curricular approaches and repertoire for multiple percussion
TRANSCRIPT
3-4 Grade Objects (list)Percussion Pedagogy
CURRICULAR APPROACHES
V. Undergraduate - First and Second Years
VI. Undergraduate - Third and Fourth Years
VII. Graduate
VIII. Doctoral
Objectives:
1. The student will be exposed to various percussion sounds, both traditional and non-
traditional.
2. The student will be exposed to various playing surfaces and areas on percussion
instruments.
3. The student will be exposed to various performing techniques and will explore the use of
different implements on percussion instruments.
4. The student will be introduced to ideas of movement and the usage of space and time
within multiple percussion dispositions.
5. The student will begin to make compositional decisions on instrument and implement
choice, timbre, and the use of dynamics involved in percussion performance.
Introductory Approaches to Multiple-Percussion Objectives:
Improvisation
The private instructor can introduce the following concepts that will later be important in
multiple percussion performance through simple improvisations that the student can do
without a need for written music or preparation. These concepts are:
1. Exploring the timbres of single instruments/objects
2. Exploring the use of various implements on single instruments (i.e. hands, metal,
wood, felt, etc.)
given to melodic movement and phrasing
4. Finding sounds that evoke particular feelings related to color, physical movement and
speech
5. Manipulating space, time and the movement between instruments/objects in the
context of various emotional scenarios
Written Exercises
The private instructor can incorporate the exploration of sounds and approaches to multiple-
percussion through written exercises in method texts that utilize simple rhythms. The
instructor can apply the exercises to different playing surfaces and coordinate musical and
rhythmical elements with those currently being taught on snare drum.
Suggested Texts:
• Reed, Ted. Syncopation
Compositional Approach
There are many multiple percussion works that involve the performer in the compositional
process through decisions in score interpretation to choice of instrumentation. In order to
foster this concept at an early age, the percussion instructor can have the student compose
small pieces with dictated parameters on meter and note duration with the instrumentation
left up to student to find around the house. In this way they are reinforcing rhythmic theory
and compositional training, as well as beginning to make decisions as performers.
In this approach, it is important to address the following issues with the student:
• How to determine and notate sustain of instruments
• How to make decisions on set-up of instruments
• How to notate different implements
II. Fifth through Eighth Grade
Objectives:
1. The student will continue to explore improvisational, written, and compositional
approaches presented in grades 3-4
2. The student will develop technical skills to be introduced through repertoire
• Use of different implements
• Movement between 2 or more playing surfaces
• Maintaining ostinato patterns in one hand while playing motivic material in
the other hand
Objectives:
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1. The student will continue to develop techniques and skills through more advanced
repertoire. These include but are not limited to:
• Use of pitched percussion
• Exposure multiple stave system notation
• Exposure to varied note-head indications
2. The student will continue to compose and improvise, incorporating sounds and
approaches from repertoire being studied
IV. Eleventh through Twelfth Grade
Objectives:
1. The student will continue to develop techniques and skills through more advanced
repertoire.
2. The student will continue to compose and improvise incorporating sounds and
approaches from repertoire being studied.
3. The student will begin to explore possibilities of graphic notation through
compositional studies. An example could include:
• Sketching an abstract visual representation of real life sounds (car traffic,
nature, school hallway, library, etc.)
• Realizing that visual representation using instruments/objects and implements
in traditional and non-traditional settings.
• The timbre of the sound sources chosen do not necessarily have to reflect the
real life sounds. (For example, instead of rainstick for rain, super-balls on
tom-tom)
Objectives:
1. The student will continue to develop techniques and skills through more advanced
repertoire. Some of these techniques could include
• Use of Four mallet technique on non-pitched instruments
• Larger more complicated percussion dispositions, including use of pedaled
instruments
• Basic introduction to timbre-rack percussion dispositions (The Contemporary
Percussionist, Udow/Watts)
2. The student will continue graphic notation interpretation through the use of composed
etudes (by the teacher or student) similar to those found in John Bergamo’s Style
Studies (etudes 23 and 25). The Bergamo etudes are written for mallet-keyboard
percussion instruments, but can be used in the same manner as the compositional
studies done in grades 11-12.
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Objectives:
1. The student will continue to develop techniques and skills through more advanced
repertoire. Some of these techniques could include
• Extensive construction and use of rack material for large dispositions
• Development of non-western hand and finger techniques for use with
particular repertoire
• Exposure to works with relative or dictated time-lines/durations
• Study of article by Dr. Michael W. Udow: Visual Correspondence Between
Notation Systems and Instrument Configurations, Percussionist, vol. 18, no. 2
(Winter 1981) published by the Percussive Arts Society
• More extensive use of timbre-rack dispositions (Udow/Watts; Hollinden)
• Introduction and use of electronic sound sources (MIDI, Sampling, etc.)
2. The student will complete an open ended research paper on a topic related to a
historically significant multiple percussion composition, or the analysis of a
contemporary multiple percussion composition. The project can but does not need to
be in connection with a work the student is currently preparing. Concepts to be
addressed through research could include:
• Exploring past Percussive Notes articles
• Researching composer biographical information
VII. Graduate
Objectives:
1. The student will refine their performance techniques through the study of a vast array
of repertoire
2. The student will complete a research paper on a topic related to a work they are
currently studying. Concepts to be research could include but are not limited to:
• Compositional techniques
• Historical performances
VIII. Doctoral
Objectives:
1. The student will refine their performance techniques through the study of a vast array
of repertoire
2. The student will complete a research paper on a topic related to a work they are
currently studying for submission to a scholarly journal.
3. The student should present a formal lecture/performance on a particular composition
they are currently studying (can be the same topic as the research paper).
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Curricular Division of Years*:
V. Undergraduate - First and Second Years
VI. Undergraduate - Third and Fourth Years
VII. Graduate
VIII. Doctoral
*Curricular Division of Years takes into consideration technical and musical aspects as well as
practicality and availability of instruments to the student of a particular level.
I. Third to Fourth Grade
Delp, Ron. Multi-Pitch Ryhthm Studies for Drums
Berklee Press Pub., 1973
Exercises gradually introduce more complicated rhythms and additional pitches
Reed, Ted. Syncopation
Ted Reed, 1958
Two voices
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Combs, F. Michael. Gesture for Solo Percussionist (2)
M. M. Cole Publishing Co., 1969
Instrumentation:
Notation:
One tempo
Eighth note ostinato patterns in one hand while other plays interjection
Kraft, William. 2-4-1 (2)
Try Publishing Co., 1965
Instrumentation:
Solo snare drum with mallet and brush, or any two percussion instruments
Notation:
Standard
Use of meter changes (2/2, 3/2)
English and Italian musical markings
Peters, Mitchell. Etude #I (2)
Mitchell Peters, 1967
Da Capo and repeats
O’Connor, G. Allan. Dance Rhythms I (2)
M.M. Cole Publishing Co., 1971.
