben Hausman Video: Jake Grimsley *recorded live in Loudis Recital Hall on the campus of University of DelawarePROGRAM NOTE Everything I Thought I Wanted was composed Fall 2022 through Spring 2023, when I was musing (perhaps more than usual) about my childhood wishes and dreams and trying to translate some of those musings into music. Full disclosure: this is an assignment I typically give my composition students; maybe I thought I’d try my own assignment. Sonically, this influenced the choice of instrumentation, and led to the inclusion of the toy piano, kalimba, glockenspiel, and crotales into the ensemble. Individual movements initially had specific impressionistic titles, though I removed them after they were completed, hoping to inspire more openminded listening and personal imagery. I am deeply grateful to Doug Perkins, who organized the wonderful consortium of percussion studio teachers around the US to co-commission the work. COMMISSIONED BY Doug Perkins - University of Michigan (lead commissioner) Scott Herring - University of South Carolina Ayano Kataoka - University of Massachusetts Amherst Gene Koshinski - University of Delaware Matt McClung - St. Olaf College Todd Meehan - Baylor University Sam Solomon - Boston Conservatory at Berklee Ralph Sorrentino - West Chester University Jean Carlo Ureña Gonzalez - Lawrence University
Tom-Tom for Tom by Gene Koshinski Gene Koshinski 2024-02-28 | "Tom-Tom for Tom" is a snare drum etude written for percussionist Tom Sherwood and the 2019 Modern Snare Drum Competition. The etude is composed almost entirely from the four syllables heard when speaking the title. That four-note theme is explored in different rhythms and speeds while accompanied by metered rolls and pitch-bent interjections. Score available here:https://gene-koshinski.square.site/product/tom-tom-for-tom/39?cs=true&cst=custom
University of Delaware Interactive Percussion Seminar 2024 Gene Koshinski 2024-02-22 | UDIPS is an immersive weekend of percussion focused on presenter/participant interaction through hands-on sessions, engaging performances and Q&A hangouts specifically built into the schedule. UDIPS is FREE to participants of any age or experience level and held on the campus of University of Delaware. 2024 UDIPS Eventhttps://www.music.udel.edu/who-we-are/applied-music/percussion/interactive-percussion-seminarUniversity of Delaware Percussionhttps://www.music.udel.edu/who-we-are/applied-music/percussion
Cupid by Fifty-Fifty arr. Bensen Kwan (UD Graduate Percussion Group) Gene Koshinski 2024-02-14 | The University of Delaware Graduate Percussion Group wishes you a Happy Valentine's Day! ❤️Performed by:Bensen KwanGabe LabellKyle SkinnerCarl TafoyaRecording and Video Editing: Jake GrimsleyFilming and Audio Video: Ben Hausman
“From Downtown” by Gene Koshinski Gene Koshinski 2023-12-04 | for marimba, voice, and Starbucks Venti Pike Place.
Youve Got a Friend in Me by Randy Newman/arr. Alex Stopa (performed by Quey Percussion Duo) Gene Koshinski 2023-11-07 | "You've Got a Friend in Me"Randy Newman/arr. Alex StopaPerformed by Quey Percussion Duo (Gene Koshinski and Tim Broscious) Released in 1995, the Pixar film Toy Story is set in a world where toys come to life. Scored by Randy Newman, it was Pixar’s first feature film and the first fully computer animated feature-length movie.“You’ve Got a Friend in Me” is the film’s signature song, and it describes the close bond between a young boy Andy and his favorite toy, an old-fashioned pull-string cowboy doll named Woody. It was nominated for Best Original Song at the Academy Awards and Golden Globes and has since been certified double platinum.This arrangement is written for two performers, sharing one 5-octave marimba, and was commissioned by Quey Percussion Duo. The piece may also be performed on a low F (4.5-octave).Score available at: tapspace.com/duets/you’ve-got-a-friend-in-meFilmed at the Please Touch Museum in Philadelphia, PAVideo: Ben HausmanAudio Capture/Editing: Gene KoshinskiAudio Mixing: Alex Stopa
Quey Percussion Duo ARTIST SAMPLER Gene Koshinski 2023-10-23 | For information or booking, please contact:info@qpdmusic.comgenekoshinski@gmail.comQPDMUSIC.COM
Over Again (2020) by Philip Blackburn (performed by Quey Percussion Duo) Gene Koshinski 2023-09-22 | “Over Again” by Philip Blackburnfor two percussionists (playing instruments made from military objects and found materials) and 2-channel fixed media Performed by Quey Percussion Duowww.qpdmusic.com PROGRAM NOTES On one level, Over Again – part homage, part ritual, part soundscape – is a tale of aww, shucks, derring-do; featuring as it does a first-person narrative spoken by First Lieutenant Warren Ward (September 7, 1909 – March 24, 1945) a glider pilot from Madison, Minnesota, describing his task of delivering ammunition to Allied forces on the beaches during the Normandy Landing, June 4, 1944. His nonchalant storytelling style contrasts with his astonishing feats of heroism amidst the chaos of war. Having told of the death-defying flight over the English Channel in a steel-and-canvas Waco CG-4A (aka “Flying Coffin”), lucky landing, delivery of 3 ½ tons of high explosives, and safe return, he adds that he is “just waiting for another chance to go over again.” Bizarrely, it was only when he recognized his own voice on the radio that he thought he was dead. The story is remarkable enough, but there’s more to it. Ward also inadvertently entered music history. Pioneering composer, Harry Partch (1901-1974), was one of the most influential figures of the 20th century American experimental tradition, and a godfather of percussion ensemble music. His Speech-Music theories that derived musical harmony from the intonations and melodic shapes of everyday speech started him on a lifetime of dramatic musical works in Just Intonation, and building unique, sculptural instruments to play them. While at the University of Madison, Wisconsin, on May 3, 1945, he premiered a piece (I’m Very Happy to be Able to Tell You About This, since lost) incorporating this same exact recording (which has recently resurfaced). It would have been among the first ever works integrating acoustic instruments and fixed media (in this case, an acetate disc ‘transcription’ from WOR New York, where the solo part’s “spontaneity is predetermined,” as Partch put it). Over Again is a reimagining of that occasion (five weeks after Ward’s death in Germany): somewhat bardic, somewhat theatrical, and totally in line with the long history of Corporeal attempts to marry speech and music on the dramatic stage (including Partch’s own Americana period where he used the language of hobos and hitchhikers). On first hearing the recorded voice, I was surprised that it had none of the traditional melodic contours that Partch had been attracted to in his earlier vocal settings; there was little inflection from which to derive any harmonies. So I focused on syncing the speech rhythms with the story instead. You can hear percussion batteries – distant battle sounds – at various points being triggered by the voice (digitized via MIDI); speech as ammunition. The live performers provide additional accompanying soundscape elements (like a radio drama?) from propeller-like bull-roarers to ammo-can gamelan, oil-drum gongs, and a koto made from a radar decoy: Instruments from military surplus repurposed in a swords-to-ploughshares moment. The work is a ritual of tribute and remembrance, and an intimate glimpse into the lives of two historical figures going about their daily – yet extraordinary – tasks. I am grateful to Gene and Tim of Quey Percussion Duo for their support, inspiring dedication, astonishing skills, and creative bravery. – Philip Blackburn, St. Paul, September 2023
for David (2018) by Gene Koshinski Gene Koshinski 2023-08-15 | David Macbride (1951 - 2018) made a long lasting impression on many of his students and colleagues with his gentle soul and powerful music. The vast influence he had on me forever changed my artistic thought and general way of life.Having worked on many performing, commission, and recording projects with David, I was provided a rare and unique opportunity to experience art. But, perhaps his greatest contribution was the way he lived life: his kind and gentle nature, his thoughtfulness, his contribution to art and the greater community, and his humor all made him a superb individual and a wonderful mentor to many. There was no one quite like him. David passed away suddenly on September 7, 2018.This short and humble piece is my way to remember David - a work to be performed or simply just to be thought about."for David" is based on several works that David wrote that had a large impact on me, most notably his work "A Special Light" (scored for piano and glockenspiel), which David wrote after the passing of his close friend Carl Ricketts. Using David’s work as a model and source of inspiration seems appropriate and comforting to me. I hope it will encourage the audience and performers to share an introspective moment and to truly listen, just as David would.Performed by Gene Koshinski (piano); Tim Broscious, Dan Ingman, Alex Robin, Austin Orth, Chang Tong, and Tommy Boyer (percussion)
Derivative from Perspective (2022) by Jlin - performed by the UD Graduate Percussion Group Gene Koshinski 2023-04-05 | Performed by the University of Delaware Graduate Percussion GroupCo-Directors: Gene Koshinski and Tim BrosciousPerformers: Dan Albertson, Jake Grimsley, Gabe Labell, Zach OdomPuglisi Orchestra Hall, University of Delaware__Jlin (Jerrilynn Patton) is a producer whose unique and evolving electronic sound is rooted in Chicago’s iconic footwork style, with additional influences ranging from Nina Simone to Igor Stravinsky. Jlin’s work assembles evocative and vivid sounds into a musical style that she describes as “clean, precise, and unpredictable.” Hear Jlin's music: jlin.bandcamp.com--Perspective by Jlin was commissioned for Third Coast Percussion by the Boulanger Initiative, the Maxine and Stuart Frankel Foundation, Carnegie Hall, the Lester & Hope Abelson Fund for the Performing Arts at the Chicago Community Foundation, the DEW Foundation, and Third Coast Percussion’s New Works Fund.UNIVERSITY OF DELAWARE GRADUATE PERCUSSION GROUPThe award winning Graduate Percussion Group is a fully funded fellowship program. Each member is awarded a fellowship for their studies at UD by co-directing and performing in this ensemble. Coached and mentored by the faculty ensemble in residence (Quey Percussion Duo), the Graduate Percussion Group is actively engaged in artistic creativity on a daily basis through rehearsing, performing, and administration of a self-sustaining ensemble that straddles the line between collegiate and professional performing experiences.The Graduate Percussion Group presents regular programs throughout the year in addition to numerous projects related to audio recording, video production, outreach, recruiting, competitions, and composer-performer experiences. Graduate Percussion Group members also often perform side-by-side with guest and faculty artists.In addition to performances, as a self-sustaining ensemble, each student will assume administrative roles to guarantee the success of the ensemble such as scheduling, programming, recruiting, outreach, marketing and promotion, and social media management to name a few.
Elegy: Snow in June (1991) by Tan Dun - Performed by the UD Graduate Percussion Group Gene Koshinski 2022-12-28 | Performed by the University of Delaware Graduate Percussion GroupCo-Directors: Gene Koshinski and Tim BrosciousGroup members: Dan Albertson, Gage Kroljic, Zach Odom, and Andrew Simmons. Cello Soloist: Christian HartmanAudio and Video by Gage KroljicPROGRAM NOTES"The image of snow in June comes from a 13th century Chinese drama by Kuan Han-Ching, in which a young woman, Dou Eh, is executed for crimes she did not commit. Even nature cries out for her innocence - her blood does not fall to earth but flies upward, a heavy snow falls in June, and a drought descends for three years. Elegy sings of pity and purity, beauty and darkness, and is a lament for victims everywhere.The work is a set of free variations. Beginning with sparse, searching phrases, it coalesces to the theme which emerges in the middle then disperses again. The voice of the cello opposes and joins four groups of percussion which each are given solo passages. The singing of the cello contrasts with the sound of tearing paper or the roughness of stones and cans.Elegy was commissioned by the New Music Consort and was first performed by Madeleine Shapiro (cello) with Claire Heldrich conducting."—Tan DunUNIVERSITY OF DELAWARE GRADUATE PERCUSSION GROUPThe award winning Graduate Percussion Group is a fully funded fellowship program. Each member is awarded a fellowship for their studies at UD by co-directing and performing in this ensemble. Coached and mentored by the faculty ensemble in residence (Quey Percussion Duo), the Graduate Percussion Group is actively engaged in artistic creativity on a daily basis through rehearsing, performing, and administration of a self-sustaining ensemble that straddles the line between collegiate and professional performing experiences.The Graduate Percussion Group presents regular programs throughout the year in addition to numerous projects related to audio recording, video production, outreach, recruiting, competitions, and composer-performer experiences. Graduate Percussion Group members also often perform side-by-side with guest and faculty artists.In addition to performances, as a self-sustaining ensemble, each student will assume administrative roles to guarantee the success of the ensemble such as scheduling, programming, recruiting, outreach, marketing and promotion, and social media management to name a few.
