kehinde wiley studio deitch projects art parade west village quartet shequida young eight quinton i. morris Chala Yancy Amber Archibald, Caleb Jones Eric McKeever Patrick Carmichael Cory Williams Richard Stewart Orlando Wells David Burnett Adam Hill Ryan Murphy Byron Sean Jonathan Colbert violin viola cello patrick grant hip hop experience national black college tour coulumbus museum roberts & tilton rhona hoffman Mariana Green-Hill Monica Davis Dawn Michelle Smith Tahirah Whittington hassan williams malcolm x shabazz marching band strangemusic strange music
hIP-hOP eXPERIENCE III
permutations on hip-hop themes 4 string quartet+
by Patrick Grant
Created through co-commissions of Kehinde Wiley Studio, Deitch Projects, Roberts & Tilton Gallery, and the Columbus Museum of Art
Kehinde Wiley, St. Sebastian II, 2006
"...the third piece was arranged in such a colorful manner that it was even difficult for some of the younger audience members to tell which song belonged to which Grammy-winning artist." - June 5, 2007 - The Jibsheet
Performed by The Young Eight
The Wichita State University webcast from WSUiR
Live from Chamber Music at the Barn
Wichita, Kansas - July 19, 2007
hIP-hOP eXPERIENCE III Part 1 - MP3 - 6:59 - Hey Ya, Crazy-Naughty-Push It Medley
hIP-hOP eXPERIENCE III Part 2 - MP3 - 1:44 - My Humps
hIP-hOP eXPERIENCE III Part 3 - MP3 - 5:16 - Golddigger-Jesus Walks Medley, Gangsta Medley
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Patrick Grant Resume
Program & Performance note:
As an extension of his exhibitions and events throughout 2005 & 2006, the artist Kehinde Wiley, with Deitch Projects, Roberts & Tilton Gallery and the Columbus Museum commissioned hip-hop inspired classical & baroque music productions for me to create and organize for his openings. Performers have included Shequida, the West Village Quartet & Ensemble, the Young Eight, and the Malcolm X. Shabazz High School Marching Band as well as Patrick Grant Group and other ensembles outside the context of Wiley's events.
In order to keep it, you have to give it away: I've decided to post some early incarnations from the series partly due to public curiosity regarding the work (I even found out about some unauthorized performances!) but mostly with how I went about transforming the CD audio we know into readable music to be performed. Also, it's due to the fact that I'm now working on bigger and better hip-hop-hybrids and they've become my focus. Plus, it's good that these earlier pieces start getting around some more. The public response at every performance has been great.
In selecting the material for this particular instrumental suite much care was put into selecting pieces that could more or less be easily identified by the musical content alone when the rap vocal is not present, and with more than a fistful of original hooks and grooves running throughout the mix to hold it together. A lot of figurations had to be invented to make up for the lack of percussion though body sounds like clapping, stomping and finger snapping have always been welcome in my performances.
The scores and parts presented are Urtext Editions, very much like a score by Bach, that is, without dynamics, articulations and idiomatic embellishments like grace notes and glissandi. These, as in the Baroque and Classical eras, were always left up to the descretion of the performers and worked out in the rehearsal process if not extemporaneously, a very similar performance practice that lives on today in the contemporary music scene of Downtown New York City and other urban hotbeds of creativity where the ideas are coming so fast that it just doesn't make any sense to waste time writing these kinds of details down. At least that's what they say.
Besides, it does enable every performer and every performance to find their unique way through the notes. Especially when I'm part of the performance, it's just much faster to call things out as they're discovered especially when working in forms and styles that have no classical origin.
Also, all the sections presented here are modular, just like a set list, and may be moved around, edited, cut and pasted as to the performing ensemble's need and to match whatever particular flow they wish to project. Any re-ordering of the movements is acceptable.
Not one of the above mentioned performances ever did, nor was meant to, stick hard and fast to the printed page. The movements are numbered then, not for order, but for reference. In a way, they're more jazz charts than actual scores if one wants to take them that way, although they do stay within the margins of certain classical techniques. It's a mood of conviviality not too far from Terry Riley's "In C," although that piece doesn't allow re-ordering.
So, though the instruments used here may be antique, hip-hop is not, and this music should be adapted to the feel of the venue and to the spirit of the performers. Thus, any reordering will be referred to as a "mix," i.e. "hIP-hOP eXPERIENCE - The Imaginary Quartet Mix" - etc. - by Patrick Grant, to use an example. This also keeps a parallel with DJ culture and acknowledges the contributions of the performing ensemble.
I do look forward to performances of this work and others from the series (i.e. Historical Black Music Roller Coaster) taking place in the upcoming season. Stay tuned for nEWS of other scores from this series being posted as soon as I can make them available.
Thanks again to Kehinde for getting the ball rolling.
PDF Charts & Parts
All of the arrangements and performance materials below, created by Patrick Grant & sTRANGE mUSIC, have copyrights that are held by the individual authors of the works from which they were derived and are licensed through ASCAP and BMI.
Any artists wishing to publicly perform in part, or in whole, from the above materials should contact Patrick Grant & sTRANGEmUSIC and provide performance details so that you can be added to the performance calendar.