Instrumentation

picc.ob.Bb cl.bsn - hn.tpt.trbn - pno - drum kit: (BD/SD/4 tom-t/crash.cym/hi-hat/splash/ride/china/2 cowbells) - 2 vln.vla.vlc.db

Availability

Score 0-571-53184-9 on sale, parts for hire

Programme Notes

The initial source of inspiration for Comin' Right Atcha came from a conversation with the conductor of the Absolute Ensemble, Kristjan Jaarvi. He encouraged me to write a work that was inspired by the funk music of James Brown, and to an extent this has been reflected in some sections of the piece, particularly some of the smaller motives and overlapping layers of rhythmic material. The majority of the material in this piece has been generated from two small motives. The spoken rhythm of the title, "Comin' Right Atcha" (and its variant, "I'm Comin' Right Atcha"), creates one of these, and this is heard earliest in the violin part after the opening hi-hat solo. The other motive is a short, three-pitch descending fragment. The rhythm of this fragment has also been derived from the speech-rhythm of another piece of text. Matthew Hindson

Comin' Right Atcha

James Milson Nursing Home (Sydney, Australia)

Ensemble Muse

Comin' Right Atcha

Peabody Institute, Johns Hopkins University (Baltimore, MD, USA)

Peabody Modern Orchestra, Harlan D. Parker

Comin' Right Atcha

Verbrugghen Hall, Sydney Conservatorium of Music (Sydney, NSW, Australia)

Sydney Conservatorium of Music Modern Music Ensemble, Daryl Pratt

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Comin' Right Atcha

Sydney Conservatorium of Music (Sydney, NSW, Australia)

student ensemble, Luke Gilmore

Comin' Right Atcha

Holley Hall, Beatrice Friedman Symphony Center (Sarasota, FL, USA)

Sarasota Orchestra, Dirk Meyer