Haitimpaku

The intention of this cycle of works is to familiarize the young musician with issues that are common in today's scores. From the time of their youth, they should acquire a taste for experimentation and this spirit of sonic adventure should be preserved when they study scores from the traditional repertoire.

Thus, in the first part, ABURA KORI, frequent metric changes, the use of special sonorities through the "dead stroke" or "stick clicks" technique will become the main characteristics. In the second part, HORO HORO TO, different procedures will be used to emit sounds, only as a result of the contact of the timpano’s membrane with the hand; another challenge will be to follow a fluctuating agocic. The third part, KAZAIRO YA, requires an intense use of the timpano’s pedal, along with elements of instrumental theater. In the fourth part, FURU IKE YA, Basho's spoken text will find its echo in the rhythmic patterns of the timpano, in a dialog that also involves the unusual sonority of a Japanese Singling Bowl placed on the timpano. The energy of the last part, KIMI HI O TAKE, is the result of the uninterrupted movement and irregular accents of the musical text.