MUC-117-S01 Handout #1

Percussion Logistics some things to consider before writing

Choosing Instruments
Availability versus rarity
Portability / size and amount of instruments

Setups and rehearsal considerations

Rehearsal time and space
Large ensemble versus chamber ensemble
Location (how far will instruments need to be moved for rehearsal?)
Mallet changes
o *All of these may affect percussionists approach to practicing your music

Over-scoring
Although there are many percussion options, some instruments may sound similar
Will there be a dramatic difference in sound between two chosen instruments?
o Ex.: tenor drums vs. toms
o Ex.: crotales vs. glockenspiel
Will the chosen instruments be playing enough to justify their inclusion?
Will the scoring allow enough time to switch mallets and instruments?
Imagine performing the passages(s) yourself can you do it?
Do you need instruments for each player, or can they be shared?
o This directly affects setup, portability, etc.
Most importantly: will it be heard?

Visuals / Noise
Energy and flow of movement are important to percussion performance
Clunky, hastened, awkward movement can visually impact your pieces perception
Quick mallet and instrument changes can lead to unwanted noise from:
o Trap tables
o Scraping rims
o Hitting other mallets
o Hitting keyboard instruments with the stick of the mallet

Unidiomatic considerations
Quick tuning on timpani pedals
Fast passages with multiple instruments
Dynamics due to physical exhaustion
Instruments with pedals having too much distance in the setup to use them
 MUC-117-S01 Handout #2

Percussion Notation some things to consider while writing

Lists, Keys, and Diagrams

Always define your percussion with a list:
o Orchestra, wind ensemble, multiple percussion, or solo: a list must be included.
o If there are multiple percussionists, divide the list by player.
o Do not include a long list of every instrument for the performers to work out.
Include pitches for tuned instruments like gongs or crotales, if there are few of them.
Provide a staff of instrument choices (Key).
o From left to right: lowest to highest in general sound.

Setup
A pictorial representation of the instrument choices.
Best to work with a percussionist before solidifying.

Staff Lines (when to use a 1-line staff, 2-line, etc.)

Necessitated by number of instruments involved, especially unpitched percussion.
5-line staff is most common, but the system will need to be invented for each piece.
Switching instruments mid-piece may call for a staff-type change.
#1 rule: be clear and consistent.

Score Protocol
Percussion is placed below brass and above keyboard, voices, strings.
Timpani gets its own line.
Label the other part(s): Percussion 1 (?).
Include the name of the instrument in the part above each entrance when possible.
Provide Instrument name after every page turn. Do not make the conductor go looking.

Abbreviations
There is no standard, but again, make sure theyre clear and consistent.
Include abbreviations after the first full presentation of instrument name.

Language
Use English as often as possible.
Exceptions may include instruments whose names are readily foreign:
o Glockenspiel
o Timpani
Dont call a bass drum Gran Cassa, or cymbals piatti, etc.

Symbol Notation
Pictorial representation of mallets, effects, instruments, etc.
The system didnt catch on and can be confusing. Advised not to use.
Noteheads
Use different noteheads to make different instruments clearer.
Some general consistencies:
o Regular for drums
o X for cymbals, woodblock, cowbell
o Triangles for triangle
Most times youll need to designate this differently for each piece. So:
o Be clear and consistent!

Dynamics
Not all percussion instruments resonate equally if the same dynamic is written.
Imagine a ff tam-tam versus a ff mid-range marimba using a yarn mallet.
Think carefully about how you approach dynamics for each instrument.
o More on this as we explore instruments individually.

Percussion-specific Directions:
Laissez Vibrare, let vibrate, l.v.: allow instrument to ring until it fades naturally, or:
Choke. Intentional stop to instrumental ring. Notated with the Coda sign or word choke.
Rolls (3-slash, trill, rl, z).
o The inclusion or exclusion of ties will affect possible re-articulations.

Auxiliary but Important

Please provide multiple parts to performers, especially if the setup is large!
Use cues! Other percussion parts are best. This goes for any orchestral family.