Instrumentation:
Notation:
5 line standard stave, graphic designations in regards to tempi
Musical Aspects:
Improvised tempo changes
Choice of instruments and implements are left to the discretion of the performer
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Mitchell Peters, 1967
Steady eighth notes in one hand while other plays syncopation
Sixteenth note gestures with given stickings
Use of rims
Mitchell Peters, 1971
Notation:
Use of slash roll notation
Meter Changes (5/4, 7/4, 6/4, 9/4, cut time)
III. Ninth through Tenth Grade
Bach, Jan. Turkish Music (3)
M.M. Cole Publishing Co., 1969.
Instrumentation:
Snare drum, tenor drum, small bass drum, tambourine, triangle, small suspended cymbal,
large suspended cymbal
Notation:
Use of multi-line stave (7), position of note-head relative to line determines playing area.
Musical Aspects:
Different tempi
Mitchell Peters, 1972
Notation:
5 line standard stave with note head change for rim work
Open and closed mallet pictures for changes
Musical Aspects:
Mallet shifts while playing
Use of simple, compound, and complex meters (2/4, 3/8, 6/16, etc.)
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Notation:
Musical Aspects:
Musical Aspects
Kendor Music Inc., 1976
4 tom-toms, orchestra bells, suspended cymbal, tam-tam (suspended cymbal if tam-tam
not available)
Musical Aspects:
20/16 and 16/16 meters
Creative Music, 1968.
Instrumentation:
Snare drum, guiro, low temple block, wood block, cowbell, small anvil, triangle,
xylophone, orchestra bells, or bell lyre
Notation:
5 line standard stave and two staved systems, linear rhythmic interplay
Musical Aspects:
Dynamic contrasts corresponding with tempo changes
Ad lib sections
Mitchell Peters, 1968
Musical Aspects:
Creative Music, 1968.
Notation:
IV. Eleventh through Twelfth Grade
Childs, Barney. Seven Quiet Studies (4)
Smith Publications, 1978
Instrumentation:
Suspended cymbal, snare drum, small drums (2), tom-toms (2), bass drum
Notation:
Musical Aspects:
Each study to be played p-pp throughout
Exploration of meter and time signature (non-traditional use of marked time signatures
and unmarked time signatures)
Schinstine, William. Etude for Wooden Idiophones (4)
Creative Music, 1968
Instrumentation:
Temple blocks (5), small and large wood block, concert castanets, slapstick
Notation:
Simple and compound meter
Fundis, Gregory. Midnight Blaze from Contemporary Audition Solos for Percussion (4)
Studio 4 Music, 1998
Instrumentation:
Suspended cymbal, snare drum, bass drum, triangle, small and large tom-tom
Notation:
Musical Aspects:
Imagery depicted in program notes and separated by measure number
Ostinati in one hand with interjections in other
Special effects on bass drum
Kraft, William. French Suite (4)
New Music West, 1962
Instrumentation:
Tenor drum, field drum, low snare drum, high snare drum, bongos, 2 cymbals
Notation:
Musical Aspects:
Meter changes
Ludwig Music Publishing Co., 1962
Instrumentation:
2 tom-toms, snare drum, bongos, wood block, cymbal, vibraphone, 4 temple blocks
Notation:
Musical Aspects:
Leonard, Stanley. Ubique (5)
Instrumentation:
Maracas, iron pipe, temple blocks (4), suspended cymbals (2), snare drum, tom-toms (4),
tam-tam, bass drum w/pedal
Musical Aspects:
Beck, John. Episode for Solo Percussion (5)
Studio 4 Productions, 1978.
Instrumentation:
Xylophone, bells, 5 roto-toms, 5 graduated pipes, 5 nipple gongs (C, E, A#, D#, A)
Notation:
William L. Cahn, 1970
Tubaphone or bells, anvil (metal plate), suspended cymbal, large triangle, vibraphone, 4
cowbells, tape player and sound system
Notation:
Seconds per measure given
Use of fingers
Notation:
Musical Aspects:
Mitchell Peters, 1973.
Instrumentation:
Bass drum, snare drum, 2 tom-toms, cymbal, sizzle cymbal, 3 woodblocks, tambourine,
cowbell, temple block (dragon mouth)
Notation:
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2 Staves - wood and drums, non-standard note-heads to indicate instrumentation
Musical Aspects:
Mixed Meter
Tempo Changes
Smith Publications, 1999
Instrumentation:
5 brake drums, 3 transmission drums, small indian bells, 3 graduated tam-tams, 2
almglocken (unspecified pitch), 3 crashers (thin stacked metal strips)
Notation:
Musical Aspects:
Quintuplets
Groove oriented
Hatch, Peter. When do they is not the same as why do they (5)
Ontario Arts Council, 1988
Instrumentation:
6 congas or bongos (graduated pitches), pedal bass drum, 4 cymbals, 1 sizzle cymbal, 2
pitch bending opera gongs, large gong (matching pitch of low opera gong), metal or stone
wind chimes, sound system (ghetto-blaster) with tape/CD player, recording of jazz
(preferably blues) recorded in the 1920’s
Notation:
Musical Aspects:
3 movements
Requires performer to play and speak written text at the same time
Use of explicit and implicit polyrhythm and polymetric textures
Johnson, Warren. Five Words (5)
Southern Music Company, 1973
Instrumentation:
4 Suspended cymbals, marimba, 4 tom-toms (or bongos), wood block, 4 temple blocks,
triangle
Notation:
Movements titled to evoke particular emotions
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Universal Edition, 1929/30
Instrumentation:
Triangle, bass drum attached cymbal (to be struck with pedal), metal block, wood block,
2 suspended cymbals, castanets, whip, ratchet, tambourine, caisse claire,caisse roulante,
tambourin provencal, tam-tam, 4 timpani
Notation:
Multiple staff score of all percussion instruments with piano reduction
Musical Aspects:
Payson, Al. Contemporary Courante (5)
Creative Music, 1968
Notation:
Musical Aspects:
Multi-implement usage
Rosen, Jerome, Elegy for solo percussion (5)
Music for Percussion, Inc., 1967
Instrumentation:
Glockenspiel, vibraphone, marimbaphone, chimes, triangle, antique cymbals,
Suspended cymbals (3), sizzle cymbal, hi-hat, large gong, cow bells, temple blocks,
Wood block, log drum, 2 snare drums, tom-toms (3), conga drum, dumbeg, bass drums
(one w/foot pedal and one large and resonant), tympanum
Notation:
5 line standard stave with changing clefs, alphabetical logos for instrument designations,
graphic designations for implements and pitch change
Musical Aspects:
Unmetered sections
Ad-lib sections
Free tempi
Music for Percussion, Inc., 1963
Instrumentation:
Notation:
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Two staves per system with changing note-head, notation of staves changes movement to
movement
Tagawa, Rick. Inspriations Diabolique (5)
Western International Music, 1965
Instrumentation:
4 suspended cymbals, mounted tambourine, bongos, 2 snare drums, field drum, bass
drum
Notation:
Musical Aspects:
5 movements
Meter changes
Meredith Music Pub., 1986
Notation:
Musical Aspects:
Non-metered
Non-stemmed
Equilibrium Press, 1977
Notation:
6 x 6 grid with a number (1 through 6) in each cell
Musical Aspects;
Three scans are performed
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Verlag Dohr, Koln, 1998.
