WHAT COMPOSERS RARELY INCLUDE IN THE PERCUSSION PARTS: William Jastrow ([email protected]) Thursday, January 24 ± 2:00-­3:15 p.m. Musical interpretation of percussion notation requires the percussionist and the conductor to combine technical knowledge of the instruments and an understanding of percussion orchestration practice with an imaginative approach to how the note symbols on the page could and/or should sound. Of all the instruments in the orchestra, WKH³V\VWHPV´RISHUFXVVLRQQRWDWLRQ
are the least standardized and often the most imprecise. Only on occasion do composers provide detailed information concerning instrument size, drum tuning, or mallet selection, and frequently percussion parts contain inconsistencies or errors when compared to string and wind parts, particularly in regards to articulation, rolls, phrasing, and resonance length. With the aim of fostering the musical, technical, and aural skills needed to create percussion performances that artistically enhance a composition and provide student percussionists with rewarding musical experiences, this session reviewed 12 categories of percussion scoring and offered suggestions to assist conductors with interpreting, enhancing, and rehearsing concert band or orchestral percussion parts. I. Percussion Imagination a.
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Creating a mental-­aural picture of how a sound could be used in an artistic setting 'HYHORSLQJD³3HUFXVVLRQ9RFDEXODU\´ Creating a mental-­aural interpretation of a how a given notation symbol or an individual percussion part contributes to a composition as a whole 12 Categories of Percussion Scoring: Contemporary Percussion by Reginald Smith Brindle a.
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Percussion as Melody
Percussion in Klangfarbenmelodie
Percussion as Harmony
Percussion in a Harmony-obscuring role
Percussion as Counterpoint
Percussion as Orchestral Color
Percussion as a Fusing Factor in Orchestration
Percussion as Dynamic Reinforcement
Percussion Ostinatos
Percussion as a 4th Orchestral Dimension
Percussion as Natural Sound Effects
Percussion as Exotic & Folk-Lore Effects
III.Percussion Tone Production: ,W¶V$OO$ERXW7RQHColors. a.
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What You Strike (Instrument selection & tuning) What You Strike With (Sticks, mallets & beaters) Where You Strike (Playing areas) How You Strike (Type and velocity of stroke & sticking) What Is Missing & What Is Confusing? Interpretation & Performance of Percussion Notation a.
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Equipment, set-­up/part assignments & tuning Sticks, mallets & beaters Stickings (snare drum, timpani, keyboard percussion) Timpani & keyboard percussion pitch ranges & octave transpositions Note length Muffling, dampening & articulation markings Tied note values Roll styles & releases Phrasing & contour shaping Cues for extended repeats or multi-­measure rests Orchestral transcription parts Scoring enhancements (12 Categories of Percussion Scoring) Disclaimer: This session did not provide any guaranteed methods for assuring that members of the percussion section actually have their music. 12 CATEGORIES OF PERCUSSION SCORING Contemporary Percussion Reginald Smith Brindle Percussion as Melody: Keyboard instruments are used for solo melody or to double melodies played by other instruments. Examples: Estampie by Vaclav Nelhybel, La Fiesta Mexicana, Mvt. III by H. Owen Reed, Armenian Dances, Part I by Alfred Reed, Rocky Point Holiday by Ron Nelson, Gum-­Suckers March by Percy Grainger, &KLOGUHQ¶V0DUFK by Percy Grainger. Percussion as Klangfarbenmelodie: Definite or indefinite pitch percussion instruments are used to create a melody of tone colors. Examples: Sketches On a Tudor Psalm by Fisher Tull, Concertino for Percussion and Band by Clifton Williams, Variations On A Korean Folk Song by John Barnes Chance. Percussion as Harmony: Timpani and/or keyboard instruments are used to create or support harmonic textures. Examples: Incantation and Dance by John Barnes Chance, Aegean Festival Overture by Andreas Makris, Russian Christmas Music by Alfred Reed, Fantasia in G by Timothy Mahr, Antithigram by Jack Stamp, Gum-­Suckers March by Percy Grainger. Percussion in a Harmony-­obscuring Role: Definite or indefinite pitch instruments are used to obscure string/wind harmonies or to create discord with string/wind harmonies. Examples: Prologue and Dance by Elliott del Borgo, Symphony No. 1 by Daniel Bukvich, Symphony for Winds and