In 2011, Tom Johnson assembled a research group of composers who work with mathematics. He asked each of us (Christopher Adler, Brian Parks, Samuel Vriezen, Michael Winter, and myself) to contribute pieces that we could all perform together. At the time, I had been thinking about all the rhythmic patterns that are possible, using only 16th notes, with the duration of a quarter note. This material became the basis of Coming Home. The piece is for any number and configuration of unpitched percussion instruments: performers work through all the permutations of 0, 1, 2, 3 and 4 beat patterns, forwards and then in retrograde, with the freedom to independently choose how many repetitions of each pattern they play.
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