For Wind Ensemble
Duration: 13 minutes
Commissioned by Hampshire County Youth Band and their conductor Leighton Rich. First performed at the Royal Festival Hall, London, 7th July 1998. This arrangement was made for a recording by the Royal Northern College of Music in October 2006.
The time line is a western musicological device that allows us to define many of the rhythms used in sub-Saharan music. It is essentially a 12-beat pattern that can be subdivided as 6 X 2, 2 X 6, 4 X 3, or 3 X 4, which generates many of the polyrhythms that are common in African Music.
Time Lines is a single continuous work made up of four contrasting sections, which are based on various aspects of African dance and choral music. The slow introduction introduces many of the rhythms that the piece is based on, and is followed by a fast section which quotes a South African hymn, Abasundu Nabamhlope (the first line of which translates as Blacks and whites, let them give thanks together). The chorale section which follows makes use of phrases from the hymn, Nkosi Sikelel iAfrika (Lord Bless Africa), which was written in 1897, and has since been adopted as the national anthem of several countries in Southern Africa.
The final allegro section sees the drawing together of the various dance and choral elements used in the piece, with the percussion section playing rhythmic patterns generated by the time line.
Publisher: Studio Music
Picc., Fls. 1.2, Obs. 1.2, Eb Cl., Bb Cls. 1.2.3, Bb B. Cl., Bssns 1.2,
Eb A. Sax. 1.2, Bb Ten. Sax., Eb Bar. Sax.,
Bb Tpts. 220.127.116.11, F Horns 18.104.22.168, Trbs 1.2.3, Euphs. 1.2, Tubas 1.2,
D. Bass, Timp., Perc 1.2.3
This arrangement (from the original brass band version) of Time Lines was made in 2006 specifically for a recording by the Royal Northen College of Music Wind Orchestra. Since then the piece has been performed all over the world, including two performances at the Wasbe convention in Killarney, Ireland in 2007.
The original commission was for Brass Band and 8 percussionists, which was subsequently scaled back to 4 percussionists for later performances. As such, the piece makes use of a wide range of percussion equipment and is particularly challenging for percussionists.