A Comprehensive Guide to Percussion Composition
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Köp båda 2 för 1142 kr"This is simply the best book on composing for percussion music out there. Solomon anticipates every question that a composer might have concerning the practical, physical and expressive ramifications of making sound by hitting things. The previous version was a fixture on my desk and this new edition with its media upgrades will be my manual for teaching."--Steven Mackey, Professor of Music, Princeton University, Grammy Award-winning composer"Percussion isn't a particular thing; it is a lifetime of learning that can never be completely known. Mr. Solomon's deeply thoughtful work is essential to my work, an invaluable guide, an extraordinary accomplishment."--Matthew Duvall, multi-Grammy-winning percussionist with eighth blackbird"Here is a volume which is truly practical, for Sam Solomon is a very fine performer and writes from a practitioner's point of view, giving advice which is invaluable to all of us...This is a "musician's book" and a true contribution to the literature of orchestration."--Samuel Adler, Professor Emeritus, Eastman School of Music, Excerpt from the Foreword to <em>How To Write For Percussion</em> (First Edition)
Samuel Z. Solomon teaches percussion at The Boston Conservatory, Boston University, and The BU Tanglewood Institute. He is author of the acclaimed book, How To Write For Percussion, as well as three books on percussion playing and was curator of two collections of percussion etudes and solos. Solomon is founding member of the Yesaroun' Duo and the Line C3 percussion group, and is principal timpanist of the Amici New York chamber orchestra. Please visit www.szsolomon.com for more.
Table of Contents Introduction How This Book is Organized Instruments Covered Working with Percussionists Location Specifics The Value of Not Reading This Book 1. General Framework A Dysfunctional Family Comparison of Family Relationships The Problem of Pitch The Pitches of Percussion The Validations and Limitations of Novelty Three Methods for Indeterminately Pitch Instruments The Written/Improv Divide Expanding the Color Palette (to Shrink the Setup) The Value of Improvised and Non-Notated Music Social Composition Write for People, Not Sounds Write What is Wanted, Not What To Do Working with Percussionists 2. General Logistics Instrument Choice and Management Six Stories, Three Sad and Three Happy Why Use Fewer Instruments? How to Consolidate Inexpensive Instruments Exotic Instruments Electronic Percussion Multiple Options for a Specified Instrument Instruments Percussionists May Not Play Multiple Percussionists Section Setup Orchestra Wind Ensemble Broadway Pit Drum Corps and Marching Bands Specialists Non-Percussionists Playing Percussion Chairs and Stands Issues of Playability Excessive Polyphony How Fast Percussionists Can Play Unidiomatic Writing-Music that Often Requires Memorization Dynamics Reaching Instruments Instruments with Pedals Physical Exertion and Shaking Working with Headphones or Headset Microphones 3. General Notation Basics of Percussion Parts and Scores Instrument List Instrument Key Setup Diagram Language Parts Cues Percussion in the Conductor's Score Dynamics Designing a Notational System Clefs Staves Noteheads Mixing Determinately and Indeterminately Pitched Instruments Key Signatures What Goes Where on the Staff The Chicken or the Egg? Unspecified Instruments (Indeterminate Instrumentation) How Much to Notate Systems of Notation for Which There is No Standard Return to a