JAVS Fall 2011

Example 1. Christopher Goddard, Third Nature , mm. 176–77.

sion; however, some things were much more difficult. For instance, there is a sec tion in the fourth movement of Karl’s piece in which the three parts have com plex polyrhythms. Playing the piano and percussion part as one person, it is easier to feel the composite rhythm (like playing three against four by yourself, rather than trying to do accurate triplets while some one else is playing sixteenth notes). Also, any tempo changes that require coordina tion between piano and percussion are obviously not an issue when being played by one person, but they become an issue of who needs to lead and who needs to cue when they are played by two people.

Danny Holt at the keyboard (photo courtesy of Scott Groller)

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