A Composer's Guide to Percussion by Chris Stock

A

CHRIS STOCK BBC N TIONAT ORCHESTRA oFw IFS.

PART

1

This guide is designed to provide information on the more common percussion instruments, and the different sounds that can be produced on them. Examples are given on how to write these effects and also how NOT to write for the instrument, as this shows a lack of knowledge on the subject and will undoubtedly produce disappointing results. Nothing annoys and disiltusions players more than poor writing for their instruments. Most can sight occasions where they have been faced with either impossible passages, poorly thought out effects, or lack of foresight into how the composition will work for a percussion section. All too often it is found that no thought has been given to a player having to change not only instruments but sticks, the composer only thinking of the sounds he/she wishes to hear at any one time. Many composers are afraid to ask if something is workable, for fear of showing ignorance. Consequently problems only surface too late, sometimes after publication. This is of course unsatisfactory for all concerned - composers not hearing what they have imagined, players failing to produce an accurate performance and having to 6get - by.' Conversely, players are all too quick to write-off composers for their lack of knowledge in the subject and ignore the opportunity of bringing difficulties to their attention, thus hopefully avoiding the same things occurring in future compositions.

In most instances, each instrument description is accompanied by information on how to simulate itts size or the sound it produces, to show composers that they do not have to have an instrument available to them, to write for it - as long as they are already aware of how it actually sounds 'in the flesh'.

INSTRUMENTS DEALT WITH IN PART

XYLOPHONE GLOCKENSPIEL

MARIMBA VIBRAPHONE CROTALES TUBULARBELLS (GLTSSANDO) (4 MALLET )

SNARE DRTJM TENOR DRUM

TOM - TOMS BASS DRUM

TIMPA}I

1

CYMBALS - Clashed, Suspended, Sizzle, Chinese, Hi-hat.

TAM- TAMS and GONGS. TAMBOURINE

TRIANGLE CASTAiYETS

BELL TREE And MARK TREE FLEXATONE LOG DRUMS RATCHET ROTOTOMS SLEIGH BELLS TEMPLE BLOCKS, WOOD BLOCKS.

WHIP WIND MACHINE

MULTI - PERCUSSION WRITING AND PERCUSSION SECTIONS (Orchestral and ensemble)

LATIN AMERICAN INSTRUMENTS.

THE XYLOPHONE MATERIAL Wooden bars RANGE Standard written ranges are either 3/z octzves (f - c), or 4 octaves (c -c).

g

The xylophone sounds ONE OCTAVE HIGI{ER THAN WRITTEN. Avoid writing at sounding pitch as this invariably leads to confusion, e.g.

A+ sorrF'bl^Jq Sar.rrrbtsa AT

P

rt=.r't

ek-

It can cause players a moment of doubt

and often leads to unnecessary errors. Simply transpose

all that you require down one octave thus:

STICK TYPES Unless otherwise directed players will use a pair of hard sticks made of plastic, wood, or a similar material. These produce a bright, short, penetrating sound which has little trouble cutting through orchestral texture, especially in the upper register. There is little difference between these stick types and therefore no direction is necessary to the player concerning them.

Notes below middte C tend to produce a more woody sound using the above sticlc types, rather than s strong pitched note. Playing in this area at louder dynamics is liable to damage the instrument. The alternative is to use a different stick type such as hard rubber, which goes some way to bringing out the tone of the bar. This will, of course, need to be matched by thinner scoring elsewhere if the effect is to be heard. ALWAYS REMEMBER TO LEAVE TIME FOR THE PLAYER TO CHANGE STICKS.

SOLO oT ENSEMBLE WRITING

Different stick types and hardnesses can material.

be very effective, as can

light scoring in orchestral

Effects such as glissandos will need to be played quite fast with softer sticks to produce any sound at all.

MALLET WRITING This is quite possible on the xylophone and is more effective for ' shock chords' rather than melodic lines, as it tends to be a more aggressive sound than the Xylophone normally produces.

4

GENERAL POINTS It must be remembered that the Xylophone is not a sustaining instrument and a passage such as the following will not actually sound as written, e.g. 1:

The actual sound produced will be

Obviously to write out passages like e.g. 2 would be counter - productive for both the composer and the player. E.g. I is preferable as it suggests shape, phrasing and possible ensemble.The only way for the Xylophone to produce something like e.g. I would be to play a ROLL on each written note. This is notated thus:

The ROLL is therefore the only way for the Xylophone to extend the length of any given note. It can be seen from the above that to write STACCATO or TENUTO markings is also unnecessary as they are not within the players'power to produce on the Xylophone. PHRASING marks are not written in Xylophone parts, phrasing being left up to the players, though it must be said that the Xylo is not the most musical of instruments DOUBLE ROLLS It is quite possible, when using 2 sticks, to roll with each stick on a different note. This can be written thus:

SIMULATION OF XYLQPHONE PARTS: Use the forefinger of each hand on the piano for parts requiring 2 sticks / mallets. Use the thumb and little finger of each hand for 4 stick / mallet writing.

EXAMPLES OF WRITING FOR XYLOPHONE WORTH STUDYING BRITTEN - Young persons guide to the orchestn

KODALY - Hary Janos PROKOFIEV - Symphonies end Ballets MESSIAEN - Oiseaux Exotiques VAUGHAN WILLIAMS - Sinfonia Antartica

PITFIELD - Sonata for Xylophone It can be seen from these examples that the Xylophone is particularly suited to short runs and arpeggio figures as well as individual notes to highlight melodies elsewhere.

THE GLOCKENSPIEL MATERIAL Metal bars RANGE 2Yz octaves. Larger instruments are now being made, but are not readily available.

These have ranges tp to 3% octaves and offer a pedal facility for damping notes, similar to the Vibraphone. Many professional orchestras now have access to these instruments. If you are in doubt as to the size of Glock available to you, WRITE FOR THE 2%OCTAVE MODEL. The written range is:__-a._ .g_

+

3YrOctave

2YzOctave

THE GLOCK SOUNDS 2 OCTAVES HIGHER THAN WRITTEN STICK TYPES Most players use the same sticks as ior the Xylophone, plastic or wood. Some, however, prefer to use BRASS STICKS for a more metallic sound, these need not be requested.

r more mellow sound with less sustain and cutting power. Thus they will not be heard unless used as a solo effect or with very light scoring.

HARD RUBBER sticks produce

With WOOD, PLASTIC or BRASS sticks the Glock has little trouble cutting through the orchestral texture.

