UNLV Retrospective Theses & Dissertations
1-1-2005
A survey of multiple percussion notation with an emphasis on timbre staff notation and setup
Rachel Carissa Julian-Jones University of Nevada, Las Vegas
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Repository Citation Julian-Jones, Rachel Carissa, "A survey of multiple percussion notation with an emphasis on timbre staff notation and setup" (2005). UNLV Retrospective Theses & Dissertations. 2637. http://dx.doi.org/10.25669/3d93-6uah
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This Dissertation has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. A SURVEY OF MULTIPLE PERCUSSION NOTATION WITH AN
EMPHASIS ON TIMBRE STAFF NOTATION AND SETUP
by
Rachel Carissa Julian-Jones
Bachelor of Arts in Music University of Nevada, Las Vegas 1995
Master of Music University of Nevada, Las Vegas 1999
A doctoral document submitted in partial fulfillment of the requirements for the
Doctor of Musical Arts Degree Department of Music College of Fine Arts
Graduate College University of Nevada, Las Vegas December 2005
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3215879
Copyright 2006 by Julian-Jones, Rachel Carissa
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Copyright by Rachel Carissa Julian-Jones 2006 All Rights Reserved
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Dissertation Approval UNiy The Graduate College University of Nevada, Las Vegas
November 16 -,20Q5_
The Dissertation prepared by
Rachel Carissa Julian-Jones
E ntitled
A SURVEY OF MULTIPLE PERCUSSION NOTATION WITH AN EMPHASIS ON
TIMBRE STAFF NOTATION ANT) SETUP
is approved in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts
'.xamination Committee Chair
Dean of the Graduate College
-Êxamin
Examination Committee Member
Graduate C Representative
11
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT
A Survey of Multiple Percussion Notation with an Emphasis on Timhre Staff Notation and Setup
by
Rachel Carissa Julian-Jones
Dr. Dean Gronemeier, Examination Committee Chair Professor of Percussion University of Nevada, Las Vegas
This survey presents an historical overview of the foundations of multiple percussion
followed by an examination of different notational techniques and setups. Emphasis is
placed on the nomenclature known as timbre staff notation and setup. This method of
notating for multiple percussion utilizes traditional keyboard notation by assigning each
instrument to a note from the chromatic scale. Additionally, the physical layout of the
instruments resembles that of a keyboard instrument with each instrument placed at the
approximate position of a keyboard pitch. Although there is no relationship between the
written pitch and the sounding timbre, there is a direct correlation between the notation
and the physical location of instruments. This physical association aids in the efficiency
of learning new multiple percussion works if one is familiar with keyboard notation.
This document is meant to provide performers, educators and composers with a
background of existing notational methods for multiple percussion and promote the
positive elements of timbre staff notation and setup thereby hopefully generating further
interest in the genre of multiple percussion.
Ill
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS
ABSTRACT...... iii
LIST OF EXAMPLES...... v
ACKNOWLEDGMENTS...... vii
CHAPTER 1 THE FOUNDATIONS...... I Endnotes ...... 7
CHAPTER 2 NOTATIONAL NOMENCLATURE...... 8 Conventional Staff Notation...... 9 Expanded Staff Notation ...... 14 Line Score Notation...... 17 Graphic Notation ...... 23 Spatial Notation ...... 30 Hybrid Notations ...... 32 Timbre Staff Notation...... 33 Conclusion...... 38 Endnotes ...... 39
CHAPTER 3 TIMBRE STAFF NOTATION AND SETUP...... 42 The Prepared Piano ...... 43 The Percussion Console...... 44 Wodiczko Frame...... 48 Timbre-Rack/The Timbrack/Timbre Staff...... 50 Conclusion...... 61 Endnotes ...... 62
CHAPTER 4 TIMBRE STAFF NOTATION AND EDUCATION...... 64 Conclusion...... 66 Endnotes ...... 67
APPENDIX I SELECTED WORKS UTILIZING TIMBRE STAFF NOTATION..68
APPENDIX II COPYRIGHT PERMISSION FORMS...... 79
BIBLIOGRAPHY...... 88
VITA...... 93
IV
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF EXAMPLES
Example 1.1 Stravinsky, sketch ofHistoire du Soldat ...... 2 Example 1.2 Milhaud, La Création du Monde ...... 3 Example 1.3 Milhaud, Concerto pour batterie et petit orchestre ...... 4 Example 1.4 Bartok, Sonata for Two Pianos and Percussion ...... 5
Example 2.1 Psathas, Matre’s Dance — conventional staff notation...... 9 Example 2.2 Kraft, “Allemande” from French Suite — notational key...... 11 Example 2.3 Kraft, “Allemande” frorn French Suite — notation...... 12 Example 2.4 Ta.ga.wti, Inspirations Diabolique — notation...... 12 Example 2.5 Allemeier, Machine — notation...... 13 Example 2.6 Zivkovic, The Castle o f the Mad King — expanded staff notation 14 Example 2.7 Stem, Adventures for One — notation...... 15 Example 2.8 Wuorinen, Janissary Music — notation...... 16 Example 2.9 Èivkovic, Generally Spoken it is nothing but rhythm — notation...... 17 Example 2.10 Ptaszyhska, Space Model — line score notation...... 17 Example 2.11 Berio, Circles — score position of instruments...... 20 Example 2.12 Berio, Circles — notation...... 21 Example 2.13 Ishii, Thirteen Drums — notation...... 22 Example 2.14 Kagel, Rrrrrrr... — notation ...... 23 Example 2.15 Simons, Design Groups I — graphic notation ...... 23 Example 2.16 Briin, Mutatis Mutandis — notation...... 24 Example 2.17 Stockhausen, Nr. 9 ZYKLUS — notation...... 26 Example 2.18 Klee, Tightrope Walker — drawing ...... 26 Example 2.19 Udow, Acoustic Study No. I — notation...... 28 Example 2.20 Feldman, The King of Denmark — notation...... 29 Example 2.21 Allemeier/Petrella, Spatial Choices — spatial notation ...... 30 Example 2.22 Cage, 27’.10.554” — notation...... 31 Example 2.23 Van der Slice, Pulse/Impulse — hybrid notation ...... 32 Example 2.24 Stockhausen, Nr. 9 ZYKLUS — hybrid notation ...... 32 Example 2.25 Hollinden, Slender Beams of Solid Rhythm — timbre staff notation 33 Example 2.26 Hollinden, Cold Pressed — pictograms ...... 35 Example 2.27 Hollinden, Cold Pressed — notational key...... 36 Example 2.28 Hollinden, Cold Pressed — keyboard setup...... 36 Example 2.29 Hollinden, Cold Pressed — notation...... 36
Example 3.1 George, The Loops Console — diagram ...... 44 Example 3.2 George, The Loops Console — photo ...... 45 Example 3.3 George, The Tambellan — photo ...... 47 Example 3.4 Erickson, Percussion Loops — tablature notation...... 47
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 3.5 Wodiczko Frame — overhead view, sketch ...... 49 Example 3.6 Hollinden, Cold Pressed — keyboard setup...... 54 Example 3.7 Hollinden, Cold Pressed — timbre staff notation...... 55 Example 3.8 Hollinden, Cold Pressed — rewrite, expanded staff, no beams ...... 56 Example 3.9 Hollinden, Cold Pressed — rewrite, expanded staff, beams ...... 57 Example 3.10 Hollinden, Cold Pressed — rewrite, line score, beams...... 58 Example 3.11 Hollinden, Cold Pressed — rewrite, line score, no beams...... 59
Example A. 1 Briin, In and... and Out ...... 68 Example A.2 Udow, Timbrack Quartet ...... 69 Example A. 3 Udow/Watts, The Contemporary Percussionist-XVIII ...... 69 Example A.4 Udow/Watts, The Contemporary Percussionist-XIX ...... 70 Example A.5 Udow/Watts, The Contemporary Percussionist-XX ...... 70 Example A.6 Hollinden, The Whole Toy Laid Down, Part 3...... 71 Example A.7 Hollinden, Cold Pressed ...... 72 Example A.8 Hollinden, Slender Beams of Solid Rhythm ...... 73 Example A.9 Hollinden, Dusting the Connecting Link ...... 74 Example A. 10 Hollinden, Release, Player 4 ...... 74 Example A. 11 Hollinden, Release, Player 5 ...... 75 Example A. 12 Hollinden, Release, Player 6 ...... 75 Example A. 13 Hollinden, Release, Player 7 ...... 76 Example A. 14 Hollinden, Release, Player 8 ...... 76 Example A. 15 Macbride, From Without (Conundrum 2 ) ...... 77 Example A. 16 Hollinden, what clarity? ...... 77 Example A. 17 Hollinden, Platinum ...... 78
VI
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS
I would like to express my heartfelt appreciation to everyone who supported me in the
research and writing of this document. Without their insightful contributions, this work
could not have achieved fruition. Thank you to European American Music Distributors
LLC, Udow/Equilibrium Press, Boosey & Hawkes, Inc., Western International Music,
Inc., C. Alan Publications, Zivkovic/Edition Musica Europea, Smith Publications, and the
Artists Rights Society. Thank you to Dr. Mark Berry for his thoughtful input early in my
research. My sincere thanks to Mr. Ron George, Mr. Dave Hollinden and Dr. Michael
Udow for so generously giving their time to answer my questions and offer further
advice. I give my utmost appreciation to Professor Gary Cook for his continuing support
in my academic endeavors (and for the idea). My deepest gratitude is owed to Dr.
Kenneth Hanlon, Dr. Jeffrey Koep, Mr. Anthony LaBounty and Dr. Janis McKay for
their support and advisement throughout both my musical and personal undertakings. A
special thank you to Dr. Dean Gronemeier for being not only a mentor, but also a friend.
He has given me the confidence to proceed with a dream that I never thought possible.
His energy and fortitude have encouraged me to pursue a life course that I most surely
would not have had our paths not crossed. Thank you to my wonderful husband, Tim, for
tolerating my many ups and downs throughout the process of earning my doctorate. His
belief in me has given me the courage to become the person I am today. Finally, thank
you to my mother, Karen, who has always been there for me at any time, day or night.
Thanks, Mom, for believing in me and helping me find my niche in the circle of life.
vii
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1
THE FOUNDATIONS
...who knew how the need to compose for small ensemble because of war-torn economies in the midst of World War I ...would grow into a whole new genre called multiple percussion!'
When Igor Stravinsky composed Histoire du Soldat in war-torn 1917-18, he
introduced a brand new genre to the world of percussion, that is, multiple percussion.^
Due to the scarcity of both performers and instruments, the composition of chamber
works was deemed necessary and Stravinsky chose to compose the percussion part for a
single player.^ Until this point, although some percussionists had already been performing
on more than one instrument out of necessity, works composed deliberately for a single
player had not been written. Stravinsky had also become acquainted with the influence of
the drums in the New Orleans jazz bands, and this led him to compose for instruments
similar to those found in a traps setup (bass drum, two snare drums—one large and one
small—field drum, high hat, suspended cymbal, triangle and tambourine)." Utilizing a
variation of the traditional staff and assigning each instrument to its own line, he put into
practice the first notation for multiple percussion. Stravinsky even included notation for
sticking—stems up for the right hand and stems down for the left hand. The first edition
of the work, published in 1924, incorporated the traditional staff with an occasional
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. single line added for the bass drum or cymbal. Example 1.1 illustrates Stravinsky’s
original notation in manuscript form.
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Example 1.1. First sketch by Stravinsky, Histoire du Soldat, ‘The Triumphal March of the Devil”^
In 1923, Darius Milhaud composed a ballet accompanied by chamber ensemble that
utilized a single percussion player as well as a timpanist. Reminiscent of Stravinsky, the
multiple percussion setup in La Création du Monde was influenced by the concept of the
jazz drumset that Milhaud had heard in Harlem while on a trip to the United States.® The
instruments included snare drum, tenor drum, suspended cymbal, woodblock,
tambourine, metal block (often an anvil or cowbell), tambourin and bass drum and
cymbal played with a foot pedal like the ones used by the early vaudeville drummers.’
Milhaud created a separate single line for each instrument so that it resembled a score
written for eight people rather than just one person (this would later become known as
line score notation or single-line staff system, and will be discussed in Chapter 2). Up to
six of these lines were often used at one time (example 1.2).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. B.bsil
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G.C.
Example 1.2. Milhaud’s multiple percussion notation for La Création du Monde, measures 45-48®
Several years later, in 1929-30, Milhaud began the exploration of multiple percussion
as a solo entity when he composed the first percussion concerto. Concerto pour batterie
et petit orchestre {Concerto for Percussion and Chamber Orchestra), Op. 109. He
employed the same instruments as he had in La Création du Monde with the addition of
triangle, two cymbals, castanets, slapstick, ratchet, tam tam, tambourin provençal and
four timpani.® These were all to be played by a percussion soloist. This time, Milhaud
utilized mainly the line score concept of bracketing instrument groups together, but he
also employed the traditional five-line staff for the timpani. Fifteen lines of percussion
plus the timpani staff could be used at any given time. Fortunately, since Milhaud
bracketed groups of instruments together, the result was five systems of notation rather
than fifteen separate lines (example 1.3).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Trg
Tami-pifrl — ------\
C r u l I------J- I — Ti"* p r . L— — — _
Pt-iotp
M i n i Wdtl P i.
Example 1.3. Milhaud, Concerto pour batterie et petit orchestre {Concerto for Percussion and Chamber Orchestra), Op. 109, measures 22-29'° ©1966 by Universal Edition A.G., Wien ©renewed All Rights Reserved Used by permission of European American Music Distributors LLC, U.S. and Canadian agent for Universal Edition A.G., Wien
Béla Bartok published his Sonata for Two Pianos and Percussion in 1937. This
chamber work incorporated two multiple percussionists. The second percussion part was
truly multiple percussion, while the first percussion part was written mainly for timpani
with a small amount of percussion shared with player two. The instruments for which
Bartok composed included xylophone, two snare drums—one with snares and one
without snares, suspended cymbal, crash cymbals, bass drum, triangle and tam tam.
Bartok utilized single-line score notation for the percussion parts and he clarified which
instrument was to be played by using instrument names and abbreviations. The timpani
and xylophone parts were written on conventional five-line staves (example 1.4).
