“Rhythm becomes architecture, tension becomes motion.”
Seis, Tres, Uno is a work of kinetic precision and collective drive. Written for five saxophones (soprano, alto, two tenors, and baritone) with percussion, the piece transforms rhythmic cells into an evolving structure that breathes like a single organism. The title refers to its internal pulse relationships—six, three, and one—as overlapping rhythmic layers that continually shift balance and direction.
The ensemble acts as both engine and resonance chamber. Sharp attacks, layered polyrhythms, and percussive articulation blur the line between wind and percussion, creating an atmosphere of controlled intensity and forward momentum. As in much of Taborda’s music, rhythm becomes not only temporal but dramatic, revealing a ritual of motion that is both physical and architectural.
Includes:
Full score and performance parts
Percussion setup and notation guide
Available for purchase and performance licensing
“Rhythm becomes architecture, tension becomes motion.”
Seis, Tres, Uno is a work of kinetic precision and collective drive. Written for five saxophones (soprano, alto, two tenors, and baritone) with percussion, the piece transforms rhythmic cells into an evolving structure that breathes like a single organism. The title refers to its internal pulse relationships—six, three, and one—as overlapping rhythmic layers that continually shift balance and direction.
The ensemble acts as both engine and resonance chamber. Sharp attacks, layered polyrhythms, and percussive articulation blur the line between wind and percussion, creating an atmosphere of controlled intensity and forward momentum. As in much of Taborda’s music, rhythm becomes not only temporal but dramatic, revealing a ritual of motion that is both physical and architectural.
Includes:
Full score and performance parts
Percussion setup and notation guide
Available for purchase and performance licensing