3/4 MALLET

WRITING This

is quite possible, though it tends to be a bit of a jangte. e.g.

RESPHIGI - Pines if Rome

RIMSKY - KORSAKOV - Russian Easter Overture GENERAL POINTS The most effective range of the Gtock is the middle 1% octaves ( written middle c - I ), as it has the greatest sustain and quality of sound. The lower end of the instrument can become quite percussive while the upper end loses sustaining power and can appear quite brash. The Glock is a naturally sustaining instrument and experiences the opposite problems to the Xylophone. STACCATQ passages rarely work unless the player is given time to play only with one hand, so as to damp the notes with the other. TEIIIUTO For players, markings will only suggest an extra stress on a note, rather than a lengthening of it.

PHRASE MARKS are rarely wriffen.

FAST PASSAGES-will soon become a blur of sound due to the sustain. However used in orchestral tuttis this will not be a probtem as each new impact will cut through, the diminishing resonance being covered by the other instruments.- If a longer sustain is required, then a ROLL should be written.( See Xylophone). Again, it is quite possible to roll on two notes at once using two sticks.

GLISSANDOS work well on the Glock (See separate notes)

EXAMPLES OF ORCHESTRAL GLOCK PARTS DUKAS - Sorcerer's Apprentice STRAUSS - Don Juan DEDUSSY - La Mer

VAUGHAN WILLIAMS- Sinfonia Antartica

SIMULATION OF GLOCK PARTS 2 mallets - forefinger of both hands on the piano $ mallets - thumb and forefinger of both hands on the piano

THE MARIMBA MATERIAL Wooden barc RIANGE 4 octaves is the most readily availabte (c - c), however instruments of 4l@ - c),

l4@

- c) and 5 octaves (c - c) are becoming common. Most professional orchestras now use a 4Qoctave model.

s /q?/t+b/+ The Marimba SOUNDS AT PITCH. The largest instruments are used mainly for solo works, being far too large to be practical in a percussion section line - up.

STICK TYPES Specialist beaters are used on the Marimba similar to Vibraphone beaters.

These are wool covered. Various hardnesses are available. It is possible to produce a wide range of dynamics with most sticks, so it is only necessary to request a stick type if a particular effect is

required. The difference between them is not linked to volume produced, but clarity. Softer sticks have less of a contact sound than hard sticks. Unless otherwise directed players will choose to use an all - purpose stick. (Medium) IF YOU DO WANT A PARTICTJLAR STICK TYPE, REMEMBER TO LEAVE TIME FOR PLAYERS TO CHANGE BETWEEN PAIRS/SETS. HARD XYLOPHONE BEATERS are triOt USED on the Marimba for fear of cracking the bars which are thinner than Xylo bars. Such sticks would also lose the essential character of the

instrument GENERAL POINTS Due to the softer sticks used on the Marimba, it is not capable of cutting through heavy scoring as the Xylophone can. However, its dynamic range can be fully appreciated by using light scoring. It is also well suited to SOLO (especially 4 Mallet) material or small ensemble works. Its ability to provide either a Bass or a Treble part, or a combination of both, has led to its increased use over the last 10 - 15 yesns.

When writing solo material, composers should be aware of the more subtle nuances of the instrumenl There is a marked reduction in sustain of the bars as one moves from the BASS to the Treble. Notes ptayed one octave apart sound quite dilferent to notes played two octaves apart.

Effects such as playing with the STICK HANDLES rather than the heads are available to the composer (AS LONG AS TIME IS ALLOWED TO TITRN THE STICKS AROUIYD), as well as 'DEAD STICKING' where the stick head is left in contact with the wooden bars to stop resonance. The easiest way to notate these effects is to place an x over the relevant notes or * passages and add a footnote. Alternatively, place the x on the relevant note stem thus: J to show the exact notes on which the effect is required

It can

be seen that there is no substitute for working one- to-one with a player at some stage when as this is the only way that the instruments individual character can be

writing solo material, fully realised.

PHRASING is occasionally written in solo parts though it is unusual in orchestral parts. It is not essential unless a phrase is required that the printed music does not immediately suggest.

STACCATO is possible with DEAD - STICKING though it is not common, quality ofsound is lost to a degree.

TEI\ruTO

is more common to imply weight to a given note.

as by using this effect

ROLLS It is again necessary to use ROLLS to extend the sound of notes past their natural ability to sustain. ( See notes on Xylophone) MALLET WRITING The instrument is highly suited to this, because of its range, natural rosonance, and sound character. ( See separate notes on 4 Mallet writing)

4

EXAMPLES OF MARIMBA MUSIC TAKEIVtrTSU - Rain Tree

KEIBO ABE - Any compositions GORDON STOUT - Mexican Dances

CLM

MALABAR

-

Vistas ( C.S. Publications 01222 - 512787)

THE VIBRAPHONE MATERIAL Metal alloy

bars

RANGE 3 octaves written at pitch

STICK TYPES Like the Marimba the Vibraphone has its own specialised beaters, which are wool or yarn covered to bring out the tone of the alloy bars. Xylo beaters are rarely used as they would produce an unpitched metallic sound and would probably damage the bars. Likewise metal beaters are not used for fear of damaging the ilstrument. Vibe beaters are produced in varying hardnesses and like Marimba beaters are capable of a wide range of dynamics, the difference again being the amount of clarity obtained, softer sticks having less of a contact sound than harder sticks.

AGAIN ALLOW TIME TO CHANGE BETWEEN DIFFERING PAIRS OF STICKS.

It should be noted that the Vibraphone generally has trouble cutting through orchestral texture even with the hardest ofsticks and is therefore best suited to passages with reduced scoring. For this reason it has always been popular as a small ensemble instrument, especially jazz groups, with its sustaining power and individual colour. It is also more recently becoming popular as a solo instrument.

GENERAL POINTS The Vibraphone has a couple of notable differences to some of the other tuned percussion instruments. Firstly it has a built ' in motor which can be used , if desired, to produce a vibrato effect. Discs are rotated in the top ofthe resonators which close and open the column of air, producing this effect. The motor can usually be set at various speeds and a simple direction such as SLOW, MEDIUM or FAST will suffice. Needless to say, this should be preceded

by MOTOR ON. It is not practical to change the speed while playing, SO TIME MUST BE ALLOWED TO CHANGE FROM ONE SPEED TO ANOTHER Likewise time must be allowed to turn motors on and off.

The other notable feature of the instrument is that it has a damping pedal which works on the same principle as a Piano pedal. Vibes are naturally sustaining and if the pedal is continually depressed so as not to damp any notes, each new bar struck will blur in with the previous note.