4
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TImp. ►------Ptrc.I - t ...... — ■-f'--...- '.....-T------«U------«Ll——LfiU------«1?... i—gU------
s. D. c. c. y J J j à ^ i ' i y m f >
Perc.Il r r - j J J y i y i y
“ ) “ ■ J. j. j. J- J- ■WW»^«^^VV"WWV»'V‘VWVW^'V%WVV»''------
Example 1.4. Bartok, Sonata for Two Pianos and Percussion, measures 47-50" Used by permission of Boosey & Hawkes
As composers continued to utilize the concept of multiple percussion, the soloistic
potential of percussion gradually became apparent. In 1958, Karlheinz Stockhausen wrote
what is regarded as the first piece for solo multiple percussion. Nr. 9 ZYKLUS employed
both traditional and graphic notation (this piece and its notation are discussed further in
Chapter 2).
Logistical awareness is necessary regarding the physical setup of multiple percussion
and its relationship to the written notation. Stravinsky actually sat down and worked out
the percussion part for Histoire du Soldat himself—complete with sticking and other
logistical concerns.*^ He was therefore thorough in his directives both towards the
disposition of the instruments and the way that the physical setup related to the written
notation. There is a quote that states that when asked by William Kraft why he notated
the largest, lowest sounding snare drum, which Stravinsky referred to as the tambour, on
the highest line of the staff, Stravinsky simply replied, “...because it is on the right.”'^ He
was referring to his decision to place the tambour to the far right of the performer, hence,
in visualizing a typical left to right orientation of instruments in correlation to notation,
the furthest instrument to the right should obviously be placed on the highest line of the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. staff. Although Stravinsky’s original setup followed an unusual left to right order of
bass, soprano, alto and tenor (rather than the familiar bass, tenor, alto, soprano) it proved
to be the most idiomatic and musical approach for his notational and sticking directions."*
Since then, re-notated versions of Histoire by both William Kraft and James Blades have
been published. They provide clearer means of notation albeit with slight variations to the
original Stravinsky setup.'^
Since the creation of this young art form, several notational systems and
recommended setup possibilities for multiple percussion have come into existence. Due
to its dynamic nature, it would be impossible to standardize any one method. Presently,
several types of multiple percussion notation coexist. Selected examples of these are
discussed in the next chapter.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Endnotes
' David Early, “Percussion Performance Issues In Stravinsky’sHistoire Du Soldat,” Percussive Notes 31, no. 5 (June 1993); 69. ^ Multiple percussion refers to the performing, by one player, of a set of various percussion instruments that are usually not considered as one instrument. To many performers, however, these instruments do represent one large instrument that allows for fluid musical interpretation. ^ Ibid. Igor Stravinsky, Histoire du Soldat, edition by William Kraft (New Music West, 1965/1985/1992), i. ^ Ibid., V . *This edition states that both Robert Craft and Lawrence Morton, two of Stravinsky’s closest associates, confirm that Stravinsky never used the article, “L ” before '’^Histoire” in the title of this work. ° Warren Howe, “The Percussionist’s Guide To Darius Milhaud’s La Création du Monde,” Percussionist 17, no. 1 (Fall 1979): 37. ’ A tambourin is a long, narrow, deep-sounding, two-headed drum, usually without snares, but occasionally with a single or double snare stretched across the batter head. Russ Girsberger, “Darius Milhaud’s “La Création du Monde”: The Problems with the Parts,” Percussive Notes 38, no. 3 (June 2000): 55; Some sources state that Milhaud actually preferred a small tom pitched somewhat lower than the snare drum. Michael Gould, “Advanced Multiple Percussion Techniques: An Analysis with Musical Approaches to Performance Problems in the Music of David Hollinden” (DMA diss., University of Kentucky, 1999), 20. * Darius Milhaud, La Création du Monde (Paris: Editions Max Eschig, 1929). ° Milhaud specified Tambourin Provençal in the Concerto in order to avoid any future confusion in translating the part to English. He had heard other pieces meant for tambourin being played on tambourine because the meaning had been lost in translation and he did not want that to happen to his piece. Morris Goldenberg, Modern School For Snare Drum With A Guide Book For The Artist Percussionist (Chappell & Co., Inc, 1955), 88. Darius Milhaud, Concerto pour batterie et petit orchestre, reduction pour batterie et piano. Universal Edition 6453 (Wien: Universal-Edition, 1931). " Béla Bartok, Sonata for Two Pianos and Percussion (London: Boosey & Hawkes, 1942). William Kraft, ''Histoire Du Soldat—A Music Review of Chester’s Publication,” Percussive Notes 30, no. 5 (June 1992): 50. " Igor Stravinsky, Histoire du Soldat, edition by William Kraft (New Music West, 1965), ii. Kraft, "Histoire Du Soldat,” 52. For an in depth examination of the Kraft and Blades editions of Histoire du Soldat, see the following article: “Percussion Performance Issues In Stravinsky’s Histoire Du Soldat,” Percussive Notes 31, no. 5 (June 1993): 69-75 by David Early.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 2
NOTATIONAL NOMENCLATURE
...never has any group of instrumentalists been subjected to the reading of parts that are as incorrectly, or as incoherently, or as inaccurately, or as illogically written, as have the percussionists.'
In the beginning, it was natural to notate multiple percussion using conventional
notation since it was merely an extension of an already learned concept. However, it was
soon recognized that conventional notation would not always provide an acceptable
vehicle for composers’ intentions. Therefore, various multiple percussion notational
systems were soon introduced, many of which coincided with the general musical
exploration and growth of the avant garde. At present, several different techniques are in
use.
There are numerous inconsistencies in the designations of these notational systems. In
researching this section, it was found that, in some cases, a particular type of notation
referred to in one source might not fall under the same heading in another source. In fact,
sometimes it had a different name all together. The obscure nature of name designation
presented challenges in clearly classifying notational systems. In the same respect, the
obscure nature of notating, in general, leaves many multiple percussionists feeling less
confident in approaching new pieces for lack of knowledge in the area of notation. The
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. second chapter of this document examines and attempts to clarify selected notational
systems for multiple percussion.
Conventional Staff Notation
— ^ •• —i.-Tx... —C3SS^5 - -*335^^5— ^ ' W' *" W' * ' .^ • -. i
Example 2.1. Psathas, Matre’s Dance, measures 31-38 conventional staff notation^
Conventional staff notation, also referred to as five-line traditional notation and five-
line staff notation, utilizes the customary five-line staff.^ Notes are placed on the lines or
in the spaces of the regular staff and the composer uses either word abbreviations or
pictograms throughout the piece to specify which instrument is to be played and when. “*
Conversely, the composer may present a notational key at the start of the piece that the
performer will learn before beginning the work, or as they progress through it.
The advantages to using this system seem obvious. First of all, there is no need to
create a new staff or notational idea for this method to succeed. The percussionist should
already be associated with reading music from the standard staff. Even though the
multiple percussionist is often dealing with non-pitched instruments, once the instruments
are assigned a line or space on the staff, there should be little uncertainty in
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. interpretation. Of course, if some of the instruments included are pitched keyboard
instruments, the staff notation would innately be the best way to notate them.
As with most systems, there are some disadvantages to be considered. There is often
not a standard written abbreviation understood for each instrument. That means the
composer might come up with his or her own method of abbreviating, which would be
cause for confusion. Along those same lines, if one composes in a particular language—
German, for example—then those who do not understand the German language would
have even more difficulty in effectively learning to read the notation. The use of
universally recognized pictograms would remedy the aforementioned situation, though
some pictograms are not universal and might have to be learned anew at the start of each
composition. Instead of identifying instruments by means of written abbreviations or
pictograms within the music, there may be a notational key that appears at the beginning
of the work. Since one may have to continuously refer back to the key to determine what
instrument is to be played, this approach does not facilitate sight-reading. However, for
many performers, once the specified notation and techniques outlined in the key are
memorized, it actually leads to a more fluid approach to learning the piece since there is
no longer the need to be concerned with processing pictograms or written abbreviations.
An additional disadvantage encountered with conventional staff notation is that there
is only room for up to eleven instruments notated at any given time, unless the composer
incorporates ledger lines, which in itself may seem overwhelming on a five-line staff.
Therefore, if the composer wants to write for more than eleven instruments, some
instruments will end up sharing lines or spaces with the only clarification being the
written abbreviation or pictogram. Percussionists who have been faced with this type of
10
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. notation know how confusing it is to continuously have to read the written word or
pictogram and associate it with a line or space that previously belonged to a different
instrument.
Since written abbreviations and/or pictograms are not usually incorporated within the
work when utilizing the notational key method, a composer may be forced to find some
other way of specifying instruments exceeding the allotted eleven. One way of indicating
additional instruments is to use different shaped note heads. Another way may be to
utilize upwards and downwards note stems. It seems obvious that the best solution to the
problem is to employ the grand staff to avoid the overcrowding and instrument
limitations all together. Utilizing slight modifications of the grand staff to notate multiple
percussion music is discussed in forthcoming sections.
The early multiple percussion piece, French Suite (1962), by William Kraft, utilizes
conventional staff notation with a notational key at the beginning of each movement
(examples 2.2 and 2.3).
1 Snare Drum (high) 2 Snare Drum ( low) 3 u iYi 4Tenor Drum
Example 2.2. Kraft, “Allemande,” from French Suite- notational key for the first movement^
11
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. (' bo I h pans)
/ p f
Example 2.3. Kraft, “Allemande” from French Suite, measures 30-36°
Another composition that employs this method of notation is Inspirations Diabolique
(1965) by Rickey Tagawa. Like Kraft, Tagawa provides a diagram of the recommended
setup for his work as well as a notational key at the beginning of the piece. Although he
uses only six drums, a tambourine and four cymbals in the work (eleven instruments), he
takes the clarification effort one step further by incorporating different note head shapes
(diamonds and x’s) for the suspended cymbals (example 2.4).
1. INTRODUCTION
"I' ff
Example 2.4. Tagawa, Inspirations Diabolique, measures 1-9 of “Introduction Used by permission of Western International Music, Inc.
Kraft continued to utilize conventional staff notation and he, too, integrated the use of
different shaped note heads in his English Suite (1975). More recent multiple percussion
12
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. pieces that have made use of conventional staff notation include: Matre’s Dance for solo
percussion and piano (1991) by John Psathas (example 2.1), Canned Heat (2003) by
Eckhard Kopetzki and Machine (2004) by John M. Allemeier (example 2.5).
Example 2.5. Allemeier, Machine, measures 118-125® Used by permission of C. Alan Publications
Conventional staff notation has remained a popular method of writing for decades.
Once the performer understands the notational key, abbreviations and/or pictograms, it
provides for a very straightforward comprehension of the work—as long as there is not
an overabundance of instruments in the piece.
13
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Expanded Staff Notation
- vü lta acl lib ( J 186 ) — r 1
'-r
Example 2.6. Zivkovic, The Castle o f the Mad King, Op. 26 excerpt from page 4, second and third systems^ Used by permission of Nebojsa Jovan Zivkovic/Edition Musica Europea
Expanded staff, two-stave, multiple stave or multiple system notation uses the same
idea as the conventional staff, but employs two or more staves that are bracketed
together.'® This expanded staff enables the composer to write for more instruments than
the single conventional staff allows. Each instrument is assigned to its own line or space
at the beginning of the piece.
One advantage to this arrangement is that there is no need for any written
abbreviations to distinguish instruments like there was in conventional staff notation.
However, reading a staff with a large amount of instruments on it is no small task. To
memorize the assigned location of each instrument on the staff, and associate it with the
physical location of the instrument itself, one would need to spend a great deal of time in
preparation.
One of the earliest works to take advantage of the idea of expanded staff notation is
Adventures for One (1963) by Robert Stern. Incorporating two bracketed staves, an
14
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. occasional single line for suspended cymbal and altered note heads, Stem writes for
vibraphone, timbales, bongos, suspended cymbal and four timpani (example 2.7).
f .n . ,—
r3—. r3
T p . PP
Example 2.7. Stern, Adventures for One, Mvmt II, measures 23-28"
Expanded staff notation can range from relatively simple and straightforward, as
shown above, to complex, as shown below in Charles Wuorinen’s Janissary Music
(1966). Wuorinen employs a total of twenty-seven instruments on five bracketed staves.
The staves are divided as follows: one staff for vibraphone, one for marimba, one for
timpano in F, one for twelve different metal instruments and one for twelve different
drums. Each staff is labeled throughout the piece as “vibraphone, marimba, drums, metal
or timpano.” That concept provides clarification since, at any given moment, a staff that
is not in use is omitted from the page (example 2.8). The twelve drums and twelve metals
are to be learned and memorized by means of a notational key provided at the beginning
of the piece.
15
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. h-..t
Example 2.8. Wuorinen, Janissary Music, Part I, measures 89-96*^
Nebojsa Jovan Zivkovic utilized the expanded staff in Generally Spoken it is nothing
but rhythm. Op. 21 (1990/91) and again in The Castle O f The Mad King, Op. 26 (1998/99
- example 2.6). Similar to Wuorinen’s piece, Generally Spoken... is written for fourteen
percussion instruments—seven on each staff—plus vibraphone. Unlike Wuorinen,
however, Zivkovic chooses to display all three systems of staves at all times regardless of
whether the instruments are being played or not. Also unlike Wuorinen, he beams many
of the notes across systems, which vertically clarifies the rhythmic structure of the piece,
especially since there are no time signatures and no bar lines (example 2.9).
16
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. EFFETTUOSO ( j = 126)
PERC,
Example 2.9. Zivkovic, Generally Spoken it is nothing but rhythm, Op. 21 excerpt from the first two systems'^ Used by permission of Nebojsa Jovan Zivkovic/Edition Musica Europea
Expanded staff system of notation for multiple percussion has its advantages and
disadvantages just like any other method, but it is clearly a good alternative to attempting
to notate large amounts of instruments on the conventional five-line staff.
Line Score Notation
Example 2.10. Marta Ptaszyhska, Space Model (1992) excerpt from page 1, second system'^
Another method of notating for several instruments or instrument groups is known as
line score notation. Edgard Varèse utilized it in the first piece written for percussion
17
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ensemble, Ionisation (1934). Sometimes referred to as single-line staff system or an
expanded version of one-line traditional notation, this method has proven to be most
rewarding in its clarity, albeit it does not always make the most economical use of space
or afford visually apparent melodic passages.'^ In other words, contrary to the easily
discernible “shape” of a melody written within the conventional staff, when utilizing line
score notation, that shape can become more distorted as it may have to stretch across
several separate lines to connect with the next note. This might have an adverse effect on
musical phrasing when one is learning a piece.
