The keyboard percussionists are featured in this contrasting section. The upbeat “disco” section follows (which is in the same meter as the opening half-time funk groove, but with a distinct double time feel). After an opening melodic statement, there are several solos from the tom-tom, the snare, and the tim- pani. The xylophone and bell parts are the only keyboard percussion parts and are quite accessible to a second- or third-year percussion student.
Targeted for younger percussion ensembles who enjoy the impact of this sort of repetitive, high-energy ensemble rhythm, the piece opens with a two-measure ostinato on cabasa, followed by similarly-layered rhythms on the rims of the tom-toms and snare drum-with rhythmic underpinning from the timpani bass line and the ever present concert bass drum entry (all imitating a massive drumset groove). “Scuttlebutt” is a funky, half-time groove with a brief “disco”-style section to contrast both the opening and closing sections (ABA ? structurally).
Clockbox percussion license#
Use of this product is governed by the license terms outlined here. As the piece progresses they are expanded to mini-features and conversational ideas that get thrown around the ensemble in a way that's certain to keep the audience wondering what will happen next!Ĭatchy, singable, and designed from the ground up to be a crowd pleaser, Scuttlebutt is crafted to not only challenge young percussionists but also to motivate them to become masters of simple-yet-powerful rhythmic ideas. The rhythmic textures are first built from scratch, one layer at a time, allowing the performers to naturally build their ensemble awareness and listening skills. It relies heavily on a half-time snare backbeat while exploring various syncopated rhythms and triplet figures in the style of electronic dance music. Like the other two pieces in the series, Technologyand Stormbreak, Scuttlebutt utilizes fairly basic instrumentation found in most band rooms. Scuttlebutt is Jim Casella's composition for percussion ensemble, marking his third in a series of groove-based pieces for intermediate and developing percussion ensembles.
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