This can be a useful effect if building up a chord, but not often desired when harmonies change.

It is only necessary to mark in pedal markings on solo works or if a particular effect is desired which would not immediately suggest itself to the player. The easiest pedal marking for the player to read is a continuous bracket underneath the required passage, thus: When writing for 4 mallets the pedal markings go under the lower stave even if no notes in the lower stave are present at that time. Printed staves are often so close together that to get all the required information in becomes a bit of a squeeze. In such cases it is preferable to leave a stave blank between written material for the sake of clarity, rather than try to jam everything in and hope the player can get by.

SPECIAL EFFECTS The most popular on the Vibes is the

use of a BOW, usually a Double Bass

bow, though this does not need to be specified. The effect is like that of playing a musical saw.

This is the only way a crescendo can be achieved on the instrument without playing a roll. It can be produced with the motor on or off. It is not practical to continually bow a note/bar as one would a violin string, so limit writing to single strokes of th6 bow.

The following points need to be remembered when writing 'WITH BOW'.

(l)

The effect has limited volume and therefore will only be heard in passages with light scoring.

(2)

Fast changes of notes are not possible due to the time it takes to produce notes, for the playing position to be reached and for the notes to speak The effect is therefore best suited to single notes used to highlight a melody in other instruments.

(3) Moving from the naturals to the sharps/flats takes longer than a passage on all naturals or all flats/sharps, as the bow has to be moved from one side ofthe instrument to the other and, of course, turned around.

(4) The bow needs rosin on it to work and this quickly works off on the edges of the notes.

Therefore, the longer the passage for the bow the less effective it becomes, resulting in notes failing to speak.

(5) It

is not practical to have a bow in either hand and to 'Doubte Stop', due to the pressure

required on the edge ofthe bars to produce the required quality ofsound.

(6) Allow plenty of time to change to and from the bow.

Another effect that has limited use is to play passages with the shaft of the stick /mallet. This can be achieved in two ways, either by turning the sticks around or by requesting that the player plays a passage with that part of the stick just below the head. The latter direction should be restricted to accidentals if possible, for ease of playing. Also the latter way is the only possible way of producing this effect when using 4 Mallets and should be used sparingly, preferably only to highlight slower passages and for single notes, not chords. This entire effect, whichever method is used (be it 2 or 4 Mallet) is very much an effect for solo or small ensemble works, rather than orchestral material, due to its limited dynamic capabilities.

The best way ofnotating this effect is by a * above the passage and a footnote at the base ofthe relevant page.

4 MALLET

WRITING The Vibraphone, like the marimba,

is highly suited to this due to the

individual colour, range and pedalling abilities to vary the amount of sustain. (

See separate

notes).

OTHER GENERAL POINTS FOR BOTH 2 AND 4 MALLET WRITING

PHRASING is generally not written, though it is occasionally found in solo writing.

STACCATO is quite possible on the Vibes through the player using the pedal. It is therefore quite straightforward in a single line melody such as:

Howeyer, it becomes much more complex ff writing for 4 Mallets and not wanting staccato in all parts at snrc. Writing such as the following should be avoided unless a player of high proficiency on the instrument is available to you. This should also be best suited to solo work for the desired effect to be achieved:

L-lllrl TENUTO markings again will only imply extra weight to a note

ROLLS Although the Vibes sustain wetl, ROLLS are often written to maintain volume on notes, as well as for colour.

SIMT]LATION OF VIBE PARTS 2 Mallet - forefinger of both hands on the Piano 4 Mallet - thumb and

little finger of both bands on the Piano

EXAMPLES OF VIBRAPHONE WRITING BERNSTEIN - West Side Story

VAUGHAN WILLIAMS - Sinfonia Antlrtica and Symphony No 8

BOIILEZ - Le Marteau sans Maitre CHRIS STOCK - Cross Sticks, for solo Vibraphone. ( C.S. Publications 01222 - 512787')

CROTALES (or ANTIQIIE CYMBALS) MATERIALS

Discs made of brass or bronze chromatically arranged

RANGE

Usually two octaves, but sold as 2 x one octave sets.

Written range is:

2

Crotales sound 2 octaves higher than written.

STICK TYPES They are usually played with Glock beaters and these do not need to be specified. For single notes such as in Debussy's L'Apres Midi d'un Faune, it is quite common to use two Crotates tuned to the same note and strike them together, though this becomes impractical if the composer desires a whole range of 'single notes'.

GENERAL POINT$ Discs range in size from approximately 2Yz" to 5'and as they are arranged chromatically it can be seen that 2 octaves stretch to approximately 5 feet in length.

Due to this physical distance that players need to cover to play across the whole range' plus the small striking area on the edge ofthe discs, very fast passages or passages with large leaps c4n pose great problems of accuracy. For the same reason 4 MALLET PLAYING IS NOT inlcrrcil?ApART FRoM IsoLATED cHoRDs ovER A SMALL coMPAss. (Remember tiat even the interval of a third at the lower end of the range can be 12 inches apart, the equivalent of a 7th on the Vibraphone!)

IF YOU SHOULD DESIRE A 4 MALLET CHORD OVER A SMALL COMPASS REMEMBER TO LEAVE TIME TO PICK I]P AI\D PUT DOWN THE EXTRA STICKS. The Crotales are probably the most resonant of the tuned percussion instruments and the most penetrating. This excessive resonance results in fast plssages soon becoming a blur ofsound as no damping mechanism is available on the majority of instruments, even at professional level.

Also due to the cutting power of the Crotales in even the thickest of orchestral texture and the distance that has to be covered to play across the whole renge' it should be remembered that TIIE FASTER THE PLAYER IS REQUIRED TO PLAY, THE LOT]DER THE PASSAGE W11L SOUND. This is purely a matter of momentum and applies to all tuned percussion instruments. As speed increases so does the minimum possible dynamic.

GLISSANDOS do not suit the instrument at all well, as the shape of the discs and the gaps inbetween, can easily deflect the sticks off the instrument. If they are to be written, be aware that whatever the start or finishing note, players will do the Gliss on the naturals"

ROLLS are particularly penetrating and should be used with care, possibly by employing softer sticks such as hard rubber or soft plastic.

BOWING It is also

possible to bow Crotales though it can be a slightly dangerous effect, as the discs tend to spin as the pressure of the bow is exerted and the bow slips off. It therefore becomes essential to hold the Crotale with one hand so it cannot spin and play with the bow in the other.

