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E-raamat: How to Write for Percussion: A Comprehensive Guide to Percussion Composition

(Coordinator of Percussion, Boston Conservatory)
  • Formaat: 200 pages
  • Ilmumisaeg: 23-Mar-2016
  • Kirjastus: Oxford University Press Inc
  • Keel: eng
  • ISBN-13: 9780199920358
  • Formaat - PDF+DRM
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  • Formaat: 200 pages
  • Ilmumisaeg: 23-Mar-2016
  • Kirjastus: Oxford University Press Inc
  • Keel: eng
  • ISBN-13: 9780199920358

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While composers and percussionists are working more closely than ever with one another, there are few resources that address this collaborative relationship in depth. However, Samuel Z. Solomon, himself a percussionist and teacher, offers a comprehensive examination of the issues that percussionists and composers encounter in How to Write for Percussion. The first edition, self-published in 2004, provided musicians and music programs the world over with practical and indispensible information about issues of notation, concert production, and much more. This new edition goes even further as Solomon offers more insights derived from his personal experience as a percussionist and teacher and from his collaborations with other musicians.
The second edition of How to Write for Percussion expands the survey of behind-the-scenes processes-from instrument choice and notation to logistics, execution, and concert production-to uncover all the tools a composer needs to comfortably create innovative and skilled percussion composition. Solomon also includes more excerpts and performances as well as interviews with famous percussionists and composers that capture the intricacies of percussion composition. Moreover, the second edition features an expanded text with more instruments and more analysis, plus an extensive Online Video Companion containing over nine hours of videos with demonstrations, performances, interviews, and analysis to flesh out and clarify the material in the book. This updated edition of How to Write for Percussion will appeal to a wide swath of musicians including composers, arrangers, and percussionists. Those who have already utilized the first edition will welcome the upgrade, and those who have yet to benefit from Solomon's perspective will likewise find his insights illuminating.

Arvustused

"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)