In line score notation, pitched instruments are notated on the traditional five-line staff,
while non-pitched instruments are arranged one line per instrument, or two or more lines
assembled together to form groups of lines and spaces. In the latter case, oftentimes
instruments of like timbres will be grouped about the lines and spaces. The instruments
assigned to the lines and spaces are identified either by the written word at the beginning
of the piece, or via the use of pictograms. Although the lines are usually bracketed
together, each line of instruments or group of instruments is clearly separated from the
next, which allows for few complications in effectively reading and understanding this
notation.
Line score notation allows the performer to visually separate the notes on the page
and categorize them for comprehension, thus providing an efficient approach to learning
a multiple percussion work. It may also lend to a more clear association with instrument
layout if the instruments are arranged left to right with the furthest left written on the
bottom line and gradually ascending to the rightmost being written on the top line.
Alternatively, one may choose to place the bottom-line instruments closest to the
18
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. performer with each upper-line instrument placed progressively further away. Either of
the aforesaid setups results in a one-to-one relationship between the notation and the
instrumental positioning.*®
One disadvantage associated with line score notation is that it usually takes up more
space on the page than most other forms of notation. Since each instrument has its own
line or group of lines, the notation must not only allow for the written notes for each
instrument, but it must also account for the rests for each instrument. Therefore, there
must be written notes and rests on each instrument line to account for all beats, and this
may create visual confusion for the performer.*’ In addition, more space used on a page
means more pages overall. Most percussionists prefer not to contend with an excess of
pages as they are already dealing with logistical concerns such as moving within the
setup and stick/mallet changes. One remedy to this situation is to display only the lines
that are to be played at a particular time. Even then, however, one must keep track of
which line is being presented at any given moment. Ultimately, the best solution for an
actual performance is to memorize the piece.
Another disadvantage of this notation is that even if note heads are beamed together
across staff lines, the disjunctive space between the lines may diminish the performer’s
ability to visually identify rhythmic and/or melodic lines. Keeping in mind that the player
is often dealing with non-pitched percussion instruments, an actual “melodic” line will
initially be more difficult for them to discern than if it were played on a pitched
instrument. Therefore, the lack of a visual melodic line could contribute to difficulties in
the initial realization of musical phrase.
19
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. One of the foremost composers to employ extensive instrumentation for multiple
percussion utilizing line score notation was Luciano Berio. His five-movement work for
female voice, harp and two percussion players. Circles (1960), incorporates fifteen
groups of instruments into immense setups for each percussionist. Since groups of
suspended cymbals, tam tams, triangles, cowbells, toms and gongs are regarded as single
instruments, each performer is responsible for close to thirty separate instruments at any
given time. The instruments are separated into three categories, all indicated by the use of
bracketed systems. Additionally, each part contains a keyboard instrument. The pitched
percussion is notated on the traditional five-line staff, but the non-pitched instruments are
written in line score notation. Some of the score is graphically notated, which is a
notational system that is discussed in the next section. Example 2.11 shows the position
of instruments in the score for the first percussion part.
3 wood bloc ks O — jlsiguirq. mexican bean 0 ..cbirnes log drum (j) .^ais.Q.sani^hb£k ..
marrmbaphone @ 2 imail bongos (5)
2 small timpani (§) PERC.* . ~aikQ.lglass Qhmopp. .. 3susp. cymbals (g) _ ..Jbe.lay/er.with. .sizi’/es 3 tam tam ^ 5 cencerros @ lujon @
6 susp. chimes @ Icampanel
Example 2.11. Berio, Circles, score position of instruments for Percussion 118
The instruments utilized at the onset of the work are clearly labeled at the beginning
of each movement, and instruments that enter later are distinguished as they occur.
20
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Following the initial labeling of each instrument, however, the labels no longer appear.
Therefore, it is necessary that the performer learn to which line or space a particular
instrument belongs. In addition, when an instrument is not being utilized, its respective
notational line or space does not appear on the written page at all. Example 2.12 displays
how the instrument positioning appears within the actual notation of Circles.
Ë - ■ X e r
Example 2.12. Berio, Circles, Part 111, thirteenth system, page 29'*
Probably one of the most recognized pieces written exclusively in line score notation
is Thirteen Drums for percussion solo, Op. 66 (1985) by Maki Ishii. This piece is written
for thirteen drums of differing pitches ranging from high to low. The instructions state
that twelve of the drums are to be chosen by the performer and should consist of bongos,
congas and other skin instruments with calf skin (or Japanese drums: Shime-Daiko, Oke-
Do). The thirteenth drum is a bass drum with a pedal.’® An excerpt from this piece is
presented in example 2.13.
21
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. é» 0f'f0 *ff* • ••■ •0\ » 0000 00 f #*»# 00000400- ^00000 ■■ Ï - 0000 00-. 0 -000000- 00- 00000000- 01 00 00 /::! iir ! I r m; ^
izL* L ^ * 3s(« tfrA
Example 2.13. Ishii, Thirteen Drums, Op. 66, page 3, third system’' ©1986 by Moeck Musikinstrumente & Verlag, Germany All Rights Reserved Used by permission of European American Music Distributors LLC, sole U.S. and Canadian agent for Moeck Musikinstrumente & Verlag, Germany
Since the notes are all beamed together, the rhythmic relationships between them are
clearly apparent, but this is not always the case with line score notation. An example of
non-beamed notes in line score notation is Rrrrrrr... by Mauricio Kagel (1981/82).
Written for two percussionists, this piece utilizes line score coupled with pictograms.
Each player is responsible for specific instruments and must keep track of his or her
assigned parts as they appear (example 2.14). The notes are not beamed together, so it is
somewhat more difficult to visually discern the rhythmic and melodic relationships
between the lines. As with most notational methods, however, once the performer
becomes accustomed to instrument placement on the written line, it should be without
considerable difficulty that he or she realizes the intent of the composer.
22
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. C3 u k j ' ' L alT -
O I : s r ^ a t rçzxzïz^ B I -i-----
Example 2.14. Kagel, Rrrrrrr..., Mvmt 3, “Rigaudon,” rehearsal number 81 22
Line score notation is capable of presenting multiple percussion compositions with
great clarity. Even though there are some spatial concerns, as well as the uneconomical
use of space on the page, it has established itself as a fundamental system of notation.
Graphic Notation
M.
Example 2.15. Netty Simons, Design Groups / (1973), excerpt from Part É 23
Beginning with Earle Brown’s collection. Folio (1952-53), there was a movement
geared towards the concept of musical notation as visual art. Subsequently, some
composers turned to composing visually stimulating pictorial and graphic representations
23
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. of their ideas. Mutatis Mutandis (1968), by Herbert Briin, displays what he termed
“graphic analog” notation (example 2.16). He stated:
The graphic displays turn into scores as soon as the interpreter translates their structural characteristics into the instructional code of another medium (music, movement, etc.) and following his translation recreates the simulated process by analogy.^
7b
Example 2.16. Briin, Mutatis Mutandis, excerpt 7b“ Used by permission of Smith Publications 2617 Gwynndale Ave., Baltimore, MD 21207
Briin challenges the interpreter to construct a working model of his graphic structure
and to perform it in any medium: sound, movement, language, film, etc. He also
stipulates that:
The Interpreter is not asked to improvise. The Interpreter is asked not to improvise. He is asked to compose.^^
This approach is central to the realization of graphically notated pieces in that they are
extremely subjective in their interpretations and must be studied and prepared diligently
in order to achieve the quality of musical expression desired.
24
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Unique to the composition in which it occurs, graphic notation typically consists of
abstract shapes, symbols, lines, pictures, dots, arrows, pictograms, time-grids and many
other imprecise and/or unconventional compositional devices. The first commonly
recognized solo piece written for multiple percussion, Karlheinz Stockhausen’s Nr. 9
ZYKLUS (1958/©1960), utilizes both graphic notation and traditional staff notation
(example 2.17). In reviewing the work, one critic stated, “the initial impression is that one
is looking not at a score but at a drawing by Paul Klee.”^’ One can see how the abstract
nature of the score does bear resemblance to drawings by the Expressionist artist
(example 2.18).^
25
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. D □ C3 •• C=3
□ i cd \ca ■ °=° \ ^ H . I f : i : i : : : ~ i p i 'f i ' f s m
Example 2.17. Stockhausen, Nr. 9ZYKLU^^ © 1960 by Universal Edition (London) Ltd., London © renewed All Rights Reserved Used by permission of European American Distributors LLC, U.S. and Canadian agent for Universal Edition (London) Ltd., London
Example 2.18. Tightrope Walker by Paul Klee^° © 2005 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
26
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Nr. 9 ZYKLUS is scored for the following instruments: • Marimbaphone. • Guiro, fixed to a stand, deep sound (if possible use several guiros). • 2 wood drums (African tree drums—each gives two pitches). • A suspended bunch of bells (if possible Indian ones of various sizes) and/or tambourine fixed to a stand, struck with a stick or with the hand. • Side drum, very high in pitch, with snares; if the snares rattle too much when other instruments are struck, they may be disengaged. • 4 Tom-toms. • 2 cymbals. The striking point (nearer the edge or nearer the center) should be varied continually. • Hi-Hat: (note in between lines) = closed, struck with a stick (or close it with the pedal). (Notes on top or below lines) = open, struck with a stick. (Notes on top or below lines with slashes through them) = open, struck at the center. • Triangle: continual change-over between at least two very high-pitched triangles. Single strokes with the heavier sticks, tremoli with very thin metal sticks. • Vibraphone (without vibrato). • 4 cowbells, suspended without beaters; “frog mouthed” and flat bells. • Gong with a raised center. Where possible struck with a soft stick, if nothing specific is indicated. Vary the striking point continually. • Tam tam, where possible struck with a hard stick, if nothing specific is indicated. Vary striking point continually.^*
Even in browsing the above list, one notices both specificity and ambiguity in
instrument designation. Likewise, the instructions relating to sound production are both
explicit and approximate. Similarly, graphic notation is simultaneously determinate and
indeterminate. Therefore, by its very nature, graphic musical notation is intended to
liberate the performer’s reaction, thereby stimulating the imagination and resultant
expression. Time values, tempo, dynamics, instruments, and so forth, are indicated
through the use of symbols. The author/composer of a piece written in graphic notation
27
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. deliberately avoids conveying specific notational indications in the traditional sense,
although, the majority of the time, several pages of written guidelines preface the score.
Ultimately, they are meant to result in the creative interpretation of the performer. The
end result of the freedom presented in a graphically notated score is that there will be a
different interpretation each time it is actuated by a new performer. One must be careful
to note, however, that most, if not all, graphic scores are not meant to be exercises in
improvisation. In fact, as stated in the instructions of Acoustic Study No. 1 (for a
Qualitative Percussionist) (1973) by Dr. Michael Udow:
It should be clearly understood that the interpretative approach to these graphics be of an inventive, creative, and intellectual nature. Improvisation is not requested.^^
An illustration of Udow’s graphic notation is shown in example 2.19. 33
Example 2.19. Udow, Acoustic Study No. Used by permission of Michael W. Udow/Equilibrium Press
One of the most significant pieces in solo percussion literature is The King of
Denmark (1965) by Morton Feldman. This entirely graphic piece also leaves a great deal
28
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. of creative decisions up to the performer. Presented on a grid system, the different
sections, or boxes, contain the information the performer needs to interpret the piece.
Each box is supposed to equal a metronome marking of between sixty-six and ninety-
two. Several of the boxes contain numbers to represent how many sounds should be
played within the box. Other boxes are left empty. Broken lines extending beyond a box
indicate sustained sounds while Roman numerals in the boxes represent simultaneous
sounds. Large numbers indicate that single sounds should be played in all registers in any
sequence. There are still other symbols that are not defined in the performance
instructions at all and are thus left up to the percussionist to interpret. The performer is
instructed that, rather than using sticks and mallets, all instruments are to be played with
his or her fingers, hands or any part of the arm. Instruments required for the piece range
from a triangle, vibraphone (without motor), cymbal and gong, to skin instruments and
“bell-like” sounds (example 2.20).^^
-----1L K 1 —■Ill"'II* 1 NJ 1 m
r
Example 2.20. Feldman, The King ofDenmarlâ^
Feldman disapproved of the idea of musical progress being related to systems and
rationalizations. He believed instead in “...how it sounds...” and he urged the performer
29
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. to “...let the music write itself.His method of notation provides an inspiration for
musical expression that can only be realized on an individual level.
As previously stated, graphic notation is unique to the composition in which it occurs.
Some characteristics are common to other scores, but overall, this notation is highly
subjective in both composition and interpretation. It will likely not be subjected to
standardization as the whole concept of graphic scoring is to interpret in ones own mind.
Spatial Notation
Example 2.21. John Allemeier/Nick Petrella, “Spatial Choices” (2000) The Multiple Percussion Book, excerpt from page 74, third system^®
Spatial, or proportional, notation is often combined with graphic characteristics.^^ It
consists of various dots, shapes or note heads placed in or around measures, lines, spaces,
pre determined grid systems that have time labels rather than actual meters, and even on
the infinite background of a blank page. The “notes” are frequently different sizes
intended to coincide with the dynamic range—the larger the dot, the louder the sound and
vice versa. Sometimes dynamics are realized simply through note placement on the
“staff.” The duration of the sound is also often manipulated through the size or shape of
the note—it may be elongated or shortened to alter the sound accordingly. Much of the
30
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. time, both dynamic and durational values are relative to the note occurring before and
after a given note within the time label.
A good example of spatial notation is found in John Cage’s piece, 27’.10.554” For A
Percussionist (1956/©1960 - Example 2.22). In the instructions for this piece. Cage
states:
a correspondence between time and space is made so that each page = one minute; the numbers above the systems are the seconds of the minute.'*”
I . % ) 4 . . 5 6 & 9 10 11 W 0 & 15 / ; ------\ r r- ^ V r "w - ■ ■ • I - * — V/ * . r • \
— s * —. Y'j — 0 .... • . . • . . • . ] ; A - . - -V; ' -...- A.....- ■ \
Example 2.22. Cage, 27’.10.554,”page 19, first system"*'
The instruments are to be divided into four groups: metal (M), wood (W), skin (S)
and all others (A). Cage emphasizes that the virtuoso performance will be one that is
rendered through an “exhaustive rather than conventional use of the instruments
explored.”*^ He places dots on and around lines that are assigned to each instrument
group. Any dots placed above a line are to be played louder than the ones below the line,
and those dots on the line itself should be played at a mezzo-forte dynamic level.
