How to Write for Percussion

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.

• Table of ContentsIntroductionHow This Book is OrganizedInstruments CoveredWorking with PercussionistsLocation SpecificsThe Value of Not Reading This Book1. General FrameworkA Dysfunctional FamilyComparison of Family RelationshipsThe Problem of PitchThe Pitches of PercussionThe Validations and Limitations of NoveltyThree Methods for Indeterminately Pitch InstrumentsThe Written/Improv DivideExpanding the Color Palette (to Shrink the Setup)The Value of Improvised and Non-Notated MusicSocial CompositionWrite for People, Not SoundsWrite What is Wanted, Not What To DoWorking with Percussionists2. General LogisticsInstrument Choice and ManagementSix Stories, Three Sad and Three HappyWhy Use Fewer Instruments?How to ConsolidateInexpensive InstrumentsExotic InstrumentsElectronic PercussionMultiple Options for a Specified InstrumentInstruments Percussionists May Not PlayMultiple PercussionistsSection SetupOrchestraWind EnsembleBroadway PitDrum Corps and Marching BandsSpecialistsNon-Percussionists Playing PercussionChairs and StandsIssues of PlayabilityExcessive PolyphonyHow Fast Percussionists Can PlayUnidiomatic Writing-Music that Often Requires MemorizationDynamicsReaching InstrumentsInstruments with PedalsPhysical Exertion and ShakingWorking with Headphones or Headset Microphones3. General NotationBasics of Percussion Parts and ScoresInstrument ListInstrument KeySetup DiagramLanguagePartsCuesPercussion in the Conductor's ScoreDynamics Designing a Notational SystemClefsStavesNoteheadsMixing Determinately and Indeterminately Pitched InstrumentsKey SignaturesWhat Goes Where on the StaffThe Chicken or the Egg?Unspecified Instruments (Indeterminate Instrumentation)How Much to NotateSystems of Notation for Which There is No StandardReturn to a "Normal" Method of PlayingNote Length, Articulation, and PhrasingNote Length ChartExact or Inexact Note-Length IndicationsMuting (Muffling, Dampening)Dead StrokeDamper PedalsRolls Notations that are Not RecommendedSymbol NotationAltered Keyboard Notation (Timbre-Staff)4. BeatersTo Indicate or Not to Indicate?Beater LingoLogistical Beater IssuesSticks Mallets Triangle Beaters, Knitting NeedlesBrushesRuteChime HammersSuperball MalletBeaters as InstrumentsHandsBows5. Keyboard PercussionRanges and ConstructionWriting for Keyboard PercussionStacked InstrumentsMultiple PlayersExtended Techniques Miscellaneous6. DrumsSticks on Drums Mallets on DrumsHands on DrumsPlaying on the Rim or ShellBeating SpotMutesPitch BendingDrum SizeTwo-Headed DrumsMultiple Drums in SetupsIdiomatic Writing for Drums Timpani Tom-tomsSnare Drum, Field Drum, Tenor DrumConcert Bass Drum, Pedal Bass DrumBongos, CongasTimbalesRoto-TomsFrame DrumsTambourinesDjembe, Doumbek BoobamsDrumset7. MetalCymbalsGongs Finger CymbalsCowbells, AlmglockenTemple Bowls, Mixing BowlsBrake Drums, Metal Pipes, Anvils, Bell PlatesThundersheetJunk Metal, Tin Cans, Pots and PansRibbon CrasherSpring CoilChurch BellsHand BellsSteel DrumsTambourinesSleighbellsMetal Wind Chimes, Mark Tree, Bell TreeFlexatone Extended Techniques8. WoodWoodblocks, Templeblocks, Log DrumWooden PlanksWood Drums, Wooden Boxes, Cajón, Mahler Hammer ClavesCastanetsRute GuiroSlapstickRatchetBamboo Wind Chimes9. Miscellaneous InstrumentsBottlesCabasaConch Shell Crystal GlassesMaracas, ShakersRainstickRice Bowls, Flower PotsSandpaper BlocksSirensString Drum, CuicaStones, Prayer StonesThumb Piano VibraslapWind ChimesWhistlesWind Machine Appendix A. Repertoire AnalysisPercussion EnsembleEdgard 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 & Clap (2004)Adam Silverman, Naked and On Fire (2011)Paul Lansky, Travel Diary (2007)OrchestralBela BartókSergei ProkofievMaurice RavelGustav MahlerDmitri Shostakovich Leonard BernsteinCarl NielsenJean SibeliusWind EnsembleSmaller Mixed EnsembleJohn 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-DrumsMichio Kitazume, Side by Side (1991)Elliott Carter, Eight Pieces for Four Timpani (1950/1966)Casey Cangelosi, Meditation No. 1 (2011)Percussion Solo-KeyboardsJacob 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 BolinasDonald Martino, Soliloquy (2003)Percussion Solo-Multi-PercussionIannis 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 ConcertoJames MacMillan, Veni Veni Emmanuel (1992)Einojuhani Rautavaara, Incantations (2008)Steven Mackey, Micro-Concerto (1999)Orchestrating Native SoundsAppendix B. Sample SetupsAppendix C. Extended TechniquesReturn to a "Normal" Method of PlayingManipulations of TimbreStriking Unusual Parts of an InstrumentUnusual Usage of BeatersDead StrokeBeating SpotBowingFriction Roll ScrapePrepared InstrumentsPitch BendingVibratoAdding MassSympathetic ResonanceClustersHarmonicsAppendix D. Pitch SpecificationAppendix E. DynamicsAppendix F. RegisterAppendix G. BeatersAppendix H. Percussion Family TreePitch Clarity ChartNote Length ChartRegister ChartSound Production ChartThe Percussion Family Tree

"This is simply the best book on composing for percussion music out there. Solomon anticipates every question that a composer might have concerning the practical, physical and expressive ramifications of making sound by hitting things. The previous version was a fixture on my desk and this new edition with its media upgrades will be my manual for teaching."--Steven Mackey, Professor of Music, Princeton University, Grammy Award-winning composer"Percussion isn't a particular thing; it is a lifetime of learning that can never be completely known. Mr. Solomon's deeply thoughtful work is essential to my work, an invaluable guide, an extraordinary accomplishment."--Matthew Duvall, multi-Grammy-winning percussionist with eighth blackbird"Here is a volume which is truly practical, for Sam Solomon is a very fine performer and writes from a practitioner's point of view, giving advice which is invaluable to all of us...This is a "musician's book" and a true contribution to the literature of orchestration."--Samuel Adler, Professor Emeritus, Eastman School of Music, Excerpt from the Foreword to How To Write For Percussion (First Edition)