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How to Write for PERCUSSION, by Samuel Z. Solomon
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How to Write for PERCUSSION is a comprehensive text that clearly explains and simplifies all issues that percussionists and composers face with respect to each other. Written from a percussionist's perspective, it examines the behind-the-scenes processes to uncover all the tools the composer needs to comfortably create innovative and skilled percussion composition.
If you are a composer or arranger and have ever had a question about percussion writing, How to Write for PERCUSSION is the definitive source. Whether you have years of percussion writing experience or no idea how to even approach it, this book will give you hundreds of great new ideas and will show you exactly how to realize them in your music.
There are nine chapters. The first four consider issues that apply to all percussion.
1. General Logistics 2. General Notation 3. Beaters 4. Tone Color
1. General Logistics explores issues of movement, instrument choice, instrument setup, concert production, and sound production. These are the often overlooked concerns which significantly influence the success of the composition.
2. General Notation details the key notational concepts for percussion writing, including guidelines for how to create parts and scores, how to set up a notational system for multi-percussion setups, and how to deal with articulation, phrasing, note length, and special effects.
3. Beaters describes each beater, its specific uses, special effects, and issues of changing beaters within a piece.
4. Tone Color discusses the physical factors that can be used to manipulate timbre on all percussion instruments.
The following five chapters discuss specific types of instruments.
5. Drums 6. Keyboard Percussion 7. Metal 8. Unpitched Wood 9. Miscellaneous Instruments
Drums, Keyboard Percussion, Metal, and Wood deal with instruments that are struck. Miscellaneous Instruments deals with instruments that are scraped, cranked, shaken, and blown through, as well as some struck instruments that do not fit into the other categories.
The five appendices expand and reinforce the concepts detailed in the rest of the book.
A. Sample Setups B. Scores with Comments C. Beaters D. Dynamics E. Suggested Works
A. Sample Setups is a collection of instrument lists with their corresponding setup diagrams and instrument keys.
B. Scores with Comments presents excerpts from real scores with comments that elaborate upon important logistcal and notational issues.
C. Beaters charts the appropriateness of various beaters on various instruments.
D. Dynamics charts the relative dynamics of various instruments struck with various beaters.
E. Suggested Works is an annotated list of works that use percussion well.
With hundreds of musical examples, diagrams, charts, photos, and pages of text, there are few questions this book will not answer.
- Sales Rank: #194046 in Books
- Published on: 2004-03
- Number of items: 1
- Binding: Paperback
- 192 pages
Review
"A must for all composers, conductors and instrumentalists. By far the most absorbing and demanding book on percussion writing." -- Jeffrey Milarsky, Percussionist, Conductor, Professor in Music, Columbia University
"A true contribution to the literature of orchestration." -- Samuel Adler, Professor Emeritus, Eastman School of Music, Composition Faculty, Juilliard School, Author, The Study of Orchestration
"It will be required reading in my classes and a fixture on my desk." -- Steven Mackey, Composer, Guitarist, Professor of Music, Princeton University
About the Author
Percussionist Samuel Z. Solomon has been responsible for dozens of world premieres of solo and small ensemble works. With saxophonist Eric Hewitt, he is co-founder of the Yesaroun? Duo; the Duo has been featured in recitals all over the northeast United States, in Italy, and in Cuba. Mr. Solomon made his Carnegie Hall debut in February of 2000, performing the world premiere of John Mackey?s Concerto for Percussion and Orchestra as guest soloist with the New York Youth Symphony. In December 1999 he was featured in Lincoln Center?s Alice Tully Hall, performing the American premiere of Iannis Xenakis?s final composition, O-Mega for percussion solo and chamber orchestra, with the New Juilliard Ensemble. Mr. Solomon spent six summers at Tanglewood, three as a Fellow of the Tanglewood Music Center, and six years at Juilliard, receiving two degrees. He lives in New York City.
Most helpful customer reviews
6 of 6 people found the following review helpful.
an excellent companion to standard orchestration texts
By Greg Michaels
This book is an excellent companion to the standard orchestration texts one might buy, such as Adler or Forsyth. It goes into great detail about all of the instruments, sticks, notation, etc. Basically anything you could need to start writing for percussion, which isn't often covered in great detail in other books. It's very nice to now have a reference that doesn't gloss over the percussion and gives very good insights into writing for this large and complex body of instruments.
7 of 7 people found the following review helpful.
composer's friend
By osen
I am a concert music composer. One of the things I like about being such a composer in the 21th-century is the abundance of percussion instruments and complex rhythms available to us. However, writing and notating these percussion parts is also a challenge, unique to the 21th-century, and we must have the guidance and assistance of professional percussionist. "How to Write for Percussion" is now my new guide to notating composing for percussion. I am enjoying this book very much.
3 of 6 people found the following review helpful.
BUY THIS BOOK
By Hoagy
First, if you haven't already, read all of the other reviews of this book. Then if you haven't already, click add to cart and put in your info!!! This book is what all the other reviews say, it is a must for ANYONE, percussionints, composers, friends, family, your grandma who likes to compose the occasional snare drum trio on the weekends, ANYONE who loves percussion and wants the most informative source on composing methods for it. Don't be that composer who puts the ride cymbal notation below the bass drum, trust me, we've all seen it done!!!! CHECK THIS BOOK OUT!
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