Contemporary Percussion Rep

White Knuckle Stroll- Casey Cangelosi (2014)

Northern Lights- Eric Ewazen (1989)

Khan Variations- Alejandro Vinao (2001)

Merlin- Andrew Thomas (1985)

Prim- Askell Masson (1984)

Rebonds- Iannis Xenakis (1987-89)

Child of Tree- John Cage (1975)

Velocities- Joseph Schwantner (1990 rev. 2007)

Marimba Spiritual- Minoru Miki (1984)

Marimba D’Amore- Keiko Abe (1998)

Profile of “Side by Side” by Michio Kitazume (Percussion Solo)

Introduction

“Side by Side” is a contemporary percussion solo composed by Japanese composer Michio Kitazume in 2003. The piece is recognized for its innovative exploration of rhythm, texture, and percussion techniques, and has become an essential part of the modern percussion repertoire. Kitazume’s work challenges performers both technically and expressively, pushing the boundaries of percussion instruments while creating a deep connection between performer and sound. The title reflects the close relationship between the musician and the instruments, suggesting an intimate dialogue throughout the performance.

Musical Structure and Techniques

The piece is typically performed on a varied percussion setup, including snare drums, toms, cymbals, marimbas, and other instruments. Kitazume’s composition emphasizes both rhythmic complexity and diverse textures, utilizing a broad range of sounds from traditional strokes to extended techniques such as rimshots, cymbal brushing, and mallet rolls. This allows the performer to create a rich, colorful sonic palette. “Side by Side” contrasts fast, virtuosic sections with slower, introspective moments. This shifting between tempos and dynamics enables performers to explore a wide emotional range, while the work’s unpredictable transitions add an element of surprise. Kitazume’s use of extended techniques and rhythmic layering not only tests technical skill but also encourages artistic expression, making each performance unique.

Performance Challenges

The piece is technically demanding, requiring advanced proficiency in various percussion techniques. The performer must navigate complex rhythms, alternating between multiple layers of sound, and manage coordination between different instruments. Extended techniques, such as nuanced mallet placements and specialized cymbal sounds, challenge the performer to master the sonic capabilities of each instrument. Additionally, the piece requires the performer to balance high-energy sections with quieter, more reflective moments, demanding both intensity and restraint. This dynamic range, along with the complex rhythmic patterns, ensures that “Side by Side” remains a highly demanding yet rewarding work.

Musical Impact and Reception

Since its debut, “Side by Side” has been widely embraced in the percussion community for its technical virtuosity and emotional depth. Performers appreciate its ability to showcase their skills while allowing for personal interpretation. The piece has been performed in international competitions and concerts, receiving praise for its rhythmic intricacy, structural cohesion, and expressive potential. Kitazume’s work fits within the broader evolution of contemporary percussion music, where composers continue to explore new sound worlds and expand the limits of traditional percussion instruments. *Side by Side* stands out as a significant contribution to the percussion repertoire, blending virtuosic display with deep emotional resonance.

Conclusion

“Side by Side” by Michio Kitazume is a sophisticated percussion solo that challenges performers technically while offering rich emotional expression. Its intricate rhythms, diverse textures, and extended techniques make it a standout work in the modern percussion canon. For both its complexity and artistic potential, “Side by Side” remains an influential and highly regarded piece in the percussion world.