Foreword to the First Edition xiii
Foreword to the Second Edition xv
Acknowledgments xvii
About the Video Companion xviii
Introduction 1(4)
How This Book Is Organized
1(2)
Instruments Covered
3(1)
Working with Percussionists
4(1)
Location Specifics
4(1)
The Value of Not Reading This Book
4(1)
Chapter 1 General Framework 5(24)
A Dysfunctional Family
5(6)
Comparison of Family Relationships
6(5)
The Problem of Pitch
11(5)
The Pitches of Percussion
12(1)
The Validations and Limitations of Novelty
13(1)
Three Methods for Indeterminately Pitch Instruments
14(2)
The Written/Improv Divide
16(7)
Expanding the Color Palette (to Shrink the Setup)
19(4)
The Value of Improvised and Non-Notated Music
23(1)
Social Composition
23(6)
Write for People, Not Sounds
24(2)
Write What Is Wanted, Not What to Do
26(2)
Working with Percussionists
28(1)
Chapter 2 General logistics 29(26)
Instrument Choice and Management
29(18)
Six Stories: Three Sad and Three Happy
29(3)
Why Use Fewer Instruments?
32(4)
How to Consolidate
36(5)
Inexpensive Instruments
41(1)
Exotic Instruments
41(1)
Electronic Percussion
41(1)
Multiple Options for a Specified Instrument
42(1)
Instruments Percussionists May Not Play
42(1)
Multiple Percussionists
43(1)
Section Setup
44(1)
Orchestra
44(1)
Wind Ensemble
45(1)
Broadway Pit
45(1)
Drum Corps and Marching Bands
45(1)
Specialists
46(1)
Non-Percussionists Playing Percussion
47(1)
Chairs and Stands
47(1)
Issues of Playability
47(8)
Excessive Polyphony
47(1)
How Fast Percussionists Can Play
48(2)
Unidiomatic Writing—Music That Often Requires Memorization
50(1)
Dynamics
51(1)
Reaching the Instruments
52(1)
Instruments with Pedals
52(1)
Physical Exertion and Shaking
53(1)
Working with Headphones or Headset Microphones
53(2)
Chapter 3 General Notation 55(30)
Basics of Percussion Parts and Scores
55(9)
Instrument List
55(1)
Instrument Key
56(1)
Setup Diagram
57(1)
Language
58(1)
Parts
59(3)
Cues
62(1)
Percussion in the Conductor's Score
63(1)
Dynamics
64(1)
Designing a Notational System
64(7)
Clefs
64(1)
Staves
65(2)
Noteheads
67(1)
Mixing Determinately and Indeterminately Pitched Instruments
67(1)
Key Signatures
68(1)
What Goes Where on the Staff
68(1)
The Chicken or the Egg?
69(1)
Unspecified Instruments (Indeterminate Instrumentation)
70(1)
How Much to Notate
70(1)
Systems of Notation for Which There Is No Standard
71(1)
Return to a "Normal" Method of Playing
71(1)
Note Length, Articulation, and Phrasing
71(11)
Note-Length Chart
71(1)
Exact or Inexact Note-Length Indications
72(2)
Muting (Muffling, Dampening)
74(1)
Dead Stroke
75(1)
Damper Pedals
75(2)
Rolls
77(5)
Notations That Are Not Recommended
82(3)
Symbol Notation
82(1)
Altered Keyboard Notation (Timbre-Staff)
83(2)
Chapter 4 Beaters 85(14)
To Indicate or Not to Indicate?
85(1)
Beater Lingo
85(1)
Logistic Beater Issues
86(4)
Sticks
90(1)
Mallets
90(2)
Triangle Beaters and Knitting Needles
92(1)
Brushes
92(2)
Rute Sticks
94(1)
Chime Hammers (Tubular Bell Hammers)
94(1)
Superball Mallet
95(1)
Beaters as Instruments
95(1)
Hands
95(1)
Bows
95(4)
Chapter 5 Keyboard Percussion 99(18)
Ranges and Construction
99(6)
Writing for Keyboard Percussion
105(5)
Stacked Instruments
110(2)
Multiple Players
112(1)
Extended Techniques
112(4)
Miscellaneous
116(1)
Chapter 6 Drums 117(30)
Sticks on Drums
118(2)
Mallets on Drums
120(1)
Hands on Drums
120(1)
Playing on the Rim or Shell
121(1)
Beating Spot
122(1)
Mutes
123(1)
Pitch Bending
123(1)
Drum Size
123(1)
Two-Headed Drums
123(1)
Multiple Drums in Setups
124(1)
Idiomatic Writing for Drums
124(1)
Timpani
125(6)
Tom-Toms
131(1)
Snare Drum, Field Drum, and Tenor Drum
132(2)
Concert Bass Drum and Pedal Bass Drum
134(1)
Bongos and Congas
135(1)
Timbales
136(1)
Roto-Toms
137(1)
Frame Drums
138(1)
Tambourines
139(2)
Djembe and Doumbek
141(1)
Boobams
141(1)
Drumset
142(5)
Chapter 7 Metal 147(26)
