On Point!

Julie Davila

General Info

Year of Publication: 2022
Publisher: Row-Loff Productions
Series: Quattrosicles!
Duration: 00:02:20

Instrumentation

Player 1: Hand Drum
Player 2: Hand Drum
Player 3: Hand Drum
Player 4: Hand Drum

Performance Notes

On Point! is a super fun hand drum quartet that has the flexibility to be played on a general Tubano type drum or it works great on congas too. Additionally, it is written for 4 players, but with split parts written always in groups of two, you can add more players and would work with any number of players 2 and up. There are two fundamental sounds that the players should work to refine when playing this piece. A high/open tone and a low/bass tone.

High/Open Tone

Players should use about 3/4 of the hand, and strike towards the edge of the drum. The hand comes off the head after the strike, to produce a resonant sound. This stroke uses a little more than just fingers to produce the sound, but not the entire palm. The hand will feel like the center of the palm hits the rim when producing this open tone. If players only use fingers, the sound quality will be too thin.

Low/Bass Tone

There are two different types of low or bass tones that are used in this piece. The flat hand bass tone is used when the players use the entire hand to strike in the middle of the drum, with an emphasis on the palm being the primary attack point. Players should strive for a deep, low tone but still with resonance. The hand comes off the drum after striking. The other bass tone notated uses a fist to create a low sound. This is both for visual interest and emphasis on the accent.

Visual Notes

The uniformity and the extra attention to the visuals and how players move together when performing this piece, adds interest and extra flare that audiences find entertaining. Below are a few descriptors of movements to add to the piece.

Other Information

Measure 13 - After striking the bass tone on count 1, players float hands to face level or above to play the clap.
Letter B - Measures 14, 16, and 18, players swing the hand that is not playing the three note pattern. So when playing three rights, players swing their left, (slightly to the left), toward the player to their left, then come back to play three lefts, while they swing their rights toward the right. End players still swing in both directions.
Measure 22: All players turn their heads towards player 4, when they play the downbeat on the side of the drum. This should be a snappy head turn right with the downbeat.
Letter C: Unaccented notes should be played much softer than accents, to create great groove and inflection.
Letter D: LOTS of energy. Have players really play this section with energy and body language that is like they are grooving to their favorite song ever.
Measure 42-45: The Right hand keeps the quarter note on the shell, while the left hand plays the bass tone in the center of the head (count 1), leaves the hand down, and slides the hand over the head toward the edge until it plays the high tone (& of 3).
Measure 46 - 47: Using fingernails, the players scrape in the center, (out, in out, in) in the rhythm of 8th notes. In measure 47, while continuing 8th note scrapes, bring the right hand toward the ear (ct. 1) , as if the players are holding the ear piece of headphones, and add vocalize “whoop, whoop” on quarter note counts, 1 and 2.
Meas. 10-12, and 53 - 55: These parts should be played with big motions, fairly high strokes, with everything staying fluid and in motion. It would be best to reference the video performance of this at www.rowloff.com to help reinforce and better understand the visual descriptors listed above.

Works for Percussion by this Composer

Dimensions for Tambourine - Percussion Septet - 7 Tambourines
Cabana Breeze - Percussion 12