Percussion, Mvt. I by Joseph Downing, Sharakan by Anthony LaBounty. Percussion as Counterpoint: Percussion instruments are used to create or outline contrapuntal textures. Examples: Variations On a Korean Folk Song by John Barnes Chance, La Fiesta Mexicana, Mvt. III by H. Owen Reed, Emperata Overture by Claude T. Smith. . Percussion as Orchestral Color: Percussion instruments are used to 1) establish a single tone color, 2) create a succession of changing colors, or 3) superimpose one tone color on another. Examples: Sketches On a Tudor Psalm by Fisher Tull, Symphonic Triptych by James Curnow, Sinfonietta by Ingolf Dahl, Fiesta del Pacifico by Roger Nixon, Orientales by Thomas Doss. Percussion as a Fusing Factor in Orchestration: Percussion instruments are used to provide a continuity of sound between sections of music. Examples: Lincolnshire Posy, Mvt. II by Percy Grainger, Serenade and Dance by Claude T. Smith, Chorale and Shaker Dance by John Zdechlik, Partita for Band by James Curnow, Orientales by Thomas Doss. Percussion as Dynamic Reinforcement: Traditional use of percussion instruments for dynamic support and accentuation. Examples: Jericho Rhapsody by Morton Gould, La Fiesta Mexicana by H. Owen Reed, Sketches On a Tudor Psalm by Fisher Tull, Fantasia in G by Timothy Mahr, Fiesta del Pacifico by Roger Nixon. Percussion Ostinatos: Definite and/or indefinite pitch instruments perform repeated rhythmic patterns to create a rhythmic foundation and timbral metronome. Examples: Incantation and Dance by John Barnes Chance, Prologue and Dance by Elliott del Borgo, Symphonic Dance No. 3 by Clifton Williams, La Fiesta Mexicana, Mvts. I & III by H. Owen Reed, Solitary Dancer by Warren Benson, Chant & Jubilo by W. Francis McBeth. 3HUFXVVLRQDVD)RXUWK³2UFKHVWUDO´'LPHQVLRQThe role of the percussion family is one equal to that of the strings, woodwinds or brass; to function independently of, in contrast with, or as part of other instrumental colors. Examples: Concertino for Percussion and Band by Clifton Williams, Music for Prague 1968 by Karel Husa, Symphony No. 6 by Vincent Persichetti, Sketches On a Tudor Psalm by Fisher Tull, Symphony No. 1 by Daniel Bukvich, Antithigram by Jack Stamp, Blue Shades by Frank Ticheli. Natural Sound Effects: Sound effect instruments such as anvil, sleigh bells, chains, bulb horn, marching PDFKLQH RU VODSVWLFN DUH XVHG WR LPLWDWH UHDOLVWLF ³HYHU\GD\´ VRXQGV ([DPSOHV Symphonic Songs for Band by Robert Russell Bennett, Second Suite in F, Mvt. III by Gustav Holst, Symphony for Band by Morton Gould, Ireland: Legend & Lore by Robert W. Smith, Sleigh Ride by Leroy Anderson. Exotic and Folk-­lore Effects: Percussion instruments closely-­related with certain geographic areas or cultures are used to create a regional tone color. Examples: Mazama by Jay Chattaway, Sinfonia India by Carlos Chavez, African Inspirations by Goetz, Africa: Ceremony, Song & Ritual by Robert W. Smith, Bali by Michael Colgrass. References: Brindle, Reginald Smith. Contemporary Percussion. Oxford University Press. Reed, H. Owen & Joel Leach. Scoring for Percussion & Instruments of the Percussion Section. (Book & CD) Alfred Publishing. PERCUSSION TONE PRODUCTION = What You Strike + What You Strike With + Where You Strike + How You Strike ³,WLVXSWRWKHGLVFUHWLRQRIWKHSOD\HUWKHFRQGXFWRUWRLGHQWLI\WKHSOD\LQJDUHDPDOOHW EHVWVXLWHGWRWKHPXVLFRUWKHGHVLUHGHIIHFW´ Vic Firth Boston Symphony Orchestra, ret. Membranophones (snare drum, bass drum, tom toms, timpani, tambourine, bongos, tabla, etc.) produce sound when the membrane or head stretched over a frame, an open or closed shell, or a bowl is put into vibration. Instrument size, shell/bowl material and shape, head quality, weight, and tension, the location of the impact, and the source of the vibration (stick, mallet, hand) all contribute to the tone color and articulation of the instrument. In general, when struck directly in the center, a membranophone will produce a low, fundamental quality tone. However, center impacts lack resonance and are RIWHQ GHVFULEHG DV ³IODW´ RU ³GHDG´ LQ WRQH TXDOLW\ $Q RII-­center impact will also generate a timbre with a predominant fundamental quality, but with added warmth and resonance. Moving towards the edge produces more diffuse tone qualities, increasingly dominated by overtones and lacking in projection. Composers rarely indicate playing area and only occasionally indicate stick or mallet type for membranophone parts. Idiophones (triangle, woodblock, cymbals, tam tam, claves, cowbell, brake drum, keyboard percussion, etc.) produce sound when the body of the instrument is caused to vibrate. Like membranophones, instrument size, construction material, the location of the impact, and the source of the vibration all contribute to the tone color and articulation of the instrument. Ring-­length, dynamic range, and timbre (high/low, dark/bright, wet/dry, pure/colorful) can vary greatly from instrument to instrument, or as a result of even a subtle change in impact location, mallet, stroke, or sticking. Nearly all idiophones have a ³VWDQGDUG´SOD\LQJVSRWDQGRUSOD\LQJWHFKQLTXHWKDWPRVWOLNHO\SURGXFHVWKHFKDUDFWHULVWLFWLPEUHWKHFRPSRVHULPDJLQHG
