DOCSLIB.ORG

C:\Documents and Settings\Jeff Snyder.WITOLD\My Documents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
C:\Documents and Settings\Jeff Snyder.WITOLD\My Documents Nomographs q = 66 Jeff Snyder gongs 5 crotalesf gongs crotales diamond-shaped noteheads indicate rattan beaters 5 Percussion 1 (Crotales / Gongs) 5 P F D diamond-shaped noteheads indicate rattan beaters gongs _ Percussion 2 (Glockenspiel / Gongs) 3 3 5 5 5 F p G diamond-shaped noteheads indicate rattan beaters 5 vibraphone gongs gongs 3 D, A_ vibraphone Percussion 3 (Vibraphone / Gongs) 5 F p 5 5 5 E A (crotales) A# (gong) 10 7 15 7 7 l.v. crotales gongs crotales Perc.1 gongs 5 5 f p p 7 7 7 7 Perc.2 p p A (vibraphone) gongs vibraphone C gongs vibraphone G E (gong) (vibraphone) 5 7 7 p pp Perc.3 gongs f P vibraphone p 7 p 5 (Ped.) p 7 2 (rattan on both side (damp all) A (crotales) 20 5 5 3 and center of gong) gongs 3 Perc.1 3 3 f (rattan on both side (l.v.) C# and center of gong) 3 3 3 3 3 3 Perc.2 vibraphone D (vibraphone) F vibraphone (damp all) 3 D# (gong) gong vibraphone C# gongs (vibraphone) Perc.3 3 3 5 5 gongs 3 5 25 crotales 5 30 B (rattan on side) (all) gongs 3 Perc.1 5 (rattan on both side 5 5 gongs 5 p 5 5 5 f (rattan on side) and center of gong) (all) Perc.2 7 5 5 5 5 f p B A C vibraphone D 5 5 5 (all) 5 5 5 Perc.3 5 f gong 7 gongs 3 crotales C 5 35 3 5 5 40 crotales gongs Perc.1 p p P p gongs f 5 5 5 Perc.2 p C vibraphone A gongs 3 F# Fx (G) E gongs 5 5 vibraphone vibraphone 3 Perc.3 3 gongs vibraphone p p 3 3 5 50 gongs crotales 5 crotales 45 3 3 3 55 Perc.1 pp 3 3 (all) 5 5 5 Perc.2 5 vibraphone (vibraphone) C# 3 vibraphone (vibraphone) gongs (damp all) 3 3 Perc.3 5 5 5 gongs gongs 4 60 D 65 (crotales) gongs Perc.1 5 5 gongs pp f p 3 f f 3 Perc.2 f p f pp p f p f (gongs) E (vibraphone) vibraphone gongs 3 gongs 3 E(gong) gongs f vibraphone 3 3 E (vib) Perc.3 p vibraphone p f p F f 70 75 crotales crotales gongs crotales F Perc.1 gongs p f f 7 3 3 3 (l.v.) Perc.2 p f p f p f F f f F G p f (vibraphone) gongs vibraphone B 3 (vibraphone) (all) 3 p Perc.3 p gong f p P f (gong only) 5 gongs p f f 5 E 80 gongs 3 crotales (all) 85 gongs 3 F Perc.1 3 3 3 gongs f f f P f f Perc.2 p f p f f F E D G vibraphone G E D gong E 3 F Perc.3 3 3 F p P gong p F p f (D gong) 3 90 95 Perc.1 3 f F 3 3 7 Perc.2 p F (gong G) F p vibraphone D G 3 vibraphone 3 Perc.3 3 gongs 7 f F P F f 6 F 105 100 crotales E Perc.1 3 3 5 pp pp 5 glockenspiel 3 3 glockenspiel B Perc.2 gongs 3 3 p 3 3 pp 3 vibraphone gong 3 (vibraphone) Perc.3 p 5 5 f P triangle 1 Tri. 110 G C 3 3 arco mallets Perc.1 5 3 5 3 D 5 3 5 3 C# 3 Perc.2 3 3 C D D E B C# 3 3 C C D G# D# Perc.3 3 3 5 5 Tri. 7 115 arco G (all) (arco) mallets 120 Perc.1 3 3 5 3 5 (all) Perc.2 3 E D E 3 E 3 D# Perc.3 3 triangle 2 Tri. 125 B G mallets B arco 130 Perc.1 5 5 3 5 C 5 Perc.2 5 5 D 5 C E arco Perc.3 5 3 Tri. 8 135 F# A 5 5 5 3 3 Perc.1 3 3 5 5 C# C# B 5 5 5 5 5 3 3 3 Perc.2 3 3 mallets 5 E (all) Perc.3 3 5 3 5 Tri. 140 arco 3 3 3 3 145 mallets Perc.1 3 B 3 3 3 3 3 Perc.2 D D C# E C# E 3 3 3 3 arco mallets 3 3 3 3 Perc.3 3 3 Tri. 9 150 155 3 3 arco Perc.1 3 3 5 5 3 3 3 5 Perc.2 5 - F 3 3 -F 3 3 E B Perc.3 3 3 5 Tri. assume laissez vibrer unless a damping mark is used 160 H 165 crotales 5 (all) gongs Perc.1 5 5 5 p 5 (all) gongs Perc.2 5 5 assume laissez vibrer unless a damping mark is used gongs vibraphone vibraphonep 5 Perc.3 3 3 3 gongs p f f Tri. 10 mallets 170 mallets gongs 5 5 arco 5 arco crotales 5 crotales Perc.1 gongs 5 5 assume laissez vibrer unless a damping mark is used f Perc.2 5 5 5 gongs F 5 5 vibraphone B gongs 5 5 (vibraphone) Perc.3 gongs 5 5 p 3 3 3 f F p gongs 175 3 3 3 crotales crotales (crotales) Perc.1 gongs gongs F (omit low B if it's not possible) P 5 Perc.2 3 3 p P vibraphone 5 F f 5 5 gong (vibraphone) 3 3 3 gongs 5 5 5 p Perc.3 .
Load more

Recommended publications
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date: 29-Apr-2010 I, Tyler B Walker , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Composition It is entitled: An Exhibition on Cheerful Privacies Student Signature: Tyler B Walker This work and its defense approved by: Committee Chair: Mara Helmuth, DMA Mara Helmuth, DMA Joel Hoffman, DMA Joel Hoffman, DMA Mike Fiday, PhD Mike Fiday, PhD 5/26/2010 587 An Exhibition On Cheerful Privacies Three Landscapes for Tape and Live Performers Including Mezzo-Soprano, Bb Clarinet, and Percussion A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2010 by Tyler Bradley Walker M.M. Georgia State University January 2004 Committee Chair: Mara Helmuth, DMA Abstract This document consists of three-musical landscapes totaling seventeen minutes in length. The music is written for a combination of mezzo-soprano, Bb clarinet, percussion and tape. One distinguishing characteristic of this music, apart from an improvisational quality, involves habituating the listener through consistent dynamics; the result is a timbrally-diverse droning. Overall, pops, clicks, drones, and resonances converge into a direct channel of aural noise. One of the most unique characteristics of visual art is the strong link between process and esthetic outcome. The variety of ways to implement a result is astounding. The musical landscapes in this document are the result of an interest in varying my processes; particularly, moving mostly away from pen and manuscript to the sequencer.
