Locked In - For hi hat and electronics

$30.00

This piece was composed for my friend and percussionist Kameron "BISFA" Burker. In February of 2024, me and Kameron both found ourselves going through a lot. We were both studying music in a university setting and stressing over the nature of being a student at a small university and all the social and emotional stressors that came with it.

We would frequently go on drives through the countryside just across the Potomac river, and talk about life and music. On many occasions, these drives would last for hours, and eventually we would run out of things to talk about. During these akward silent moments we would say to one another "we gotta lock in" to break the tension.

We leardned that sometimes you need to lock in and listen to the only person who really has all the answers. You.

This work forces the performer to "lock in" because the only way to perform it is to trust your internal rhythm. This work is a 4 minute long gauntlet of time changes, odd tuplets and contrasting styles. The agogic accents aren’t always audible in the accompaniment track. The performer is pitted against an electronic backing track. The backing track uses Plogue's "chipspeech" plugin that audiates numbers that indicate beats and time through speech. The only problem is that its not always entirely accurate... Relying on the backing track might not be your best bet on this one. The agogic accents aren’t always audible in the accompaniment track either.

Will you fall off, or will you lock in and succeed? Good luck!

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This piece was composed for my friend and percussionist Kameron "BISFA" Burker. In February of 2024, me and Kameron both found ourselves going through a lot. We were both studying music in a university setting and stressing over the nature of being a student at a small university and all the social and emotional stressors that came with it.

We would frequently go on drives through the countryside just across the Potomac river, and talk about life and music. On many occasions, these drives would last for hours, and eventually we would run out of things to talk about. During these akward silent moments we would say to one another "we gotta lock in" to break the tension.

We leardned that sometimes you need to lock in and listen to the only person who really has all the answers. You.

This work forces the performer to "lock in" because the only way to perform it is to trust your internal rhythm. This work is a 4 minute long gauntlet of time changes, odd tuplets and contrasting styles. The agogic accents aren’t always audible in the accompaniment track. The performer is pitted against an electronic backing track. The backing track uses Plogue's "chipspeech" plugin that audiates numbers that indicate beats and time through speech. The only problem is that its not always entirely accurate... Relying on the backing track might not be your best bet on this one. The agogic accents aren’t always audible in the accompaniment track either.

Will you fall off, or will you lock in and succeed? Good luck!

This piece was composed for my friend and percussionist Kameron "BISFA" Burker. In February of 2024, me and Kameron both found ourselves going through a lot. We were both studying music in a university setting and stressing over the nature of being a student at a small university and all the social and emotional stressors that came with it.

We would frequently go on drives through the countryside just across the Potomac river, and talk about life and music. On many occasions, these drives would last for hours, and eventually we would run out of things to talk about. During these akward silent moments we would say to one another "we gotta lock in" to break the tension.

We leardned that sometimes you need to lock in and listen to the only person who really has all the answers. You.

This work forces the performer to "lock in" because the only way to perform it is to trust your internal rhythm. This work is a 4 minute long gauntlet of time changes, odd tuplets and contrasting styles. The agogic accents aren’t always audible in the accompaniment track. The performer is pitted against an electronic backing track. The backing track uses Plogue's "chipspeech" plugin that audiates numbers that indicate beats and time through speech. The only problem is that its not always entirely accurate... Relying on the backing track might not be your best bet on this one. The agogic accents aren’t always audible in the accompaniment track either.

Will you fall off, or will you lock in and succeed? Good luck!