Musical Aspects:
Varied rhythmic passages
German musical indications
Kurauchi, Naoko. Dreaming, (6)
Instrumentation:
Suspended cymbals (3- small, large, sizzle), marimba, tom-toms (5), bass drum
Notation:
5 line standard stave with two to three staves per system
Musical Aspects:
Multi-implement use
William L. Cahn, 1976
Instrumentation:
4 suspended crotales, 2 temple blocks, 2 suspended chimes, chromatic pitch pipe, 4 tom-
toms, bass drum, cowbell, 2 triangles, 28” timpano, low almglocken, tam-tam, plastic or
shell wind chimes, suspended sleigh bell stick, cellophane paper, cloth
Notation:
Musical Aspects:
5 movements
Extensive rack set-up
Use of scrapes and preparation of instruments (cloth, triangle on tom-tom, etc.)
Duckworth, William. Time Fields (6)
Media Press, 1969
woodblocks, 3 temple blocks,
One time line with musical events above and below
Boxes with events that must be repeated given number of times in any order
Musical Aspects:
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Need for performer to gauge whole piece based on relative timeline
Events spanning a large number of instruments
Erickson, Robert. Percussion Loops (6)
Smith Publications, 1984
Instrumentation:
Five graduated timbres in each of the following categories: skin, wood, dry metal, ringing
metal, gongs, cymbals, rattles; 3 “foot gongs” (graduated)
Notation:
Five line standard stave with graphical note heads designating the various timbre classes
Only spaces and top of stave are used
Musical Aspects:
Use of “rhythm of decay times” (actuation points depend on decay of instrument)
“Foot gongs” are designated below the staff with varied rhythmic activity occurring
simultaneously
Hibbard, William. Parsons’ Piece (6)
Ione Press, Inc., 1976
Instrumentation:
3 tam-tams, 3 cowbells (almglocken - b-flat, d-flat, f), 3 cymbals, 3 bass drum without
bottom head, medium and small tom-tom without bottom head.
Notation:
Large 5 line staff with the top line indicating the composite rhythm with stems that
connect to notes-heads on other lines that indicate instruments, various shaped note-
heads to indicate implements
Relatively slow playing- no fast gestures or sticking issues
Holinden, Dave. Dusting the Connecting Link (6)
Dave Hollinden, 1995
Instrumentation:
Log drum, 2 medium tom-toms, temple block, wood block, tambourine, suspended sleigh
bells, cowbell, large tom-tom, mounted vibra-slap, 2 small drums (very dry), 2
almglocken, suspended auto spring, suspended brake drum, triangle, bell plate, tone bar,
crotale, thin crash cymbal, Chinese cymbal, sizzle cymbal
Notation:
Graphic shape with musical fragments consisting of motives written in timbre-rack
notation
Some figures require advanced snare drum technique
Requires smooth movement from one musical fragment to the next
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Zimmerman-Frankfurt, 1999
Instrumentation:
Vibraphone, tom-toms (2), large tom-tom, bongos, piccolo snare drum, bas drum, temple
blocks (5), crotales (3), suspended cymbal (4), sizzle cymbal, small glissando gong,
two med. Sized gongs, tam-tam, log drum, vibra-slap, metal chimes, flexatone, stones
(2), tubular bells (C1, F#1, bottles (2), ocean drum, rain stick, guiro, cowbells (2),
chains (2), dobaci, triangle
Notation:
Standard 5-line stave with varying numbers of staves per system, graphic instrumentation
designations and varied note head use
Musical Aspects:
Collaborative percussion playing based on eight paintings provided with score
Shifting dynamics, time signature, and tempi
Multiple implement use
Media Press, 1969
Notation:
4x4 grid with each cell containing graphic representations of sounds, implements and
other performance instructions
Musical Aspects:
Allows performer freedom to choose a path to perform the 16 cells
Requires the performer to set durations of each cell from 5-15 seconds
Can be realized upside down as well
Norgard, Per. Waves (6)
Instrumentation:
4 congas, big tam-tam, tuned gongs (chromatic c2 - f 2), marimba, cymbal, tom-tom, 2
timpani
Notation:
Musical Aspects:
Use of Phasing
Minimalist
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The Japan Federation of Composers, Inc., 1994
Instrumentation:
Antique Cymbals (2- C#2, B2), bell tree, cowbells (7- F1, G1, B1, C#2, Eflat2, F2, G2),
rins (2), triangle, temple gongs (3), tam-tam, vibraphone, cidero, wood blocks (2), temple
blocks (3), bongos (3), ginbe, Africa bass drum (w/foot pedal)
Notation:
Musical Aspects:
Rudzinski, Witold. Wariacjee i fuga na perkusje solo (6)
Polskie Wydawnictowo Muzyzne, 1966
Instrumentation:
Crotales (2), cowbells (3), suspended cymbals (3), cymbals a2, bongos (3), tamburi (3),
tom-toms (3), bass drum (w/pedal), gong, triangles (3), wood blocks (2), temple blocks
(3)
Notation:
Multiple lines staves and systems, instrument designations at the beginning of each
system, varied note heads
Improvisatory sections
Zivkovic, Nebosja. CTPAX:STRAH (6)
Moeck, Verlag Celle, 1988
Instrumentation:
Vibraphone, 3 cymbals, tambourine, 2 triangles, 4 almglocken (c, e-flat, b, d), bongos, 3
tom-toms, snare drum, pedal bass drum, 5 temple blocks, 2 wood blocks, tape player and
sound system
Lettered musical fragments to be performed in a dictated order
Musical Aspects:
Tape consists of speeches given by Dimitri Shostakovich
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C.F. Peters, 1968.