Not an ideal situation! Single notes are all that are possible this way and with plenty of time between notes to allow for preparing for each entry. Light scoring is also necessary for this effect to work

STACCATO

The same applies es for the Glockenspiel

TENUTO

These

PHRASING

This is not required on Crotale parts

will only imply extra weight to one note

SIMULATION OF CROTALE PARTS This is somewhat more diflicult than the other tuned percussion instruments due to the physical size of the sets of Crotales. The only real way to appreciate the size and scale of the problem is to draw a one octave set of discs on a piece of paper approximately 2%feet long and try out your ideas. Gradually reduce the size of the discs from 5 inches downwards. I realise that this sounds a bit 'Blue Peterish' but it will work! Either try passages with both forefingers or with two pencils acting as sticks.

EXAMPLES OF MUSIC F'OR CROTALES Many modern composers write for Crotales but it is well worth studying Debussy's Prelude L'Apres Midi du'n Faune to see the dramatic effect that can be achieved with such limited and careful use.

TT]BTILAR BELLS MATERIAL

Brass tubing of

1' or lYz" diameter, sometimes chrome plated.

BASS BELLS are made of 2" Brass tubing and are mostly unplated

In the U. IC The normal range is 1% octaves (c-f or c-g). Extensions of single bells down to f, and up to f# and g for a c -f set are manufactured. CHECK AVAILABILITY. BASS BELLS are available to extend down from middle c to e e sixth below, however this is not a continuous set due to their size and length and the frame necessary to support them. Normalty BASS BELLS are on individual stands or on a frame that will take up to 3 bells and these will have no damping mechanism.

RANGE

lYz octavesets have a foot operated pedal the same as the Vibraphone. It is not necessary to write pedallings unless a special effect is required, such as all notes blurring in together. In this r case use brackets below, the same as for the Vibes: - I

Written rsnge: BELL SETS

BASS BELLS

+

t

Tubes are always played with specialised hammers of leather or in more.recent years, nylon.

Other materials fail to bring out the fundamental note of the bells and indeed the character. not necessary to request these.

It is

It is possible to use Vibe

beaters for effect and indeed Xylo beaters are sometimes requested for a percussive effect, though with a great loss of tone resulting. Although these are hard they do not have sufficient weight to produce a large sound. Vibe beaters require very light scoring to work as an effect

Metal beaters are neyer used ss they will damage the bells, either by denting or cracking the thin chrome plate.

POINTS It needs to be remembered that Tubular bells bear only a passing resemblance to church bells ,which they are often supposed to represent However, unlike church bells they will not dominate ah orchestral tutti.

GENERAL

Tubes are best suited to single line melodies, chords built up with the use of the pedal, or single notes to punctuate material elsewhere. Chords built usually do not need pedal markings, just L.V. And a slur line to signify'let ring'. E.g.

If the effect of using

no pedal is required simply

write'No Ped'beneath the appropriate

passage.

4 MALLET PASSAGES It is not possible to hold 4 mallets at once, however it is possible to achieve a four note chord by turning the hammers sideways so as to cover 2 adjacent naturals or accidentals. It is NOT possible to cover one natural and one accidental, which are adjacent, with the same hammer. Simulate this effect on the Piano with the first two fingers on either hand as if the two fingers are stuck together. Volume does suffer quite dramatically when this effect is used.

Time must be allowed to turn the hammers to this new playing position and, of course, back again. Therefore a passage such as :

J=rro would be impossible, because of the speed of the position change required and accuracy would

suffer. You can easily experiment on the time required and how complex I passage would be' by using a pair of ordinary hammers and 'ghosting' potential psssages in the air.

GLISSAI\IDOS can be achieved on the naturals, but are not a common effect due to them not really being in keeping with the character of the instrument.

ROLLS likewise are not often requested for the same reason. They are written the same

as on

other tuned percussion.

STACCATO is possible with the aid of the pedat. Pedal markings need not be written for this effect.

TENUTO markings will only imply added weight to I note rather than length, due to their natural sustaining ability.

PHRASING is never written

REMEMBER that the !% octave set of bells and the Bass bells cannot form one continuous set due to the length ofthe Bass bells, players often having to stand on chairs to reach the top ofthe longer Bass bells. Even the single bell extensions for the 1% octave set are obviously longer than progressively those on the set, so therefore the playing spot on these bells is getting further from the floor as the notes descend the scale. This makes it very difficult to play passages which combine the set and more than one or two lower pitched bells.

EXAMPLES OF TUBULAR BELL PARTS: VAUGHAN WILLIAMS - Symphony No 8

TCHAIKOVSKY

- 1812 Overture

MESSHEN - Turangalila

THE GLISSANDO This is an effect where one stick is scraped up or down the tuned percussion instrument. It produces the same effect as a glissando on the Piano. Often a starting and finishing note are given. Generally they work better at a faster speed than at a slower one.

They are written by drawing a line between the starting and linishing note, thus:

cJ? VIBRAPHONE AND MARIMBA require very light scoring around them for this effect to be heard. These instruments especially, need the gliss to be quite fast for it to work, due to the type ofcovered stick (wool or yarn) used on these instruments.

As a guideline, the minimum speed for a one gctave gliss is approximatelyJ= gO, e.g. on

Marimba,

.l=Eo Bar

I will work,

but bar 2 needs the passage to be going a lot faster to work,

approximatelyJ=flZ. Remember that SPEED IS REQUIRED IN A GLISS TO PRODUCE VOLUME, NOT PRESSURE OF THE STICK ON THE INSTRUMENT. Try the above example on the piano and, hopefully, this will all become clear. Likewise, THE SLOWER YOU REQUIRE A GLISS TO BE PLAYED (because of tempo or its length) THE QUIETER IT WILL BE PRODUCED.

THE GLOCKENSPIEL with its natural resonance and hard sticks lends itself to glissando

writing.

LONG GLISSANDOS can be written for the Glock which 'wander about' the instrument. E.g.

Here the player will follow the graphic shape of the line. He or she will keep the stick moving to produce the gliss whatever the speed of the passage, as the line drawn is taken as a guide to the character of the lnusic to be produced. Therefore, the above example will work equally well at ao ana J:oo.

The line can,of course, go above qr below the final note, thus:

-l:

Whatever the note at the beginning and end of the gliss, players will always perform the gliss on the naturals, as obviously the stick will '.run' better here than on the sharps and flats. The naturals therefore produce a more continuous sound.