Sometimes the dots are lengthened into lines to represent a crescendo. Occasionally, the
dots are joined to a line with a stem. In those cases, the stems are added merely to clarify
to which line, and thus, to which instrument group the dot belongs. When a small hook
appears attached to the dots in the metal group, the player is instructed to let them ring.
31
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Much like graphic notation, spatial notation, although usually quite detailed in its
instructions, leaves a lot of room for interpretation. There is a great deal of liberty to be
taken within a highly ordered structure of determinate indeterminacy. As with any other
notation, the characters on the page should serve merely as a catalyst between the
composer’s intentions and the performer’s artistic interpretation.
Hybrid Notations
Example 2.23. Van der Slice, Pulse/Impulse excerpt from page 3, second system'*^
□
'..a a* □
Example 2.24. Stockhausen, Nr. 9 ZYKLUS^ © 1960 by Universal Edition (London) Ltd., London © renewed All Rights Reserved Used by permission of European American Distributors LLC, U.S. and Canadian agent for Universal Edition (London) Ltd., London
32
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Much of the time, composers do not utilize one single form of notation when writing
for multiple percussion. In fact, it is not uncommon to encounter two, three or possibly
even more notational systems in one piece. Hybrids can range from the simple use of
pictograms coupled with line score notation, such as that employed in Pulse/Impulse
(1984) by John Van der Slice (example 2.23); to a graphic score that utilizes pictograms,
spatial, line score and conventional staff notation somewhere in its depths (refer to
Stockhausen’s Nr. 9 ZYKLUS—example 2.24). A working knowledge of all types of
notation is necessary to provide a solid foundation for the performing percussionist.
Timbre Staff Notation
==— f Jiulf.
Example 2.25. Hollinden, Slender Beams of Solid Rhythm (1991) page 4, first and second systems'***
Timbre staff notation and setup refers to a more recent development in notational
language for multiple percussion.'** Dr. Michael Udow had utilized the idea in his
Timbrack Quartet (1978), but he formally introduced the concept in the early 1980s.‘*^ He
included pieces employing the method in his collaboration with Chris Watts, The
Contemporary Percussionist: 20 Multiple Percussion Recital Solos (1986).'*® As a result
33
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. of working closely with Udow, composer, Dave Hollinden, has used timbre staff notation
in several of his multiple percussion compositions.
A treble clef with an “X” or slashes (//) through it signifies this notation. The setup
and notational key are illustrated with pictograms in the instructions for the piece.
Utilizing the traditional staff, each instrument of a multiple percussion setup is assigned
to a note from the chromatic scale. To coincide, the instruments are arranged to resemble
the physical position of the keys on a keyboard instrument. So rather than there being
correspondence between the notated and sounding pitch, the association lies in the
relationship between the physical location of the instrument and the notated pitch. This
direct correlation between the physical setup and the employment of standard keyboard
notation means that the learning process of a new piece should prove to be quite efficient
for someone who is familiar with the layout and notation of keyboard instruments. Not
only will the comprehension of the notation occur quickly, but the keyboard oriented
disposition of the instruments will afford familiarity to the muscle memory of the
performer, which should also result in more efficient learning. Less time spent learning a
new notational key means more time concentrating on the creation of the music itself.
By beginning on middle C and incorporating accidentals, timbre staff notation can
accommodate up to twenty-one instruments on the traditional five-line staff (from C4 to
G#5).'*^ Utilizing the grand staff and/or ledger lines, that amount is greatly increased,
although, as with other aforementioned methods of notation, an overloaded staff might be
less appealing to the potential performer in terms of visual clarity, and thus, a lessened
learning efficiency. Hollinden himself finds that
...it works well to include twenty or so instruments on a single timbre staff when there is sufficient variety in the
34
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. instruments....but, if the instruments instead come from a relatively small number of instrument families (for example, 6 toms, 5 temple blocks, 5 cowbells, and 4 crotales), it can be difficult to arrange the instruments on the staff in a way that makes intuitive sense. And if the written music is based more on instrument family rather than on using all of the instruments on the timbre staff together as one large, composite instrument, then the composer is better off using another notational system such as separate staffs or calling out different instrument groups on a single staff.*®
Example 2.26 identifies the pictograms of the instruments that Hollinden incorporates
in Cold Pressed (1990/1994). Listing the instruments in this fashion avoids any
misconceptions pertaining to the exact meaning of the pictograms.
in a a drum WwW 'u J 2 i 1 ' lafiii ion-icrq, I 1 (jr. i__ “7 tei A ' mcilwm. {m-i'-n i ; 5 Ls - jj-luk
dtliffi K'Ifn fciil CB 2 lu - era* (.malJxm, ikin')
i tcmfla Meakj (j) - rule (
Example 2.26. Hollinden, Cold Pressed, pictograms defined*'
Example 2.27 shows the timbre staff notational key Hollinden utilizes in the piece
and Example 2.28 gives an illustration of the corresponding “keyboard” setup. Hollinden
chooses to notate the pedal bass drum and cymbals separately as they are located outside
of the fundamental setup—the pedal bass drum is on the floor and the cymbals are
suspended. The intrinsic qualities of these instruments make them difficult to mount
within the keyboard setup and are therefore not included in the chromatic notation.
35
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. □ o ÛÛD
\4-^ L, I I ' , ' , Y I I . ! I , I ' K -%- ^ L; z:4: -t- ':' : ■ --^
Example 2.27. Hollinden, Cold Pressed, notational key,52
Spta5r\ I f XW X D"' X
Example 2.28. Hollinden, Cold Pressed, keyboard setup53
On the written page, the piece very much resembles that of a mallet keyboard
instrument (example 2.29).
f f
Example 2.29. Hollinden, Cold Pressed, notation in context page 5, measures 104-111^
36
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Hollinden even incorporates phrase markings and enharmonies throughout the piece.
Phrase markings are often not present in multiple percussion music, which makes it
difficult for the performer to decipher what phrasing the composer intended. The non-
pitched material is clearly recognizable as a visible melodic line, and the use of phrase
markings supports the melodic shape and provides the player with a stronger sense of
musical unity.
Timbre staff notation can be conceived of as a truly universal approach to notating for
multiple percussion. It employs commonly recognized pictograms to symbolize
instruments and it utilizes the traditional five-line keyboard staff (or possibly the grand
staff), which is readily accepted as an established form of notation. It offers the utmost in
reading clarity between the actual setup and the notation.
Naturally, timbre staff notation and setup is not appropriate for all multiple
percussion music. Not all setups will physically lend themselves to the keyboard
configuration. Hollinden states;
There are certainly limitations. Some instruments, due to their size and/or mounting mechanisms, are difficult to fit into a timbre staff arrangement. For example, it’s difficult to include suspended instruments such as gongs and cymbals in a set up that otherwise consists of instruments that are mounted on stands or lying on tables. It is for this reason that I typically do not notate cymbals as part of the timbre staff, and instead use “x” shaped note heads on the top staff line and above. Also, the number of instruments involved in the setup can make timbre staff notation less useful. Certainly if a player only has four or five instruments to play, it’s not worth the effort of using timbre staff since it requires explanation.^^
37
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Additionally, in cases that involve indeterminate methods of the notation, such as
graphic or spatial, one might find it difficult to recreate the intimate concepts in timbre
staff notation.
Conclusion
There are advantages and disadvantages associated with each type of notation.
Frequently, a new notation is developed in an attempt to remedy the disadvantages of an
existing system while other methods are developed purely for the purpose of igniting the
imagination of the interpreter and resulting in a different interpretation of the piece at
each performance. Oftentimes several types of notation are included within in a single
piece.
Compositions for multiple percussion are much too diverse to permit standardization
in notation and it is ultimately the multiple percussionist’s responsibility to have a
working knowledge of all notational nomenclature. Rigid rules of standardized notation
would lead to a lack of individuality among composers and, thus, a lack of interest in
writing for the medium. Timbre staff notation and setup offers a traditional notational
approach that might appeal to the otherwise hesitant composer and may offer an excellent
opportunity not only for the seasoned composer, but for the aspiring one as well. The
next chapter of this document discusses the evolution of multiple percussion setups with
an emphasis on timbre staff notation and setup.
38
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Endnotes
' Rupert Kettle, “Composer’s Corner,” Percussionist 6, no. 1 (October 1968): 21. ^ John Psathas, Matre’s Dance (The Terrace, Wellington, New Zealand: Promethean Editions Limited, 1991/1994/1999), 2. ^ Gary D. Cook, Teaching Percussion, 2d ed. (New York: Schirmer Books, 1997), 84; Nick Petrella and John Allemeier, The Multiple-Percussion Book: Concepts for a Musical Performance (New York: Carl Fischer, 2000), 9; Michael Gould, “Advanced Multiple Percussion Techniques: An Analysis with Musical Approaches to Performance Problems in the Music of David Hollinden” (DMA diss., University of Kentucky, 1999), 13. ^ Pictograms are drawn symbols that represent various instruments. The employment of pictograms may facilitate sight-reading since the interpreter need not read written information such as written abbreviations within the music. For extensive listings of pictographic representations of percussion instruments, implements and playing techniques, refer to Tabulatur 2000: The Up-To-Date Dictionary Of Percussion Notation by Siegfried Fink (Hamburg-London: N. Simrock, 2000) and Chapter One of Pictographic Score Notation: A Compendium by Gardner Read (Westport, CN: Greenwood Press, 1998). ^ William Kraft, French Suite (King of Prussia, PA: Theodore Presser Company, 1962), 1. ^ Ibid., 2. ^ Rickey Tagawa, Inspirations Diabolique (Greeley, CO: Western International Music, Inc., 1965), 1. * John M. Allemeier, Machine (Greensboro, NC: C. Alan Publications, 2004), 4. ^ Nebojsa Jovan Zivkovic, The Castle o f the Mad King, Op. 26 (Edition Musica Europea Nr. 1012, 1998/99), 4. Cook, Teaching Percussion, 85; Petrella, Multiple-Percussion, 10; Gould, “Advanced Multiple Percussion, ” 23. " Robert Stern, Adventures for One (New York: Music For Percussion, Inc., 1963), 5. Charles Wuorinen, Janissary Music (New York: C.F. Peters Corporation, 1966), 8. Nebojsa Jovan Zivkovic, Generally Spoken it is nothing but rhythm, Op. 21 (Top Drum/Edition Musica Europea Nr. 1(X)2, 1990/91), 1. Marta Ptaszyhska, Space Model (Bryn Mawr, PA: Theodore Presser Company, 1992), 1. Cook, Teaching Percussion, 85; Petrella, Multiple-Percussion, 9; Gould, “Advanced Multiple Percussion,” 27. Reginald Smith-Brindle, Contemporary Percussion (London: Oxford University Press, 1970), 10. Cook, Teaching Percussion, 85. Luciano Berio, Circles (New York: Harcourt, Brace, 1960), 1. Ibid., 29. Maki Ishii, Thirteen Drums, Op. 66 (Moeck Verlag, 1985/86), 3. Ibid. ^ Mauricio Kagel, Rrrrrrr... (Henry Litollf’s Verlag, 1985), 11. Netty Simons, Design Groups I (Bryn Mawr, PA: Merion Music, Inc./Theodore Presser Company, 1973).
39
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Herbert Briin, Composition With Computers, 6; quoted in Sylvia Smith and Stuart Smith, “Music Notation as Visual Art,” Percussive Notes Research Edition Percussionist 18, no. 2 (Winter 1981): 13. Herbert Briin, Mutatis Mutandis (excerpt 7b) reprinted in Sylvia Smith and Stuart Smith, “Music Notation as Visual Art,” Percussive Notes Research Edition Percussionist 18, no. 2 (Winter 1981): 13. Ibid., 14. Paul Klee (1879-1940) was a Swiss Expressionist painter. According to the compiler of this article, Ingvar Loco Nordin, this quote was made by a critic regarding his first impression of Zyklus. Ingvar Loco Nordin, “Stockhausen Edition no. 6,”
40
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Dave Hollinden, electronic mail interview by author, 21 July 2005. Dave Hollinden, Cold Pressed (Greensboro, NC: C. Alan Publications, 1990/1994). Ibid. ” Ibid. Ibid., 5. Hollinden, electronic mail interview.
41
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 3
TIMBRE STAFF NOTATION AND SETUP
Percussion student Wally Hacker was rushed to University hospital yesterday suffering from a severely pulled groin muscle. A friend who witnessed the accident said Wally sustained the injury when his foot became entangled between the vibraphone pedal and the “alto” brake drum as he attempted a 180° pivot during a rehearsal session of XL Plus One for Multiple Percussion by Alvin Etler.'
Although the preceding quote from an article in the Fall 1977 issue of Percussive
Notes is humorous, it does address a significant factor regarding multiple percussion—the
setup. The physical arrangements of instruments for solo multiple percussion works are
constantly altered. This is due to the availability of an enormous amount of percussion
instruments, and thus an enormous variety of possible setups.
A workable arrangement of the percussion instruments, one that provides for efficiency and freedom of movement, is an essential element in any successful multiple percussion performance.^
With this aspect in mind, as the art form developed, a few people took it upon
themselves to offer remedies to the logistical situation. Efforts were made to create
instrumental systems that were of a fixed, yet adjustable, nature so as to provide a
common logistical approach to each multiple percussion setup. Below are some designs
that were studied (and, in many cases, that are presently in use) before the conception of
timbre staff notation and setup. It is important to note that, aside from the Timbrack,
42
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. these ideas were devised separately and were not directly associated with the eventual
concept of timbre staff notation and setup. The relevance of mentioning them in this
document is that, from the beginning, there has been a significant amount of concern
regarding the setup of multiple percussion. The fact that these people were (and are)
willing to go to such lengths to create “mega-instruments” meant to assist in the
realization of multiple percussion works supports the significance of the genre.