Instrumentation:
Crotales (2), triangles (2), cymbals (2), tam-tam, wood chimes, wood block (3), temple
blocks (3), castanets, timbales, tom-toms (3), vibraphone, timpani (1)
Notation:
Graphical designations for various instruments and implements
Musical Aspects:
Instrumentation:
A choice of cymbals and/or drums to be determined by the performer
Notation:
Musical Aspects:
Free dynamics
Henmar Press Inc., 1960
Instrumentation:
To be determined by performer: metal, wood, skin and all other (electronic devices,
mechanical arrangements, radios, whistles, etc.)
Notation:
4 line stave, time indications given (in seconds) above stave
Musical Aspects:
Use of physical space to determine actuation of sound
Performer must determine instrumentation and implements
Felder, John. Emergence (7)
Fallen Leaf Press, 1983
Instrumentation:
Bongos, vibraphone, high and low timpani, 2 suspended cymbals, snare drum, 2 small
tom-toms, tubular bells, conga, 2 large tom-toms, medium and large tam-tam, bass drum
Notation:
and/or symbols
Musical Aspects:
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Multiple movements, each at a different location in instrument disposition
Gestures that move quickly across may instruments/staves on the page
Feldman, Morton. The King of Denmark (7)
C. F. Peters, 1965.
Instrumentation:
Determined by the performer with the exception of cymbal, timpani, triangle, vibraphone,
gong, glockenspiel, antique cymbal
Notation:
Graphical in grid format with use of Arabic and Roman numerals, treble clef, and Greek
alphabet
Softest possible dynamic palette incorporated throughout
Performer uses only their hands and any part of the arm
Hashagen, Klaus. Meditation fur Schlagzeug (7)
C.F. Peters 1972
Instrumentation:
Hi-hat, cymbals (3), triangle, gong, almglocken (4), waded cymbal, bottles (4),
xylophone, temple blocks (6), wood blocks (2), slit drum, vibraphone
Notation:
Graphical
Musical Aspects:
The work is indeterminate in one respect because all tonal and rhythmic notation along
with tempo, expression, and phrase markings are suggestions.
The work is basically improvised in the way of those areas.
Ichiyanagi, Toshi. Perspectives II (7)
Schott Japan Company Ltd., 1996
Instrumentation:
Antiques cymbals or glockenspiel, marimba, mokusho or wood block (medium high),
roto-tom (medium high), tam-tam (large), 2 tom-toms (high and medium low),
vibraphone
Notation:
Musical Aspects:
Majority of material on marimba
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Moeck Verlag Celle, 1985
Instrumentation:
Bongos, congas and other skin instruments with calf skin. (or Japanese drums: shime -
daiko, oke - do), bass drum with pedal
Notation:
Musical Aspects:
Evokes Japanese festival drumming
The Japan Federation of Composers, 1979
Instrumentation:
Notation:
4 line stave notation with each line containing 5 spaces or lines for distinct playing areas
Musical Aspects:
Great deal of detail with regards to timbre sources on limited instruments
Use of notated embellishments
Media Press, 1970
Instrumentation:
Tam-tam, suspended cymbal, 1-4 tom-toms, 1 or more almglocken, sizzle cymbal, snare
drum
Notation:
Graphic- concentric circles with time and instrument indications, use of red ink, use of
symbols to indicate attack types and dynamic contour
Musical Aspects:
Detailed instruction on what “path” to follow through the score
Performance variation - miming the performance, then playing recorded version
Choice of implements is left to performer
Performer is to observe special relationships that are illustrated in score
Ruders, Paul. Alarm! (7)
Edition Wilhelm Hansen, 1983
Instrumentation:
Large conga, didjeridoo, slit drum, large tom-tom, 13” roto-tom with oil-filled batter,
Ching-ching (oriental cymbal machine or substitute 4 small cymbals), vibra-slap,
microphone and sound amplification system
Notation:
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Musical Aspects:
Contrasting moods
Ability to play didjeridoo and percussion at same time
Mixed meter and very fast tempi
Use of extended voice techniques
Rzewski, Frederik. To The Earth (7)
Unknown, 1985
Notation:
Musical Aspects:
Performer must orate Homeric hymn substantial amount of piece while playing
Involves fast moving lines across flower pots
VIII. Doctoral
Brun, Herbert, Stalks and Trees and Drops and Clouds (8)
Smith Publications, 1975
Instrumentation:
Determined by the performer based on descriptors provided by the composer
Notation:
Musical Aspects:
Emphasis given to space and its relationship to “applied force”
Phrasing left to the discretion of the performer
Three periods of preparation specifically given
Ferneyhough, Brian. Bone Alphabet. (8)
Edition Peters, 1995
Instrumentation:
Seven instruments with sharp attack and rapid decay to be chosen by performer
Notation:
Mixed meter
Two-Eighteen Press, 1979
Instrumentation:
Nine bells suspended chest high (from ceiling) in grid formation, bells 6 feet apart
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Notation:
Musical Aspects:
Movement; Sound of feet should is part of the music, and steps are in tempo
Audience is ideally placed on all 4 sides of performer
Requires choreography and memorization
Norgard, Per. I-Ching (8)
Edition Wilhelm Hansen, 1982
Instrumentation:
Large roto-tom with oil filled head, 4 boo bams, tambourine, 2 metal pipes, peking opera
gong, piccolo wood block, 3 roto-toms, 4 slit drums, 6 temple cup bells, bell tree, 17
tuned gongs, glass bowl, cowbell, flaxatone, indian monochord, 3 metal sounds, Hugh
Tracey kalimba, timpano, ankle bells, bass drum with pedal, high-hat with traditional
Chinese hand cymbals, 2 Chinese or Korean flat gongs, vibraphone, 4 temple blocks,
angklung, Deep Balinese gong or tam-tam, mark tree, 5 tom-toms with oil filled heads, 2
chinese tom-toms, bongo (separated, same size)
Notation:
Improvised cadenzas
Universal Edition, 1961
Instrumentation:
Marimba, guiro, wood drums (2), suspended bunch of bells, side drum, tom-toms (4),
cymbals (2), hi-hat, triangle, vibraphone, cowbells (4), gong, tam-tam
Notation:
Musical Aspects:
Indeterminate in the way of where the performer can start within the score (start on any
page and cycle through ending with the first stroke of the first page started with)
Attention must be given to the specific meanings of the graphics and their relation to
duration and interval of entry, intensities, and the formal structure of each page
Intensive study away from the disposition required
Yannay, Yehuda. Permutations (8)
American Composers Alliance, 1964
Vibraphone, marimba, glockenspiel, chimes, very low gong, 2 tam-tams, 2 suspended
cymbals, small cymbal, steel block, 4 temple blocks, 2 wood blocks, small maraca, 3
tom-toms, 2 bongos, side drum with snares, large timbale
Notation:
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intersecting) are superimposed over the note-heads
Musical Aspects:
Smooth natural delivery of work without breaks between constellations is essential
Choice of implements is left up to performer
CURRICULAR APPROACHES
V. Undergraduate - First and Second Years
VI. Undergraduate - Third and Fourth Years
VII. Graduate
VIII. Doctoral
Objectives:
1. The student will be exposed to various percussion sounds, both traditional and non-
traditional.
