For the 2025 Fall recital, I wrote and performed 3 snare works that highlight my rhythmic influences throughout my time as a composer and performer. Additionally, these works are a direct reflection of the application of motion capture studies for snare drumming. Not only did the experiment help me map out movements pertaining to snare drumming, the research has allowed me to compose for snare drum with the smallest possible division of movement available for the my process of snare drumming. This is similar to reducing western harmony to the 12-tones in the manner of Schoenberg.
The first piece, Swiss Army Swing Band, attempts to combine a few different styles of snare drumming. The first is the practice of traditional American Military snare drumming; which is more in line with the Army's rudimentary practice versus the Marine Corps' style of snare drumming. The second style is an approximation of Basel drumming from Switzerland; which I had learned a bit from Edith Habraken at PASIC 2012 in Austin, Texas. The 3rd style I'd attempted to incorporate in this solo is that of the 2nd line drumming found in New Orleans; more specifically, the style found in Treme and from the drummer, Rodgerick Andrews.
Below is the video:
The second piece performed, 6/8 Melodies, is about the influence of Afro-Cuban rhythms in my personal playing and writing. There are a few music styles from Cuba that employes this idea; however, it is the rythms of both Rumba Columbia and the 6/8 Bembe pattern. Throughout the solo, I aim to combine the traditional practice of American Rudimentary Snare Drumming into this rhythmic paradigm.
Below is the video:
The first piece, Maestro Bruno, is about my time spent in Austin learning Maracatu from Bruno Vinezof. He is an example of a master of his culture's approach to percussion, voice, and harmony. He has influenced my musicianship greatly.
Below is the performance: