UniversityofAdelaide ElderConservatoriumofMusic FacultyofArts Percussion*performance*:** challenges*of*the*medium,*technique*and*repertoire* * by Ryszard*Jan*Pusz* * * Submittedinfulfilmentoftherequirements forthedegreeof Master*of*Philosophy* (*MPhil*)* * * Adelaide,April2016
Table*of*Contents* * * * * * * *******Page* TableofContents* i Abstract iii Declaration iv Acknowledgements v ListofMusicExamples vi ListofPlates xiii ListofTables xv Introduction 1 1. Approach 1 2. BackgroundandContext 7 3. Earlycompositionsforpercussion 9 4. ReviewofSources:RepertoireandLiterature 15 1. Chapter1ReTconceivingthePercussionMedium 21 1.1. Membranophones 22 1.2. MalletKeyboardInstruments 41 1.2.1. Xylophone 42 1.2.2. Marimba 50 1.2.3. SteelDrums 60 2. Chapter2EvolvingPercussionTechniques 69 2.1. Playingaction 71 2.2. Movement 80 2.3. Sound 86 2.3.1. Gracenotes 95 2.3.2. Longsounds 98 2.4. Notation 106 2.5. Logistics 116 2.6. Visualaesthetics 117 3. Chapter3Solo:Concerto(pour(batterie(et(petit(orchestrebyDariusMilhaud 121 3.1. Introduction 121 3.2. Background:earlywritingforpercussion 122 3.3. Milhaud sapproachtomusic 125 3.4. Instruments 135 3.5. Analysis 140 3.6. TechniquesandInterpretations 159 3.6.1. Movement 161 3.6.2. Sound 164 3.6.3. NotationandDiscrepanciesbetweenEditions 171 3.6.4. Logisticsofperformance 181 3.7. SignificanceandConclusion 183 i
4. Chapter4Chambermusic:(Sonata(for(Viola(and(PercussionbyPeterSculthorpe191 4.1. Introduction 191 4.2. Background 192 4.3. AustralianInfluencesandIntent 196 4.4. Musicologicalperspectives 200 4.5. InterpretationPerformanceChallenges 207 4.5.1. Instrumentation 207 4.5.2. PlayingAction 212 4.5.3. Movement 217 4.5.4. Sound 221 4.5.5. NotationandDiscrepanciesbetweenEditions 231 4.5.6. LogisticsandStaging 240 4.6. Conclusion 243 5. Chapter5PercussionEnsembleinAustralia 245 5.1. Introduction 245 5.2. Background:earlywritingforpercussionensemble 247 5.3. EricBryceSuite(for(Percussion(Quintet( ( ( ( ( ((260 5.3.1. PerformanceChallenges 266 5.4. DavidMorganLossfor(Percussion(Quartet( ( ( ( ( ((274( 5.4.1. PerformanceChallenges 301 5.4.2. Logisticsandvisualaesthetics 311 5.5. Legacy 316 5.6. Conclusion 323 Conclusion 325 ListofSources 337 Books 337 Articles 340 Dissertations 343 Scores 345 Discography 351 Websites 352 Workshops 355 PerformanceBiography 357 AppendixA:APerformanceinacountrytown 374 AppendixB:Videosshowing: 375 1. diversityofsomeaccessoryandlittleknowninstrumentstriangles, shakers,scrapers,woodblocksandclapsticks 2. clapsticksforuseinsculthorpe,sonata(for(viola(and(percussion 3. toydrumsinmorgan,loss AppendixC:Recordingsofperformancesof: 376 1. PeterSculthorpe,Sonata(for(Viola(and(Percussion( 2. EricBryce,Suite(for(Percussion(Quintet( 3. DavidMorgan,Lossfor(Percussion(Quartet AppendixD:Selectedpagesofscoresof: 377( DariusMilhaud,Concerto(pour(batterie(et(petit(orchestre( ( ( (378 PeterSculthorpe,Sonata(for(Viola(and(Percussion( ( ( ( (391( EricBryce,Suite(for(Percussion(Quintet( ( ( ( ( (406 DavidMorgan,Lossfor(Percussion(Quartet( ( ( ( ( (411 ii
Abstract* ThisdissertationforthedegreeofMasterofPhilosophyattheElder ConservatoriumofMusic,UniversityofAdelaide,examinesthechallengesto percussionperformancepresentedbythemedium,techniquesandrepertoireina changingenvironment.theimportation,developmentandadaptationof percussioninstruments,thedevelopmentoftechniquesintraditionalandnew contextsandcomposers searchesfornewsoundstoexpressavarietyofmusical andtheatricalideascoalescedoverthecourseofthetwentiethcenturytoprovide thebasisforthesechangesandchallenges.thisstudyanalysestheintert relationshipsbetweeneachoftheseelementsandconsequentchangesasthey affectperformance. PercussionperformanceoverthecourseofthetwentiethcenturyintheArtMusic worldwaselevatedfromasubsidiary,backtoftstageproviderofrhythmand volumetoacentretstagepresentationofperformancesinitsownright.this changewasbothquantitativeandqualitative,whichintheprocess,createdanew genre.byexaminingtheissuesrelatedtothischangethestudyaimstoprovidean understandingoftheelementsoftheinstruments,thetechniquesandrepertoire tobearesourceforfutureanalyses,compositionsandperformances. Thestudy,byinvestigatingaselectionofrepresentativeinstrumentsandmajor techniques,examinessignificantdevelopmentsinthemediumandplaying techniquesandtherelationshipsthatexistbetweenthemandtherepertoireand investigatesthechallengestheseelementspresentforperformance.thestudy drawsmainlyonfoursignificantworks,themilhaudconcerto(pour(batterie(et( petit(orchestre,sculthorpesonata(for(viola(and(percussion,brycesuite(for( Percussion(Quintet(andMorganLoss(for(Percussion(Quartet,(threeofwhichI performedinclosecollaborationwiththecomposersandanalysestheminthe contextofmusicalintentandthechallengestheypresenttoperformance. Furthermorethestudydrawsconclusionsonthechallengestheseelements presentforacohesiveperformance. iii
Declaration* Icertifythatthisworkcontainsnomaterialwhichhasbeenacceptedforthe awardofanyotherdegreeordiplomainmyname,inanyuniversityorother tertiaryinstitutionand,tothebestofmyknowledgeandbelief,containsno materialpreviouslypublishedorwrittenbyanotherperson,exceptwheredue referencehasbeenmadeinthetext.inaddition,icertifythatnopartofthiswork will,inthefuture,beusedinasubmissioninmyname,oranyotherdegreeor diplomainanyuniversityorothertertiaryinstitutionwithoutthepriorapproval oftheuniversityofadelaideandwhereapplicable,anypartnerinstitution responsibleforthejointtawardofthisdegree. IgiveconsenttothiscopyofmythesiswhendepositedintheUniversityLibrary, beingmadeavailableforloanandphotocopying,subjecttotheprovisionsofthe CopyrightAct1968. Theauthoracknowledgesthatcopyrightofpublishedworkscontainedwithinthis thesisresideswiththecopyrightholder(s)ofthoseworks.ialsogivepermission forthedigitalversionofmythesistobemadeavailableontheweb,viathe University sdigitalresearchrepository,thelibrarysearchandalsothroughweb searchengines,unlesspermissionhasbeengrantedbytheuniversitytorestrict accessforaperiodoftime. iv
Acknowledgements FirstlyIacknowledgemysupervisor,ProfessorCharlesBodmanRae,forhis invaluableinsights,probingandprovocativequestionsthatchallenged,inspired andguidedmythinking.hisencouragementwhenneededwasappreciated.his depthofmusicalknowledgeandthefocusedsessionsofuptofourhoursduration intwolanguageshavebeenmentallyinvigorating.fortheseandthewilling assistance,unstintinglygiven,iamverygrateful. IalsowishtothankAssociateProfessorKimiCoaldrakeforguidingmethrough thecatacombsofacademicprocesses.theextraassistance,whenneeded,the attentiontofinedetailandtheprovisionofdirectionareallmuchappreciated. Thisdissertationisbasedonalongandextensivelifeofmusicmakingwithmany