    [Show full text]
  • Contemporary Music Score Collection
    UCLA Contemporary Music Score Collection Title Modulations Permalink https://escholarship.org/uc/item/5b74k1m2 Author LaRosa, Christopher Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California modulations for percussion trio Full Score [2017] Christopher LaRosa www.chrislarosa.com modulations for percussion trio [2017] duration: ca. 6” Christopher LaRosa www.chrislarosa.com 2 Percussion 1 timpano (28") 2 bongos 2 woodblocks triangles sp. coil large suspended cymbal timpano bongos woodblocks sus. cyms. medium suspended cymbal œ œ large triangle œ œ œ medium triangle ÷ œ œ œ spring coil with sizzles œ œlow high low high large med. large med. 4 crotales 2 stick/hard felt combination mallets double bass bow crotales (low octave) large superball mallet small superball mallet bœ triangle beater & bœ bœ wire brush bœ plastic mallet Crotales should be placed on the head of the timpano drum, near the edge closest to the player. When directed to bow a crotale, move that crotale to the edge. Percussion 2 timpano (32") triangles sp. coil timpano bongos woodblocks sus. cyms. 2 bongos œ 2 woodblocks œ œ œ œ large suspended cymbal ÷ œ œ medium suspended cymbal œ œlow highœ low high large med. large med. large triangle medium triangle spring coil with sizzles crotales (low octave) 4 crotales œ 2 stick/hard felt combination mallets & œ #œ double bass bow œCrotales should be placed on the head of the timpano drum, large superball mallet near the edge closest to the player. When directed to bow a small superball mallet crotale, move that crotale to the edge.
    [Show full text]
  • What Do Your Dreams Sound Like?
    Volume 6 › 2017 Orchestral, Concert & Marching Edition What do your Dreams sound like? PROBLEM SOLVED WHY DREAM? D R E A M 2 0 1 7 1 D R E A M 2 0 1 7 Attention Band Directors, Music Teachers, “The Cory Band have been the World's No.1 brass band for the past decade. We feel privileged Orchestra Conductors! to have been associated with We understand how frustrating it can be to try to find the professional Dream Cymbals since 2014. quality, exceptionally musical sounds that you need at a price that fits into From the recording studio to your budget. Everyone at Dream is a working musician so we understand the challenges from our personal experiences. You should not have to Rick Kvistad of the concert halls across the UK and sacrifice your sound quality because of a limited budget. San Francisco Opera says: abroad, we have come to rely From trading in your old broken cymbals through our recycling program, on the Dream sound week in putting together custom tuned gong sets, or creating a specific cymbal set “I love my Dream Cymbals up that we know will work with your ensemble, we love the challenge of week out.” creating custom solutions. for both the orchestra and Visit dreamcymbals.com/problemsolved and get your personal cymbal assistant. By bringing together our network of exceptional dealers and our my drum set. Dr. Brian Grasier, Adjunct Instructor, Percussion, in-house customer service team, we can provide a custom solution tailored They have a unique Sam Houston State University says: to your needs, for free.
    [Show full text]
  • Shadow of the Sun for Large Orchestra
    Shadow of the Sun for Large Orchestra A dissertation submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Department of Composition, Musicology, and Theory of the College-Conservatory of Music by Hojin Lee M.F.A. University of California, Irvine November 2019 Committee Chair: Douglas Knehans, D.M.A. Abstract It was a quite astonishing moment of watching total solar eclipse in 2017. Two opposite universal images have been merged and passed by each other. It was exciting to watch and inspired me to write a piece about that image ii All rights are reserved by Hojin Lee, 2018 iii Table of Contents Abstract ii Table of Contents iv Cover page 1 Program note 2 Instrumentation 3 Shadow of the Sun 4 Bibliography 86 iv The Shadow of the Sun (2018) Hojin Lee Program Note It was a quite astonishing moment of watching total solar eclipse in 2017. Two opposite universal images have been merged and passed by each other. It was very exciting to watch and inspired me to write a piece about that image. Instrumentation Flute 1 Flute 2 (Doubling Piccolo 2) Flute 3 (Doubling Piccolo 1) Oboe 1 Oboe2 English Horn Eb Clarinet Bb Clarinet 1 Bb Clarinet 2 Bass Clarinet Bassoon 1 Bassoon 2 Contra Bassoon 6 French Horns 4 Trumpets 2 Trombones 1 Bass Trombone 1 Tuba Timpani : 32” 28” 25” 21” 4 Percussions: Percussion 1: Glockenspiel, Vibraphone, Crotales (Two Octaves) Percussion 2: Xylophone, Triangle, Marimba, Suspended Cymbals Percussion 3: Triangle, Vibraphone,
    [Show full text]
  • Two-Part Invention for Vibraphone by David Stock