Pick-Up Sticks by Tim Broscious (performed by Quey Percussion Duo) Gene Koshinski 2022-08-27 | "Pick-Up Sticks" by Tim Broscious (performed by Quey Percussion Duo)http://www.qpdmusic.comThis project is supported, in part, by a grant from the Delaware Division of the Arts, a state agency, in partnership with the National Endowment for the Arts. The Division promotes Delaware area events on www.DelawareScene.com.Filmed at the Renaissance Academy Charter School in Phoenixville, Pennsylvania PROGRAM NOTES The title "Pick-up Sticks" is taken from the classic game of the same name in which the players attempt to pick up various colored straws in a pile without moving other straws. The work can be loosely compared to that of the "classical" sonata genre featuring a soloist (Player 1) with piano accompaniment (Player 2). As the soloist, Player 1's instrument set-up and music requires a significant amount of choreography as they navigate through the various instruments and combinations of instruments, continuously picking up and putting down the various chimes, mallets, bows, sticks, etc. Audio: Quey Percussion Duohttp://www.qpdmusic.comVideo: FOUR/TEN Mediahttp://www.fourtenmedia.netSCOREhttp://bachovich.com/music/1122GEARSchoenhut Baby Grand Pianoamazon.com/Schoenhut-Elite-Baby-Grand-Bench/dp/B000BLJ7YI/ref=sr_1_10?crid=2R85I21UAYCHW&keywords=schoenhut+toy+piano&qid=1661539254&sprefix=schoenhut+toy+piano%2Caps%2C163&sr=8-10Rhythm Band Hand Bellsamazon.com/RHYTHM-BAND-CNC8-Rhythm-Handbells/dp/B00UCAYVZ8/ref=sr_1_2?crid=1QQE941S5T5BR&keywords=rhythm+band+hand+chimes&qid=1661539481&sprefix=rhythm+band+hand+chimes%2Caps%2C107&sr=8-2Majestic Dinner Chimes (formerly Ross Dinner Chimes)steveweissmusic.com/product/ross-dinner-chimes/symphonic-chimes
soniChroma by Gene Koshinski (PROMOTIONAL VIDEO) Gene Koshinski 2022-08-05 | "soniChroma" by Gene Koshinski (PROMOTIONAL VIDEO)Performed by: Quey Percusion Duo with the Columbus State University Symphony OrchestraConductor: Paul HostetterFOR MORE INFORMATION CONTACT: genekoshinski@gmail.comwww.genekoshinski.comwww.qpdmusic.comProgram Notes"soniChroma" (meaning “sound color") is a double concerto for two percussionists and orchestra. As the title suggests, a large focus of the piece is placed on unique sonic color and instrument combinations. This can be seen throughout the orchestra, but prominently in the large percussion solo setup. The percussion setup contains over seventy instruments including skins, metals, woods, strings, non-Western instruments, and found objects. Throughout the work I wanted to reflect the diverse performance demands of the 21st Century percussionist. These performance modes range from classical percussionists, drum set players, keyboard soloists, and world music performers. The specific instruments and playing styles were chosen to reflect the performance experience of Quey Percussion Duo, for whom the piece was written. Each of the three movements present a “color," both sonically and visually. The movements are titled after shades of three primary colors (yellow, blue, and red). While each movement represents a very specific visual color, the work is not overtly programmatic. The title merely suggests a visual representation of the music, including additional descriptors (“spark," “dusk," and “electric") to help frame the delivery of the music.MovementsI. Arylide SparkII. Cerulean DuskIII. Electric Amaranth
Whiz-Bang! by Gene Koshinski (performed by Quey Percussion Duo) Gene Koshinski 2022-06-14 | "Whiz-Bang!" by Gene Koshinski (performed by Quey Percussion Duo)http://www.qpdmusic.comCommissioned by Music Academy of the West and Percussionists Michael Werner and Matt DeckerPROGRAM NOTES Whiz-Bang (also whizz-bang or whizzbang) can have several meanings, ranging from “lively” or “sensational" to “fast-paced.” Whiz-Bang also refers to a small-caliber World War I shell that, when discharged, travelled at such a high velocity that the sound of its flight was heard only an instant, if at all, before the sound of its explosion. Subsequently, Whiz-Bang became known as a type of firework that jumps around, emitting a whizzing sound and occasional bangs. For the purpose of this composition, any and all of the above definitions suite the character. The work is designed as a short, fast-paced display of rhythmic interplay of drums and metals coupled with wildly indeterminate tone clusters played on a pair of melodicas.Audio: Quey Percussion Duohttp://www.qpdmusic.comVideo: FOUR/TEN Mediahttp://www.fourtenmedia.netThis project is supported, in part, by a grant from the Delaware Division of the Arts, a state agency, in partnership with the National Endowment for the Arts. The Division promotes Delaware area events on www.DelawareScene.com.MALLETS: Innovative Percussion NZ-1 (Nir Z Signature Series)GEAR: 15" Pearl Reference Pure Floor Tom (with Ebony Emperor Head); 26" Pearl Maple Bass Drum (Remo Powerstroke P3 Fiberskyn Head), 10" Sabian Air Splash Cymbal, 16" Sabian Evolution Crash Cymbal, 6"/8" Liberty One Roto Toms, 2 melodicas, junk metals (mixing bowls, pots, pans), Acme siren whistle.
Sandbox (2020) by Viet Cuong - University of Delaware Graduate Percussion Group Gene Koshinski 2022-05-12 | "Sandbox" (2020) by Viet Cuong Performed by the University of Delaware Graduate Percussion GroupDaniel AlbertsonGage KroljicZach OdomAndrew SimmonsAudio and Video by Gage Kroljic
I. Bright and Dark from Stress and Flow by Alejandro Viñao (U. of Delaware) Gene Koshinski 2022-05-04 | Performed LIVE by the University of Delaware Percussion EnsembleDan Albertson, vibraphoneSae Bin An, marimbaGraeme Leighton, vibraphone/xylophoneZach Odom, marimbaPROGRAMME NOTES (Alejandro Viñao)Stress and flow, bright and dark and light and shadow are all description of the juxtapositions and contrasts that characterize this work and are arrived at through various rhythmic processes and the use of electronic means to produce new sound worlds. These sound worlds are not meaningful in themselves but work as an extension of the sound of the mallet instruments featured in the piece.1. Bright & DarkThe first movement begins by unfolding dark and heavy rhythms and colours that are gradually transformed into brighter ones and eventually juxtaposed to each other in contrasting ways.