for the piece. However, most idiophones also have multiple playing spots not generally recognized as the characteristic sound-­
producing area that may be struck for effect or variations in color. Composers rarely indicate specifics as to instrument size or playing areas and only occasionally indicate stick/mallet type or playing technique for idiophone parts. Mallet Selection may be the most a critical factor in determining the tone quality and articulation of any percussion instrument. Musically sensitive percussionists constantly experiment with different mallet sizes, weights, densities, and FRYHULQJV LQ VHDUFK RI WKH ³ULJKW VRXQG´ IRU D SDUWLFXODU SDVVDJH $OO WRR RIWHQ LQH[SHULHQFHG SHUFXVVLRQLVWV RYHU-­ or underplay the characteristic sound of an instrument by selecting inappropriate sticks, mallets, or beaters, or by attempting to create a variety of percussion timbres on different instruments with the same pair of mallets (i.e. timpani mallets for suspended cymbal rolls, yarn mallets on xylophone, bass drum mallets on gong). In generalDVRIWPDOOHWZLOOSURGXFHDVWURQJHUIXQGDPHQWDOWRQHZLWKIHZHURYHUWRQHVJHQHUDOO\D³GDUNHU´VRXQG$KDUG
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harder mallet in and of itself will not necessarily result in an increase in dynamic or clarity in articulation, but it will brighten the timbre. Similarly, a mallet with greater mass, size and weight will produce a darker tone, in contrast to a mallet with less mass that will produce a brighter tone. For example, a bass drum struck with a soft timpani mallet will produce a thin, overtone dominated timbre while a large tom tom struck with a bass drum mallet will produce a muffled and undefined tone quality. On occasion, composers provide specific mallet indications within percussion parts (i.e. snare drum w/brushes, susp. cymbal w/snare drum stick, scrape gong w/triangle beater). However, given the increasingly wide variety of instruments and mallets available to percussionists, the interpretation of such indications should always hinge on the quality of the sound the FRPSRVHULVDWWHPSWLQJWR³QRWDWH´DQGQRWWKHVSHFLILFGHVFULSWLRQRIWKHVWLFNPDOOHWRUEHDWHU GENERAL MALLET SELECTION GUIDELINES: x
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Choose a mallet whose weight, density, and covering will produce the characteristic tone quality of the instrument. Experiment with different instruments, mallets, stick height, and stroke velocity to create the tone quality and dynamic best suited for the musical passage. Listen to the music and apply your Percussion Imagination. Be observant, but do not hesitate to question stick/mallet indications provided by the composer. NEVER use a mallet or playing technique that will result in damage to an instrument. MUSICAL INTERPRETATION OF PERCUSSION NOTATION ³3(5&866,21,0$*,1$7,21´ First Suite in Eb (2nd Movement) by Gustav Holst $EHO´6\PSKRQLF7ULDQJOH25*URYHU´+DPPHUHG%URQ]H7ULDQJOH" Emperata Overture by Claude T. Smith Black Swamp Woodblock w/butt end of a snare drum stick OR Equilibrium Synthetic Block w/hard rubber keyboard mallet? Musical interpretation of percussion notation requires a performer or conductor to combine technical knowledge of the instruments and an understanding of percussion orchestration practices with an imaginative approach to both how the note V\PEROV RQ WKH SDJH FRXOG DQG VKRXOG VRXQG 2I DOO WKH LQVWUXPHQWV LQ WKH RUFKHVWUD WKH ³V\VWHPV´ RI SHUFXVVLRQ QRWDWLRQ (staff, multi-­staff, line-­score, symbol) are the least standardized and often the most imprecise. Interpretation of percussion parts is further complicated by the fact that only on occasion do composers provide specific information concerning instrument size, drum tuning, or mallet selection. Additionally, percussion parts frequently contain inconsistencies or outright errors, particularly in regards to articulation, rolls, phrasing, and