2. The student will be exposed to various playing surfaces and areas on percussion
instruments.
3. The student will be exposed to various performing techniques and will explore the use of
different implements on percussion instruments.
4. The student will be introduced to ideas of movement and the usage of space and time
within multiple percussion dispositions.
5. The student will begin to make compositional decisions on instrument and implement
choice, timbre, and the use of dynamics involved in percussion performance.
Introductory Approaches to Multiple-Percussion Objectives:
Improvisation
The private instructor can introduce the following concepts that will later be important in
multiple percussion performance through simple improvisations that the student can do
without a need for written music or preparation. These concepts are:
1. Exploring the timbres of single instruments/objects
2. Exploring the use of various implements on single instruments (i.e. hands, metal,
wood, felt, etc.)
given to melodic movement and phrasing
4. Finding sounds that evoke particular feelings related to color, physical movement and
speech
5. Manipulating space, time and the movement between instruments/objects in the
context of various emotional scenarios
Written Exercises
The private instructor can incorporate the exploration of sounds and approaches to multiple-
percussion through written exercises in method texts that utilize simple rhythms. The
instructor can apply the exercises to different playing surfaces and coordinate musical and
rhythmical elements with those currently being taught on snare drum.
Suggested Texts:
• Reed, Ted. Syncopation
Compositional Approach
There are many multiple percussion works that involve the performer in the compositional
process through decisions in score interpretation to choice of instrumentation. In order to
foster this concept at an early age, the percussion instructor can have the student compose
small pieces with dictated parameters on meter and note duration with the instrumentation
left up to student to find around the house. In this way they are reinforcing rhythmic theory
and compositional training, as well as beginning to make decisions as performers.
In this approach, it is important to address the following issues with the student:
• How to determine and notate sustain of instruments
• How to make decisions on set-up of instruments
• How to notate different implements
II. Fifth through Eighth Grade
Objectives:
1. The student will continue to explore improvisational, written, and compositional
approaches presented in grades 3-4
2. The student will develop technical skills to be introduced through repertoire
• Use of different implements
• Movement between 2 or more playing surfaces
• Maintaining ostinato patterns in one hand while playing motivic material in
the other hand
Objectives:
3
1. The student will continue to develop techniques and skills through more advanced
repertoire. These include but are not limited to:
• Use of pitched percussion
• Exposure multiple stave system notation
• Exposure to varied note-head indications
2. The student will continue to compose and improvise, incorporating sounds and
approaches from repertoire being studied
IV. Eleventh through Twelfth Grade
Objectives:
1. The student will continue to develop techniques and skills through more advanced
repertoire.
2. The student will continue to compose and improvise incorporating sounds and
approaches from repertoire being studied.
3. The student will begin to explore possibilities of graphic notation through
compositional studies. An example could include:
• Sketching an abstract visual representation of real life sounds (car traffic,
nature, school hallway, library, etc.)
• Realizing that visual representation using instruments/objects and implements
in traditional and non-traditional settings.
• The timbre of the sound sources chosen do not necessarily have to reflect the
real life sounds. (For example, instead of rainstick for rain, super-balls on
tom-tom)
Objectives:
1. The student will continue to develop techniques and skills through more advanced
repertoire. Some of these techniques could include
• Use of Four mallet technique on non-pitched instruments
• Larger more complicated percussion dispositions, including use of pedaled
instruments
• Basic introduction to timbre-rack percussion dispositions (The Contemporary
Percussionist, Udow/Watts)
2. The student will continue graphic notation interpretation through the use of composed
etudes (by the teacher or student) similar to those found in John Bergamo’s Style
Studies (etudes 23 and 25). The Bergamo etudes are written for mallet-keyboard
percussion instruments, but can be used in the same manner as the compositional
studies done in grades 11-12.
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Objectives:
1. The student will continue to develop techniques and skills through more advanced
repertoire. Some of these techniques could include
• Extensive construction and use of rack material for large dispositions
• Development of non-western hand and finger techniques for use with
particular repertoire
• Exposure to works with relative or dictated time-lines/durations
• Study of article by Dr. Michael W. Udow: Visual Correspondence Between
Notation Systems and Instrument Configurations, Percussionist, vol. 18, no. 2
(Winter 1981) published by the Percussive Arts Society
• More extensive use of timbre-rack dispositions (Udow/Watts; Hollinden)
• Introduction and use of electronic sound sources (MIDI, Sampling, etc.)
2. The student will complete an open ended research paper on a topic related to a
historically significant multiple percussion composition, or the analysis of a
contemporary multiple percussion composition. The project can but does not need to
be in connection with a work the student is currently preparing. Concepts to be
addressed through research could include:
• Exploring past Percussive Notes articles
• Researching composer biographical information
VII. Graduate
Objectives:
1. The student will refine their performance techniques through the study of a vast array
of repertoire
2. The student will complete a research paper on a topic related to a work they are
currently studying. Concepts to be research could include but are not limited to:
• Compositional techniques
• Historical performances
VIII. Doctoral
Objectives:
1. The student will refine their performance techniques through the study of a vast array
of repertoire
2. The student will complete a research paper on a topic related to a work they are
currently studying for submission to a scholarly journal.
3. The student should present a formal lecture/performance on a particular composition
they are currently studying (can be the same topic as the research paper).
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Curricular Division of Years*:
V. Undergraduate - First and Second Years
VI. Undergraduate - Third and Fourth Years
VII. Graduate
VIII. Doctoral
*Curricular Division of Years takes into consideration technical and musical aspects as well as
practicality and availability of instruments to the student of a particular level.
I. Third to Fourth Grade
Delp, Ron. Multi-Pitch Ryhthm Studies for Drums
Berklee Press Pub., 1973
Exercises gradually introduce more complicated rhythms and additional pitches
Reed, Ted. Syncopation
Ted Reed, 1958
Two voices
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Combs, F. Michael. Gesture for Solo Percussionist (2)
M. M. Cole Publishing Co., 1969
Instrumentation:
Notation:
One tempo
Eighth note ostinato patterns in one hand while other plays interjection
Kraft, William. 2-4-1 (2)
Try Publishing Co., 1965
Instrumentation:
Solo snare drum with mallet and brush, or any two percussion instruments
Notation:
Standard
Use of meter changes (2/2, 3/2)
English and Italian musical markings
Peters, Mitchell. Etude #I (2)
Mitchell Peters, 1967
Da Capo and repeats
O’Connor, G. Allan. Dance Rhythms I (2)
M.M. Cole Publishing Co., 1971.