Killjoy - II. Lullaby for Jett by Gene Koshinski Gene Koshinski 2022-01-18 | Killjoy - II. "Lullaby for Jett" by Gene Koshinski is scored for guitar (amplified) and percussion, performed here by Zane Forshee (guitar) and Gene Koshinski (percussion). PROGRAM NOTESWhen I was approached by Zane Forshee to compose this piece, he asked me to base the work on material or an idea(s) drawn from a book or other form of literature. I found it appropriate to choose a children’s story due to his new found role as a parent himself. This led me to the story of Cinderella, which has stood the test of time, entertaining children and adults alike, generation after generation. At the heart of the story is the clock tower. As the clock strikes midnight, it ends Cinderella’s time at the Prince’s ball and her fairy Godmother’s magical spell. In the story, the clock assumes the role of an antagonist (which, in real life, is something we can all relate to).The title is derived from the Disney film adaptation of the story. In this version, Cinderella is awaked by the clock - foreshadowing the role of this antagonist. At this moment Cinderella exclaims: Oh, that clock! Old killjoy. I hear you. Come on, get up, you say. Time to start another day. Even he orders me around. Well, there's one thing. They can't order me to stop dreaming. Killjoy explores the sounds of clocks, utilizing their musical value as a starting point. In essence, the work is a collection of variations on themes provided by various clocks where, in many cases, the “theme” is never actually stated. The first movement focuses on the stereotypical “tick-tock” of the clock. The second movement depicts a sweet lullaby that plays at the top of every hour. The final movement brings the listener inside the clock. When I was writing this, I had the vision of a mouse scampering from “room” to “room” inside a massive clock, the music magnifying the mechanical sounds of the inner workings of such a precise device.Video: Sae Bin AnAudio: Don SchraufnagelAudio Editing: Gene Koshinski
Ritmica VI (1930) by Amadeo Roldán performed by the University of Delaware Percussion Ensemble Gene Koshinski 2021-10-17 | Performed by the University of Delaware Percussion EnsembleConducted by Christine Walthers (graduate teaching assistant)Audio: John FredenburgVideo: Gage KroljicPuglisi Hall, University of Delaware
Ritmica V (1930) by Amadeo Roldán performed by the University of Delaware Percussion Ensemble Gene Koshinski 2021-10-06 | Performed by the University of Delaware Percussion EnsembleConducted by Christine Walthers (graduate teaching assistant)Audio: John FredenburgVideo: Gage KroljicPuglisi Hall, University of Delaware
Yangko by Chen Yi - Quey Percussion Duo with Xiang Gao Gene Koshinski 2021-09-03 | Performers: Xiang Gao (violin)Quey Percussion Duo: Gene Koshinski & Tim Broscious (percussion)PROGRAM NOTESAdapted from the second movement of Chinese Folk Dance Suite, for violin and orchestra, YangKo, originated in northern China and is a major folk dance form in mass performance popularized in the country. In YangKo performance, people always play rhythmic patterns on the drums hung around their wastes while singing and dancing. In my second movement, I have imagined a warm scene of YangKo dancing in the distance. The solo violin plays a sweet and gracious melodic line while all members in the orchestra sing the non-pitch syllables in different layers as the soft background, to imitate the percussion sound which produces the ever going pulse. - Chen YiAudio: Gene Koshinski & Tim BrosciousVideo: Gage Kroljic
Killjoy - I. Tick Tock by Gene Koshinski Gene Koshinski 2021-08-20 | Killjoy - I. "Tick Tock" by Gene Koshinski is scored for guitar (amplified) and percussion, performed here by Zane Forshee (guitar) and Gene Koshinski (percussion).MALLETS: Innovative Percussion CL-X1 Soft Xylophone Mallets, RS40 Hard Vibraphone Mallets, IP902 James Ross Xylophone MalletsGEAR: 3 octave Adams Alpha Vibraphone (gold bar), 22" Pearl Masters Custom Maple Kick Drum (vintage) PROGRAM NOTESWhen I was approached by Zane Forshee to compose this piece, he asked me to base the work on material or an idea(s) drawn from a book or other form of literature. I found it appropriate to choose a children’s story due to his new found role as a parent himself. This led me to the story of Cinderella, which has stood the test of time, entertaining children and adults alike, generation after generation. At the heart of the story is the clock tower. As the clock strikes midnight, it ends Cinderella’s time at the Prince’s ball and her fairy Godmother’s magical spell. In the story, the clock assumes the role of an antagonist (which, in real life, is something we can all relate to).The title is derived from the Disney film adaptation of the story. In this version, Cinderella is awaked by the clock - foreshadowing the role of this antagonist. At this moment Cinderella exclaims: Oh, that clock! Old killjoy. I hear you. Come on, get up, you say. Time to start another day. Even he orders me around. Well, there's one thing. They can't order me to stop dreaming. Killjoy explores the sounds of clocks, utilizing their musical value as a starting point. In essence, the work is a collection of variations on themes provided by various clocks where, in many cases, the “theme” is never actually stated. The first movement focuses on the stereotypical “tick-tock” of the clock. The second movement depicts a sweet lullaby that plays at the top of every hour. The final movement brings the listener inside the clock. When I was writing this, I had the vision of a mouse scampering from “room” to “room” inside a massive clock, the music magnifying the mechanical sounds of the inner workings of such a precise device.Video: Sae Bin AnAudio: Don SchraufnagelAudio Editing: Gene Koshinski
Long Exposure (2020) composed/performed by Gene Koshinski and Tim Broscious (Quey Percussion Duo) Gene Koshinski 2021-06-25 | Co-written by Gene Koshinski and Tim Broscious (Quey Percussion Duo), "Long Exposure" was composed during the COVID-19 pandemic of 2020 and was the result of a consortium led by Steve Weiss Music, commissioned by 43 percussionists around the world. Due to the unique circumstances of the time, the two composers worked together remotely, through the use of video and audio software.The title comes from a photography technique called "long exposure,” which uses long duration shutter speeds to catch the “blur” of quick moving objects. This method inspired the use of the switch in our work (a thin rattan/bamboo rod) - similar to the common practice of writing in the air with a sparkler on the 4th of July. The entire piece is structured around an 8-bar repeated phrase (3/4, 5/8, 3/4, 4/4, 3/4, 5/8, 3/4,10/8). While the work never strays from this cyclical timeline, there are many instances throughout that purposefully obscure the musical formula. Beginning in complete unison with body percussion, the piece continues to develop until arriving at the main theme at letter G (heard in the switch part). At this point, for the first time in the work, the players begin to separate while maintaining the unison switch pattern. Seemingly a mistake at first, a glitch in the system, the variance eventually infiltrates the entire previous pattern until the zabumba enters and re-establishes the main theme, now split amongst the two players. As the zabumba music evolves into a rhythmically intricate texture, a canonic section emerges, ultimately resolving back to the main theme in prime form. Now the players have added pitched handbells to the body percussion material. The handbells eventually become the zabumba mallet, creating multiple layers between the pitch of the bell, the batter head, and the resonant head of the drum before culminating in a short presentation of the original theme to close out the piece.For score/parts visit: www.genekoshinski.comwww.qpdmusic.comVideo Editing: Bryden GollhardtVideo Capture: Gage Kroljic and Graeme LeightonAudio Engineering: Gene Koshinski, Tim Broscious, Bryden GollhardtMALLETS: Innovative Percussion CL-BD12 (Chris Lamb - Classic Wood)