The Prepared Piano
Even before solo multiple percussion existed as a solo entity, John Cage was
experimenting with his art of noise. In the late 1930s, while working as a dance
accompanist at the Cornish School of the Arts in Seattle, Washington, he invented the
“prepared piano”—a sort of extension of percussion instruments.^ The prepared piano is a
piano with objects such as screws, bolts, pieces of rubber, etc. placed between its strings
so that when the keys are depressed, the normal quality of sound is altered in such a way
as to create a whole new timbre. In effect. Cage possessed an entire percussion orchestra
at his fingertips. Music could be notated as though it were written for piano, yet entirely
new and unexpected sounds would emerge when the keys were depressed. He composed
his first work for prepared piano. Bacchanale, in 1940.^* This piece is “musically similar
to the simple percussion works of the time, but requires only a single performer.”^
Timbre staff notation could be envisaged as an outgrowth of this concept in that it, too,
resembles keyboard notation, yet there is no direct association between the written
pitches and the actual timbres.*
43
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Percussion Console
In 1969, composer, percussionist, and inventor of original percussion instruments,
Ron George, began doing extensive research into the areas of new percussion resources
for the percussionist and composer. This research culminated in the production of a new
system of multiple percussion construction, the Multiple Percussion Console.”’ Along
with this construction, George also developed a unique tablature notation for percussion
as well as new performance techniques for traditional and newly developed percussion
instruments. Consisting of special racks constructed from aluminum pipe with structural
fittings and laboratory clamps, the Percussion Console can hold a myriad of percussion
instruments in a compact arrangement.® Percussion instruments are organized into groups
forming patterns in which each instrument is assigned a note. These multiple percussion
“keyboards” are then placed around the performer making use of all space above, below,
in front of and even behind him or her (example 3.1).
Symbols in the diagram represent these instrument groupings;
^ Ringing Metal
A Dry Metal O Skin I 11 IMIVVV' HORIZONTAL X Rattles n Wood GROUPING
—'"^Cymbal s VERTICAL GROLPISCS
TOP V IE W
COMPLETE CONSOLE
Example 3.1. The Loops Console, diagram^ Used by permission of Ron George
44
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 3.2. The Loops Console, physical setup'® Used by permission of Ron George
One can arrange the percussion instruments into five different physical areas (The
Loops Console, examples 3.1/3.2, utilizes three of the five areas). Any instrument or
group of instruments (keyboards) may be placed in any of the areas, however, due to
individual instrument characteristics, certain areas seem to provide more suitable
positioning for certain instruments. For example, area number one consists of a pedal
keyboard that allows the performer to control large instruments such as gongs and tam
tams by foot. If area one is utilized, the performer sits so he/she can use both feet. Area
number two is composed of the flat, normal playing height and might feature such
instruments as concert bass drums, toms, snare drums or keyboard instruments like
vibraphones or xylophones. Area three is the first elevated area, somewhat behind and
above the second. It generally contains an organized pattern, or “keyboard,” made up of
instruments such as temple blocks, wood blocks, pipes and claves, for instance, or it
could hold another mallet keyboard instrument. Area four, the second elevated area, is
approximately the height of the player’s head, and generally is comprised of suspended
45
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. cymbals, wind chimes and other suspended instruments. The fifth area encompasses the
space above the head and is generally made up of hanging gongs, chimes and other
suspended instruments." The Percussion Console is modular and may be constructed in a
manner necessitated by a percussionist and/or composer.
Ron George developed The Loops Console in collaboration with composer Robert
Erickson at the Center for Music Experiment and Related Research at the University of
California, San Diego in 1973.'’ Erickson’s composition. Percussion Loops, is based on
the “transformational and contrapuntal aspects of timbrai (color) changes within a single
melodic line.” The Loops Console and Percussion Loops cannot be separated; they grew
as one organic entity.'^ The console consists of the following:
Three modular keyboards: two upper keyboards containing 35 percussion instruments and one lower, a foot operated pedal board, controlling two large gongs and one tam tam. These variable keyboards allow the sound and color of the instrument to be extensively altered both within a musical work as well as from one composition to another. These alterations allow the performer to create a wonderful world of melodic and harmonic sound textures of similar and contrasting color.'"*
Since 1973, the Loops Console—and the concept of the Percussion Console in
general—has been greatly expanded. Many compositions by George, as well as other
composers, have been written utilizing the concepts. A percussion console can be
constructed as needed and can open up a vast new world of percussion composition and
performance. George has designed many different console systems over the years, and
has devised a method of tablature notation that is created solely for his “one-of-a-kind”
percussion setups.'^ He is currently performing on his most recent development, a
modular microtonal tubular keyboard console, the Tambellan (example 3.3).
46
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 3.3. The Tambellan'® Used by permission of Ron George
When composed for separately, the Tambellan utilizes an extension of standard
keyboard notation, but when combined with other percussion instruments, tablature
notation is sometimes used (example 3.4).'’
—1—rn HT.i pH? A Â: ,i; A CIO inI : A. O * 1^1 1/ MR* -pp —
sv*m A J : ' r. ü
..... A 0 - / j .p !>!-> -p .
Example 3.4. The tablature notation utilized by Erickson in Percussion Loops. 18
The tablature notational system is a general system that can be used by anyone. When
utilized for percussion writing, it makes extensive use of symbols, both individual and
47
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. combined, of varying sizes and shapes. These symbols are placed within the notational
staff and are used to replace the traditional note head and sometimes the stems. Both the
staff and the symbols are of equal importance in identifying:
1) Individual or groups of percussion instruments in a score 2) The striking point on these instruments 3) The implement (mallet, bow, finger, stick, etc.) used to produce the desired sound 4) Many of the activities that the performer must execute to perform the music'®
George says of tablature notation:
Placing symbols within a staff system results in an extremely compact notational system in which combinations of mallet percussion instruments and/or large groups of individual percussion instruments can easily be notated in one or two staff systems. Tablature notation, once the fundamentals of the system have been learned, is easier to work with for both the composer and performer than the more commonly used notational systems.’®
He also states:
[It] does take some getting used to as percussionists are not familiar with such notation. One can take a very complex multiple percussion score and, with tablature notation, put it on a couple of staves thus enormously simplifying the learning and performance process.’'
Wodiczko Frame
Also in the 1970s and early 80s, Polish artist, Krzisztof Wodiczko became interested
in the logistics of multiple percussion. He accepted a commission from Joseph
Patkowski, manager of the Polish Radio Experimental Studio, to design a structure that
was to serve as an “all-purpose percussion stand.”” In collaboration with American
percussionist, Michael Ran ta, Wodiczko constructed an architectural frame made of rods
48
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. that was 396 x 396 x 288 centimeters surrounded by five side walls. The rods formed a
series of forty-five centimeter modular squares that served as the framework to hold the
required instruments. Within the structure, the rods could be removed and situated as
needed to fit the instruments as well as provide a corridor-style working space within it
for the performer. In addition,
grips of different sizes are provided to suspend or fix instruments; ‘specially designed flat grids can be fixed to the rods’ in order to provide the player with tighter fixing or suspending units; ‘working planes’ can also be ‘fixed to the rods’ thus providing tables. The frame is equipped with a lighting unit and can accommodate the presence of electrical instruments and amplification by microphones (example 3.5).”
i M r r m
rt
— 4- 4
Example 3.5. Overhead view of the Wodiczko Frame 24
49
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Wodiczko’s design offered a means to fix, yet have the ability to modify, the endless
variations of multiple percussion setups. Of particular significance to him was the ability
to provide the musician with the freedom to create “infinite sound combinations” without
the added hindrances of “wooden hangars, racks, tables with vices, etc. (that) will only
add to (the) general chaos in which both the musician and the source of sounds are lost.””
Both George and Wodiczko’s proposals of combining instruments in a single frame
or rack provide the performer with solutions for setup concerns. However, as with the
notational differences discussed in Chapter 2, there are potential drawbacks associated
with such methods. Besides the fact that one must build the console, rack or frame
system, François discusses the fact that
1) drastic setup modifications cannot be easily achieved in a very short time span thus rendering even more difficult the already cumbersome changes between contrasting pieces. 2) frame structures often require different frame combinations for different pieces and sometimes unreasonable multiplication of instruments.”
It seems that, as with multiple percussion notation, the best solution is the
collaboration between a composer and a player to figure out a workable setup.
Unfortunately that is also an unrealistic solution for each and every piece composed.
Therefore, it is in composer’s best interest to educate themselves in the seemingly infinite
possibilities multiple percussion setups, and notational methods, have to offer.”
Timbre-Rack / The Timbrack / Timbre Staff
In 1981, Dr. Michael Udow wrote an article in Percussionist entitled, “Visual
Correspondence Between Notation Systems and Instrument Configurations.”’® In the
50
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. article, Udow acknowledged that no single method of notation for multiple percussion
would service all of his compositional needs. Accordingly, he offered a feasible proposal
that could certainly result in a well-organized approach to the notation and physical
distribution of instruments in a multiple percussion setup, thus significantly aiding the
communication process between the composer and performer. He based this idea on the
performer having a direct, visually familiar correspondence between the physical
configuration of instruments and the notation.’® Building on the customary keyboard
instrument setup, the performer was to create a keyboard arrangement of timbres. If
timbres were arranged according to this already familiar layout, then a form of regular
keyboard notation could be utilized to achieve what the composer intended.”
Udow cited some existing works that utilized versions of such a technique. In 1974,
Herbert Briin composed a chamber work entitled In and... and Out in which, during four
sections of the piece, the percussionist is asked to choose a combination of idiophones
and/or membranophones and place them into a keyboard configuration, or a “timbre-
rack.”^' The visual correspondence between the timbre-rack and the timbre staff notation
not only removes many of the logistical concerns associated with playing the unique
timbrai combinations related to multiple percussion, but also aids in more efficient
learning of the piece. Udow also mentioned 2 Acts for 3 Players for clarinet, piano and
percussion by Ross Lee Finney (1975). Utilizing the regular staff (bass clef), Finney
notates specific pitches of thirteen roto toms, but he does not recommend any associated
setup. Since the notation is written on the keyboard staff, however, the roto toms can
easily be placed into a keyboard setup. Udow even pointed out that in the earliest days of
writing for timpani, J.S. Bach notated the two drums as the pitches “G” and “C”
51
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. regardless of the key/’ The actual pitches were printed at the beginning of the piece, but
once they were established, one only had to pay attention to whether they were to play
the high drum or the low drum as literally represented by the notation. This concept could
be viewed as the most basic foundation of timbre staff notation and setup since the
instruments were assigned to pitches yet they had no association with the actual sounds
produced.
Recognizing the potential of timbre staff notation and the timbre-rack system, Udow
developed an entirely new instrument—the Timbrack. It was initially constructed for a
performance of Herbert Briin’s graphically notated piece Stalks and Trees and Drops and
Clouds (1975).” Rather than creating a rack system in which to place standard percussion
instruments (like the George Percussion Console and the Wodiczko Frame), Udow based
his instrument on the foundation of a mallet keyboard setup. He had a variety of wood
and metal objects made into sound bars, tubes, rods and bells and placed them into a four
octave keyboard oriented multiple percussion console.” This instrument could be played
with an assortment of keyboard mallets and mallet techniques. Due to the keyboard
arrangement of the bars, the performer of the Timbrack could realize more controlled
sticking, articulation, tone, balance and dynamics. Thus, musical phrasing and melodic
lines would prove to be much more attainable than in previous setups.
As one may conclude, the problem with the Timbrack is that it is not mass-produced,
and as such, it was never meant to be made commercially available. Udow has stated that
this is an instrument that he created, with the help of Peter Spenlove at the Premier Drum
Company, Ltd. England, expressly for his own personal use.” Therefore, if one desires to
perform on such an instrument, he or she must build one.
52
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. An important aspect that Udow addressed in his article was the need for composers to
start thinking more about the physical setup of their pieces in correspondence with
notation, and thereby create more accurate representations of what they wanted. A good
pre determined setup of a multiple percussion piece can save the performer a great deal
of practice time and will contribute exponentially to the smooth kinesthetic flow
necessary for a successful performance of the work. Although timbre staff notation is
already relatively easy to read due to its correlation with keyboard notation, it is further
simplified by relating the physical setup to the notation. Additionally, the keyboard
shaped design lends to the mental-aural concept of the multiple percussion setup as one
large composite instrument. As a result of introducing the idea of adapted keyboard
notation using the timbre staff, Udow provided a solution to the many composers who are
perplexed when it comes to writing for multiple percussion. Now, one need only
understand standard keyboard notation to open the lines of notational communication
between themselves and the performer of their work.”
While at the University of Michigan, composer, Dave Hollinden wrote his first
percussion piece, the percussion quartet. The Whole Toy Laid Down (1988). Hollinden
had a meeting with Udow to discuss the piece and Udow explained the timbre staff
notational concept to him. After further discussion, Udow and Hollinden decided that the
music for player three (the multiple percussion part) in the Whole Toy could be notated
using timbre staff notation. Although Hollinden had already composed the music, he re
notated it utilizing Udow’s timbre staff method. That decisive moment led to Hollinden’s
further exploration of the timbre staff.” He has since employed timbre staff notation and
setup in subsequent multiple percussion pieces including Cold Pressed (1990), Slender
53
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Beams of Solid Rhythm (1991), Dusting The Connecting Link (1995), the percussion
ensemble. Release (1995), the percussion concerto, what clarity? (2000-01 for
orchestra/2(X)5 for percussion ensemble) and the piano and percussion duet. Platinum
(2001-03)/^ Udow’s article is referenced in the instruction pages of several of the
aforementioned pieces.
The first piece Hollinden composed with timbre staff notation and setup in mind was
Cold Pressed. He “laid various pots and bowls on the floor as a way to experiment with
the instrument set up.”^^ Eventually, he decided on the following instrumentation: snare
drum, large tom-tom, medium tom-tom, bass drum with pedal, bongos, tambourine with
head, three cowbells, two woodblocks, two temple blocks, two crotales, splash cymbal,
crash cymbal and ride cymbal. Once the instrument timbres were assigned to their
various positions in the timbre staff setup, Hollinden felt he was able to modify certain
elements such as tuning, muffling and specific instrument selection. The final
recommended setup for Cold Pressed is illustrated in example 3.6.
Spiasrv
F,
Example 3.6. Hollinden, Cold Pressed, keyboard setup,40
54
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Taking the time to choose and fine-tune the instruments contributes significantly to
the final outcome of a piece. If one merely throws together the individual instruments
without making an effort to find specified intervals or muffle the drums accordingly, then
one is not creating the sounds the composer intended, and therefore may not truly fulfill
the desired melodic aspects of the piece. In fact, experimenting with a wealth of timbres
will also be a considerable factor in the overall outcome of the piece in that the performer
and the composer will feel more personally connected to their selected instruments and
therefore will have the opportunity to be more focused on the musical expressions they
are creating. The unification of notation and setup that timbre staff notation provides
allows both the composer and the performer to concentrate on the creation of the music.