Instrumentation:
Notation:
5 line standard stave, graphic designations in regards to tempi
Musical Aspects:
Improvised tempo changes
Choice of instruments and implements are left to the discretion of the performer
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Mitchell Peters, 1967
Steady eighth notes in one hand while other plays syncopation
Sixteenth note gestures with given stickings
Use of rims
Mitchell Peters, 1971
Notation:
Use of slash roll notation
Meter Changes (5/4, 7/4, 6/4, 9/4, cut time)
III. Ninth through Tenth Grade
Bach, Jan. Turkish Music (3)
M.M. Cole Publishing Co., 1969.
Instrumentation:
Snare drum, tenor drum, small bass drum, tambourine, triangle, small suspended cymbal,
large suspended cymbal
Notation:
Use of multi-line stave (7), position of note-head relative to line determines playing area.
Musical Aspects:
Different tempi
Mitchell Peters, 1972
Notation:
5 line standard stave with note head change for rim work
Open and closed mallet pictures for changes
Musical Aspects:
Mallet shifts while playing
Use of simple, compound, and complex meters (2/4, 3/8, 6/16, etc.)
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Notation:
Musical Aspects:
Musical Aspects
Kendor Music Inc., 1976
4 tom-toms, orchestra bells, suspended cymbal, tam-tam (suspended cymbal if tam-tam
not available)
Musical Aspects:
20/16 and 16/16 meters
Creative Music, 1968.
Instrumentation:
Snare drum, guiro, low temple block, wood block, cowbell, small anvil, triangle,
xylophone, orchestra bells, or bell lyre
Notation:
5 line standard stave and two staved systems, linear rhythmic interplay
Musical Aspects:
Dynamic contrasts corresponding with tempo changes
Ad lib sections
Mitchell Peters, 1968
Musical Aspects:
Creative Music, 1968.
Notation:
IV. Eleventh through Twelfth Grade
Childs, Barney. Seven Quiet Studies (4)
Smith Publications, 1978
Instrumentation:
Suspended cymbal, snare drum, small drums (2), tom-toms (2), bass drum
Notation:
Musical Aspects:
Each study to be played p-pp throughout
Exploration of meter and time signature (non-traditional use of marked time signatures
and unmarked time signatures)
Schinstine, William. Etude for Wooden Idiophones (4)
Creative Music, 1968
Instrumentation:
Temple blocks (5), small and large wood block, concert castanets, slapstick
Notation:
Simple and compound meter
Fundis, Gregory. Midnight Blaze from Contemporary Audition Solos for Percussion (4)
Studio 4 Music, 1998
Instrumentation:
Suspended cymbal, snare drum, bass drum, triangle, small and large tom-tom
Notation:
Musical Aspects:
Imagery depicted in program notes and separated by measure number
Ostinati in one hand with interjections in other
Special effects on bass drum
Kraft, William. French Suite (4)
New Music West, 1962
Instrumentation:
Tenor drum, field drum, low snare drum, high snare drum, bongos, 2 cymbals
Notation:
Musical Aspects:
Meter changes
Ludwig Music Publishing Co., 1962
Instrumentation:
2 tom-toms, snare drum, bongos, wood block, cymbal, vibraphone, 4 temple blocks
Notation:
Musical Aspects:
Leonard, Stanley. Ubique (5)
Instrumentation:
Maracas, iron pipe, temple blocks (4), suspended cymbals (2), snare drum, tom-toms (4),
tam-tam, bass drum w/pedal
Musical Aspects:
Beck, John. Episode for Solo Percussion (5)
Studio 4 Productions, 1978.
Instrumentation:
Xylophone, bells, 5 roto-toms, 5 graduated pipes, 5 nipple gongs (C, E, A#, D#, A)
Notation:
William L. Cahn, 1970
Tubaphone or bells, anvil (metal plate), suspended cymbal, large triangle, vibraphone, 4
cowbells, tape player and sound system
Notation:
Seconds per measure given
Use of fingers
Notation:
Musical Aspects:
Mitchell Peters, 1973.
Instrumentation:
Bass drum, snare drum, 2 tom-toms, cymbal, sizzle cymbal, 3 woodblocks, tambourine,
cowbell, temple block (dragon mouth)
Notation:
12
2 Staves - wood and drums, non-standard note-heads to indicate instrumentation
Musical Aspects:
Mixed Meter
Tempo Changes
Smith Publications, 1999
Instrumentation:
5 brake drums, 3 transmission drums, small indian bells, 3 graduated tam-tams, 2
almglocken (unspecified pitch), 3 crashers (thin stacked metal strips)
Notation:
Musical Aspects:
Quintuplets
Groove oriented
Hatch, Peter. When do they is not the same as why do they (5)
Ontario Arts Council, 1988
Instrumentation:
6 congas or bongos (graduated pitches), pedal bass drum, 4 cymbals, 1 sizzle cymbal, 2
pitch bending opera gongs, large gong (matching pitch of low opera gong), metal or stone
wind chimes, sound system (ghetto-blaster) with tape/CD player, recording of jazz
(preferably blues) recorded in the 1920’s
Notation:
Musical Aspects:
3 movements
Requires performer to play and speak written text at the same time
Use of explicit and implicit polyrhythm and polymetric textures
Johnson, Warren. Five Words (5)
Southern Music Company, 1973
Instrumentation:
4 Suspended cymbals, marimba, 4 tom-toms (or bongos), wood block, 4 temple blocks,
triangle
Notation:
Movements titled to evoke particular emotions
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Universal Edition, 1929/30
Instrumentation:
Triangle, bass drum attached cymbal (to be struck with pedal), metal block, wood block,
2 suspended cymbals, castanets, whip, ratchet, tambourine, caisse claire,caisse roulante,
tambourin provencal, tam-tam, 4 timpani
Notation:
Multiple staff score of all percussion instruments with piano reduction
Musical Aspects:
Payson, Al. Contemporary Courante (5)
Creative Music, 1968
Notation:
Musical Aspects:
Multi-implement usage
Rosen, Jerome, Elegy for solo percussion (5)
Music for Percussion, Inc., 1967
Instrumentation:
Glockenspiel, vibraphone, marimbaphone, chimes, triangle, antique cymbals,
Suspended cymbals (3), sizzle cymbal, hi-hat, large gong, cow bells, temple blocks,
Wood block, log drum, 2 snare drums, tom-toms (3), conga drum, dumbeg, bass drums
(one w/foot pedal and one large and resonant), tympanum
Notation:
5 line standard stave with changing clefs, alphabetical logos for instrument designations,
graphic designations for implements and pitch change
Musical Aspects:
Unmetered sections
Ad-lib sections
Free tempi
Music for Percussion, Inc., 1963
Instrumentation:
Notation:
14
Two staves per system with changing note-head, notation of staves changes movement to
movement
Tagawa, Rick. Inspriations Diabolique (5)
Western International Music, 1965
Instrumentation:
4 suspended cymbals, mounted tambourine, bongos, 2 snare drums, field drum, bass
drum
Notation:
Musical Aspects:
5 movements
Meter changes
Meredith Music Pub., 1986
Notation:
Musical Aspects:
Non-metered
Non-stemmed
Equilibrium Press, 1977
Notation:
6 x 6 grid with a number (1 through 6) in each cell
Musical Aspects;
Three scans are performed
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Verlag Dohr, Koln, 1998.