Credo in US (1942) by John Cage performed by Quey Percussion Duo, Christine Delbeau, Gage Kroljic Gene Koshinski 2021-06-01 | Credo in US (1942) by John CagePerformers: Quey Percussion Duo (Gene Koshinski and Tim Broscious)Christine Delbeau (piano)Gage Kroljic (electronics)For more information on the performers, visit:www.qpdmusic.comwww.music.udel.eduAudio: John FredenburgAudio Editing: Gene Koshinski/Tim BrosciousVideo: Gage KroljicSponsors: Pearl/Adams Instruments, Innovative Percussion, Sabian Cymbals, Remo DrumheadsMallets Used: Innovative PercussionIP 2005 Jim AnconaIP OS-1IP F6
And So by Mary Ellen Childs | The University of Delaware Percussion Ensemble Gene Koshinski 2021-04-22 | The University of Delaware Percussion Ensemble performs Mary Ellen Childs' "And So" for percussion quartet.Directed by: Gene KoshinskiPerformers:Natalie DiTommassoGage KroljicJosh MirrettiGene KoshinskiAudio: John FredenburgVideo: Gage Kroljic
Gene Koshinski - Prelude in C Major (from Cello Suite No. 3) by J.S. Bach Gene Koshinski 2021-03-07 | Prelude from Cello Suite No. 3 (C Major) by J.S. BachPerformer: Gene Koshinskiwww.genekoshinski.comG E A RAdams 5.0 Octave Alpha MarimbaInnovative Percussion Artisan Series Mallets (IP5001R)
Escape Velocity by Dave Hall - University of Delaware Percussion Ensemble Gene Koshinski 2021-02-22 | The University of Delaware Percussion Ensemble (directed by Gene Koshinski) performs Dave Hall's "Escape Velocity."PerformersNatalie DiTommasoAndrew SimmonsGage KroljicJosh MirrettiAudio: John FredenburgVideo: Gage Kroljic
Effugonetrom by Max Leth - Performed by Quey Percussion Duo Gene Koshinski 2021-01-26 | "Effugonetrom" by Max Leth performed by Quey Percussion Duo (Gene Koshinski and Tim Broscious). The title (the names Morten and Uffe reversed), was originally written for Danish percussion duo Safri Duo. www.qpdmusic.comMALLETS: Innovative Percussion IP-AA25 (medium vibe/marimba) and Innovative Percussion IP-RS40 (hard vibe)GEAR: Adams 5.0 Octave Alpha Marimba, Adams Alpha Vibraphone (gold bar)Video and Audio by: QPDRecorded at "QPD Studios"
Killjoy - III. Clockwork by Gene Koshinski Gene Koshinski 2020-11-25 | Killjoy - III. "Clockwork" by Gene Koshinski is scored for guitar (amplified) and percussion, performed here by Zane Forshee (guitar) and Gene Koshinski (percussion).MALLETS: Innovative Percussion CL-X1 Soft Xylophone Mallets, RS40 Hard Vibraphone Mallets, IP902 James Ross Xylophone MalletsGEAR: 3 octave Adams Alpha Vibraphone (gold bar), 22" Pearl Masters Custom Maple Kick Drum (vintage)PROGRAM NOTESWhen I was approached by Zane Forshee to compose this piece, he asked me to base the work on material or an idea(s) drawn from a book or other form of literature. I found it appropriate to choose a children’s story due to his new found role as a parent himself. This led me to the story of Cinderella, which has stood the test of time, entertaining children and adults alike, generation after generation. At the heart of the story is the clock tower. As the clock strikes midnight, it ends Cinderella’s time at the Prince’s ball and her fairy Godmother’s magical spell. In the story, the clock assumes the role of an antagonist (which, in real life, is something we can all relate to).The title is derived from the Disney film adaptation of the story. In this version, Cinderella is awaked by the clock - foreshadowing the role of this antagonist. At this moment Cinderella exclaims: Oh, that clock! Old killjoy. I hear you. Come on, get up, you say. Time to start another day. Even he orders me around. Well, there's one thing. They can't order me to stop dreaming. Killjoy explores the sounds of clocks, utilizing their musical value as a starting point. In essence, the work is a collection of variations on themes provided by various clocks where, in many cases, the “theme” is never actually stated. The first movement focuses on the stereotypical “tick-tock” of the clock. The second movement depicts a sweet lullaby that plays at the top of every hour. The final movement brings the listener inside the clock. When I was writing this, I had the vision of a mouse scampering from “room” to “room” inside a massive clock, the music magnifying the mechanical sounds of the inner workings of such a precise device.Video: Sae Bin AnAudio: Don SchraufnagelAudio Editing: Gene Koshinski
Kahn/Koshinski Speed Bag Gene Koshinski 2020-10-12 | I transcribed Alan Kahn the "Speed Bag King" and needed to share it. Enjoy!www.genekoshinski.com
SEESAW (2020) by Ivan Trevino performed by Quey Percussion Duo Gene Koshinski 2020-04-15 | Quey Percussion Duo (Gene Koshinski and Tim Broscious) perform their premiere of Ivan Trevino's work "SEESAW" composed in 2020. www.qpdmusic.com "Seesaw" was commissioned by a collection of artists through the New Works Project:The New Works Project promotes accessibility and inclusivity within the arts by commissioning, supporting, and performing new music. Through building relationships, we strive to create a more equitable music community. newworksproject.org
soniChroma (III. Electric Amaranth) by Gene Koshinski, featuring Quey Percussion Duo Gene Koshinski 2020-04-11 | LIVESTREAM of performance on Dec 2, 2018Quey Percussion Duo (Gene Koshinski and Tim Broscious)with the Schwob Philharmonic at Columbus State UniversityPaul Hostetter, ConductorMALLETS: Innovative Percussion - DM31 Vibe Mallets, Legacy Sticks (7A), Nir Z signature sticks (NZ-1), CL-C2 Chime Hammer, CL-BD12 Wood BD Mallet, NJZ marimba mallets (discontinued and now use Artisan Series IP5003 and IP5004)GEAR: 5 octave Adams Marimba, 3 octave Adams Alpha Vibraphone (silver bar), 10/12/13/14/16/22 Pearl Masterworks Kit (Maple), Pearl Tamborim (with mount), 28" Pearl Concert Bass Drum, Pearl Rocket Toms, Pearl Bobby Allende Bongos, Pearl Elite Series Fiberglass Bongos, Adams Woodblocks (set of 6), Pearl 18x24 trap table (2), Pearl 10x3 piccolo snare drum (discontinued), 16" Sabian Evolution Crash, 18" Sabian Sick Hats, 10" Sabian Evolution Splash, 17" Sabian Legacy Crash, 8" Sabian Air Splash, 10" Sabian Duo Splash, 10" Sabian Air Splash, Sabian Tollspire chimes, Corinthian Chimes (T836), Steve Weiss saucer bell tree, Steve Weiss ratchet, Steve Weiss Pod Rattle, Pearl Foot Pedal Bracket (PPS20), Pearl Multi-Fit Bass Drum Legs (2 sets), Gibson Guitars (2), various gongs, various "porch" chimes, 2 "Double Wind Wands," Rhythm Band Combination Handbells, Kevork Riq, Authentic Djembe (Ghana), Pearl Fiberglass claves, Remo Emperor Ebony Heads (toms), Remo Coated Ambassadors (rocket toms), Remo Ambassador X Coated (piccolo SD), Remo Nuskyn Bongo Heads, Remo Fiberskyn Bongo Heads, Remo Powerstroke 3 BD Heads (small concert bass drums).Program Notes"soniChroma" (meaning “sound color") is a double concerto for two percussionists and orchestra. As the