Following are examples of the same passage (measures 103-111 of Hollinden’s Cold
Pressed) re-written utilizing notations discussed in Chapter 2 of this document. Example
3.7 shows the excerpt as published utilizing the concept of timbre staff notation and
setup."'
p sub.
Example 3.7. Hollinden, Cold Pressed measures 103-111—timbre staff notation"^
55
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 3.8 demonstrates what that same excerpt might look like if written in
expanded staff notation without beamed cross-staff notes.
crotale 2 crotale 1\ splash cb’ \ \ .n \ tamb x X i ^
fb r
lOP
p sub.
Example 3.8. Hollinden, Cold Pressed, measures 103-111 expanded staff without cross-staff beaming
56
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 3.9 shows how it would look with beamed cross-staff notes.
crotaU 2 crotale 1 splash crash \ 1 0 3 ride \ T
wblwb 2V
^ med. tom ÎÇ. ton BD
p sub. — /
Example 3.9. Hollinden, Cold Pressed, measures 103-111 expanded staff with cross-staff beaming
57
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 3.10 illustrates a possible realization of the excerpt in line score notation.
Notice the extensive use of space and the large amount of distance between many of the
rhythms from line to line. Only the beaming across the lines maintains rhythmic
relationships.
iOS 3 3 * " rW e ^ 8 4 8 3 3 4 II erouU i * 3 3 f •=■ H p II eta ^ CfT 8 — # 4i J » l i r t i % II tJDita f g 1 3 3 4 a 1 9 3 3 4 II 8 1 * 3 8 9 II bs>20ilU«k.M 3 . 3 i i i m l II kcugo iiow» *" 3 • ■I m ed t e n # g II « • : ^ - M i ------4 ------mf
Î j .- 4 i J-] n « ■ 4 3 4 II i s 4 T * 3 2 4 T j* T] T r r i 9 2 4 9 3 II 2 4 3 3 2 4 II # 9 3 ' . . i 2 t 4 II ' f 9 ^ » 3 , 2 4 II ■ 9 3 2 Ï 4 II • P 3 -n = - I l =
1 0 9
H n ------■------H------1 II 4 2 1 e n Ir—II 1 4- r—jf— r T 3 1 V ‘- - H II 4 3 , ' - ; i M i ~ . l J I j . . . . . 5 i * * j II "3 " II■1 *f4 3^ 3 1 ♦ II 3 i9 ■ 1! ' II '" è - J — »— *— ■- — f— J— i P sub. - ---- / '
Example 3.10. Hollinden, Cold Pressed measures 103-111, line score notation with cross-staff beaming
58
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. If the notes were not beamed, the excerpt might look like the following illustration
(example 3.11).
jiij 8 crtrfaK 1 * cb3 »* #
f m 4 WigoiWgjhj g Iwmgw i b»» I • . .M . Ig tom • ,SBl> 1 ) » - s.- Î
I II _ ! % i II - • V.. S' II - }r •a > II a » . - ■ ^ - I ll ; i ll ' !.. II ' w'
i l l i •- 1. a la - k .: a • i J'' ■ i }jT :^ Ill- V. Ill a ...... - B Î -1 • At i a - - i" ia * y . f : ; ; !.. a . . V X " ' |a II a . : i - , * ■- - , a . II a ' _ V a II a V- t i - a , i i rtwA.
Example 3.11. Hollinden, CoW Pressed measures 103-111, line score notation without cross-staff beaming
After only a brief examination of the aforementioned notational examples, it is clear
that timbre staff notation presents the most economical approach to notating for a large
59
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. array of separate instruments. More importantly, it visibly illustrates a musical line. One
may even play a passage on a mallet keyboard instrument in order to get an idea of what
the timbrai “melody” might feel like. Not only is this form of percussion notation capable
of visually relating musical line and phrase on the page, but, due to the spatial
relationship with the keyboard instrument, it also allows the player to be kinesthetically
aware of the setup from the commencement of learning the piece. In addition, it might
prove to be an appealing form of notation for the non-percussionist composer. He or she
need not fear writing for percussion instruments if already familiar with keyboard
notation. Furthermore, if the instruments are initially arranged in a keyboard fashion, the
composer may be more likely to write both idiomatically and more creatively for the
composite setup. In fact, according to Hollinden:
The very idea of composing for a timbre staff setup places the composer in the position of needing to decide on the instrumentation and its physical setup before beginning to compose. So the act of defining the setup can become a creative act in and of itself. Once the setup is established, the mind is free to write without being concerned with matters of instrumentation and setup. And a fixed setup such as this, where the instruments are physically close together and notated chromatically on the staff, brings new possibilities to mind for multi-percussion composition, such as scalar passages, arpeggios, etc., that could otherwise not be considered when the instrument placement is not defined.'*^
He further states,
1 think that the timbre staff stands a good chance of becoming a commonly used notational system for multi percussion works with relatively large setups. Given that these works represent a subset of all percussion music, there will, by necessity, continue to be other competing notational systems. At present, though, the use of timbre staff notation is mostly discussed among percussionists
60
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. rather than among composers, and until composers join the discussion the use of timbre staff will remain limited.'^
Conclusion
One may deduce that, for many—especially beginning—multiple percussionists, if a
piece does not possess a straightforward method of notation, they do not want to pursue
it. Or, worse yet, they pursue it and end up performing a version that only somewhat
sounds like what was really intended by the composer. This may be because the
performer gets bored or confused by the new notational language. In addition, he or she is
forced to deal with the logistical issues that often accompany a multiple percussion work.
Of course there are the challenge seekers who thrill at the thought of spending time
learning a new system of notation before ever actually touching an instrument. But
overall, if one must learn a new system every time he or she plays a piece, he or she
might be somewhat discouraged about the idea of performing multiple percussion in
general. It seems that timbre staff notation and setup could provide a good means of
common notation that could benefit performers, inform educators and attract composers,
which, in turn, could hopefully result in further serious compositional interest in the field
of multiple percussion. It is important to note that these views are not meant to place fault
on other notational and setup methods. There are certainly times when a particular
method of notation or setup is better suited to a particular piece. This document is merely
making observations regarding several approaches towards writing and playing multiple
percussion compositions, while promoting the appealing aspects of timbre staff notation
and setup.
61
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Endnotes
* * (UPl) United Percussionist International Wire Service/Anonymous, “Student in Critical Condition After Multiple Percussion Session,” Percussive Notes 16, no. I (Fall 1977): 58. ^ Reginald Klopfenstein, “Performance Problems in the Suderburg Percussion Concerto,” Percussive Notes 36, no. 2 (April 1998): 57. ^ James Pritchett: “Cage, John,” Grove Music Online ed. L. Macy (Accessed 7 July 2005/14 August 2005),
62
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. designed complex machine driven percussion instrumentariums Michael Udow’s ‘Timbrack.” Dr. Michael W. Udow, “Visual Correspondence Between Notation Systems and Instrument Configurations,” Percussive Notes Research Edition Percussionist 18, no. 2 (Winter 1981): 15-29. Ibid., 21; Also see the “timbre staff notation and setup” section of Chapter 2 of this document for further description. It is important to note that, although the instruments are arranged in keyboard fashion, there is no tuning correlation with the actual notated pitches—only the pitch locations are related to the pitch locations on the staff. Udow, “Visual Correspondence, ” 23. See Appendix I of this document for a notational example of In and ... and Out by Briin. [An idiophone is an instrument that produces its sound through the vibration of its entire body (cymbals, woodblocks, triangles, etc.). A membranophone is an instrument that produces its sound through the vibration of a membrane stretched over a shell or bowl (bongos, timbales, snare drum, etc.). Gary D. Cook, Teaching Percussion, 2d ed. (New York: Schirmer Books, 1997), 2-3]. Udow, “Visual Correspondence,” 25. Briin’s piece was not written for the Timbrack, but Udow was inspired to create an instrument that would permit maximum fluidity for the performer of the piece. Udow, “Visual Correspondence,” 26; Michael W. Udow, “Timbrack: An Instrument for Personal Use,” Percussive Notes 16, no. 2 (Winter 1978): 39. Udow, ‘Timbrack,” 39. Solos 18, 19 and 20 in The Contemporary Percussionist utilize timbre staff notation and setup. See Appendix I for setup and notation. Michael W. Udow and Chris Watts, The Contemporary Percussionist: 20 Multiple Percussion Recital Solos (Ft. Lauderdale, FL: Meredith Music Publications, 1986), 35-40. Dave Hollinden, electronic mail interview by author, 21 July 2005. For an in depth examination of several of Hollinden’s works for multiple percussion, see Dr. Michael Gould’s doctoral document, “Advanced Multiple Percussion Techniques: An Analysis with Musical Approaches to Performance Problems in the Music of David Hollinden” (DMA diss.. University of Kentucky, 1999); See Dave Hollinden’s website for instrumentation, performance notes, pdf scores, listening excerpts, recordings, etc:
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 4
TIMBRE STAFF NOTATION AND EDUCATION
Playing multiple percussion music. . . gets one to listening for sound relationships as well as rhythm... sharpens one’s awareness of color, timbre, dynamic balance, phrasing and nuance, all of which are important building blocks for that ephemeral thing called “musicianship”. . . provides a good foundation to cope with music that he will encounter later at the college and/or professional level.'
In educating the young percussionist, careful attention must be paid to quality
instruction on all instruments. In today’s realm of the “total percussionist,” it is important
to immerse the students in all areas of percussion as part of their natural course of
musical development. Exposing a student to multiple percussion, along with his or her
essential snare drum, timpani and keyboard studies, will help develop musicianship and
adaptability to future situations in several ways.
1) It gives the percussionist experience in reading notation for more than one instrument simultaneously. 2) It aids in developing right hand and left hand coordination. 3) It exposes the student to new and different techniques of playing instruments that are otherwise associated with different areas of performance. 4) It creates awareness of the need for balance and good tonal production among instruments of differing timbres. 5) It helps the student become a total percussionist.
As percussion pedagogy continues to advance rapidly, increasingly younger students
are executing the previously advanced techniques of the past with greater ease. For
64
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. advanced middle school students to perform a four-mallet marimba concerto is not as
uncommon as one might believe. However, when those same students are confronted
with solo multiple percussion pieces, they are oftentimes at a complete loss as to how to
approach them.
Timbre staff notation seems to be an ideal pedagogical foundation for learning the
techniques of multiple percussion. Since the student is already familiar with the keyboard
concept, the transferring of that knowledge to a multiple percussion piece written in
timbre staff notation should not be very difficult for them. One of the most difficult parts
of creating music from a multiple percussion setup is the balance and phrasing one must
achieve from this mega-instrument that has been fashioned from the arrangement of
several smaller instruments of differing timbres. When inundated with not only another
new instrument with its own techniques but also its own notation, a student will likely
become overwhelmed. By subtracting one of these elements—the notation—students can
concentrate on creating music with their multiple percussion setups.
Another helpful aspect of utilizing timbre staff notation is that it will help non
percussionist band or orchestra directors assist their percussion students with both
placement of instruments and relating those instruments to assigned pitches. Non
percussionist teachers might feel better equipped in dealing with their percussion students
if they have this knowledge available to them. Perhaps if one were to devise an initial
fixed setup of instruments in a keyboard fashion, a student could focus on learning the
kinesthetic flow necessary to achieve a smooth musical line. Warm-ups and “scales”
could be played on the setup just as keyboard warm-ups and scales are played. This
would guide the muscle memory and therefore quickly advance the learning process.
65
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Conclusion
Whether a beginning student of percussion or a seasoned performer, one’s final
performance of a multiple percussion piece is the direct outgrowth of what a composer
initially envisioned and how he or she relayed that image to the written page. How the
player interprets that vision rests heavily on whether the notation can be clearly
understood and related to his or her multiple percussion setup. If one is to convey to his
or her audience the original intentions of the composer, then one must first understand
what is notated. It is this author’s hope that this document will provide some notational
insight for performers and educators, and that it will assist the potential multiple
percussion composer in making an informed decision as to what type of notation will best
serve their needs.
It all ties in to what you put on paper and what you expect it to mean to somebody else... ^
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Endnotes
* * Al Payson, “Multiple-Percussion at the School Level,” Percussive Notes 11, no. 3 (Spring 1973): 16. ^ Dave Hollinden. Interview: Michael Gould, “An Interview With Composer David Hollinden,” Percussive Notes 33, no. 3 (June 1995): 47.
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX I
SELECTED WORKS UTILIZING TIMBRE STAFF NOTATION
Instrumentation
piccolo/flute, oboe/English horn Eb clarinet/Bb clarinet/bass clarinet posthom in Bb trumpet in Bb tro m b o n e percussion (timbrack*, 3 snare drums, Eb tubular bell **) p ia n o v io lin double bass
*Ti>nhrack refers to an instrument configuration and corresponding notation system wherein a number of percussion instruments of disparate timbrai t|ualilies are arranged in a physical approximation of a mallet keyboard. The notation for this set-up uses what looks like pitch notation to indicate which instrument to strike, not the resulting sound, for sections 4, 6, 7, and 10 ot In m i d . . . an d Out, a timbrack consisting of twelve instruments is indicated, with a staff notation ranging from first space F natural to fourth space F natural (as if in treble clef). The percussionist is asked to select the instruments, decide the arrangement, and construct the set-up.
Partu-ision
Example A.I. Briin, In and... and Out (chamber work - 1974/1995 edition)
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INSTRUMENTATION : 4 Timbrepads
A Timbrepad is a group of percussion instruments set up in the configuration of a keyboard, in this case, ( 'F to E ' ). The musical staff therefore, refers to timbre placement rather than pitch location. The chart below indicates the timbrepad configuration for this work. (Note: in this work the staff notations for G# and C# indicate wood blocks rather than the frequencies G# and C # , etc. as follows).
r \ = Almglocken
£ \ = Cowbell
= Cast iron frying pan
- G = Temple block
r=l = Wood block
0 = Clave
Example A.2. Udow, Timbrack Quartet (1978)
Music# Æ otdlll------jr -*4-y------...... ------...... -...... r_- . - ...... - — jr” . - - -..... - ——...... ------«-— - ^9------#----- . #-- —
il 3 4 5 6 7 8 9 10 II 12
Set-up: 2 4 6 9 11 1 3 5 7 8 10 12
Suggested instniments: #1. 3. 8. & 12: four temple blocks (
# 2 , 6 , & 9; three wiKxJblocks f placed on a foam pad and #3, 7, & 10: three cowbells / lightly held in place with tape.
