The Devil You Know

Item details

Description +
- Duration: 4 min.
  
  Commissioned by Travis Nestor of West Virginia University in the fall of 2016, The Devil You Know is composed in an arch form consisting of five short movements. Influenced by the piano compositions of Erik Satie, my goal was to create several short statements (movements) that are interesting, but end before wearing out their welcome. The first three were created through stream of consciousness. The fourth movement references material from the second, with a brief nod to the opening sustain in the first movement, with augmented rhythms and dynamics. The final movement is similar in character to the first, with a slightly faster tempo and quicker rhythms. The third movement is non-sequitur and serves a bridge between the outer four. The use of rim clicks serves as bookends to the work, while the use of hands/fingers on the drum signifies its middle.
Instrumentation +
- Snare Drum
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About the composer +
- Jason Baker serves as Professor of Music and Percussion Area Coordinator at Mississippi State University. He holds degrees from the University of North Texas, New England Conservatory of Music, and University of Connecticut. His current performance interests focus on commissioning solo percussion music by emerging composers from the American South.
  
  Jason has commercially released four solo albums, four etude books, and over 30 arrangements and compositions - many of which are included on solo and ensemble music lists throughout the United States. His works have been performed at the Modern Snare Drum Competition, Midwest Band and Orchestra Clinic, Kaohsiung Band Festival in Taiwan, and the Percussive Arts Society International Convention.
  
  Jason is timpanist of the North Mississippi Symphony Orchestra and Tuscaloosa Symphony Orchestra. He has also performed with the Mississippi Symphony Orchestra, Meridian (MS) Symphony Orchestra, and the Boston Philharmonic Orchestra. He has been a clinician and/or performer at the Percussive Arts Society International Convention, New York City Day of Percussion, Encontro Percussivo Festival in Brazil, College Music Society National Conference, Texas Music Educators Association Convention, All-West Tennessee Music Educators Convention, Mississippi Bandmasters Association Convention, and universities throughout the United States. Jason has also performed with the Brooklyn Composers' Syndicate and as a faculty member at the Sam Houston Summer Percussion Academy.
  
  Jason is Associate Editor of New Literature Reviews for Percussive Notes and previously served as chair of the College Pedagogy Committee and president of the Mississippi Chapter of the Percussive Arts Society. He was a performing member with the Glassmen, Boston Crusaders, and Connecticut Hurricanes Drum and Bugle Corps and later served on the instructional staff of the Boston Crusaders. Jason is proud to be an artist for the Yamaha Corporation of America, Innovative Percussion, Remo, Sabian, and Grover Pro Percussion.
Reviews +
- Review (Percussive Notes, June 2020)
  
  “The Devil You Know” is a unique addition to the repertoire in that it is a five-movement work that takes about four minutes to perform. Baker explains that it was influenced by Erik Satie, and that his goal was “to create several short statements (movements) that are interesting, but end before wearing out their welcome.” In this endeavor, he has certainly succeeded. These brief statements each have their own character but are gone quickly before moving on to the next. It is reminiscent of lying in bed, unable to sleep, and your mind races from one thing to the next.
  
  “Presto” does not look intimidating on the page, but the tempo (quarter note = 200) makes this much more rhythmically challenging than meets the eye. A few rim clicks, which will return in the final movement, stand out in the texture. “Slow March” focuses primarily on standard and fourstroke ruffs. “Interlude” is played with fingers and hands. Rolls are performed as fingernail scrapes. It is perfect timing to place a timbre change in the middle of the piece. “Apotheosis” is big, loud, and nasty with grace-note figures, marcato accents,and a fortissimo dynamic nearly throughout. “Finale” is reminiscent of “Presto” but even faster. The rim clicks make their return as nice bookends to the piece.
  
  This would be a great opener or closer to a recital as well as the perfect study piece that would warrant a studio class performance. There is so much musicality and technique combined in such a short amount of time. Any percussionist would benefit from learning and performing this piece!
  
  —Justin Bunting
Credits +
- Front Cover graphics and layout: Kirstine Kørner Jensen
  Photo: Mississippi State University Public Relations Office
  Engraving: Jason Baker/Johan Svitzer
  Printed in Copenhagen, Denmark
  Copyright © Edition SVITZER
  www.editionsvitzer.com

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