title suggests, a large focus of the piece is placed on unique sonic color and instrument combinations. This can be seen throughout the orchestra, but prominently in the large percussion solo setup. The percussion setup contains over seventy instruments including skins, metals, woods, strings, non-Western instruments, and found objects. Throughout the work I wanted to reflect the diverse performance demands of the 21st Century percussionist. These performance modes range from classical percussionists, drum set players, keyboard soloists, and world music performers. The specific instruments and playing styles were chosen to reflect the performance experience of Quey Percussion Duo, for whom the piece was written. Each of the three movements present a “color," both sonically and visually. The movements are titled after shades of three primary colors (yellow, blue, and red). While each movement represents a very specific visual color, the work is not overtly programmatic. The title merely suggests a visual representation of the music, including additional descriptors (“spark," “dusk," and “electric") to help frame the delivery of the music.MovementsI. Arylide SparkII. Cerulean DuskIII. Electric Amaranth
soniChroma (II. Cerulean Dusk) by Gene Koshinski, featuring Quey Percussion Duo Gene Koshinski 2020-04-11 | LIVESTREAM of performance on Dec 2, 2018Quey Percussion Duo (Gene Koshinski and Tim Broscious)with the Schwob Philharmonic at Columbus State UniversityPaul Hostetter, ConductorMALLETS: Innovative Percussion - DM31 Vibe Mallets, Legacy Sticks (7A), Nir Z signature sticks (NZ-1), CL-C2 Chime Hammer, CL-BD12 Wood BD Mallet, NJZ marimba mallets (discontinued and now use Artisan Series IP5003 and IP5004).GEAR: 5 octave Adams Marimba, 3 octave Adams Alpha Vibraphone (silver bar), 10/12/13/14/16/22 Pearl Masterworks Kit (Maple), Pearl Tamborim (with mount), 28" Pearl Concert Bass Drum, Pearl Rocket Toms, Pearl Bobby Allende Bongos, Pearl Elite Series Fiberglass Bongos, Adams Woodblocks (set of 6), Pearl 18x24 trap table (2), Pearl 10x3 piccolo snare drum (discontinued), 16" Sabian Evolution Crash, 18" Sabian Sick Hats, 10" Sabian Evolution Splash, 17" Sabian Legacy Crash, 8" Sabian Air Splash, 10" Sabian Duo Splash, 10" Sabian Air Splash, Sabian Tollspire chimes, Corinthian Chimes (T836), Steve Weiss saucer bell tree, Steve Weiss ratchet, Steve Weiss Pod Rattle, Pearl Foot Pedal Bracket (PPS20), Pearl Multi-Fit Bass Drum Legs (2 sets), Gibson Guitars (2), various gongs, various "porch" chimes, 2 "Double Wind Wands," Rhythm Band Combination Handbells, Kevork Riq, Authentic Djembe (Ghana), Pearl Fiberglass claves, Remo Emperor Ebony Heads (toms), Remo Coated Ambassadors (rocket toms), Remo Ambassador X Coated (piccolo SD), Remo Nuskyn Bongo Heads, Remo Fiberskyn Bongo Heads, Remo Powerstroke 3 BD Heads (small concert bass drums).Program Notes"soniChroma" (meaning “sound color") is a double concerto for two percussionists and orchestra. As the title suggests, a large focus of the piece is placed on unique sonic color and instrument combinations. This can be seen throughout the orchestra, but prominently in the large percussion solo setup. The percussion setup contains over seventy instruments including skins, metals, woods, strings, non-Western instruments, and found objects. Throughout the work I wanted to reflect the diverse performance demands of the 21st Century percussionist. These performance modes range from classical percussionists, drum set players, keyboard soloists, and world music performers. The specific instruments and playing styles were chosen to reflect the performance experience of Quey Percussion Duo, for whom the piece was written. Each of the three movements present a “color," both sonically and visually. The movements are titled after shades of three primary colors (yellow, blue, and red). While each movement represents a very specific visual color, the work is not overtly programmatic. The title merely suggests a visual representation of the music, including additional descriptors (“spark," “dusk," and “electric") to help frame the delivery of the music.MovementsI. Arylide SparkII. Cerulean DuskIII. Electric Amaranth
soniChroma (I. Arylide Spark) by Gene Koshinski featuring Quey Percussion Duo Gene Koshinski 2020-04-11 | LIVESTREAM of performance on Dec 2, 2018Quey Percussion Duo (Gene Koshinski and Tim Broscious)with the Schwob Philharmonic at Columbus State UniversityPaul Hostetter, ConductorMALLETS: Innovative Percussion - DM31 Vibe Mallets, Legacy Sticks (7A), Nir Z signature sticks (NZ-1), CL-C2 Chime Hammer, CL-BD12 Wood BD Mallet, NJZ marimba mallets (discontinued and now use Artisan Series IP5003 and IP5004)GEAR: 5 octave Adams Marimba, 3 octave Adams Alpha Vibraphone (silver bar), 10/12/13/14/16/22 Pearl Masterworks Kit (Maple), Pearl Tamborim (with mount), 28" Pearl Concert Bass Drum, Pearl Rocket Toms, Pearl Bobby Allende Bongos, Pearl Elite Series Fiberglass Bongos, Adams Woodblocks (set of 6), Pearl 18x24 trap table (2), Pearl 10x3 piccolo snare drum (discontinued), 16" Sabian Evolution Crash, 18" Sabian Sick Hats, 10" Sabian Evolution Splash, 17" Sabian Legacy Crash, 8" Sabian Air Splash, 10" Sabian Duo Splash, 10" Sabian Air Splash, Sabian Tollspire chimes, Corinthian Chimes (T836), Steve Weiss saucer bell tree, Steve Weiss ratchet, Steve Weiss Pod Rattle, Pearl Foot Pedal Bracket (PPS20), Pearl Multi-Fit Bass Drum Legs (2 sets), Gibson Guitars (2), various gongs, various "porch" chimes, 2 "Double Wind Wands," Rhythm Band Combination Handbells, Kevork Riq, Authentic Djembe (Ghana), Pearl Fiberglass claves, Remo Emperor Ebony Heads (toms), Remo Coated Ambassadors (rocket toms), Remo Ambassador X Coated (piccolo SD), Remo Nuskyn Bongo Heads, Remo Fiberskyn Bongo Heads, Remo Powerstroke 3 BD Heads (small concert bass drums).Program Notes"soniChroma" (meaning “sound color") is a double concerto for two percussionists and orchestra. As the title suggests, a large focus of the piece is placed on unique sonic color and instrument combinations. This can be seen throughout the orchestra, but prominently in the large percussion solo setup. The percussion setup contains over seventy instruments including skins, metals, woods, strings, non-Western instruments, and found objects. Throughout the work I wanted to reflect the diverse performance demands of the 21st Century percussionist. These performance modes range from classical percussionists, drum set players, keyboard soloists, and world music performers. The specific instruments and playing styles were chosen to reflect the performance experience of Quey Percussion Duo, for whom the piece was written. Each of the three movements present a “color," both sonically and visually. The movements are titled after shades of three primary colors (yellow, blue, and red). While each movement represents a very specific visual color, the work is not overtly programmatic. The title merely suggests a visual representation of the music, including additional descriptors (“spark," “dusk," and “electric") to help frame the delivery of the music.MovementsI. Arylide SparkII. Cerulean DuskIII. Electric Amaranth
Kaskada for marimba solo by Eckhard Kopetzki Gene Koshinski 2020-04-09 | Performed by Gene KoshinskiLIVE in 2007, Weber Hall, University of Minnesota DuluthMALLETS: Innovative Percussion Artisan Series IP5003 (1 bass mallet position) and IP5004 (top 3 mallets). The IP-NJZ mallets in the video are discontinued.
