Foreword to the First Edition |
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xiii | |
Foreword to the Second Edition |
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xv | |
Acknowledgments |
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xvii | |
About the Video Companion |
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xviii | |
Introduction |
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1 | (4) |
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How This Book Is Organized |
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1 | (2) |
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3 | (1) |
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Working with Percussionists |
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4 | (1) |
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4 | (1) |
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The Value of Not Reading This Book |
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4 | (1) |
Chapter 1 General Framework |
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5 | (24) |
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5 | (6) |
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Comparison of Family Relationships |
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6 | (5) |
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11 | (5) |
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The Pitches of Percussion |
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12 | (1) |
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The Validations and Limitations of Novelty |
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13 | (1) |
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Three Methods for Indeterminately Pitch Instruments |
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14 | (2) |
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The Written/Improv Divide |
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16 | (7) |
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Expanding the Color Palette (to Shrink the Setup) |
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19 | (4) |
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The Value of Improvised and Non-Notated Music |
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23 | (1) |
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23 | (6) |
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Write for People, Not Sounds |
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24 | (2) |
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Write What Is Wanted, Not What to Do |
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26 | (2) |
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Working with Percussionists |
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28 | (1) |
Chapter 2 General logistics |
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29 | (26) |
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Instrument Choice and Management |
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29 | (18) |
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Six Stories: Three Sad and Three Happy |
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29 | (3) |
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Why Use Fewer Instruments? |
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32 | (4) |
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36 | (5) |
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41 | (1) |
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41 | (1) |
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41 | (1) |
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Multiple Options for a Specified Instrument |
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42 | (1) |
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Instruments Percussionists May Not Play |
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42 | (1) |
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43 | (1) |
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44 | (1) |
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44 | (1) |
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45 | (1) |
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45 | (1) |
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Drum Corps and Marching Bands |
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45 | (1) |
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46 | (1) |
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Non-Percussionists Playing Percussion |
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47 | (1) |
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47 | (1) |
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47 | (8) |
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47 | (1) |
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How Fast Percussionists Can Play |
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48 | (2) |
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Unidiomatic Writing—Music That Often Requires Memorization |
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50 | (1) |
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51 | (1) |
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52 | (1) |
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52 | (1) |
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Physical Exertion and Shaking |
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53 | (1) |
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Working with Headphones or Headset Microphones |
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53 | (2) |
Chapter 3 General Notation |
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55 | (30) |
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Basics of Percussion Parts and Scores |
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55 | (9) |
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55 | (1) |
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56 | (1) |
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57 | (1) |
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58 | (1) |
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59 | (3) |
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62 | (1) |
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Percussion in the Conductor's Score |
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63 | (1) |
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64 | (1) |
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Designing a Notational System |
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64 | (7) |
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64 | (1) |
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65 | (2) |
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67 | (1) |
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Mixing Determinately and Indeterminately Pitched Instruments |
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67 | (1) |
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68 | (1) |
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What Goes Where on the Staff |
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68 | (1) |
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69 | (1) |
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Unspecified Instruments (Indeterminate Instrumentation) |
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70 | (1) |
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70 | (1) |
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Systems of Notation for Which There Is No Standard |
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71 | (1) |
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Return to a "Normal" Method of Playing |
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71 | (1) |
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Note Length, Articulation, and Phrasing |
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71 | (11) |
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71 | (1) |
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Exact or Inexact Note-Length Indications |
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72 | (2) |
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Muting (Muffling, Dampening) |
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74 | (1) |
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75 | (1) |
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75 | (2) |
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77 | (5) |
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Notations That Are Not Recommended |
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82 | (3) |
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82 | (1) |
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Altered Keyboard Notation (Timbre-Staff) |
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83 | (2) |
Chapter 4 Beaters |
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85 | (14) |
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To Indicate or Not to Indicate? |
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85 | (1) |
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85 | (1) |
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86 | (4) |
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90 | (1) |
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90 | (2) |
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Triangle Beaters and Knitting Needles |
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92 | (1) |
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92 | (2) |
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94 | (1) |
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Chime Hammers (Tubular Bell Hammers) |
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94 | (1) |
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95 | (1) |
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95 | (1) |
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95 | (1) |
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95 | (4) |
Chapter 5 Keyboard Percussion |
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99 | (18) |
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99 | (6) |
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Writing for Keyboard Percussion |
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105 | (5) |
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110 | (2) |
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112 | (1) |
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112 | (4) |
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116 | (1) |
Chapter 6 Drums |
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117 | (30) |
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118 | (2) |
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120 | (1) |
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120 | (1) |
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Playing on the Rim or Shell |
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121 | (1) |
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122 | (1) |
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123 | (1) |
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123 | (1) |
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123 | (1) |
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123 | (1) |
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124 | (1) |
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Idiomatic Writing for Drums |
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124 | (1) |
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125 | (6) |
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131 | (1) |
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Snare Drum, Field Drum, and Tenor Drum |
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132 | (2) |
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Concert Bass Drum and Pedal Bass Drum |
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134 | (1) |
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135 | (1) |
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136 | (1) |
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137 | (1) |