#4 & II. two almglocken
OR: use one chromatic oclave of a vibraphone and then chimes.
Example A.3. Udow and Watts, Solo XVIII, The Contemporary Percussionist (1986)
69
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Music Staff:
3 4 5 6 7 8 9 10 II 12
S e t-u p : 2 4 6 9 1 3 5 7 8 10 12
S u g g e s te d Instrumentation: #1. 3, 8. 9 & 11: live temple blocks
# 2 . 4 . & & three almglocken I
# 5 & 7 : two cowbells /
# 1 0 & 12: two woodblocks
Example A.4. Udow and Watts, Solo XIX, The Contemporary Percussionist (1986)
M usic Slatï;
S e t u p : 4 C 9 I i } .-s X 10 i:
S u g p e s i e d Instruments luti iDiii timis
#2. 4. (i. 9 & il. live brake drums im ounted on snare drum standsi
# .S & 7 l\\ o tim bales
/('X & 10: two hiingos
# 1 2 IVkm p t'pcia giing (placed on a loam patl \utli an air space.
Example A.5. Udow and Watts, Solo XX, The Contemporary Percussionist (1986)
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Performer #3
8 graduated tom-toms field d ru m ------—,
2 crotales t.
tambourine with head- N bongos ; high ------low------low log drum ------2 pitched gongs: d#s - e s ------Pfcrcacp'ion medium wood block----- splash cymbal ------
(see performance notes for more details)
"Timbre staff" notation and set
The group of instruments referred to as the "percussion" group for performer #3 should bo physically arranged in keyboard fashion as follows: log drum = f, bongo (low) = g, bongo (high) = a, tambourine = b, pitched gong (df#5) = Iff, wood block = g pitched gong (e5) = aff. The physical resemblance of this instrument sel-up to a keyboard will allow the music to be notated in the same manner as for a pitched instrument. Therefore the performer can play from the notated music in the same manner as if playing a keyboard mallet instrument, eliminating lire usual problem of having to memorize which instrument is notaled on which lino. This "lirnbro staff" notation is signified by the use of a treble clef with an "x" through it. It symbolizes that keyboard configuration and notation are being used, but that there may be no correlation between the notated and sounding pitches.
r-or a more detailed discussion, refer to "Visual Correspondence Between Notation Systems and Instrument Configurations" by Dr. Michael Udow.
Example A.6. Hollinden, The Whole Toy Laid Down (percussion quartet. Part 3: multiple percussion — 1988)
71
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. '^nitt^iAntenk^ie'n. '■ SnaU àfum WngW \ J ~ \ ] Zcfitaici, ^
lar-^e 'tem-i^rn L tarn ’ itjimbW on A a n ^ i — l w/ htei A mcilmn. !ZJ 3 l A (>m .ill,ttiin) bfti5 with ^iL\ (3^ 2 w'wil’bfk^ " C r a ^ h itndmirii t b w )
Itim^VWedi (D • riii ( lat^^,thkk)
Û Ü 0 b a s s splash E'<-^f C
fiAe Aasix 0 * F
Example A.I. Hollinden, Cold Pressed (solo multiple percussion - 1990)
72
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 'TïwiWc yxiitiltA »kA ••
n A Qûoo
^gsiwHij 4nra«^2 iht ins'tVuMents 60 us+e «îiewÜe.-ba key; «wa. 'kaijbaini i>str«i«6*(f.
:~1ÜlgTrgtiif;m (ttkailth& tlIY lf Af liir a. \S ey W W i tn^ruiriain-- hifl'-tiicir. lir b'P ^,‘S.l‘XS spamjeMce ^duleev\ nP^oiaJ!4 t»0Lw\^ihcV. AViis n
{V mort ikicuifltH ob tte (AjtiwelUA«« js Ccrre^^iwce Sctwfe»A N/tiohmal “bijstcwiS o>^ ïvstVvwttvit ^ ^ \/o\. \‘B f)»'X (wj.Vtir, IIPl) 'ikrcusfVe ftrîs Sti^ij
Example A. 8. Hollinden, Slender Beams of Solid Rhythm (solo multiple percussion — 1991)
73
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Instrumentation, Timbre-staff and Setjjg:
Physically arrange the instruments so as to resemble the black and white keys on a piano, as shown below. The music is then notated as for a keyboard instrument. This type ot notation is referred to as a timbre-staff. It is signified by a treble clef with an X through it as there is no correspondence between notated and sounding pitch, (for more details, see Michael Udow s “Visual Correspondence Belv/een Nctational Systems and Instrument Configurations." Percussionist, vol. t8.no. 2 (Winter 1981) published by the Percussive Arts Society)
Vtib i Small immj •Priamilc crash c^wkal CVCri) thin')
loa jxnm I wmI I ÜMy “km-tkii i aut sfrl»} ' bar ' sitzt« ' I iiwfium) , rvA^MSsmaitt) , (wsfoi4«ii) ' I ' cifmbs' I I ' 1 0 B : A'' ' It D A ! lAi ! □It'll □o in°:0 , 1 ^ ' r ' '
2 rn«
Example A.9. Hollinden, Dusting the Connecting Link (solo multiple percussion — 1995)
PLAYER 4
Vibrasiap - mounted Sleigh Bells - suspended Brake Drum - medium resonance Auto Spring ■ suspended 2 Cowbell's - medium and small, resonant Bell Plate ■ suspended Meta! Pipe - medium resonance 2 Triangles - suspended
2 Crotales - " c " and 1’" Crash Cymbal - thin and bright Tam tarn ■ large Sizzle Cymbal ■ lots of sizzle Chinese Cymbal - large and brassy
Mallets: triangle beaters, bow for crotales, soft tam-tam mallets, very thin metal beaters
era* ClhirtCkC cymtral cijwbal
Example A. 10. Hollinden, Release^ Player 4 (eight percussionists — 1995)
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PLAYER 5
Bass Drum ■ large Bongos - sounding higher than congas Field Drum - low pitched, with snares 2 Small Drums - high pitched, extremely dry sound Cowbell - large Glass Wind Chimes 4 Tom toms Marc Tree 2 Congas Finger Cymbals - thin and light
Mallets: wood sticks, very hard timpani mallets, hard bass drum mallet, soft bass drum mallets, triangle beater
cowbfcll I— "Low — I
A d d (D N ' □ I □ 0-0 ! mi I
Example A.l 1. Hollinden, Release, Player 5 (eight percussionists — 1995)
PLAYER 6
2 Timbales 5 Temple Blocks - graduated Tambourine - with head 3 Wood Blocks - large, medium, small Cowbell - large Clave Log Drum 3 Timpani - 30', 25", 23 "
Mallets: hard mallets, hard timpani mallets, light timpani mallets
Example A. 12. Hollinden, Release, Player 6 (eight percussionists — 1995)
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Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PLAYER 7
Bass Drum - small 2 Congas Field Drum - low pitched, with snares Bongos - sounding higher than congas Cowbell - large 2 Small Drums - high pitched, extremely dry 4 Tom toms Glockenspiel
Mallets: wood sticks, very hard timpani mallets, hard bass drum mallet, soft bass drum mallets, triangle beaters
cow W11 - -tom itnal\ Example A.13. Hollinden, Release, Player 7 (eight percussionists — 1995) P LA Y E R j Tambourine - no head Sleigh Bells - suspended Brake Drum - medium resonance Auto Spring - suspended 2 Cowbells - large and small, resonant Bell Plate - suspended Metal Pipe - medium resonance 2 Triangles - suspended 2 Crotales - d" and 'b'" Crash Cymbal - thin and bright Tam tarn - small Sizzle Cymbal - lots of sizzle Chinese Cymbal - large and brassy Mallets: triangle beaters, bow for crotales, soft tam-tam mallets, very thin metal beaters L L ■ ^ 1 L rH -i COVI- urtjtjl A i cMaU -tâmW l ihz\l 'iarnmt'iM ^ g b«il vd' ZA ^ Û Û S / @\ Example A. 14. Hollinden, Release, Player 8 (eight percussionists — 1995) 76 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 3 èrrairnij^le^oi^(t~m = Oh fAko.) cfoô^r o coycr ^ Ül^'^*s»bleî ^ i n ac}uA\ j^A'ck') ceaé shche. (S) = iiif' eAo.t> o f CÊ.nfe/' l^o^c. Example A. 15. Macbride, From Without (Conundrum 2) (duet, prepared piano and timbrack — 1998) .Voloisl InKtniiiK'nl Setup and rim b re S taff N otation: i’iAsivM Üy :i!T,inL’c îîw in.sîrum ents :\s show n :iK'vc, i ho setup should rosom blc L'v hi.ick and winic ko\s mr, -I pLin.' I ho nuisic is fhon Uv'îaîod as ioi a kovU'ard inslnim onl. 1 his noi.dton js lo-otrod lo as Uinhiv- s?aü n- 'aîion, iî is sionit‘io Note; onli.irino-ine cvjuivalents .apply. I'oi exam ple, (i sharp and Hat K uh role: to die higiicr ot iho !w,< e % 'w b e l: '. Sulolsl Singe Selnp: I he m uliipcreussion setup m ay he curved in an are to lacditatc reaching wide m t e r x a i s \ he snare drum should he setup apart Iront the rest ot the instrum ents. 1 here should be a eie.ar di'.tii.i tion. both visually and dramaticalSy. betw een pt’rform m g on soK' snare drum and pertonnm e on tlu' nm iiipercussiiM i Example A. 16. Hollinden, what clarity? (percussion concerto orchestra version, 2000-01 / percussion ensemble version, 2005) 77 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Percussion Inslrunicntation 2 Toni Toms (mediuii luid large) High Hat =»= 2 Congas H Tambourine (with head) Bongos V 7 ’ n C ras Iter ()■• || Cowbell (large) ^ , Sleigh Bells —^ 3 Woodbtocks (medium, small and piccolo) Triangle (medium) /\ Splash c>Tnbal Aln^bcken (small) ,3: Crash csriibal (small, briglit) — 2 Chinese c>mbals (small and vers small) Instrument Setup and Timbre Staff Notation: a C h m c s c ^p!;ish small very small C y m b a l s crash small Chinese a \ d----- / very small Chinese splash Example A. 17. Hollinden, Platinum (percussion and piano duet — 2001-03) 78 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX II COPYRIGHT PERMISSION FORMS , Morlj-Kgf R ates K M H it rtc a rrd I /iw s! Back to INBOX PnnMfah: View Yinv AM llgadefa ' W E B MAIL r r : i - ‘ .'.i T h Tk r.->' Front ■•Kofarh. frank ' D a le : 0 - . \ <, JCC't, 5.48 AM CiMCk Mail Hac-H, / Wntfl M essage •tia>_*d l’'« iflttr- ijf ISth. I w II Jnolhc-f lcU.iv. @ ^ftarratockef >.€Lm iV t* k tid reyiiTCL. foM grs >i KMWn SMP] 1-’ ^ IN B O X : Busili?;.s AHj iIs. : DtaJla : : Buit.ey A riawr.fr. '••:•. ''' 35 EdU 2 'i! 5lrcrl S--A Ycfk. NY l*:Otj a J a s b ! i Pti-.-r* 1-212-358-5352 Fa... 1-2-^2-358-5305 •.VAV/.bu'un.c-y.i. ;;-i < Address Book . Prefersnsga C a g i i i i / Scarcti Fgf McaaaHg F'cri' n^cltri I ^ WgfaMailHeki Spi l. W -üiitrsdày. Ouîciiet 05 2025 3.3’ AV .« Sion Out Tc Tijiik KuidLh Sut-,-;'.-: HE ocpynqM p^rii .-.Mv ! UNIVERSITY C-eaf Mr. KuracF. _ o f WOCNIX ' A di rtijirJ-'itig i' vuu J L-erfii able tu ic-r-J 1* -Jl - ii-vr ylil ; I I ' yuw fi.sve. I fi.-aW'T foieiveU it 5u 1 ttiuuç'it I'd btrite" 'Jte-.k. Choose a E 3 E E 3 D 3 Ï C'lgifid. Mft.t.dgtr.... ^ "Cit F r a n k K u ta - li ••.Iran»..*,-.;-"dt."; : = L-L*.;r-.-e> uur-i.-- Seri 5ep M. 2025 1.34 PV I 'j -L j 3 ' . ' e .i't* . I lk .!-- ’. SuL-eel fIL Lcpynyt: Lcni C-.it M i Jut ill-..: -di A'l i.e!-J VLi a letter lufiurr-jA I azuluç-.' tut llie deijy be' 1 r ul ','!e j"r-e on triecca leave re:cv-r -;y Irufi a-: at.L dent arc i 'i d . j y I;: f ; e u l \ . e . iV r.l k IllJ " -y a !C r.. BuL-iev A H.i'A».ei 79 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. W E B M A IL D JU:: iLlue Xdlalu-y -to W bW -lS| It" vviuf d.*.V. • .y Ih-M*. d;:< V i c yuur ••ilercr.l -I WIUT V /CSTrnN STCHNA-’-IONA.- MU2IC. -‘>C K'.TM ■ 3 7 : 7 - ÔCII, A'. .IF-t'.,' - --MM ...y# VVlM4f - f, I I.il p --JL '.-i3jic 'vi p e f I.UÎ.MI.-I- I-i II 'I t j i e il 1 e " unlv ar.riç iivie nieai-fes. L'u' I ;ui' w ji'îcd t; b f MUlf W '.ulU ••nv -..' : .:p y n y il ter-ii.r.u*i;.-i (n.un VV''-,;tr-ii -ilet iu r e -. .1' m v D M A du*, j r i e - ' • Y n n r P C > •3Ê-32 EKf-_*.iU C re e k 'A'.iy (7:2:' 733.p3ai n et Pr^vK>L& Next 200!. harthLxil- All K .d h i s i M e-iibeis and •/ it’.ofs :uj iIh- n - L b a a rrr./'k n ' '4 \'~ v f ’ l<-> Abide by Pofacies and Agreements £afm L«A Pdvacv_f 80 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. M o n , J u l 11, z o o s Subject: FW: copyright permisehm Date: Monday, July 11, 2005 9:23 AM From: C. Alan Publications — — — Forwarded Message Frcait Rachel < rcjj3 (earth lin k .n et> Reply-To: Rachel To whom i t siay ccsioem: 1 an a doctoral caxkdidata in percuMion at the m iearaity of eevada. Las Vegas. I am currently writing my doctoral à o o m m t and would like to include eig h t measures (ass. 118-125) o f John N. A lls e s ia r’s "Machine" <2004) in the text as an exaaple of a type of notatlenal procédure for percussion. Would I be able to secure the courtesy of copyright pereU stoo from C. Alan Publication to u tiliz e these eig h t mmamurs# in ^ MA document? thanking you in advance, Rachel Julian-Jones 9902 Blkhead Creek Way Las vegas, MV 89148 (702) 733-9341 rcjj3learthlink.net End of Forwarded Message July 13,2005 Dear Rachel Julian-JMies: Thank you for requesting pemiissk»to «te ouroopynghted material in your dissertatiofi. You are hereby granted permission to use 8 meaturea (mm.l 18^125) of John Allemeier’s work **Machine** in your dissertaton, provided that the text and music pnmdng refcfring to the composition are approved by C. Alan Publications in advance of submitting the final document. Please let us know if you have any questiOM. T h a ^ you and we lo(* forward to viewing your dissertation. Sim t McOaren, president PO. 