Echo Song for multiple percussion solo by Gene Koshinski Gene Koshinski 2020-04-09 | SCORE AVAILABLE HERE: tapspace.com/multipercussion/echo-songPerformer: Gene KoshinskiAssistant Performer: Brett JonesRecorded 2007 in Weber Music Hall, University of Minnesota DuluthA concert work written for solo multipercussionist with an optional assistant who serves as the echo, Echo Song was inspired by a madrigal for antiphonal choirs by Renaissance composer Orlando di Lasso. Gene Koshinski’s further interest in the Ritmica method, which focuses in part on the simultaneous performance of unrelated meters and ostinati as well as contradictory melodic material, informs the bulk of this medium-advanced work. There are contradictions to be found within the timbres, too, as the soloist plays bongos, 4 octobans, kick drum with pedal, and splash cymbal. Another set of bongos and kick drum comprise the echo part. The result is an engaging work that also allows for some performer discretion as to the length of repeats.
Free Spins (IV. Finally, the Bonus) by Gene Koshinski Gene Koshinski 2019-09-09 | "Free Spins" (IV. Finally, the Bonus!) by Gene Koshinskifor bass clarinet, 2 percussion, and pre-recorded electronicsPerformed by:Theodore Schoen, bass clarinetGene Koshinski and Tim Broscious, percussionVideo: Marc HillAudio: Dan SchoenRecored at Weber Music Hall - U of Minnesota DuluthMALLETS: Innovative Percussion - IP301 Vibraphone Mallets (would also recommend RS40), AA20 Med Soft Vibraphone, Artisan Series IP5004 Marimba Mallets.PROGRAM NOTESThe sights and sounds of a casino are overwhelming. Free Spins musically encapsulates the casino experience with just the right amount of excitement, hopefulness, hopelessness, overthinking, and regret. All of the pre-recorded electronics are derived from casino sounds - primarily slot machines but also two bingo halls and a roulette wheel. The piece opens by musically describing the moment you arrive at the casino - that beautiful “sensory overload” when the casino doors open. The first movement moves on as a player sits down and explores a slot machine. In the case of movement II, a man describes his “foolproof” strategy on the roulette table as movement III brings a melancholy (perhaps regretful) feel to the gambling experience while sitting in the bingo hall. The final movement depicts the excitement of finally hitting the bonus on a slot machine, just to immediately be disappointed by its short duration and lack of a windfall. Free Spins was commissioned by clarinetist Theodore Schoen. When Ted approached me to write him a piece, I knew it had to be something out of the ordinary, something with “pizzazz.” While Ted is not a gambler, something about his personality and this combination of instruments seemed to click with the idea of this piece. Good luck…
Free Spins (III. i23) by Gene Koshinski Gene Koshinski 2019-09-01 | "Free Spins" (III. i23) by Gene Koshinskifor bass clarinet, 2 percussion, and pre-recorded electronicsPerformed by:Theodore Schoen, bass clarinetGene Koshinski and Tim Broscious, percussionVideo: Marc HillAudio: Dan SchoenRecored at Weber Music Hall - U of Minnesota DuluthMALLETS: Innovative Percussion - IP301 Vibraphone Mallets (would also recommend RS40), AA20 Med Soft Vibraphone, Artisan Series IP5004 Marimba Mallets.PROGRAM NOTESThe sights and sounds of a casino are overwhelming. Free Spins musically encapsulates the casino experience with just the right amount of excitement, hopefulness, hopelessness, overthinking, and regret. All of the pre-recorded electronics are derived from casino sounds - primarily slot machines but also two bingo halls and a roulette wheel. The piece opens by musically describing the moment you arrive at the casino - that beautiful “sensory overload” when the casino doors open. The first movement moves on as a player sits down and explores a slot machine. In the case of movement II, a man describes his “foolproof” strategy on the roulette table as movement III brings a melancholy (perhaps regretful) feel to the gambling experience while sitting in the bingo hall. The final movement depicts the excitement of finally hitting the bonus on a slot machine, just to immediately be disappointed by its short duration and lack of a windfall. Free Spins was commissioned by clarinetist Theodore Schoen. When Ted approached me to write him a piece, I knew it had to be something out of the ordinary, something with “pizzazz.” While Ted is not a gambler, something about his personality and this combination of instruments seemed to click with the idea of this piece. Good luck…
Free Spins (II. Roulette) by Gene Koshinski Gene Koshinski 2019-08-25 | "Free Spins" (II. Max Roulette) by Gene Koshinskifor bass clarinet, 2 percussion, and pre-recorded electronicsPerformed by:Theodore Schoen, bass clarinetGene Koshinski and Tim Broscious, percussionVideo: Marc HillAudio: Dan SchoenRecored at Weber Music Hall - U of Minnesota DuluthMALLETS: Innovative Percussion - IP301 Vibraphone Mallets (would also recommend RS40), AA20 Med Soft Vibraphone, Artisan Series IP5004 Marimba Mallets.PROGRAM NOTESThe sights and sounds of a casino are overwhelming. Free Spins musically encapsulates the casino experience with just the right amount of excitement, hopefulness, hopelessness, overthinking, and regret. All of the pre-recorded electronics are derived from casino sounds - primarily slot machines but also two bingo halls and a roulette wheel. The piece opens by musically describing the moment you arrive at the casino - that beautiful “sensory overload” when the casino doors open. The first movement moves on as a player sits down and explores a slot machine. In the case of movement II, a man describes his “foolproof” strategy on the roulette table as movement III brings a melancholy (perhaps regretful) feel to the gambling experience while sitting in the bingo hall. The final movement depicts the excitement of finally hitting the bonus on a slot machine, just to immediately be disappointed by its short duration and lack of a windfall. Free Spins was commissioned by clarinetist Theodore Schoen. When Ted approached me to write him a piece, I knew it had to be something out of the ordinary, something with “pizzazz.” While Ted is not a gambler, something about his personality and this combination of instruments seemed to click with the idea of this piece. Good luck…
Free Spins (I. Max Bet) by Gene Koshinski Gene Koshinski 2019-08-22 | "Free Spins" (I. Max Bet) by Gene Koshinskifor bass clarinet, 2 percussion, and pre-recorded electronicsPerformed by:Theodore Schoen, bass clarinetGene Koshinski and Tim Broscious, percussionVideo: Marc HillAudio: Dan SchoenRecored at Weber Music Hall - U of Minnesota DuluthMALLETS: Innovative Percussion - IP301 Vibraphone Mallets (would also recommend RS40), AA20 Med Soft Vibraphone, Artisan Series IP5004 Marimba Mallets.PROGRAM NOTESThe sights and sounds of a casino are overwhelming. Free Spins musically encapsulates the casino experience with just the right amount of excitement, hopefulness, hopelessness, overthinking, and regret. All of the pre-recorded electronics are derived from casino sounds - primarily slot machines but also two bingo halls and a roulette wheel. The piece opens by musically describing the moment you arrive at the casino - that beautiful “sensory overload” when the casino doors open. The first movement moves on as a player sits down and explores a slot machine. In the case of movement II, a man describes his “foolproof” strategy on the roulette table as movement III brings a melancholy (perhaps regretful) feel to the gambling experience while sitting in the bingo hall. The final movement depicts the excitement of finally hitting the bonus on a slot machine, just to immediately be disappointed by its short duration and lack of a windfall. Free Spins was commissioned by clarinetist Theodore Schoen. When Ted approached me to write him a piece, I knew it had to be something out of the ordinary, something with “pizzazz.” While Ted is not a gambler, something about his personality and this combination of instruments seemed to click with the idea of this piece. Good luck…
