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Inventions for Tibetan Drum

by Julian Broadhurst Drum Music

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about

Inventions for Tibetan Drum - Drum music, Dm 8 - my 28th album. An important and difficult album to open the New Horizon Group.

It had been my intention after my inventions for Shamanic drum - Dm 1 - to create many such sets for my many and varied types of Drum. Following Dm 6 'first Inventions for Djembe' - this would be my 3rd such project - a suite of related pieces to test. discover and advance the performance possibilities of an instrument.

I bought it in a Chinese curiosities shop - a plain wooden thing it stood out as a real instrument and not an ornament. It has a bass skin about 12 cm across and a top ‘High end' about 8 cm across. The high end, has a loud ping of a rim shot in sharp contrast to the middle, whereas the lower ends seems much more mellow and indistinct. A difficult instrument to create extended and exciting music for ? No, a joy - Subtlety being the word here. The Tibetan Drum being the most seemingly limited in range, so the most interesting in terms of invention.” I had first used it on the first four of my Sonatas for solo Drum - Dm 2 'Five Sonatas'.

Seven Inventions for Tibetan Drum - Rh 150 – 156.

Invention for Tibetan Drum no. 1 – Rh 150.

Playful running Counterpoint between the two hands as independent voices – seeking and swapping dominance.

Invention for Tibetan Drum no. 2 – Rh 151.

A strident Bass is supported from above.

Invention for Tibetan Drum no. 3 – Rh 152.

Fast, close interaction.

Invention for Tibetan Drum no. 4 – Rh 153.

Smooth rolling, almost danceable counter play for the Bass end of the drum. Tonalities wheel and pass. Exits with a whisper.

Invention for Tibetan Drum no. 5 – Rh 154.

A much more difficult exercise in Cross timing. The counterpoint is wide open. An intense fighting of parts.

Invention for Tibetan Drum no. 6 – Rh 155.

The Magnum Opus of the set – at a clear 18 minutes, a Drum Sonata in itself, in all but name, no 5A it would have to have been since Nos. 6 – 12 follow. This is the highpoint of the set – a huge effort of concentration on my part and on the part of the Listener – for the Concentration I Ask of you. I am immensely fond of this – one of my best performances – structuring the parts as I go – like a weaver who will only see the complexity at end.

Invention for Tibetan Drum no. 7 – Rh 156.

In conclusion, he intensely driven Coda to the set.


An early reorganization of my music research interest defined my music into dedicated sets of Albums. This way things of a kin got heard together - as one type of album or another - by Genre - or Tranche as I styled them. In this Case Drum music – 'Percussion specifically on Drums of various kinds - as a Speciality.’
Dm by convention.

Beginning as a percussionist my first 7 albums are for Drums of various kinds, Drum music or Dm, my first area of research interest or Tranche. I soon realised there was a second area of percussion, as a generality over a specialism - percussion on anything other than Drums, MPm. The third of five was the Phase music, realised by tape looping and timing, Phm. The fourth, a genre of Electro Acoustic composition, Music for Strings, Electronics and Percussion. Last of the five is Electronic music - Music taking the longest processing detour from an original acoustic source.

Albums number 28 to 58 form my second big publishing project or Group - the 'New Horizon' - built on the foundational 'Blue Cherry' Group - where I had introduced my 5 areas of research interest, as Blocks of dedicated albums. Now in a new air I felt free to just reel them of as they came. Exploring like a man with a Time machine - where these five Genres, or Tranches, might lead me.

There are 5 Dm albums in the New Horizon Group, Dm 8 to 12. Dm 8 is 'Inventions for Tibetan Drum;' Dm 9 is the Concert piece 'Sonata for 3 Drums' which is the third piece in my Birthday Triptych. Then follow three collections of Drum studies, my ‘Isabel’ Studies, after the new ‘Isabel’ Studio - Dm 10 ‘High Abandon’ - Dm 11 ‘April Awaken’ and Dm 12 ‘Under Drum.’ Dm 12 marks a completion of a kind – and a long break from Drum music. I return to it with a 2nd and 3rd set of inventions for Djembe at album 92, at the end of my ‘Inner Blue Group.’

The DCM album numbers list volumes in a [for the most part] chronological edition - the ‘DCM Broadhurst Edition’ - Prepared for the British Library in 2019. The volumes or albums themselves were actually released as and when it was possible. The Edition though, was planed from the start to stand on the 'foundation Stone' of the Blue Cherry group.

The Rh catalogue, numbers my individual works in order of Completion.

credits

released July 16, 2013

julian Broadhurst - Composition and Tibetan Drum. Original recordings at Drum Studio. Remastering at Isabel Studio.

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