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Donuts is an homage to a work of the same name by J Dilla (aka Jay Dee, aka James Yancey). Prospective performers of Donuts are strongly encouraged to listen to Donuts by J Dilla (Stones Throw Records, 2006). A prominent hip-hop producer, J Dilla worked on Donuts from his death bed in a hospital and the album was released on his 32nd birthday, three days before his death from complications of a rare blood disease. Many, including myself, consider his Donuts, a collection of thirty-one hip-hop instrumentals, to be a seminal work in the genre. The majority of my Donuts, (with the exception of the donut entitled One for Dilla), are not meant to sound anything like J Dillas work per say, but are meant more as my personal take on the form and structure of Donuts. Listening to J Dillas Donuts, while not a requirement for enjoyment of my version of Donuts, might be of some help to put the structure, form, and content of my version into perspective. I would like to extend a special thanks to the following people for their integral role in the process of composing Donuts: Curtis Roads, for his assistance as my composition teacher Jon L afferty aka Mumbl, MC on The Party electronic part Michelle Williams, singer on the One for Dilla electronic part Ri chard Cassarino, bass player on the One for Dilla electronic part Kevin Kelly, recording engineer for the One for Dilla electronic part Eddie Trager , percussionist and collaborator, who made the entire project possible with his generous outpouring of support and advice, from the conception of the work through its initial performances.
-E.M., 9/09
DONUTS
I. F IRST DONUT OF THE NIGHT (~1 mi n . 45 s e c . ) electronic sounds and vibraphone II. A SEA DONUT (2 mi n . 25 s e c . ) electronic sounds and reverberated snare drum, suspended cymbal and vibraphone III. SIRENS (1 mi n. 29 s e c. ) electronic sounds and two timpani IV . THE PARTY (2 mi n. 6 s e c . ) electronic sounds and amplified marimba V . ONE FOR DIL LA (1 mi n. 30 s e c. ) electronic sounds and trap set V I . B A ND PRA CTICE (32 s e c . ) electronic sounds
Total P e rcus s ion I n strume ntation : marimba, snare drum, suspended cymbal, two timpani, trap set, and vibraphone
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+ After the sound from the last vibraphone note dies away, turn up the reverberation effect on the
microphones for both the vibraphone and the snare drum/suspended cymbal.
00:10
02:35
29
00:39
40
01:19
40
01:59
36
(BELL TONES I)
LIGHTSWITCH SOUND
Improvise quietly and extremely minimally on snare drum and cymbal. Use fingers on snare drum. Use a drum stick gently and sparingly on cymbal. Attempt to convey a calm feeling of the sea.
After hearing BELL TONES I, gently lay down the stick and pick up medium-hard vibraphone mallets. Play through the chords below once quietly with pedal.
After finishing performance of the chords, return to the same quiet and minimal improvisation on the snare drum and cymbal as explained previously. Continue until BELL TONES III at
01:59
After hearing BELL TONES III, play through the chords once again with pedal. After playing through the chords for a final time, move to the timpani and await the LIGHTSWITCH SOUND which signifies the end of A Sea Donut.
III. SIRENS
two timpani
OPENING INSTRUCTIONS: Play through as much of the music printed below as possible before hearing the sound of a turntable engaging at approximately 02:59 Stop playing then, regardless of your position in the music.
q=170
Timpani
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03:09
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03:11
8'' "A single golden siren sounds.
03:19
Begin playing violently, quickly and fff on both drums, simultaneously bending the pitch of the timpani with the foot pedals. Decrescendo as the electronic part decrescendos and stop all playing by 03:47 when you hear "...I'm comfortable with..." Move to the marimba.
ENDING INSTRUCTIONS:
03:47
2''
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2''
28''
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03:49
18
15''
04:04
LIGHTSWITCH SOUND
OPENING INSTRUCTIONS: Prepare to begin playing the marimba. Notation of the electronic part begins in the score at 04:15 Begin playing the marimba accordingly at measure 5, 04:24
04:04
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11''
04:15
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04:24
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ENDING INSTRUCTIONS: Slowly move from the marimba and prepare to perform One For Dilla on the trap set.
06:10
30
Approx. 40''
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"And let the curtains rise and sounds drape: over your ears and open your eyes..."
E.S.
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06:10
07:23
2
06:28
55
LIGHTSWITCH SOUND
OPENING INSTRUCTIONS: Listen to the electronic part and use it as a reference in preparation to begin playing a fill after hearing the LIGHTSWITCH SOUND (on beat 4 of the measure) at
06:26
Begin playing along in time with the song" in the electronic part, improvising on the three beat pattern examples shown below, using them as a loose guideline for your improvisation. Add fills and soloistic gestures as necessary, but strive always for a Funk/Hip-Hop feel. strive always for a Funk/Hip-Hop feel.
10
17
07:40
34
T HE END
VOCALS END
SIREN SOUND
Continue to play as before, but begin a steady decrescendo al niente. Upon reaching a nearly piano dynamic, begin a gentle snare roll and continue to fade out completely, stopping all playing by 07:40 when you hear guitar and drum sounds
BAND PRACTICE INSTRUCTIONS: For the duration of Band Practice, sit quietly at the trap set.