It

is possible to perform glisses with both sticks, though ,of course, there

as the sticks are

lifted to prepare for thp final note,

will be a gap at the end

e.g.

If you do not wish to have a final note struck, just draw a line as far up or down the stave wish the gliss to go, e.g.

as you

4

MALLET WRITING

This style of writing particularly suits the Marimba and the Vibraphone, because of their range and tone colour, especially in solo works. However, it is also found in Xylophone and Glockenspiel parts.

2 sticks are required to be held in either hand and manipulated by the player to

+

CHORDS

or ROTATIONAL PASSAGES

or a combination of both

THE MOST IMPORTANT POINTS TO REMEMBER WHEN WRITING FOR 4 MALLETS ARE THE RANGE OF THE INSTRUMENTS, ( see individual texts ) AI{D THE ABILITY OF TIIE PLAYER TO ALTER TI{E INTERVAL OF THE 2 STICKS IN EITHER HAND, AS THE

coMPoSERREQUESTS. The approach required when composing is similar to that required for the Piano, but NOT the same. Imagine that each pair of sticks is a hand, ( for material spread between the Bass and the Treble areas of the instrument ),e.g.

or that all four sticks are one hand on the piano, ( ifusing closely grouped chords ),

e.g.

SIMULATE ALL YOUR PASSAGES ON THE PIANO BY USING THE THUMB AND LITTLE FINGER OF EACH HAND TO REPRESENT TI{E FOUR STICKS. This will help you to appreciate the time taken to open and close the sticks for varying intervals' e.g.

€xeretii

For

Oru- ha.nd{,.rilL a s}rirsl

z1--

This way of simulating 4 mallet playing also makes it obvious that writing rotational work for small intervals ( seconds and thirds), poses greater problems for the players than say lifths and sixths. Do not fall into the trap oftrying out passages using all 5 lingers on the piano and expecting them therefore to work with 4 mallets. They probably won't.

Avoid writing more than one octave in any hand. This is a comfortable interval to play. Larger intervals are a bit of a stretch, with the added possibility of dropping one of the sticks. Again simulation on the Piano will remind you that something like the following will NOT work:

t\AgrMBA

r\=1o

Remember that you do not have to use atl4 mallets all the time and that melody lines can be written in with other material. Also, if you are writing for VIBRAPHONE' it is not always necessary or desirabte to use both the Bass and Treble clefs. For example the following is easier to read all in the Treble clef, although it uses notes in the Bass clef.

I r-r

tu

c.(z

lower 4 Mallet writing for the MARIMBA is usualty written across the two staves due to the middle F below the below notes available to the composer. However, if the music does not extend C the same comments as above can apply.

In 4 malet writing composers will often show how they have envisaged the music will be played' ( i.e. which stick will ptay which note), by the layout of the music. This is often helpful though not necessary. It can sometimes make the material easier to read' e'g'

b If you are in doubt about whether a passage will work or not' the best way to find out is to ask a player. They are often only too gtad to help, rather than be landed with a load of unplayable passages at the first rehearsal!

EXAMPLES OF 4 MALLET WRITING CHRIS STOCK.

Cross Sticks

CLIVE MALABAR.

Vistas

SNARE DRT]M OR SIDE DRT]M These come in 3 main sizes. The commonest is simply known as the SNARE DRUM and is approximately 6" deep producing a short medium - pitched sound when struclc

The smallest drum is the PICCOLO SNARE DRUM, @icc S.D.), which produces a higher pitched sound having a thinner shell ( approximately 3' ) and often a smaller circumferenee than the standard S.D. The DEEp SNARE DRUM has a shell approximately used by marching bands.

12'

deep and is generally the sort of drum

All three drums are made of wood or metal, having plastic heads and, unless otherwise directed' will be played with the snares on. The SNARES are thin strips of wire, gut, or cable, stretched across the bottom head of the drum. They producetheBazz, of the drum.

After your initial request for a particular drum, you can use S.D., or PICC.S. D.' or DEEP S. D. rather than write it out in full every time. If the part is only for one Snare Drum, you do not need to re- specify the type of drum. The above is only for parts where the player is playing more than one instrument and is therefore a reminder as to which instrument is being used at that time.

Should you not want the snares on, write SNARES OFF above where you don't want them' followed by SNARES ON where you want to go back to the normal method of playing.

REMEMBER TO ALLOW TIME TO TURN THE SNARES ON AND OFF, e.g. Passages such the following are not practical on one drum.

as

ScgAP"l You could, of course, use two drums, one with snares on and one with snares off. Bartok was particularly fond of this idea. The only problem with it is that the snares on the drum with .Snares On' invariably rattle when the'snares Ofl drum is struclc There seems to be no way to avoid this if the drums ere close together, i.e. played by one player. The alternative is to have separate players on the drums and place them as far apart as possible.

S.D.'s can be written on any line of the stave, ( the easier to read the better) and need no clef. If writing for more than one drum ( i.e. snares on and snares off) or more than one drum type (i.e. Picc. And Deep) played by one player, space them far enough apart to leave no doubt in the player's mind which is which.

Pr.. S,b.

s.b.

Spkl|E oat spaegs *f

.s.b. s.b

LEl

.

TYPES

The snare drum has its own specialised sticks made of wood and these need not be requested, unless you are changing back from a different stick type. Other stick types can be requested and should be denoted as WITH TIMPANI STICKS or WITH BRUSHES.

STICK

TIMPANI STICKS produce a muffled sound cutting out the contact sound of the usual wood sticks. They are best suited to writing for solo or small ensemble, where the difference between them and wooden sticks will be most noticeable, They are more effective with 'Snares ofP, producing a dry'Tom tom ' sound.

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BRUSI{ES

consist of a handle plus a fan shaped collection of thin metal wires or plastic strips.

They look vaguely like:

and produce a softer sound when struck on the drum head. They can also be scraped aeross the head to produce a sort of swish, very popular in Jau, music. ROLLS written for BRUSHES are sometimes played this way, though only at quieter dynamics. Brushes are sometimes insubstantial and cannot produce very loud dynamics. They are best written for mf or below.

They are NOT SUITABLE for PLAYING ON TIIE RIM. If you particularly desire the swish effect mentioned earlier, drawn^*over the note you wish the effect to occur on, add an * on the first occasion it is used and add a footnote. E.g.

ea FOOTNOTE (*) This symbol * represents the brush being scraped in a circular motion around the drumhead.

GRACENOTESANDROLLS z I The names given are not importsnt. The flam ! o'.