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138 | (1) |
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139 | (2) |
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141 | (1) |
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141 | (1) |
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142 | (5) |
Chapter 7 Metal |
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147 | (26) |
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147 | (6) |
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153 | (3) |
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156 | (1) |
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157 | (1) |
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158 | (1) |
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Temple Bowls and Mixing Bowls |
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159 | (1) |
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Brake Drums, Metal Pipes, Anvils, and Bell Plates |
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160 | (1) |
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161 | (1) |
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Junk Metal, Tin Cans, and Pots and Pans |
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162 | (1) |
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162 | (1) |
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163 | (1) |
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163 | (1) |
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163 | (1) |
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164 | (2) |
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166 | (1) |
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166 | (1) |
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Metal Wind Chimes, Mark Tree, and Bell Tree |
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166 | (4) |
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170 | (1) |
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170 | (3) |
Chapter 8 Wood |
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173 | (10) |
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Woodblocks, Templeblocks, and Log Drum |
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173 | (1) |
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174 | (1) |
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Wood Drums, Wooden Boxes, Cajon, and Mahler Hammer |
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175 | (1) |
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176 | (1) |
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177 | (1) |
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178 | (1) |
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178 | (1) |
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179 | (1) |
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180 | (1) |
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181 | (2) |
Chapter 9 Miscellaneous Instruments |
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183 | (12) |
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183 | (1) |
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183 | (1) |
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184 | (1) |
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184 | (1) |
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185 | (2) |
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187 | (1) |
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Rice Bowls and Flower Pots |
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187 | (1) |
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187 | (1) |
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187 | (1) |
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188 | (1) |
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189 | (1) |
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189 | (1) |
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190 | (1) |
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190 | (2) |
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192 | (1) |
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193 | (2) |
Appendix A Repertoire Analysis |
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195 | (22) |
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195 | (7) |
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Edgard Varese, Ionisation (1929-1931) |
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195 | (1) |
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John Cage, Constructions (1939-1942) |
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196 | (1) |
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Iannis Xenakis, Persephassa (1969) |
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197 | (1) |
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Steve Reich, Drumming (1970-1971) |
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198 | (1) |
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Steve Mackey, it Is Time (2010) |
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198 | (1) |
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John Luther Adams, Inuksuit (2009) |
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199 | (1) |
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Ryan Streber, Cold Pastoral (2004) |
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200 | (1) |
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Nico Muhly, Ta & Clap (2004) |
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201 | (1) |
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Adam Silverman, Naked and on Fire (2011) |
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201 | (1) |
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Paul Lansky, Travel Diary (2007) |
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202 | (1) |
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202 | (3) |
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202 | (1) |
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202 | (1) |
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203 | (1) |
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203 | (1) |
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203 | (1) |
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204 | (1) |
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204 | (1) |
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204 | (1) |
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204 | (1) |
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205 | (3) |
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John Adams, Chamber Symphony (1992) |
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205 | (1) |
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Stephan Hartke, Meanwhile (2007) |
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205 | (1) |
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Jacob Druckman, Come Round (1992) |
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206 | (1) |
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Charles Wuorinen, New York Notes (1982) |
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207 | (1) |
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Pierre Boulez, Sur Incises (1996/1998) |
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207 | (1) |
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208 | (1) |
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Michio Kitazume, Side by Side (1991) |
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208 | (1) |
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Elliott Carter, Eight Pieces for Four Timpani (1950/1966) |
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208 | (1) |
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Casey Cangelosi, Meditation No. 1 (2011) |
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208 | (1) |
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Percussion Solo—Keyboards |
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208 | (2) |
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Jacob Druckman, Reflections on the Nature of Water (1986) |
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208 | (1) |
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Paul Simon, Amulet (2008) |
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209 | (1) |
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Steve Mackey, See Ya Thursday (1992) |
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209 | (1) |
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Steve Swallow/Gary Burton, "I'm Your Pal" and "Hullo Bolinas" |
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209 | (1) |
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Donald Martino, Soliloquy (2003) |
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209 | (1) |
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Percussion Solo—Multi-Percussion |
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210 | (2) |
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Iannis Xenakis, Psappha (1975) |
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210 | (1) |
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David Lang, Anvil Chorus (1991) |
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210 | (1) |
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Roger Reynolds, Watershed (1995) |
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211 | (1) |
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Four Pieces for the Author's "Setup #1" |
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211 | (1) |
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Nico Muhly, It's About Time (2004) |
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211 | (1) |
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Michael Early, Raingutter (2007) |
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212 | (1) |
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Marcos Baiter, Descarga (2006) |
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212 | (1) |
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Judd Greenstein, We Shall Be Turned (2006) |
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212 | (1) |
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212 | (3) |
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James MacMillan, Veni, Veni Emmanuel (1992) |
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212 | (1) |
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Einojuhani Rautavaara, Incantations (2008) |
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213 | (1) |
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Steven Mackey, Micro-Concerto (1999) |
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214 | (1) |
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Orchestrating Native Sounds |
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|
215 | (2) |
Appendix B Sample Setups |
|
217 | (22) |
Appendix C Extended Techniques |
|
239 | (12) |
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Return to a "Normal" Method of Playing |
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|
239 | (1) |
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|
239 | (2) |
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Striking Unusual Parts of an Instrument |
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241 | (1) |
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242 | (1) |
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242 | (1) |
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243 | (1) |
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244 | (1) |
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244 | (1) |
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244 | (1) |
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245 | (1) |
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246 | (1) |
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247 | (1) |
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248 | (1) |
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248 | (1) |
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249 | (1) |
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|
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 | |