Musical Aspects:
Varied rhythmic passages
German musical indications
Kurauchi, Naoko. Dreaming, (6)
Instrumentation:
Suspended cymbals (3- small, large, sizzle), marimba, tom-toms (5), bass drum
Notation:
5 line standard stave with two to three staves per system
Musical Aspects:
Multi-implement use
William L. Cahn, 1976
Instrumentation:
4 suspended crotales, 2 temple blocks, 2 suspended chimes, chromatic pitch pipe, 4 tom-
toms, bass drum, cowbell, 2 triangles, 28” timpano, low almglocken, tam-tam, plastic or
shell wind chimes, suspended sleigh bell stick, cellophane paper, cloth
Notation:
Musical Aspects:
5 movements
Extensive rack set-up
Use of scrapes and preparation of instruments (cloth, triangle on tom-tom, etc.)
Duckworth, William. Time Fields (6)
Media Press, 1969
woodblocks, 3 temple blocks,
One time line with musical events above and below
Boxes with events that must be repeated given number of times in any order
Musical Aspects:
16
Need for performer to gauge whole piece based on relative timeline
Events spanning a large number of instruments
Erickson, Robert. Percussion Loops (6)
Smith Publications, 1984
Instrumentation:
Five graduated timbres in each of the following categories: skin, wood, dry metal, ringing
metal, gongs, cymbals, rattles; 3 “foot gongs” (graduated)
Notation:
Five line standard stave with graphical note heads designating the various timbre classes
Only spaces and top of stave are used
Musical Aspects:
Use of “rhythm of decay times” (actuation points depend on decay of instrument)
“Foot gongs” are designated below the staff with varied rhythmic activity occurring
simultaneously
Hibbard, William. Parsons’ Piece (6)
Ione Press, Inc., 1976
Instrumentation:
3 tam-tams, 3 cowbells (almglocken - b-flat, d-flat, f), 3 cymbals, 3 bass drum without
bottom head, medium and small tom-tom without bottom head.
Notation:
Large 5 line staff with the top line indicating the composite rhythm with stems that
connect to notes-heads on other lines that indicate instruments, various shaped note-
heads to indicate implements
Relatively slow playing- no fast gestures or sticking issues
Holinden, Dave. Dusting the Connecting Link (6)
Dave Hollinden, 1995
Instrumentation:
Log drum, 2 medium tom-toms, temple block, wood block, tambourine, suspended sleigh
bells, cowbell, large tom-tom, mounted vibra-slap, 2 small drums (very dry), 2
almglocken, suspended auto spring, suspended brake drum, triangle, bell plate, tone bar,
crotale, thin crash cymbal, Chinese cymbal, sizzle cymbal
Notation:
Graphic shape with musical fragments consisting of motives written in timbre-rack
notation
Some figures require advanced snare drum technique
Requires smooth movement from one musical fragment to the next
17
Zimmerman-Frankfurt, 1999
Instrumentation:
Vibraphone, tom-toms (2), large tom-tom, bongos, piccolo snare drum, bas drum, temple
blocks (5), crotales (3), suspended cymbal (4), sizzle cymbal, small glissando gong,
two med. Sized gongs, tam-tam, log drum, vibra-slap, metal chimes, flexatone, stones
(2), tubular bells (C1, F#1, bottles (2), ocean drum, rain stick, guiro, cowbells (2),
chains (2), dobaci, triangle
Notation:
Standard 5-line stave with varying numbers of staves per system, graphic instrumentation
designations and varied note head use
Musical Aspects:
Collaborative percussion playing based on eight paintings provided with score
Shifting dynamics, time signature, and tempi
Multiple implement use
Media Press, 1969
Notation:
4x4 grid with each cell containing graphic representations of sounds, implements and
other performance instructions
Musical Aspects:
Allows performer freedom to choose a path to perform the 16 cells
Requires the performer to set durations of each cell from 5-15 seconds
Can be realized upside down as well
Norgard, Per. Waves (6)
Instrumentation:
4 congas, big tam-tam, tuned gongs (chromatic c2 - f 2), marimba, cymbal, tom-tom, 2
timpani
Notation:
Musical Aspects:
Use of Phasing
Minimalist
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The Japan Federation of Composers, Inc., 1994
Instrumentation:
Antique Cymbals (2- C#2, B2), bell tree, cowbells (7- F1, G1, B1, C#2, Eflat2, F2, G2),
rins (2), triangle, temple gongs (3), tam-tam, vibraphone, cidero, wood blocks (2), temple
blocks (3), bongos (3), ginbe, Africa bass drum (w/foot pedal)
Notation:
Musical Aspects:
Rudzinski, Witold. Wariacjee i fuga na perkusje solo (6)
Polskie Wydawnictowo Muzyzne, 1966
Instrumentation:
Crotales (2), cowbells (3), suspended cymbals (3), cymbals a2, bongos (3), tamburi (3),
tom-toms (3), bass drum (w/pedal), gong, triangles (3), wood blocks (2), temple blocks
(3)
Notation:
Multiple lines staves and systems, instrument designations at the beginning of each
system, varied note heads
Improvisatory sections
Zivkovic, Nebosja. CTPAX:STRAH (6)
Moeck, Verlag Celle, 1988
Instrumentation:
Vibraphone, 3 cymbals, tambourine, 2 triangles, 4 almglocken (c, e-flat, b, d), bongos, 3
tom-toms, snare drum, pedal bass drum, 5 temple blocks, 2 wood blocks, tape player and
sound system
Lettered musical fragments to be performed in a dictated order
Musical Aspects:
Tape consists of speeches given by Dimitri Shostakovich
19
C.F. Peters, 1968.