The drag f, I -f 4 Stroke Ruff .F! J In all the Grace Notes are played before the beat.

You can SIMULATE these by thinking of your forefinger as the crotchet beat and preceding it quickly by the adjacent finger ( for the Flam), by two fingers ( for the Drag) and preceding these by the little finger (for the 4 Stroke Ruff).

It can be seen that the faster a passage is required

to be played, the less time there is to 'get'in' grace notes, therefore simpler ones need to be written. (i.e. Flam as opposed to 4 Stroke Ruff) e.g.

,\=tLe

I rm !.W r.W:-l il I n-m n,En nmn.] is

.\ = tzo

fairly reasonable to play, but:

ll

becomes a lot more difficult, often resulting in the loss of the rhythmic drive as the player tries to cope with the Ruffs. This obviously is not desirable for the composer or t$e player. .The second version becomes easier again as the speed of the crotchet gets slower Le.rF 90, or PROKOFIEV was a particularly fine writer of S.D. parts involving Grace Notes. Many are

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technically demanding, yet atl are quite possible, e.g. Lt Kije and Syryhony No 5. produce a short crisp note when struclc It is not possibte to lengthen or shorten this, so STACCATO oTTENUTO need not be written. The only way to sustain the sound of the drum is to request a ROLL. This can be written in two ways:

ROLL All Snare Drums

A. ,xtuu.^.* oI

or

+

o

of which the latter is preferable, as you don't need to look away from the note at all. Make sure the note stem is crossed 3 times. Quavers and semiquavers.only require 2 crosses to denote a roll.

J,o a"oot"rfl"no fto a"not"ffi"rntead to confusion so it is always better to write as you want them, rather than use this form of shorthand. rhythms out exactly

ROLLS LASTING MORE THAN ONE BAR need to be tied together thus,or players will make a new start to the roll at the beginning ofeach bar: OR.:

The benefit of rolls is obviously to fill in space and to sustain the sound of the drum. If you look

The grace notes in the second bar will nbed to be played in the quaver rest so that the crotchet of the 2nd bar arrives on the beat. E.g. I is generally viewed as bad writing by players.

SIMULATION It is possible to simulate the S.D. ROLL by quickly tapping your fingers l+2 ( or 2+l) of one hand, followed by 1+2 ( or 2+1) of the other hand. Tap any rhythms for S.D. between rolls, with one finger of either hand.

SNARE DRUM EFFECTS

RIM SHOTS The wooden drumstick hits the rim and the drumhead at the same time, resulting in a loud pistol shot type of sound. This effect should be restricted to single notes. Write an x over the note or on the stem where the effect is desired, plus RIM SHOT over the first time it appearrs. Reduce this to RS. on all other occasions. The other way of producing this effect is to hold one stick across the drumhead so that it is in contact with both the rim and the head and then ptay this stick with the other stick This way you can produce rim shots as fast as one hand can play. This effect is however best used sparingly, so as to give it more drama. (: S.

lar -l

PLAYING ON THE RIM. This produces a metallic click with limited dynamics. Write ON notes with x heads' e.g.

RIM above and

ov

krrl' By using this differing note - head you can combine rim and drumhead notes in the same passage easily. However, remember the limited dynamics of the rim sound. Ravel uses the rim in his Piano Concerto in G, though he uses solid notes rather than r's.

PLAYING AT THE EDGE ORTHE MIDDLE OF THE DRUM. This effect is usually limited to solo, small ensemble, or lightly scored material, due to the differences in tone produced, being very subtle and most noticeable at lesser dynamics. It is also more noticeable where no snares are being used. Bartok again was quite experimental in this area. Place notes for the edge and middte on different places on the stave for ease of reading.

Write above and below the stave which note represents which place on the drum.

PLAYING THE STICKS TOGETIIER This produces a woody sound, with limited dynamics.

Use any notation and add a worded direction above or a footnote. Again Ravel uses this effect in his Piano Concerto for the Left Hand EXAMPLES OF S.D. WRITING Anything by Prokofiev

RIMSKY - KORSAKOV Scheherazade Sonata for two Pianos and Percussion BARTOK Clarinet Concerto NIELSEN

n.r.

+

-

TENOR DRT'M The Tenor Drum (T.D.) is a deep drum played like the Snare Drum. It has a drumhead of between 14 and 18 inches across and is usually 12 inches - plus in depth. The head can be made of plastic or occasionalty calfskin. The shell of the drum can be made of metal or wood as can the rims. Here it differs from the Snare Drum as, though old Snare drums had wooden rims' it is very rare to find one now. Wooden rimmed Tenor Drums continue to be made and therefore requests to play ON THE RIM may well produce quite different sounds on the Snare and Tenor

Drum.

In the U.K. Tenor Drums have no snrres and are therefore often requested instead of 'Snare Drum with snares olP

.

6muddier' Material written for the T.D. is often less complex than for the Snare Drum due to the sound produced. However all the text provided on the Snare Drum is true for the Tenor Drum.

It should be noted though that Brushes are rarely used as are Rim shots. same player or not, place the pitched sound' e.g. its deeper to reflect S.D. the than Tenor Drum lower on the stave

If writing for the T.D. and any variety of S.D., whether for the

.s.b.

ub.

The Tenor Drum does not require a clef. It is generally more resonant than the Snare this is not required and a short dry sound is, direct that it should be DAMPED.

Drum.

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TOM - TOMS These are single or double headed drums, which come in a range of sizes from smaller high pitched drums, to larger lower pitched drums. They have NO SNARES. The smallest drums stilt tend to sound lower than a pair of Bongos, so quite often composers will add a pair of Bongos to the top end of a group of Tom - Toms. In this case they would generally be played by one player as a multi - percussion part. (i.e. a percussion part using more than one percussion instrument

type).

Although Tom - toms produce different pitches, they are not generally pitched to a definite note as say the Timpani are. If composers decide to write a definite pitch for Toms, players will often substitute Roto - toms. However these often prove unsatisfactory, so avoid this problem by not expecting to achieve a definite pitch.

Toms can range in size from 16" down to approximately 6", so it is desirable to limit the number being used to 5 maximum, plus Bongos if desired, so that the distance between the top and the bottom drum is not too great. More than this could cause players problems of both reaching the instruments and seeing the music.

Toms can be written anywhere on the stave ( they require no clef), however it is best to place notes at least a space apart so that it is easy to see which line refers to which drum, e.g.

rather than

5

:

-tans Bongos can then be added if desired, on the top,

e.g,.