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2017 Two-Part Invention for Vibraphone by David Stock: An Analysis and Performance Guide Gustavo Henrique Miranda Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Miranda, Gustavo Henrique, "Two-Part Invention for Vibraphone by David Stock: An Analysis and Performance Guide" (2017). LSU Doctoral Dissertations. 4240. https://digitalcommons.lsu.edu/gradschool_dissertations/4240 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TWO-PART INVENTION FOR VIBRAPHONE BY DAVID STOCK: AN ANALYSIS AND PERFORMANCE GUIDE A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts By Gustavo Miranda B.M., Universidade Federal da Paraiba, 2009 M.M., Louisiana State University, 2013 May 2017 ©Copyright 2016 Gustavo Miranda All Rights Reserved In Memory of David Stock iii ACKNOWLEDGEMENTS I would like to thank my parents for all of their support during these challenging years of graduate school away from home. I would also like to thank my amazing wife Deborah Ribeiro for her constant support and encouragement. Most of all, I would like to thank my teachers Dr.
    [Show full text]
  • Ludwig Musser Concert Percussion 2013 Catalog
    Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion." With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. This Ludwig Musser Concert Percussion Catalog is dedicated to the late William F. Ludwig II Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in “The Chief.” His vision for a “Total Percussion” a wide range of sizes and models to completely satisfy the needs of beginners, company was something he created at Ludwig schools, universities and professionals.
    [Show full text]
  • Harmonic Analysis of Mallet Percussion by Max Candocia Goals
    Harmonic Analysis of Mallet Percussion By Max Candocia Goals • Basic understanding of sound waves and mallet percussion • Understand harmonic analysis • Understand difference in sounds of different mallets and striking location Marimba Vibraphone Recording: Vermont Counterpoint, Nathaniel Bartlett Recording: La Fille Aux Cheveux de Lin, Ozone Percussion Ensemble Photo courtesy of vichitex.com Photo courtesy of woodbrass.com Xylophone Recording: Fantasy on Japanese Wood Prints Photo courtesy of onlinerock.com Sound Waves • Vibrating medium (ie. Air, water, ground) • Longitudinal • Harmonics – Sinusoidal Components Sine: Sawtooth: Images courtesy of Wikipedia Qualities of Harmonics • Frequency – Cycles per second (Hertz); determines pitch Photo courtesy of Wikipedia • Amplitude – Power of wave; determines loudness Photo courtesy of physics.cornell.edu • Phase – Location of harmonic relative to other harmonics Photo courtesy of 3phasepower.org Harmonic Analysis Harmonics of Kelon xylophone struck in center with hard rubber mallet Vibraphone HarmonicsDry: Wet: Instrument Mallet Location # Harmonics H1 dB H2 dB H3 dB H4 dB H5 dB Vibraphone Black Dry 5 6 19 0.8 13 3 Vibraphone Black Wet 2 16 1.1 Vibraphone Red Dry 3 22 3.5 1.5 Vibraphone Red Wet 1 1 Vibraphone White Dry 4 16 0.5 9 0.6 Vibraphone White Wet 2 25 1.5 Xylophone Harmonics Instrument Mallet Location # Harmonics H1 Freq H2 Freq H3 Freq H4 Freq H5 Freq Xylophone Hard Rubber Center 4 886.9 1750 2670 5100 Xylophone Hard Rubber Edge 4 886.9 1760 2670 5150 Xylophone Hard Rubber Node 3 886.85
    [Show full text]
  • University of California, San Diego
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Real Time Vibraphone Pitch and Timbre Classification A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Music by Kevin Larke Committee in charge: Shlomo Dubnov, Chair Miller Puckette Richard Moore 2008 The Thesis of Kevin Larke is approved, and it is accept- able in quality and form for publication on microfilm: Chair University of California, San Diego 2008 iii TABLE OF CONTENTS SignaturePage ...................................... iii TableofContents .................................... iv ListofFigures ...................................... v ListofTables ....................................... vi Abstract .......................................... vii 1 Overview ......................................... 1 1 Aboutthevibraphone .............................. 2 2 Research ....................................... 4 A PitchTracking ................................. 4 B PercussionClassification .......................... 5 C OnsetDetection ................................ 6 2 VibraphoneTracking ................................. 8 1 TheFourierTransformandtheVibraphone ................ 8 2 PeakSelection .................................... 11 3 SpectralandPeakDistanceMeasures .................... 15 4 TemplateRepresentation ............................ 21 5 OnsetDetection .................................. 27 6 TemplateGenerator ................................ 32 7 Evaluatingthesystem .............................. 34 8 FutureWork ....................................
