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How to Write for Percussion: A Comprehensive Guide to Percussion Composition de Samuel Z. Solomon

How to Write for Percussion: A Comprehensive Guide to Percussion Composition

Autor Samuel Z. Solomon
en Limba Engleză Paperback – 19 mai 2016

Observăm în How to Write for Percussion o fuziune rară între rigoarea tehnică și fluiditatea practicii artistice. Dialogul dintre textul explicativ și resursele vizuale nu este doar unul informativ, ci devine o experiență senzorială completă; cele peste nouă ore de material video transformă conceptele abstracte de notație în vibrație și gest concret. Apreciem modul în care Samuel Z. Solomon nu se limitează la a lista instrumente, ci explorează dinamica intimă a colaborării dintre compozitor și interpret, oferind soluții pentru provocări logistice pe care manualele teoretice tind să le ignore.

Structura volumului este una organică, ghidând cititorul de la alegerea materialelor sonore până la complexitatea execuției pe scenă. Stilul este unul direct, ancorat în experiența de pedagog și interpret a autorului, ceea ce conferă textului o autoritate practică imediată. Pe raftul de artă, alături de The Cambridge Companion to Percussion, acest volum se distinge prin focalizarea sa ultra-specifică pe procesul de creație și compoziție, fiind mai degrabă un instrument de lucru decât o prezentare istorică. Dacă Practical Percussion de James Holland oferă o privire de ansamblu asupra evoluției instrumentelor, lucrarea lui Solomon intră în profunzimea tehnicii de scriere, oferind compozitorului instrumentarul necesar pentru a inova fără a sacrifica pragmatismul interpretativ. Credem că această ediție a doua, publicată de Oxford University Press, reprezintă o resursă esențială pentru oricine dorește să înțeleagă percuția nu doar ca ritm, ci ca o arhitectură sonoră complexă.

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Specificații

ISBN-13: 9780199920365
ISBN-10: 0199920362
Pagini: 304
Dimensiuni: 175 x 251 x 18 mm
Greutate: 0.57 kg
Ediția:2
Editura: Oxford University Press
Colecția OUP USA
Locul publicării:New York, United States

De ce să citești această carte

Recomandăm această carte compozitorilor și aranjatorilor care doresc să depășească barierele tehnice ale percuției moderne. Cititorul câștigă acces la decenii de experiență practică și la un material video vast care clarifică nuanțele execuției. Este un ghid indispensabil pentru a scrie partituri care sunt nu doar inovatoare, ci și perfect executabile, facilitând o comunicare fluidă între creator și interpret în contextul producțiilor de concert contemporane.

Despre autor

Samuel Z. Solomon este un percuționist și pedagog recunoscut, a cărui carieră este marcată de o explorare continuă a muzicii contemporane și a tehnicilor de interpretare. În calitate de profesor, el a identificat nevoia unei resurse care să medieze relația adesea complexă dintre cel care scrie muzica și cel care o aduce la viață pe scenă. Experiența sa vastă în spectacole camerale și orchestrale, combinată cu activitatea didactică, i-a permis să sintetizeze în How to Write for Percussion o viziune pragmatică și profundă asupra compoziției pentru instrumente de percuție.

Descriere

While composers and percussionists are working more closely than ever with one another, there are few resources that address this collaborative relationship in depth. However, Samuel Z. Solomon, himself a percussionist and teacher, offers a comprehensive examination of the issues that percussionists and composers encounter in How to Write for Percussion. The first edition, self-published in 2004, provided musicians and music programs the world over with practical and indispensible information about issues of notation, concert production, and much more. This new edition goes even further as Solomon offers more insights derived from his personal experience as a percussionist and teacher and from his collaborations with other musicians. The second edition of How to Write for Percussion expands the survey of behind-the-scenes processes-from instrument choice and notation to logistics, execution, and concert production-to uncover all the tools a composer needs to comfortably create innovative and skilled percussion composition. Solomon also includes more excerpts and performances as well as interviews with famous percussionists and composers that capture the intricacies of percussion composition. Moreover, the second edition features an expanded text with more instruments and more analysis, plus an extensive Online Video Companion containing over nine hours of videos with demonstrations, performances, interviews, and analysis to flesh out and clarify the material in the book. This updated edition of How to Write for Percussion will appeal to a wide swath of musicians including composers, arrangers, and percussionists. Those who have already utilized the first edition will welcome the upgrade, and those who have yet to benefit from Solomon's perspective will likewise find his insights illuminating.

Notă biografică

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.