-

if using

5 Toms and a pair of Bongos:

..3or.joS

5 for.S Needless to say,

if using

less than 5 Toms, place everything in the easiest place

for

ease of reading.

Composers also quite often desire the sound of a Bass Drum to be included in their Tom - tom line up. Place this at the bottom of the stave i.e. lower than the lower Tom. Be aware that if the Bass Drum becomes part of the multi - percussion line - up like this and is to be played by one player, it will have to be played with whatever sticks the player is using for the Toms. This often results in a loss ofthe usually deep characteristic sound ofthe drum as the harder sticks bring out the higher harmonics. If you do not want to lose this deeper sound of the Bass Drum, remove it froni the multi line -up and give the part to another player.

STICKS Sticks requested are usually either HARD, such as Snare Drum or Xylophone beaters, or SOFT, such as Vibraphone beaters. BRUSHES do not produce a good sound and are rarely used. For SOLO WRITING or VERY LIGHT SCORING, players are occasionally requested to play WITH FINGERS. This effect has a VERY limited dynamic range.

GENERAL WRITING most of the written material on the Snare Drum remains true for the Toms - except, ofcourse, all that concerning the snares.

Note that 5 Tom - toms may sound quite different in pitch, but the RIMS of the drums tend to sound very similar in pitch. It is more sensible therefore to only request the RIM effect on one drum.

ROLLS can be written across two drums thus:

lffo*t

clz.

The main thing to remember concerning writing for Tom - toms, with or without Bongos or Bass Drum at either end of the line - up, is the physical problem of getting around larger numbers of drums. ( Bass Drums are often up to 40 in size and would need to be laid fairly flat to become part ofthe set - up).

SIMULATION Lay out

a similar number of cushions or even A3 pieces of paper on the floor to represent the required number of drums. Then see if your patterns work, by playing these objects with your hands. Arrange them in a semicircle around you with the larger low drums to your left and the higher drums to your right. e.g.

8o...tq 95

voe 4,or

6t -I

k,grr

fopr

.*A

ltd

WHEN USING BONGOS IN A MULTI - PERCUSSION LINE UP, WRITE FOR THEM AS IF THEY WERE SMALL TOM: TOMS. TI{EY WILL OBVIOUSLY BE PLAYED WITH THE SAME STICKS AS TI{E TOMS.

BASS DRIIM ( B.D.) The Bass Drum is a large drum with a wood shell. It has plastic or animal skin heads. Some drums have only one head and these are known as GONG DRUMS. ( Do not expect a significant difference in sound between Bass Drums and Gong Drums ).

Bass Drums are mounted on a frame or stand and some drums have a swivel mechanism so that the drums can be tilted, or even laid flat. This is often essential if incorporating them into a multi - percussion set -up. It is not necessary to request that the drum be tilted. Players will automatically do this if the piece necessitates iL

Other Bass Drum types available are the KIT DRUM - a smaller drum which rests on the floor and is played with a foot pedal, often useful in multi - percussion pieces. ( This drum comes from the drum kit); TIIE MARCHING BASS DRUM - an approximately 28" two headed drum with a shell width of approximately 12". This drum is played in the upright position and is rarely used in the orchestra, other than to represent that which it is designed forg a marching band.

The Bass Drum needs no clef and is often written low down, to represent it's deep sound. If written on a part with cymbals, these should always be written above it' thus: -

eYr^l B .b.

STICK TYPES Mostly the Bass Drum is played with it's own specialised sticks. These are felt covered and are of various hardnesses. Players will automatically choose the hardness that best suits the written passage, so you do not need to specify this. Alternative sticks used are: WOOD STICKS, which produce a definite contact sound and a loss of the depth of the drum; VIBRAPHONE BEATERS, often used if the Bass Drum is in a multi - percussion set - up, but rarely otherwise, because they fail to bring out the essential character of the drum, ( you get the clarity of a wood stick but without a strong contact noise ); and TIMPANI STICKS which should be avoided as they do not have sufficient weight to bring out the tone of the drum. To write for Timpani beaters generally shows a lack of knowledge of the weight of stick required to produce a good sound on the Bass Drum. The contact sound from these sticks is no different to that produced by ordinary Bass Drum beaters, so there is no advsntsge writing for them.

Occasionally composers write for SNARE DRt M STICKS. These produce the same contact sound as wood sticks, but again do not have the weight to bring out the character of the Drum.

Players witl often play with the heavier wood sticks if Snare Drum sticks are requested, so as to produce a good sound"

REMEMBER, AFTER USING AI\TY T'NUSUAL STICK TO WRITE ORDINARY STICKS WHEN YOU WISH THE PLAYER TO RETTJRN TO THE USUAL FELT - TYPE STICKS. ALSO REMEMBER TO LEAVE TIME FOR PLAYERS TO CHANGE STICKS. It wiII taKe approximately 5 seconds to change Bass Drum beaters from playing position, change, and back again to playing position.

Composers sometimes ask for a Felt Beater in one hand and a Wood Beater in the other. This is quite possible. ( HOLST - Perfect Fool ) The other effect used on the Bass Drum is to play with a stick called the RUTE on the shell of the drum. This is an effect used a lot by Mahler. The Rute is a collection of twigs, or a bamboo stick split into a number of tongues. The sound produced is a combination of the twigs / tongues slapping together, as well as the impact of all of them hitting the drum shell. It can be requested for the Rute to hit the drum head, though it seems to be less effective. Again, it can be used in two hands, or combined with a normal stick. In this case it is normal for the stick to play the accented beats and the Rute the accompanying beats.

STRAVINSKY - Rite of Spring EXAMPLES OF BASS DRUM WRITING: BRITTEN Four Sea Interludes MAHLER - Symphony No 3

-

TIMPAI\I There are two different types of drums available, HAND TUNED or PEDAL TIMPAI\I. ( The latter used to be known as Machine Timpani ). You do not need to specify these varieties on your score, just write Timpani. Both types will have heads made of plastic or calfskin.

HAND TUNED DRUMS Generally the sound quality of these drums is poorer than that of the pedal variety, due to the construction materials. If you find that these drums are all that are available to you, you will need to take note of the following points. The drawbaclsfrom the composers point of view are that they take considerably longer to re - tune from one note to another, so certain passages are simply not possible on them. They are also not capable of producing the glissando effect. Drum sizes are also more limited.

The ranges ofthe drums are:

15.