    [Show full text]
  • A Guide to Cymbals, Part 4 by Nick Petrella
    A Guide to Cymbals, Part 4 by Nick Petrella PLACEMENT The optimum place for cymbals in concert ensembles is either between the snare and bass drum or with the accessories between the snare drum and mallet keyboard instruments. The number of people covering parts and the instrumentation will be the deciding factor. In marching ensembles, the cymbals may be placed anywhere in the pit. Again, the number of people and instrumentation will be the deciding fac- tor. An important sound factor is removing the hand cymbal players from in front of the snare drummers as soon as the cymbal pattern is finished. If not, they will absorb a lot of sound, especially if there are sound scoops on the snare drums. Music and Tray Stand Placement The important consideration with music stand placement is to keep it high enough to see the music and the conduc- tor. Percussionists should place the music stand at an angle so the music is not blown away by the wind produced by playing the hand cymbals. Carpeted tray tables are more versatile than cymbal cradles because they are easy to use and can hold sticks, mallets and small instruments as well as cymbals (Figures 31 and 32). They are inexpensive to make. No noise oc- curs when setting the cymbals down because the straps touch the cymbals. A tiered tray stand works well too as it holds a collection of small instruments, sticks and mallets on stage. Whether a tray table or cymbal cradle is used, it should be placed between the percussionist and the conductor.
    [Show full text]
  • 8 Weeks Percussion Second Half.Pub
    More Rudiment Fun! Volume 1, Issue 6 Week 5 Dynamic Fun and More Inside this week: Rudiments Dynamics on 2 Orchestra Bells Dynamic Work- 3 What Gives the Keyboard Instruments sheet Their Sound? Snare Drum 4 As we briefly discussed in sounds are the resonator Rudiments #2 earlier weeks, keyboard in- tubes below the tone bars. struments create different These resonators are spe- Snare Drum 5 pitches based on their cific lengths and sizes. At Exercises #3 length, width, depth, or den- the proper dimensions the sity (composite material). resonators will help create a Weekly Practice 7 clear tone and accurate Chart Adding to the quality of pitch. The vibraphone not only has resonators, but also paddles inside the tubes. These pad- dles are turned by a motor and the speed determines the width of vibrato pro- duced. The sounds is meant to mimic that of a human voice. Chimes The resonator tubes on the The chimes are re- marimba can be quite lengthy lated to keyboard and windy. Due to the low instruments. Each pitch and timbre needed the tune on a set of resonators must be large to chimes is like one key accommodate the sound. on a keyboard instru- ment. Chimes are struck at the very top with a rawhide ham- mer. Like the piano and vibraphone it has What To Expect This Week... a dampening pedal, that when pressed, allows the notes to ring. This week we will take some great percussionist. the book and look carefully time to focus purely on the at the items listed on the On snare drum we will learn fundamentals of playing.
    [Show full text]
  • Extended Performance Techniques and Compositional Style in the Solo
    EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument.
    [Show full text]
  • Relationship with Percussion Instruments
    Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument.
    [Show full text]