RHYTHMIC TRANSFORMATIONS 

From the Rhythm to the Drum-set

Stravinsky has been a particular composer for the percussions.

Toward the drum-set (assemblage of various percussion instruments) he has had indeed a generous respect.  Compositions what "The Histoire du soldat" 1918, "Ebony concert" 1945, foresee a drum-set near to the classical drum-set that we know.

Toward the rhythm he has had a strong predilection to the experimentation of the poliritmies and of the polimetries in all the senses. To draw near to one composition of his is musically an unique experience. He is not inactive to this musical contact; is a verification of his own condition and rhythmic knowledge!

 Didactically it is an incomparable material, it makes him a knowledge with the rhythm type advanced where the metric differences, the accentuations, and the fraseggis concretely melt him making the everything extremely valid and formative.

Personally having performed both the quoted compositions, I have picked up my experiences and influences, that for the occasion use to propose these rhythmic transformations in three points, departing from a sequence of the basic rhythm drawn by the Tango in "The Histoire du soldat": 

1) writing for snare-drum and bass-drum of the rhythm corresponding to the meter successions. 

2) writing for drum-set of the rhythm corresponding to the meter successions. 

3) Idea 1 and Idea 2 for drum-set, are an example of influence. The contamination is evident! 

B.F.