2s'

r' -r,l 4-& l-z_ It is preferable to leave AT LEAST 30 SECONDS TO TUNE ONE DRUM the interval of a second or thir$and longer if the interval is greater. Obviously, the more time offered to a player to alter the pitch, the more likelihood of an accurate result, especially if the player is

3o"

lB"

inexperienced.

Text on stick - types and general points are to be fqund in the Pedal Timpani section.

PEDALTIMPANI Again these come in a range of sizes which differ depending on the manufacturer. You do not need to specify sizes. Players will sort this out themselves, depending on the drums available to them. However, you must be aware of the ranges of the different sizes, which are:

3A"

3ro"63lz1 "

23" or 2-6 "

15 " cr lJr

'lcccla { o?lL. ot

Also note that not all the notes in these ranges will be of good quality. Generally the lowest tone of each drum will produce an inferior quality note and sometimes the lower 2 tones on the

smaller 28"r25" and 22%'rdrums.

4 drums are seen as being the standard set for the symphony orchestra, the fifth, the Piccolo Drum, being added as required. CHECK TIIE AVAILABILITY OF PICCOLO DRUMS.

Compositions do not need to use this many drums. Many classical pieces use only 2 drums tuned to Tonic and Dominant and are most effective. Timpani development has however made many more options available to the composer.

Using the above ranges, it can be seen that it is quite possible to write for 4 drums by simply picking notes from within the given ranges, e.g. E A D F, ( low to high drums ). Obviously the notes you pick will be those which suite the tonality of your composition.

It is often helpful, but not necessary, to write at the start of the Timp part the starting notes of each drum, so that players can see how you have envisaged the part A simple grid such as the following can be used. For example, for E A D F

Draw this to the left of the printed page.

+

2o"

On Pedal Timps, notes are tuned with the aid of the pedal, therefore note changes can be a lot quicker than with Hand tuned drums. In the hands of an accomplished player it is quite possible to tune the drums as they are played. Howeyer, remember that players have only 2 legs (!!) and can therefore only be attending to two drums at any one time. Also the physical distance between the pedals of the outside drums in a set oI 4 (32 & 25 ), make it impractical to reach and pedal both at the same time. Make sure therefore that any intricate tuning passages require drums that are ADJACENT to be re - tuned. The following passage is possible, though it poses some

difficulty: ( Possble drum combinations are

eV 3r"

3or ,.l. 1,S.

at" 3O,' 3-,,

32.,,

Again this passage would require an accomplished player to produce a good result. Such intricate passages are best kept short so that players do not lose track ofthe settings oftheir drums. A good example of the'BASS LINE' capabilities of the Timps can be seen in Bartok's Concerto for Orchestra ( 4th movt), where 4 drums would probably be used, though different players choose to pedal 2 or 3 drums during the passage.

You will notice in the above written example, that most of the notes are altering by a tone, the largest change of interval being allowed a bit more time to be executed.

Pedal tuning makes it possible to produce a GLISSAI\IDO on a drum. This can either be a single struck note, or take place during a ROLL. Glisses work better on Timps if they are ascending in pitch. Descending glisses tend to lose volume rapidly as the tension of the drumhead is released.

A gliss can only go within the range of the drun being strucko i.e. the following will not work:

as no one drum has this range, However, if a rolt is edded, players could gliss across 2 drums, 30'& 28n, playing the finat note on a 2S"drurn.

Again BARTOK was fond of the glissando. ( See Music for Strings, Percussion and Celeste).

STICK TYPES Unless otherwise directed, players will use FELT COVERED STICKS of varying hardnesses to suite the music as they see fiL It is not necessary to request these, unless changing back from a different stick type. The alternative is to use WOOD STICKS, which gives a stronger contact sound and is therefore more percussive than actually being louder.

Some composers request SNARE DRUM STICKS to achieve a snare drum roll an the Timpani" This should ONLY be requested at lesser dynamics ( pp - mp ), or damle to the heads will resutt.

The reason for using this effect is that the Timp roll and the Snare Drum roll differ. The Timpani roll is made up of single beats ( i.e. forefinger of each hand alternatively on a table), while the snare roll is made up of double strokes, ( see Snare Drum text ).

ALWAYS ALLOW TIME TO CHANGE TO AIYD FROM DIFFERING STICK TYPES. IF YOU DO NOT REQUIRE A DOUBLE STROKE ROLL WHEN WRTTTNG FOR WOOD STICKS, DO NOT WRITE FOR SNARE DRUM STICKS.

It

is quite possible to play with one felt stick and one wood stick, though do not write any rolls in such a passage.

GENERAL POINTS Timpani produce no resonance in the middle. DO NOT request that players play here, as this shows a distinct lack of knowledge of the drums and their capabilities.

Timpani are capable of a wide range of dynamics and have no trouble cutting through orchestral texture.

STACCATO Drums have a natural resonance which can be cut short by stopping the head ringing using the non - playing hand. This way STACCATO playing is possible for slower passages, e.g.

A passage such as

.l

:

= loo

would require both hands to play and the only way to achieve STACCATO would be to place cloths on the heads and use hard sticks. This wiJl go some way to producing the effect, but will not produce the same result as Staccato on a Violin or Bassoon.

ROLLS

2

To extend the drum's natural resonance, write a ron - f.Quavers and semi - quavers require only 2 lines across the note - stem. Rolls can be played across 2 drums, thus:

TENUTO markings will only imply added weight to a given note.

PHRASING is not written on Timpani parts.

The biggest problem for composers to come to terms with, is the physical size of the drums and to understand that it takes some time to move from, for instance, the bottom drum to the top drum.

A passage such

as:

.1=,zn

q

I

E

++

++

is not feasible.

SIMULATION Simulate all your material by using cushions or pillows on the floor arranged around you. The 2 outside 'drums' should be on either side of you and the others spaced evenly between them in a semi - circle,

thus:

llutrc

@@ Prxc&

@

They should ell be at arms length from your body. This way you will find out if passages are possible. using Timps in MULTI- PERCUSSION set -up, avoid using the Snare drum with SNARES

If

ON, as they will rattle every time a Timp is struck.

IF IN ANY DOUBT CONCERNING THE FEASIBILITY OF YOUR IDEAS, DO NOT HESITATE TO ASK A TIMPANIST. EXAMPLES OF TIMPANI WRITING WORTH FT]RTHER STT]DY BERLIOZ BEETHOVEN - Symphony No 9 Symphonie Fantastique HOLST. The Planets MAHLER Any Symphony BARTOK Concerto for Orchestra and Music for Strings, Percussion and Celeste STRAVINSKY - Rite of Spring