kehinde wiley studio deitch projects art parade west village quartet shequida young eight quinton i. morris Chala Yancy Amber Archibald, Caleb Jones Eric McKeever Patrick Carmichael Cory Williams Richard Stewart Orlando Wells David Burnett Adam Hill Ryan Murphy Byron Sean Jonathan Colbert violin viola cello patrick grant hip hop experience national black college tour coulumbus museum roberts & tilton rhona hoffman Mariana Green-Hill Monica Davis Dawn Michelle Smith Tahirah Whittington hassan williams malcolm x shabazz marching band strangemusic strange music
HISTORICAL BLACK MUSIC ROLLER COASTER
Featuring SHEQUIDA - The Columbus Mix
soprano solo, tenor, baritone & bass singers, with flute, 2 violins, viola, cello, harpsichord & double bass
by Patrick GRANT
2005-2006
Created through co-commissions of Kehinde Wiley Studio, Deitch Projects, Roberts & Tilton Gallery, and the Columbus Museum of Art
Kehinde Wiley, St. Sebastian II, 2006
Premiere performance at:
The Columbus Museum of Art
September 7, 2006
480 East Broad Street
Columbus, Ohio
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PDF Charts & Parts
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Program & Performance note:As an extension of his exhibitions and events throughout 2005 & 2006, the artist Kehinde Wiley, with Deitch Projects, Roberts & Tilton Gallery and the Columbus Museum commissioned hip-hop inspired classical & baroque music productions for me to create and organize for his openings. Performers have included Shequida, the West Village Quartet & Ensemble, the Young Eight, and the Malcolm X. Shabazz High School Marching Band as well as Patrick Grant Group and other ensembles outside the context of Wiley's events.
In order to keep it, you have to give it away: I've decided to post some early incarnations from the series partly due to public curiosity regarding the work (I even found out about some unauthorized performances!) but mostly with how I went about transforming the CD audio we know into readable music to be performed. Also, it's due to the fact that I'm now working on bigger and better hip-hop-hybrids and they've become my focus. Plus, it's good that these earlier pieces start getting around some more. The public response at every performance has been great.
In selecting the material for this particular instrumental suite much care was put into selecting pieces that could more or less be easily identified by the musical content alone when the rap vocal is not present, and with more than a fistful of original hooks and grooves running throughout the mix to hold it together. A lot of figurations had to be invented to make up for the lack of percussion though body sounds like clapping, stomping and finger snapping have always been welcome in my performances.
The scores and parts presented are Urtext Editions, very much like a score by Bach, that is, without dynamics, articulations and idiomatic embellishments like grace notes and glissandi. These, as in the Baroque and Classical eras, were always left up to the descretion of the performers and worked out in the rehearsal process if not extemporaneously, a very similar performance practice that lives on today in the contemporary music scene of Downtown New York City and other urban hotbeds of creativity where the ideas are coming so fast that it just doesn't make any sense to waste time writing these kinds of details down. At least that's what they say.
Besides, it does enable every performer and every performance to find their unique way through the notes. Especially when I'm part of the performance, it's just much faster to call things out as they're discovered especially when working in forms and styles that have no classical origin.
Also, all the sections presented here are modular, just like a set list, and may be moved around, edited, cut and pasted as to the performing ensemble's need and to match whatever particular flow they wish to project. Any re-ordering of the movements is acceptable.
Not one of the above mentioned performances ever did, nor was meant to, stick hard and fast to the printed page. The movements are numbered then, not for order, but for reference. In a way, they're more jazz charts than actual scores if one wants to take them that way, although they do stay within the margins of certain classical techniques. It's a mood of conviviality not too far from Terry Riley's "In C," although that piece doesn't allow re-ordering.
So, though the instruments used here may be antique, hip-hop is not, and this music should be adapted to the feel of the venue and to the spirit of the performers. Thus, any reordering will be referred to as a "mix," i.e. "hIP-hOP eXPERIENCE - The Imaginary Quartet Mix" - etc. - by Patrick Grant, to use an example. This also keeps a parallel with DJ culture and acknowledges the contributions of the performing ensemble.I do look forward to performances of this work and others from the series (i.e. hIP-hOP eXPERIENCE) taking place in the upcoming season. Stay tuned for nEWS of other scores from this series being posted as soon as I can make them available.
Thanks again to Kehinde for getting the ball rolling.
Patrick Grant
NYC===============================================================
HISTORICAL BLACK MUSIC ROLLER COASTER
Featuring SHEQUIDA
for coloratura soprano with tenor, baritone & bass singers,
flute, 2 violins, viola, cello, harpsichord & double bass
by Patrick GRANT
2005-2006
PDF Charts & Parts
Part 1: Old Skool Medley:
Love's Theme
Sexual Healing
Private Dancer
Kiss
Full Score - 58 pp.
Vocal Score - 28 pp.
Flute
Violin 1
Violin 2
Viola
Cello
Harpsichord
Double Bass
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Part 2: Milkshake
Full Song
Full Score - 23 pp.
Vocal Score - 12 pp.
Flute
Violin 1
Violin 2
Viola
Cello
Harpsichord
Double Bass
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Part 3: Rap Medley:
Crazy in Love (Intro)
Naughty Girl
Golddigger
How Many Licks?
Nasty Girl
Push It
Full Score - 49 pp.
Vocal Score - 23 pp.
Flute
Violin 1
Violin 2
Viola
Cello
Harpsichord
Double Bass
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Part 4 (Encore): I Will Survive
Full Song
Full Score - 20 pp.
Vocal Score - 9 pp.
Flute
Violin 1
Violin 2
Viola
Cello
Harpsichord
Double Bass
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Note: The harpsichord (piano) & double bass parts are meant to be enlarged to 11" x 14" (126 %)=============================================================================
All of the arrangements and performance materials below, created by Patrick Grant & sTRANGE mUSIC, have copyrights that are held by the individual authors of the works from which they were derived and are licensed through ASCAP and BMI.
Any artists wishing to publicly perform in part, or in whole, from the above materials should contact Patrick Grant & sTRANGEmUSIC and provide performance details so that you can be added to the performance calendar.Email: iNFO@strangemusic.com
www.strangemusic.com
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Barack Obama