Variations (after Viñao) by Gene Koshinski (two-mallet marimba solo) Gene Koshinski 2019-07-20 | Performed by Gene Koshinskiwww.genekoshinski.com(headphones suggested)Audio: Don Schraufnagel and Gene KoshinskiVideo: Marc HillMALLETS: Innovative Percussion CGL3 Cangelosi Signature SeriesGEAR: 5 Octave Adams Alpha MarimbaPROGRAM NOTESThis piece is one of 10 works in the book "TWO" by Gene Koshinski, a collection of concert pieces for two-mallet marimba solo with a comprehensive guide to technique and performance practice. Variations (after Viñao) was inspired by Alejandro Viñao's landmark marimba solo, Khan Variations. The impetus for the creation of Variations (after Viñao) was the need for a two-mallet solo that paralleled the technical and musical demands of the professional four-mallet marimba solo repertoire. This seven-minute piece is a set of variations on an eight bar theme, each variation focusing on a variety of different musical elements. While none of the musical material was derived from Viñao's work, the compositional techniques employed were inspired by those seen in Khan Variations. During Variation II of this work, an important motive is introduced, a four-note descending bass line (C#, C, Bb, A). This motive begins to entangle itself with the main theme, acting as a supporting theme, which provides harmony. This supplemental motive/theme goes through variation of its own during the remainder of the piece, while partnering with the primary theme. The work places high technical and musical demands on the performer with many challenges around every corner.
KILLJOY (trailer) by Gene Koshinski Gene Koshinski 2019-05-01 | (headphones recommended)"Killjoy" is a duo written for guitar and percussion by Gene Koshinski, commissioned by guitarist Zane Forshee.Performers: Zane Forshee (guitar), Gene Koshinski (percussion)PROGRAM NOTESWhen I was approached by Zane Forshee to compose this piece, he asked me to base the work on material or an idea(s) drawn from a book or other form of literature. I found it appropriate to choose a children’s story due to his new found role as a parent himself. This led me to the story of Cinderella, which has stood the test of time, entertaining children and adults alike, generation after generation. At the heart of the story is the clock tower. As the clock strikes midnight, it ends Cinderella’s time at the Prince’s ball and her fairy Godmother’s magical spell. In the story, the clock assumes the role of an antagonist (which, in real life, is something we can all relate to).The title is derived from the Disney film adaptation of the story. In this version, Cinderella is awaked by the clock - foreshadowing the role of this antagonist. At this moment Cinderella exclaims: Oh, that clock! Old killjoy. I hear you. Come on, get up, you say. Time to start another day. Even he orders me around. Well, there's one thing. They can't order me to stop dreaming. Killjoy explores the sounds of clocks, utilizing their musical value as a starting point. In essence, the work is a collection of variations on themes provided by various clocks where, in many cases, the “theme” is never actually stated. The first movement focuses on the stereotypical “tick-tock” of the clock. The second movement depicts a sweet lullaby that plays at the top of every hour. The final movement brings the listener inside the clock. When I was writing this, I had the vision of a mouse scampering from “room” to “room” inside a massive clock, the music magnifying the mechanical sounds of the inner workings of such a precise device.
UMD High School Percussion Festival 2019 Gene Koshinski 2019-01-28 | One project at our high school percussion festival this year was to compose as a group to create music for a silent film. One of our TAs chose the film and the students worked as a group to create the score. This is the product after 2 hours of rehearsal.High School ParticipantsWilliam Peterson – Duluth East HSWill Schmitz – Esko HSTommy Kishida – Denfeld HSReese Wolf – Kingsland HSNoah Ruona – Proctor HSNick Meyers – Harbor City International Morgan Durfee – Hermantown HSKatie Hicks – Centennial HSJoshua Cameron – North Lakes AcademyJake Jackson – Stillwater HSJack McWilliams – Esko HSErik Blossom – Centennial HSEric Espinoza – Park HSConner Stover – Proctor HSColter Hendrickson – Esko HSChristian Hedin – Hastings HSCady Rancourt – Hibbing HSBen Berry – Harbor City International SchoolAva Johnson – Centennial HSAnnika Johnson – North Lakes Academy
Khamsin (2018) by Emmanuel Séjourné Gene Koshinski 2019-01-21 | (headphones recommended)Commissioned and performed by:Quey Percussion Duo (Gene Koshinski and Tim Broscious)www.qpdmusic.comMALLETS: Innovative Percussion AA25 Medium VibraphoneGEAR: 5 Octave Adams Alpha MarimbaPROGRAM NOTES"Khamsin" (2018) is written for 2 percussionists on one marimba (5 octaves) with 3 sets of castanets. Khamsin is a southerly wind carrying sand from the desert of Egypt. The Khamsin gives the sky a dark orange hue. The air is charged with dust which makes the breathing oppressive. The wind blows on several days on a regular basis. I'm happy to compose for Quey Percussion Duo, a great and talented duo, for which I have a lot respect and friendship. -Emmanuel SéjournéVideo: Marc HillAudio: Don Schraufnagel, Gene Koshinski, and Tim Broscious
Ceci Nest Pas Un Jouet by Gene Koshinski/video by Gene Gort Gene Koshinski 2019-01-14 | Ceci N'est Pas Un Jouet (translated as “this is not a toy”) is scored for two handle-operated music boxes played by two performers. The performers are instructed to manipulate the instruments at varying speeds, notated as a graphic score on a 5-minute timeline. The concept of the work shows how complex music can be derived from two separate, somewhat simple, musical elements. Subsequent to the creation of the piece, Quey commissioned artist Gene Gort to add a visual component to the work. In addition to controlling video playback, the computer program that Gort designed also uses the amplitude generated from contact microphones attached to the music boxes to advance the video one frame at a time. The result is a direct relationship between the musicians and the dancers viewed. In the end, the dancers resist this power relationship. Composed by Gene KoshinskiMusic Performed by Quey Percussion DuoVideo produced by Gene GortChoreography and Dance performed by Miki Orihara + Stephen PierProgramming design by Gene GortInteractive programming by Timothy Lawless Audio recording by Don Schraufnagel and Gene KoshinskiDocumention videography by Marc Hill