Cymbals
147(6)
Gongs
153(3)
Triangle
156(1)
Finger Cymbals
157(1)
Cowbells and Almglocken
158(1)
Temple Bowls and Mixing Bowls
159(1)
Brake Drums, Metal Pipes, Anvils, and Bell Plates
160(1)
Thundersheet
161(1)
Junk Metal, Tin Cans, and Pots and Pans
162(1)
Ribbon Crasher
162(1)
Spring Coil
163(1)
Church Bells
163(1)
Hand Bells
163(1)
Steel Drums
164(2)
Tambourines
166(1)
Sleighbells
166(1)
Metal Wind Chimes, Mark Tree, and Bell Tree
166(4)
Flexatone
170(1)
Extended Techniques
170(3)
Chapter 8 Wood 173(10)
Woodblocks, Templeblocks, and Log Drum
173(1)
Wooden Planks
174(1)
Wood Drums, Wooden Boxes, Cajon, and Mahler Hammer
175(1)
Claves
176(1)
Castanets
177(1)
Rute
178(1)
Guiro
178(1)
Slapstick
179(1)
Ratchet
180(1)
Bamboo Wind Chimes
181(2)
Chapter 9 Miscellaneous Instruments 183(12)
Bottles
183(1)
Cabasa
183(1)
Conch Shell
184(1)
Crystal Glasses
184(1)
Maracas and Shakers
185(2)
Rainstick
187(1)
Rice Bowls and Flower Pots
187(1)
Sandpaper Blocks
187(1)
Sirens
187(1)
String Drum and Cuica
188(1)
Stones and Prayer Stones
189(1)
Thumb Piano
189(1)
Vibraslap
190(1)
Wind Chimes
190(2)
Whistles
192(1)
Wind Machine
193(2)
Appendix A Repertoire Analysis 195(22)
Percussion Ensemble
195(7)
Edgard Varese, Ionisation (1929-1931)
195(1)
John Cage, Constructions (1939-1942)
196(1)
Iannis Xenakis, Persephassa (1969)
197(1)
Steve Reich, Drumming (1970-1971)
198(1)
Steve Mackey, it Is Time (2010)
198(1)
John Luther Adams, Inuksuit (2009)
199(1)
Ryan Streber, Cold Pastoral (2004)
200(1)
Nico Muhly, Ta & Clap (2004)
201(1)
Adam Silverman, Naked and on Fire (2011)
201(1)
Paul Lansky, Travel Diary (2007)
202(1)
Orchestral
202(3)
Bela Bartok
202(1)
Sergei Prokofiev
202(1)
Maurice Ravel
203(1)
Gustav Mahler
203(1)
Dmitri Shostakovich
203(1)
Leonard Bernstein
204(1)
Carl Nielsen
204(1)
Jean Sibelius
204(1)
Wind Ensemble
204(1)
Smaller Mixed Ensemble
205(3)
John Adams, Chamber Symphony (1992)
205(1)
Stephan Hartke, Meanwhile (2007)
205(1)
Jacob Druckman, Come Round (1992)
206(1)
Charles Wuorinen, New York Notes (1982)
207(1)
Pierre Boulez, Sur Incises (1996/1998)
207(1)
Percussion Solo—Drums
208(1)
Michio Kitazume, Side by Side (1991)
208(1)
Elliott Carter, Eight Pieces for Four Timpani (1950/1966)
208(1)
Casey Cangelosi, Meditation No. 1 (2011)
208(1)
Percussion Solo—Keyboards
208(2)
Jacob Druckman, Reflections on the Nature of Water (1986)
208(1)
Paul Simon, Amulet (2008)
209(1)
Steve Mackey, See Ya Thursday (1992)
209(1)
Steve Swallow/Gary Burton, "I'm Your Pal" and "Hullo Bolinas"
209(1)
Donald Martino, Soliloquy (2003)
209(1)
Percussion Solo—Multi-Percussion
210(2)
Iannis Xenakis, Psappha (1975)
210(1)
David Lang, Anvil Chorus (1991)
210(1)
Roger Reynolds, Watershed (1995)
211(1)
Four Pieces for the Author's "Setup #1"
211(1)
Nico Muhly, It's About Time (2004)
211(1)
Michael Early, Raingutter (2007)
212(1)
Marcos Baiter, Descarga (2006)
212(1)
Judd Greenstein, We Shall Be Turned (2006)
212(1)
Percussion Concerto
212(3)
James MacMillan, Veni, Veni Emmanuel (1992)
212(1)
Einojuhani Rautavaara, Incantations (2008)
213(1)
Steven Mackey, Micro-Concerto (1999)
214(1)
Orchestrating Native Sounds
215(2)
Appendix B Sample Setups 217(22)
Appendix C Extended Techniques 239(12)
Return to a "Normal" Method of Playing
239(1)
Manipulations of Timbre
239(2)
Striking Unusual Parts of an Instrument
241(1)
Unusual Use of Beaters
242(1)
Dead Stroke
242(1)
Beating Spot
243(1)
Bowing
244(1)
Friction Roll
244(1)
Scrape
244(1)
Prepared Instruments
245(1)
Pitch Bending
246(1)
Vibrato
247(1)
Adding Mass
248(1)
Sympathetic Resonance
248(1)
Clusters
249(1)
Harmonics
250(1)
Appendix D Pitch Specification 251(6)
Appendix E Dynamics 257(6)
Appendix F Register 263(4)
Appendix G Beaters 267(6)
Appendix H Percussion Family Tree 273(10)
Index 283
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.