Samuel Z Solomon

HOW TO WRITE PERCUSSION 2E P

Name: HOW TO WRITE PERCUSSION 2E P
Brand: OUP US
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How to Write for Percussion is a comprehensive resource that clearly explains and simplifies all issues that percussionists and composers face with respect to each other.

Inhaltsverzeichnis

Table of Contents

Introduction

How This Book is Organized

Instruments Covered

Working with Percussionists

Location Specifics

The Value of Not Reading This Book

1. General Framework

A Dysfunctional Family

Comparison of Family Relationships

The Problem of Pitch

The Pitches of Percussion

The Validations and Limitations of Novelty

Three Methods for Indeterminately Pitch Instruments

The Written/Improv Divide

Expanding the Color Palette (to Shrink the Setup)

The Value of Improvised and Non-Notated Music

Social Composition

Write for People, Not Sounds

Write What is Wanted, Not What To Do

Working with Percussionists

2. General Logistics

Instrument Choice and Management

Six Stories, Three Sad and Three Happy

Why Use Fewer Instruments?

How to Consolidate

Inexpensive Instruments

Exotic Instruments

Electronic Percussion

Multiple Options for a Specified Instrument

Instruments Percussionists May Not Play

Multiple Percussionists

Section Setup

Orchestra

Wind Ensemble

Broadway Pit

Drum Corps and Marching Bands

Specialists

Non-Percussionists Playing Percussion

Chairs and Stands

Issues of Playability

Excessive Polyphony

How Fast Percussionists Can Play

Unidiomatic Writing-Music that Often Requires Memorization

Dynamics

Reaching Instruments

Instruments with Pedals

Physical Exertion and Shaking

Working with Headphones or Headset Microphones

3. General Notation

Basics of Percussion Parts and Scores

Instrument List

Instrument Key

Setup Diagram

Language

Parts

Cues

Percussion in the Conductor's Score

Dynamics

Designing a Notational System

Clefs

Staves

Noteheads

Mixing Determinately and Indeterminately Pitched Instruments

Key Signatures

What Goes Where on the Staff

The Chicken or the Egg?

Unspecified Instruments (Indeterminate Instrumentation)

How Much to Notate

Systems of Notation for Which There is No Standard

Return to a "Normal " Method of Playing

Note Length, Articulation, and Phrasing

Note Length Chart

Exact or Inexact Note-Length Indications

Muting (Muffling, Dampening)

Dead Stroke

Damper Pedals

Rolls

Notations that are Not Recommended

Symbol Notation

Altered Keyboard Notation (Timbre-Staff)

4. Beaters

To Indicate or Not to Indicate?

Beater Lingo

Logistical Beater Issues

Sticks

Mallets

Triangle Beaters, Knitting Needles

Brushes

Rute

Chime Hammers

Superball Mallet

Beaters as Instruments

Hands

Bows

5. Keyboard Percussion

Ranges and Construction

Writing for Keyboard Percussion

Stacked Instruments

Multiple Players

Extended Techniques

Miscellaneous

6. Drums

Sticks on Drums

Mallets on Drums

Hands on Drums

Playing on the Rim or Shell

Beating Spot

Mutes

Pitch Bending

Drum Size

Two-Headed Drums

Multiple Drums in Setups

Idiomatic Writing for Drums

Timpani

Tom-toms

Snare Drum, Field Drum, Tenor Drum

Concert Bass Drum, Pedal Bass Drum

Bongos, Congas

Timbales

Roto-Toms

Frame Drums

Tambourines

Djembe, Doumbek

Boobams

Drumset

7. Metal

Cymbals

Gongs

Finger Cymbals

Cowbells, Almglocken

Temple Bowls, Mixing Bowls

Brake Drums, Metal Pipes, Anvils, Bell Plates

Thundersheet

Junk Metal, Tin Cans, Pots and Pans

Ribbon Crasher

Spring Coil

Church Bells

Hand Bells

Steel Drums

Tambourines

Sleighbells

Metal Wind Chimes, Mark Tree, Bell Tree

Flexatone

Extended Techniques

8. Wood

Woodblocks, Templeblocks, Log Drum

Wooden Planks

Wood Drums, Wooden Boxes, Cajón, Mahler Hammer

Claves

Castanets

Rute

Guiro

Slapstick

Ratchet

Bamboo Wind Chimes

9. Miscellaneous Instruments

Bottles

Cabasa

Conch Shell

Crystal Glasses

Maracas, Shakers

Rainstick

Rice Bowls, Flower Pots

Sandpaper Blocks

Sirens

String Drum, Cuica

Stones, Prayer Stones

Thumb Piano

Vibraslap

Wind Chimes

Whistles

Wind Machine

Appendix A. Repertoire Analysis

Percussion Ensemble

Edgard Varèse, Ionisation (1929-31)

John Cage, Constructions (1939-1942)

Iannis Xenakis, Persephassa (1969)

Steve Reich, Drumming (1970-71)

Steve Mackey, It is Time (2010)

John Luther Adams, Inuksuit (2009)

Ryan Streber, Cold Pastoral (2004)

Nico Muhly, Ta and Clap (2004)

Adam Silverman, Naked and On Fire (2011)

Paul Lansky, Travel Diary (2007)

Orchestral

Bela Bartók

Sergei Prokofiev

Maurice Ravel

Gustav Mahler

Dmitri Shostakovich

Leonard Bernstein

Carl Nielsen

Jean Sibelius

Wind Ensemble

Smaller Mixed Ensemble

John Adams, Chamber Symphony (1992)

Stephan Hartke, Meanwhile (2007)

Jacob Druckman, Come Round (1992)

Charles Wuorinen, New York Notes (1982)

Pierre Boulez, Sur Incises (1996/1998)

Percussion Solo-Drums

Michio Kitazume, Side by Side (1991)

Elliott Carter, Eight Pieces for Four Timpani (1950/1966)

Casey Cangelosi, Meditation No. 1 (2011)

Percussion Solo-Keyboards

Jacob Druckman, Reflections on the Nature of Water (1986)

Paul Simon, Amulet (2008)

Steve Mackey, See Ya Thursday (1992)

Steve Swallow/Gary Burton, I'm Your Pal/Hullo Bolinas

Donald Martino, Soliloquy (2003)

Percussion Solo-Multi-Percussion

Iannis Xenakis, Psappha (1975)

David Lang, Anvil Chorus (1991)

Roger Reynolds, Watershed (1995)

Four Pieces for "Setup #1 "

Nico Muhly, It's About Time (2004)

Michael Early, Raingutter (2007)

Marcos Balter, Descarga (2006)

Judd Greenstein, We Shall Be Turned (2006)

Percussion Concerto

James MacMillan, Veni Veni Emmanuel (1992)

Einojuhani Rautavaara, Incantations (2008)

Steven Mackey, Micro-Concerto (1999)

Orchestrating Native Sounds

Appendix B. Sample Setups

Appendix C. Extended Techniques

Return to a "Normal " Method of Playing

Manipulations of Timbre

Striking Unusual Parts of an Instrument

Unusual Usage of Beaters

Dead Stroke

Beating Spot

Bowing

Friction Roll

Scrape

Prepared Instruments

Pitch Bending

Vibrato

Adding Mass

Sympathetic Resonance

Clusters

Harmonics

Appendix D. Pitch Specification

Appendix E. Dynamics

Appendix F. Register

Appendix G. Beaters

Appendix H. Percussion Family Tree

Pitch Clarity Chart

Note Length Chart

Sound Production Chart

The Percussion Family Tree

Produktdetails

Erscheinungsdatum

11. Mai 2016

Sprache

englisch

Seitenanzahl

308

Autor/Autorin

Samuel Z Solomon

Verlag/Hersteller

OUP US

Produktart

kartoniert

Gewicht

583 g

Größe (L/B/H)

254/178/17 mm

ISBN

9780199920365

Entdecken Sie mehr

Perkussionsinstrumente

Musikwissenschaft und Musiktheorie

Komposition

Perkussionsinstrumente

Musikwissenschaft und Musiktheorie

Komposition

Portrait

Samuel Z Solomon

Samuel Z. Solomon teaches percussion at The Boston Conservatory, Boston University, and The BU Tanglewood Institute. He is author of the acclaimed book, How To Write For Percussion, as well as three books on percussion playing and was curator of two collections of percussion etudes and solos. Solomon is founding member of the Yesaroun' Duo and the Line C3 percussion group, and is principal timpanist of the Amici New York chamber orchestra. Please visit www.szsolomon.com for more.

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