resonance length. The use of ³3HUFXVVLRQ,PDJLQDWLRQ´ to determine how various percussion notation symbols could and should sound has been described by Hall of Fame percussion artist Fred Hinger as creating a mental-­aural picture of the notes that are to be played. ³7KLVPHQWDO-­DXUDOLPDJHLQYROYHVDOODVSHFWVRIWKHSOD\HU¶VDELOLWLHVIURPWKHIXQGDPHQWDOFRUUHFWUHDGLQJRIWKHUK\WKPic figures and their dynamics to the creative distribution of weight, color, intensity, and length to each tone in the passage. The FOHDUHU WKH SHUIRUPHU¶V PHQWDO-­aural picture is and the more acutely he/she perceives the resulting sounds, then the more rHILQHGWKHSOD\LQJDGMXVWPHQWVFDQEHDQGWKHPRUHDUWLVWLFWKHPXVLFDOSHUIRUPDQFHRIWKHSDUW´ When used in a musical manner, the combination of masterful technique with the creative experimentation and selection of sticks/mallets and instrument(s) possessing a tuning or tone quality best suited for a particular passage will create a percussion performance that artistically contributes to the composition and provides the percussionist with a significantly more meaningful and rewarding musical experience WKDQPHUHO\³SOD\LQJWKHLQN´ Note Length & Articulation can be confusing issues as composers often indicate durational values or style markings in percussion parts that are not consistent with the notations appearing in the string or wind instrument parts. This is an especially critical concern for instruments which have an abundance of natural resonance, such as timpani, bass drum, cymbals, triangle, tam tam, orchestra bells, vibraphone, and chimes. In addition to mallet considerations, different muffling and dampening techniques can or should be employed with many percussion instruments in order to create musically appropriate articulations and durations. Consequently, a percussionist and a conductor must constantly compare the sound of the entire enVHPEOHDQGRUWKHQRWDWLRQLQWKHFRQGXFWRU¶VVFRUHZLWKWKHSHUFXVVLRQ³VRXQGV´LQRUGHUWRDFFXUDWHO\UHDOL]HWKH
FRPSRVHU¶VLQWHQWUHJDUGLQJWKHOHQJWKDQGRUDUWLFXODWLRQRIDJLYHQQRWHLQWKHSHUFXVVLRQSDUWV Percussion Imagination! Tied Notes can also be a source of confusion in percussion parts. In general, when a non-­roll note is tied to another, the first note is played and the second is not ³UH-­VWUXFN´7KLVSHUIRUPDQFHSUDFWLFHFDQEHFRQIXVLQJIRUDQLQVWUXPHQWZKLFKPD\QRW
even sustain through the length of the first note (woodblock, tambourine, claves). In addition, the tie symbol is often used to indicate that a note should continue to ring into what appears on the paper to be a rest or extended silence. In such cases the tie symbol is often combined with the abbreviations L.V. (let vibrate/lasciare vibrare) or L.R. (let ring/let resonate). In some cases, however, percussion sounds, particularly crash cymbals and triangle, that musically should or technically must be allowed to ring appear on the music to be cut-­off or even choked by rest symbols or articulation marks. Once again, the SHUFXVVLRQLVWDQGWKHFRQGXFWRUPXVWFRQVLGHUWKHVRXQGRIWKHHQWLUHHQVHPEOHDQGRUDQDO\]HWKHFRQGXFWRU¶VVFRUHLQRUGHU
to determine the proper interpretation of the percussion notation. Percussion Imagination! Roll Notation is without question the most inconsistent and imprecise aspect of percussion notation. The notation for measured and unmeasured rolls varies depending on the instrument, historical period, style of music, and composer. The start or attack of the roll is rarely in question, although some roll techniques are intended to mask the start of a roll. On the other hand, the style of the roll and the release of a roll, whether it is indicated by a stand-­alone note value or by a tie to a single terminating note, should always be a point of concern requiring interpretive decisions. Tied rolls provide the performer with very precise, though sometimes inaccurate, information as to the start and termination of the roll. Non-­tied rolls require the performer to make a pre-­determination as to a specific ending of the roll in conjunction with the rhythm of the passage. (In general practice, non-­tied rolls should conclude on either a beat or ³´FRXQWZKLFKHYHU
is closest to the next sound or rest.) A frequent inconsistency is the notation of a series of untied rolls in conjunction with a passage of sustained, non-­articulated string or wind voices. As has been repeatedly stated, the performer and the conductor PXVWOLVWHQWRWKHVRXQGRIWKHHQWLUHHQVHPEOHDQGXWLOL]HWKHFRQGXFWRU¶VVFRUHWRGHWHUPLQHWKHUROOVW\OHDQGGXUDWLRQEHst suited for a particular passage. Percussion Imagination!