WHAT COMPOSERS RARELY INCLUDE IN THE PERCUSSION PARTS:

William Jastrow (bill_jastrow@ipsd.org)

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, WKHV\VWHPVRISHUFXVVLRQQRWDWLRQ
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. Creating a mental-aural picture of how a sound could be used in an artistic setting
b. 'HYHORSLQJD3HUFXVVLRQ9RFDEXODU\
c. Creating a mental-aural interpretation of a how a given notation symbol or an individual
percussion part contributes to a composition as a whole

II. 12 Categories of Percussion Scoring: Contemporary Percussion by Reginald Smith Brindle

a. Percussion as Melody
b. Percussion in Klangfarbenmelodie
c. Percussion as Harmony
d. Percussion in a Harmony-obscuring role
e. Percussion as Counterpoint
f. Percussion as Orchestral Color
g. Percussion as a Fusing Factor in Orchestration
h. Percussion as Dynamic Reinforcement
i. Percussion Ostinatos
j. Percussion as a 4th Orchestral Dimension
k. Percussion as Natural Sound Effects
l. Percussion as Exotic & Folk-Lore Effects

III.Percussion Tone Production: ,WV$OO$ERXW7RQHColors.

a. What You Strike (Instrument selection & tuning)
b. What You Strike With (Sticks, mallets & beaters)
c. Where You Strike (Playing areas)
d. How You Strike (Type and velocity of stroke & sticking)

IV. What Is Missing & What Is Confusing? Interpretation & Performance of Percussion Notation
a. Equipment, set-up/part assignments & tuning
b. Sticks, mallets & beaters
c. Stickings (snare drum, timpani, keyboard percussion)
d. Timpani & keyboard percussion pitch ranges & octave transpositions
e. Note length
f. Muffling, dampening & articulation markings
g. Tied note values
h. Roll styles & releases
i. Phrasing & contour shaping
j. Cues for extended repeats or multi-measure rests
k. Orchestral transcription parts
l. 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, &KLOGUHQV0DUFK 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)RXUWK2UFKHVWUDO'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 HYHU\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

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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
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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
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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
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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\DGDUNHUVRXQG$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
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GENERAL MALLET SELECTION GUIDELINES:
x Choose a mallet whose weight, density, and covering will produce the characteristic tone quality of the
instrument.
x 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.
x Be observant, but do not hesitate to question stick/mallet indications provided by the composer.
x NEVER use a mallet or playing technique that will result in damage to an instrument.
 MUSICAL INTERPRETATION OF PERCUSSION NOTATION
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First Suite in Eb (2nd Movement) by Gustav Holst
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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
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(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 3HUFXVVLRQ,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.
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figures and their dynamics to the creative distribution of weight, color, intensity, and length to each tone in the passage. The
FOHDUHU WKH SHUIRUPHUV 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\SOD\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 enVHPEOHDQGRUWKHQRWDWLRQLQWKHFRQGXFWRUVVFRUHZLWKWKHSHUFXVVLRQVRXQGVLQRUGHUWRDFFXUDWHO\UHDOL]HWKH
FRPSRVHUVLQWHQWUHJDUGLQJWKHOHQJWKDQGRUDUWLFXODWLRQRIDJLYHQQRWHLQWKHSHUFXVVLRQSDUWV 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 UH-VWUXFN7KLVSHUIRUPDQFHSUDFWLFHFDQEHFRQIXVLQJIRUDQLQVWUXPHQWZKLFKPD\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
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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 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
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suited for a particular passage. Percussion Imagination!