Cuprins

  • 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 "Normal " Method of Playing
  • Note Length, Articulation, and Phrasing
  • Note Length Chart
  • Exact or Inexact Note-Length Indications
  • Muting (Muffling, Dampening)
  • Dead Stroke
  • Damper Pedals
  • Rolls
  • Notations that are Not Recommended
  • Symbol Notation
  • Altered Keyboard Notation (Timbre-Staff)
  • 4. Beaters
  • To Indicate or Not to Indicate?
  • Beater Lingo
  • Logistical Beater Issues
  • Sticks
  • Mallets
  • Triangle Beaters, Knitting Needles
  • Brushes
  • Rute
  • Chime Hammers
  • Superball Mallet
  • Beaters as Instruments
  • Hands
  • Bows
  • 5. Keyboard Percussion
  • Ranges and Construction
  • Writing for Keyboard Percussion
  • Stacked Instruments
  • Multiple Players
  • Extended Techniques
  • Miscellaneous
  • 6. Drums
  • Sticks on Drums
  • Mallets on Drums
  • Hands on Drums
  • Playing on the Rim or Shell
  • Beating Spot
  • Mutes
  • Pitch Bending
  • Drum Size
  • Two-Headed Drums
  • Multiple Drums in Setups
  • Idiomatic Writing for Drums
  • Timpani
  • Tom-toms
  • Snare Drum, Field Drum, Tenor Drum
  • Concert Bass Drum, Pedal Bass Drum
  • Bongos, Congas
  • Timbales
  • Roto-Toms
  • Frame Drums
  • Tambourines
  • Djembe, Doumbek
  • Boobams
  • Drumset
  • 7. Metal
  • Cymbals
  • Gongs
  • Finger Cymbals
  • Cowbells, Almglocken
  • Temple Bowls, Mixing Bowls
  • Brake Drums, Metal Pipes, Anvils, Bell Plates
  • Thundersheet
  • Junk Metal, Tin Cans, Pots and Pans
  • Ribbon Crasher
  • Spring Coil
  • Church Bells
  • Hand Bells
  • Steel Drums
  • Tambourines
  • Sleighbells
  • Metal Wind Chimes, Mark Tree, Bell Tree
  • Flexatone
  • Extended Techniques
  • 8. Wood
  • Woodblocks, Templeblocks, Log Drum
  • Wooden Planks
  • Wood Drums, Wooden Boxes, Cajón, Mahler Hammer
  • Claves
  • Castanets
  • Rute
  • Guiro
  • Slapstick
  • Ratchet
  • Bamboo Wind Chimes
  • 9. Miscellaneous Instruments
  • Bottles
  • Cabasa
  • Conch Shell
  • Crystal Glasses
  • Maracas, Shakers
  • Rainstick
  • Rice Bowls, Flower Pots
  • Sandpaper Blocks
  • Sirens
  • String Drum, Cuica
  • Stones, Prayer Stones
  • Thumb Piano
  • Vibraslap
  • Wind Chimes
  • Whistles
  • Wind Machine
  • Appendix A. Repertoire Analysis
  • Percussion Ensemble
  • Edgard Varèse, Ionisation (1929-31)
  • John Cage, Constructions (1939-1942)
  • Iannis Xenakis, Persephassa (1969)
  • Steve Reich, Drumming (1970-71)
  • Steve Mackey, It is Time (2010)
  • John Luther Adams, Inuksuit (2009)
  • Ryan Streber, Cold Pastoral (2004)
  • Nico Muhly, Ta and Clap (2004)
  • Adam Silverman, Naked and On Fire (2011)
  • Paul Lansky, Travel Diary (2007)
  • Orchestral
  • Bela Bartók
  • Sergei Prokofiev
  • Maurice Ravel
  • Gustav Mahler
  • Dmitri Shostakovich
  • Leonard Bernstein
  • Carl Nielsen
  • Jean Sibelius
  • Wind Ensemble
  • Smaller Mixed Ensemble
  • John Adams, Chamber Symphony (1992)
  • Stephan Hartke, Meanwhile (2007)
  • Jacob Druckman, Come Round (1992)
  • Charles Wuorinen, New York Notes (1982)
  • Pierre Boulez, Sur Incises (1996/1998)
  • Percussion Solo-Drums
  • Michio Kitazume, Side by Side (1991)
  • Elliott Carter, Eight Pieces for Four Timpani (1950/1966)
  • Casey Cangelosi, Meditation No. 1 (2011)
  • Percussion Solo-Keyboards
  • Jacob Druckman, Reflections on the Nature of Water (1986)
  • Paul Simon, Amulet (2008)
  • Steve Mackey, See Ya Thursday (1992)
  • Steve Swallow/Gary Burton, I'm Your Pal/Hullo Bolinas
  • Donald Martino, Soliloquy (2003)
  • Percussion Solo-Multi-Percussion
  • Iannis Xenakis, Psappha (1975)
  • David Lang, Anvil Chorus (1991)
  • Roger Reynolds, Watershed (1995)
  • Four Pieces for "Setup #1 "
  • Nico Muhly, It's About Time (2004)
  • Michael Early, Raingutter (2007)
  • Marcos Balter, Descarga (2006)
  • Judd Greenstein, We Shall Be Turned (2006)
  • Percussion Concerto
  • James MacMillan, Veni Veni Emmanuel (1992)
  • Einojuhani Rautavaara, Incantations (2008)
  • Steven Mackey, Micro-Concerto (1999)
  • Orchestrating Native Sounds
  • Appendix B. Sample Setups
  • Appendix C. Extended Techniques
  • Return to a "Normal " Method of Playing
  • Manipulations of Timbre
  • Striking Unusual Parts of an Instrument
  • Unusual Usage of Beaters
  • Dead Stroke
  • Beating Spot
  • Bowing
  • Friction Roll
  • Scrape
  • Prepared Instruments
  • Pitch Bending
  • Vibrato
  • Adding Mass
  • Sympathetic Resonance
  • Clusters
  • Harmonics
  • Appendix D. Pitch Specification
  • Appendix E. Dynamics
  • Appendix F. Register
  • Appendix G. Beaters
  • Appendix H. Percussion Family Tree
  • Pitch Clarity Chart
  • Note Length Chart
  • Register Chart
  • Sound Production Chart
  • The Percussion Family Tree