Instrumentation:
Crotales (2), triangles (2), cymbals (2), tam-tam, wood chimes, wood block (3), temple
blocks (3), castanets, timbales, tom-toms (3), vibraphone, timpani (1)
Notation:
Graphical designations for various instruments and implements
Musical Aspects:
Instrumentation:
A choice of cymbals and/or drums to be determined by the performer
Notation:
Musical Aspects:
Free dynamics
Henmar Press Inc., 1960
Instrumentation:
To be determined by performer: metal, wood, skin and all other (electronic devices,
mechanical arrangements, radios, whistles, etc.)
Notation:
4 line stave, time indications given (in seconds) above stave
Musical Aspects:
Use of physical space to determine actuation of sound
Performer must determine instrumentation and implements
Felder, John. Emergence (7)
Fallen Leaf Press, 1983
Instrumentation:
Bongos, vibraphone, high and low timpani, 2 suspended cymbals, snare drum, 2 small
tom-toms, tubular bells, conga, 2 large tom-toms, medium and large tam-tam, bass drum
Notation:
and/or symbols
Musical Aspects:
20
Multiple movements, each at a different location in instrument disposition
Gestures that move quickly across may instruments/staves on the page
Feldman, Morton. The King of Denmark (7)
C. F. Peters, 1965.
Instrumentation:
Determined by the performer with the exception of cymbal, timpani, triangle, vibraphone,
gong, glockenspiel, antique cymbal
Notation:
Graphical in grid format with use of Arabic and Roman numerals, treble clef, and Greek
alphabet
Softest possible dynamic palette incorporated throughout
Performer uses only their hands and any part of the arm
Hashagen, Klaus. Meditation fur Schlagzeug (7)
C.F. Peters 1972
Instrumentation:
Hi-hat, cymbals (3), triangle, gong, almglocken (4), waded cymbal, bottles (4),
xylophone, temple blocks (6), wood blocks (2), slit drum, vibraphone
Notation:
Graphical
Musical Aspects:
The work is indeterminate in one respect because all tonal and rhythmic notation along
with tempo, expression, and phrase markings are suggestions.
The work is basically improvised in the way of those areas.
Ichiyanagi, Toshi. Perspectives II (7)
Schott Japan Company Ltd., 1996
Instrumentation:
Antiques cymbals or glockenspiel, marimba, mokusho or wood block (medium high),
roto-tom (medium high), tam-tam (large), 2 tom-toms (high and medium low),
vibraphone
Notation:
Musical Aspects:
Majority of material on marimba
21
Moeck Verlag Celle, 1985
Instrumentation:
Bongos, congas and other skin instruments with calf skin. (or Japanese drums: shime -
daiko, oke - do), bass drum with pedal
Notation:
Musical Aspects:
Evokes Japanese festival drumming
The Japan Federation of Composers, 1979
Instrumentation:
Notation:
4 line stave notation with each line containing 5 spaces or lines for distinct playing areas
Musical Aspects:
Great deal of detail with regards to timbre sources on limited instruments
Use of notated embellishments
Media Press, 1970
Instrumentation:
Tam-tam, suspended cymbal, 1-4 tom-toms, 1 or more almglocken, sizzle cymbal, snare
drum
Notation:
Graphic- concentric circles with time and instrument indications, use of red ink, use of
symbols to indicate attack types and dynamic contour
Musical Aspects:
Detailed instruction on what “path” to follow through the score
Performance variation - miming the performance, then playing recorded version
Choice of implements is left to performer
Performer is to observe special relationships that are illustrated in score
Ruders, Paul. Alarm! (7)
Edition Wilhelm Hansen, 1983
Instrumentation:
Large conga, didjeridoo, slit drum, large tom-tom, 13” roto-tom with oil-filled batter,
Ching-ching (oriental cymbal machine or substitute 4 small cymbals), vibra-slap,
microphone and sound amplification system
Notation:
22
Musical Aspects:
Contrasting moods
Ability to play didjeridoo and percussion at same time
Mixed meter and very fast tempi
Use of extended voice techniques
Rzewski, Frederik. To The Earth (7)
Unknown, 1985
Notation:
Musical Aspects:
Performer must orate Homeric hymn substantial amount of piece while playing
Involves fast moving lines across flower pots
VIII. Doctoral
Brun, Herbert, Stalks and Trees and Drops and Clouds (8)
Smith Publications, 1975
Instrumentation:
Determined by the performer based on descriptors provided by the composer
Notation:
Musical Aspects:
Emphasis given to space and its relationship to “applied force”
Phrasing left to the discretion of the performer
Three periods of preparation specifically given
Ferneyhough, Brian. Bone Alphabet. (8)
Edition Peters, 1995
Instrumentation:
Seven instruments with sharp attack and rapid decay to be chosen by performer
Notation:
Mixed meter
Two-Eighteen Press, 1979
Instrumentation:
Nine bells suspended chest high (from ceiling) in grid formation, bells 6 feet apart
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Notation:
Musical Aspects:
Movement; Sound of feet should is part of the music, and steps are in tempo
Audience is ideally placed on all 4 sides of performer
Requires choreography and memorization
Norgard, Per. I-Ching (8)
Edition Wilhelm Hansen, 1982
Instrumentation:
Large roto-tom with oil filled head, 4 boo bams, tambourine, 2 metal pipes, peking opera
gong, piccolo wood block, 3 roto-toms, 4 slit drums, 6 temple cup bells, bell tree, 17
tuned gongs, glass bowl, cowbell, flaxatone, indian monochord, 3 metal sounds, Hugh
Tracey kalimba, timpano, ankle bells, bass drum with pedal, high-hat with traditional
Chinese hand cymbals, 2 Chinese or Korean flat gongs, vibraphone, 4 temple blocks,
angklung, Deep Balinese gong or tam-tam, mark tree, 5 tom-toms with oil filled heads, 2
chinese tom-toms, bongo (separated, same size)
Notation:
Improvised cadenzas
Universal Edition, 1961
Instrumentation:
Marimba, guiro, wood drums (2), suspended bunch of bells, side drum, tom-toms (4),
cymbals (2), hi-hat, triangle, vibraphone, cowbells (4), gong, tam-tam
Notation:
Musical Aspects:
Indeterminate in the way of where the performer can start within the score (start on any
page and cycle through ending with the first stroke of the first page started with)
Attention must be given to the specific meanings of the graphics and their relation to
duration and interval of entry, intensities, and the formal structure of each page
Intensive study away from the disposition required
Yannay, Yehuda. Permutations (8)
American Composers Alliance, 1964
Vibraphone, marimba, glockenspiel, chimes, very low gong, 2 tam-tams, 2 suspended
cymbals, small cymbal, steel block, 4 temple blocks, 2 wood blocks, small maraca, 3
tom-toms, 2 bongos, side drum with snares, large timbale
Notation:
24
intersecting) are superimposed over the note-heads
Musical Aspects:
Smooth natural delivery of work without breaks between constellations is essential
Choice of implements is left up to performer