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C reek \\ .i> l..i> Ve|:,,\. \ \ S91-JN Ki Ishn llliK ll I S Dkt MS. Dl' f.f. Ncorc, page V V". \M i. )• .1 ( I )\( I i.' I< 1 I ( )!•’ ]’! 1^( I S < t n \ . \ \ n I ! I ' 1111:1 pcreussii.n pail i»nl> III aeii'iil.ince with \piir requesl "I i i ftily we lierct'\ er.ini j iiun-eveiasr.e men'xe Im \ou lo use the .iK'\ e-uienlioneJ e'.eerpls in \out JoeUnai Jisserlarior., pi.w a.ieJ llie conJiiions lisied hetow ,ne s.ilisIieJ I luier e.ieh eseerpl. ihe loiloum g lopvrighl i. isliii iM IRIi I S 1)1(1 M S.(II' Milhaud ( ( i\C I K K i U iR ]‘l R( t SSIOS A \ l n II W lHl R uR( III SIR \ ■ !'•(,(, S\ I v,:\eis.ii I dilion \ ( i . ten \ u Kielio i< e-e: eU. I sed In periii.ssion ol Itiropeaii Amcnean \lusit l)isit iSuiot x i l l I S . aiul ( aii.n agent lor I ineers.tl I.dilion \ ( i . 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Jam* M l I Julian- Acting President 85 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. April 26, 2005 Rachel Julian-Jones 9902 Elkhead Creek Way Las Vegas, NV 89148 BY EMAIL ONLY Dear Ms. Julian-Jones, As exclusive U.S. representative for VG Bild-Kunst, ARS represents the rights and permissions interests of the estate of Paul Klee. We hereby grant you permissions to reproduce the work listed below in your upcoming PhD dissertation entitled “A Survey of Timbre Staff Notation for Multiple Percussion: It’s Adoption, Evolution and Educational Aspects”, to be put on file as microfilm file at UMI Dissertation Services: - Tightrope Walker Please include the following credit line directly underneath the image or on a specified credits page: © 2005 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn In light of the educational value and low print run of this Ph.D. dissertation. 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The .ibov- ayf-eni»_Mlt. ! would apptt-Li.it'; .1 liotl-bouiid .opv ol rn.ii! : save : • ■ ' .ittac-nient copy o’ yout doc..nient jusl 'oi ‘tiy uvv' 't.idmg pl-.-.suie. Yuu^s i ''Ceifiy, .... Stgph : I ’! M i.ih.iôlW J d u w J / / I : J . US Deal Uf Udbrt. Hello a-ga -! sc->.e l: you va e-mail a 'ew r!-:-''lhs ago regarding rr, ^ R r .n L DMA document cm niuili oe'Ciission notalion I want lo b-a-'V you o -ce .. PreferetKfia ayam tO’ your input m iry st..oeâ 1 am wondernig tf 1 c.a- ask you , Search for Message anol-e' fa,or I would like to ,nc ..ce a page *ron youf Acoustic Study No 1 to pfOvde 3-' example o? graphic -elation m my lex.t 1 w ould ^ Web Mail Hfiia need lo use the whole page Put it would be a scanned reduct o" :l J Sian Qui appro* mate y 2 b" x T. Would il bi: possible to obtain copyright perm sso - trorr fcg..^-P'-.,m h'ess Sv I ca- i-ctudo that oage -- irv fhr Keetfcacfc! te*1? 'h a n k you a g a m for your lim e. Email bv Phone Rachel Julian-Jofies iUNLV,. Mnr^ Email L-IC.'C. Krply.. X'S ,r:lmf kfnv'r Prevtous Next : Back to DiiADoc c 200t> fcarlhL.nk. Inc All R ig h ts R e s e r v e d . Members and v sitors lo Ihe tart’ L -• Wee site agree lo abide by o-' Policies and Aoreemenîs F «M M .»* P ri'taeM P ollcv 87 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BIBLIOGRAPHY BOOKS/ARTICLES/DISSERTATIONS/WEBSITES Bajzek, Dieter. Percussion: An Annotated Bibliography with special emphasis on contemporary notation and performance. Metuchen, NJ; The Scarecrow Press, Inc., 1988. Blades, James. Percussion Instruments and Their History, revised ed. Westport, CT; The Bold Strummer, Ltd., 1992. Cook, Gary D. Teaching Percussion, 2d ed. New York: Schirmer Books, 1997. Dodge, Stephen W. ‘The ‘Concerto pour Batterie et Petit Orchestre’ by Darius Milhaud With a Look at Percussion in His Musical Life.” Percussive Notes 17, no. 3 (Spring/Summer 1979): 58-59. Early, David. “Percussion Performance Issues In Stravinsky’s Histoire Du Soldat." Percussive Notes 31, no. 5 (June 1993): 69-75. Fink, Siegfried. Tabulatur 2000: The Up-To-Date Dictionary O f Percussion Notation. Hamburg-London: N. Simrock, 2000. François, Jean-Charles. “Percussion Sound Sculpture.” Percussive Notes Research Edition Percussionist 18, no. 3 (Summer 1981): 40-70. George, Ronald. “Research Into New Areas of Multiple-Percussion Performance and Composition.” Percussionist 12, no. 3 (Spring 1975): 110-131. George, Ron. Website (Accessed 25 April 2005), Girsberger, Russ. “Darius Milhaud’s “La Création du Monde”: The Problems with the Parts.” Percussive Notes 38, no. 3 (June 2000): 55-59. Goldenberg, Morris. Modern School For Snare Drum With A Guide Book For The Artist Percussionist. Chappell & Co., Inc, 1955. 88 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Gould, Michael. “Advanced Multiple Percussion Techniques: An Analysis with Musical Approaches to Performance Problems in the Music of David Hollinden.” DMA diss., University of Kentucky, 1999. Gould, Michael. “An Interview With Composer David Hollinden.” Percussive Notes 33, no. 3 (June 1995): 45-49. Hollinden, Dave. Website, Howe, Warren. “The Percussionist’s Guide To Darius Milhaud’s La Création du Monde.” Percussionist 17, no. 1 (Fall 1979): 37-48. Kettle, Rupert. “Composer’s Corner.” Percussionist 6, no. 1 (October 1968): 21-22. Klopfenstein, Reginald. “Performance Problems in the Suderburg Percussion Concerto.” Percussive Notes 36, no. 2 (April 1998): 56-61. Kraft, William. "^Histoire du Soldat—A Music Review of Chester’s Publication.” Percussive Notes 30, no. 5 (June 1992): 47-54. Lang, Morris and Larry Spivack. Dictionary o f Percussion Terms. Brooklyn, NY : Lang Percussion Inc., 1977. Reprint, 1997. Larrick, Geary. “Master Lesson: Concerto for Percussion by Darius Milhaud: A Guide to Pcrfoxmanct.” Percussive Notes 10, no. 1 (Fall 1971): 31. Lesnik, Igor. “Darius Milhaud’s Concerto for Percussion.” Percussive Notes 35, no. 2 (April 1997): 64-67. O’Neill, John C. “Recent Trends in Percussion Notation.” Percussive Notes Research Edition Percussionist 18, no. 1 (Fall 1980): 20-55. Payson, Al. “Multiple-Percussion At The School Level.” Percussive Notes 11, no. 3 (Spring 1973): 16-17. Petrel la, Nick. The Multiple-Percussion Book: Concepts for a Musical Performance. New York: Carl Fischer, LLC, 2000. Pritchett, James. “Cage, John.” Grove Music Online ed. L. Macy (Accessed 7 July 2005), Read, Gardner. Music Notation, 2d ed. Boston: Crescendo Publishing Co., 1969. Read, Gardner. Pictographic Score Notation: A Compendium. Westport, CT: Gardner Read/Greenwood Press, 1998. 89 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Schick, Steven. “Multiple Percussion.” InEncyclopedia of Percussion, ed. John H. Beck, 257-263. New York: Garland Publishing, Inc., 1995. Smith, Sylvia and Stuart Smith. “Music Notation as Visual Art.” Percussive Notes Research Edition Percussionist 18, no. 2 (Winter 1981): 7-14. Smith-Brindle, Reginald. Contemporary Percussion. London: Oxford University Press, 1970. Souza, Richard and Christine Conklin. “Drumming in the Dark? An Interview with Steven Schick.” Percussive Notes 42, no. 5 (October 2004): 51-58. Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New York: W.W. Norton & Company, 1980. (UPI) United Percussionist International Wire Service/Anonymous. “Student in Critical Condition After Multiple Percussion Session.” Percussive Notes 16, no. 1 (Fall 1977): 58. Udow, Michael W. “Timbrack: An Instrument for Personal Use.” Percussive Notes 16, no. 2 (Winter 1978): 39. Udow, Dr. Michael W. “Visual Correspondence Between Notation Systems and Instrument Configurations.” Percussive Notes Research Edition Percussionist 18, no. 2 (Winter 1981): 15-29. SCORES Allemeier, John M. Machine. Greensboro, NC: C. Alan Publications, 2004. Bartok, Béla. Sonata for Two Pianos and Percussion. London: Boosey & Hawkes, 1942. Berio, Luciano. Circles. New York: Harcourt, Brace, 1960. Briin, Herbert. In and... and Out, 1995 ed. Baltimore, MD: Smith Publications/Sonic Art Editions, 1974/1995. Cage, John. 27’10.554” For A Percussionist. New York: Henmar Press Inc./C.F. Peters Corporation, 1960. Erickson, Robert. Percussion Loops. Baltimore, MD: Smith Publications/Sonic Art Editions, 1973/1984. Feldman, Morton. The King Of Denmark. New York: C.F. Peters Corporation, 1965. 90 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Hollinden, Dave. Cold Pressed. Greensboro, NC: C. Alan Publications, 1990/1994. Hollinden, Dave. Dusting the Connecting Link. Madison, Wl: Dave Hollinden, 1995. Hollinden, Dave. Platinum. Madison, Wl: Dave Hollinden, 2001-03. Hollinden, Dave. Release. Madison, Wl: Dave Hollinden, 1995. Hollinden, Dave. Slender Beams o f Solid Rhythm. Greensboro, NC: C. Alan Publications, 1991. Hollinden, Dave. The Whole Toy Laid Down. Greensboro, NC: C. Alan Publications, 1988. Hollinden, Dave, what clarity?. Orchestra version. Madison, Wl: Dave Hollinden, 2000 - 01 . Hollinden, Dave, what clarity?. Percussion ensemble version. Madison, Wl: Dave Hollinden, 2005. Ishii, Maki. Thirteen Drums, op. 66. Moeck Verlag, 1985/86. Kagel, Mauri ci o. Rrrrrrr.... Henry Litolff’s Verlag, 1985. Kraft, William. French Suite. King of Prussia, PA: Theodore Presser Company, 1962. Macbride, David. “From Without (Conundrum 2).” Score/Manuscript. 1998. West Hartford, CT. Milhaud, Darius. Concerto pour batterie et petit orchestre. Reduction pour batterie et piano. Universal Edition 6453. Wien: Universal-Edition, 1931. Milhaud, Darius. La Création du Monde. Paris: Editions Max Eschig, 1929. Psathas, John. Matre’s Dance. The Terrace, Wellington, New Zealand: Promethean Editions Limited, 1991/1994/1999. Ptaszyhska, Marta. Space Model. Bryn Mawr, PA: Theodore Presser Company, 1992. Simons, Netty. Design Groups I. Bryn Mawr, PA: Merion Music, Inc./Theodore Presser Company, 1973. Stern, Robert. Adventures for One. New York: Music For Percussion, Inc., 1963. Stockhausen, Karlheinz. Nr. 9Zyklus. London: Universal Edition (London) Ltd., 1960. 91 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Stravinsky, Igor. Histoire du Soldat, edition by William Kraft. New Music West, 1965/1985/1992. Tagawa, Rickey. Inspirations Diabolique. Greeley, CO: Western International Music, Inc., 1965. Udow, Michael. Acoustic Study No. I. Dexter, Ml: Equilibrium Press, 1973. Udow, Michael. Timbrack Quartet. New York: Belwin, Inc., 1978. Udow, Michael W., and Chris Watts. The Contemporary Percussionist: 20 Multiple Percussion Recital Solos. Ft. Lauderdale, FL: Meredith Music Publications, 1986. Van der Slice, John. Pulse/Impulse. Somers, CT: Somers Music Publications, 1984. Wuorinen, Charles. Janissary Music. New York: C.F. Peters Corporation, 1966. Zivkovic, Nebojsa Jovan. The Castle o f the Mad King, Op. 26. Edition Musica Europea Nr. 1012, 1998/99. Zivkovic, NebojSa Jovan. Generally Spoken it is nothing but rhythm. Top Drum/Edition Musica Europea Nr. 1002, 1990/91. 92 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VITA Graduate College University of Nevada, Las Vegas Rachel Carissa Julian-Jones Home Address; 9902 Elkhead Creek Way Las Vegas, NV 89148 Degrees: Bachelor of Arts, Music, 1995 University of Nevada, Las Vegas Master of Music, 1999 University of Nevada, Las Vegas Document Title: A Survey of Multiple Percussion Notation with an Emphasis on Timbre Staff Notation and Setup Document Examination Committee: Chairman, Dean Gronemeier, DMA, JD Committee Member, Kenneth Hanlon, DMA Committee Member, Anthony LaBounty, MS Committee Member, Janis McKay, DMA Graduate Faculty Representative, Jeffrey Koep, Ph.D. 93 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.