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Fusion

Fusion grew from a set of research questions that have long animated my work: how to genuinely interlace the polyrhythmic vitality of Ghanaian drum traditions with the structural, developmental language of Western art music; how to sustain the attention and imagination of performers and audience across an extended percussion-only canvas; and how to make the physical organisation of players part of the musical architecture itself. Scored for eight or nine highly accomplished percussionists arranged in a tiered, visually intentional layout, the work binds West African hand and stick drums to the refined timbral palette of marimba, vibraphone, xylophone, glockenspiel, and kit bass drum, allowing metallic, wooden, pitched, and unpitched colours to converse as equals. Across five movements - each shaped by its own rhythm, form, and harmonic world - I develop traditional Ghanaian patterns (after Locke, Martínez and Roscetti) into large-scale structures using “rhythmic modulation,” where layers of cross-rhythm function as pivot harmonies would in tonal music. Improvisatory flexibility, fluid metre, contrasting tone colours, and an ever-shifting interplay of visual focus keep the music alive, while serialism, tonal centres, ostinato, fugal writing, and modal inflections trace a broad arc through Western technique. Ultimately, Fusion is both a dialogue and a synthesis: a work in which rhythm shapes form, movement by movement, and in which the kinetic spirit of African dance rhythms encounters - and transforms—the developmental imagination of the Western symphonic tradition.