musicians,fromwhomihavelearnedmuchaboutmusicandperformance.these artistsinclude:myteachers,richardsmithattheelderconservatoriumand ProfessorGeorgeGaberofIndianaUniversity;composers,PeterSculthorpe,Eric Bryce,DavidMorgan,TristramCary,FelixWerder,WilliamKraft,BozidarKosand RalphMiddenway;conductors,NicholasBraithwaiteandVerdonWilliams; instrumentalists,dennisjohnson,petercobb,donknispel,barryquinn,michael Askill,RayHorne,DonCrooke,KarolSzymanowski(jazzvibist),Stanisław Skoczyński,JacekWota,NormanWeinberg,RonKeezer,RichardHornungand PatriciaPollett;andpercussioninstrumentmakers,BernhardKolberg,Neil GroverandRemoBelli. ThankyouspeciallyalsotoAnnKraehenbuhlforheropinions,adviceandvery tangiblesupport.ialsothankmyfellowresearchstudentswhothroughtheir researchareasanddiscussionsbroadenedmyownhorizons.iamalsogratefulfor theassistanceprovidedbytheelderconservatorium,facultyofartsand AdelaideGraduateCentreincludingCallyGuerinforherworkshopsandLucy Thomsonforherseminars. FinallyIthanktheAustraliaCouncil,ArtsSouthAustralia,thePhonographic PerformanceCompanyofAustralia,TechnicalandFurtherEducationDepartment andthehelpmannacademywithoutwhosefinancialassistancemanyofthe commissionsandperformancesofmylifewouldnothavebeenpossible. v
Music*Examples* Chapter*One:*ReHconceiving*the*Percussion*Medium* Example* Detail* Page* 1.01 Kraft,Suite(for(Percussion,(Fanfare,(bongos,snaredrums,field,drum, 26 tenordrum,bassdrump.1 1.02 MahlerSymphony(No.(6,Movement1,p.3ruteonbassdrum 33 1.03 Stravinsky,(Danse(Sacrale,timpaniIexcerpt(stemsdown) 35 1.04 CharlesWhite,playinginstructions,Stravinsky,(Danse(Sacrale, 35 timpanii 1.05 Milhaud,Les(Choéphores(Présages( climax 37 1.06 StravinskyL histoire(du(soldatnotationofpercussionacrossa 40 numberofstavesforthedifferentinstruments 1.07** CamilleSaintTSaënsDanse(Macabre,xylophoneexcerpt 43 1.08 KodályHáry(János(Suite,extractofCimbalompart 59 1.09 NeilCurrie,Sonata(for(Percussion,2 nd mvt,usingsteeldrumin 61 percussionensemble Chapter*Two:*Evolving*Percussion*Techniques* Example* Detail* Page* 2.01 Chavez,Toccata(para(instrumentos(de(percusiónTimpaniexcerpt 80 2.02 MovementoverabigrangeonMarimba,ErdmannTAbele,Waiting( 81 for (,mvt.1 2.03 Playingattheextremitiesoftheinstrument,ErdmannTAbele, 81 Waiting(for,mvt.1 2.04 CoordinationinmultiTpercussion,DavidMorganAngelus(bars67T74 82 2.05 Coordinatingmovementovertwodifferentplanes,Andre 83 Oosterbaan,Time(of(Light,(manuscript,(p.35 2.06 Theatricalmovement,GHGreen,Log(Cabin(Blues,(bars53T56 84 2.07 LanguidmovementPujol/PuszVariaciones(sobre(un(tema(de( 84 Atahualpa(Yupanqui,(arr.Marimba,(p.1 2.08 Dramaticmovement,Cary,Black,(White(and(Rose,manuscript,p.14 84 2.09 Pieceforconcertormarchingsnaredrum,excerptfromMoorejuNO, 85 p.43 2.10 Differentsoundsonsnaredrum,RPuszAfter(M,bars41T45 86 2.11 Differenttimpanisounds,JohnBergamo,Perpetual(Motion,p.2( 86 2.12 Differenttimpanisounds,R.Pusz,GD,p.2.The x designatesrim 87 2.13 TraditionalBongoTechnique 87 2.14 Bongosplayedwithsnaredrumsticks,Kraft,Suite(for(Percussion,(p.1 88 2.15 Differenttechniquesontimpani,WilliamKraft,Images,(p.2 90 2.16 Differentbeatersandstickings,JohnBeckConcerto(for(Timpani(with( 91 Percussion(Ensemble,solopart,p.5 2.17 OriginalmarkingsinthescoreLloydSticks,(p.1 92 2.18 Usingtimpaniasanechochamber,AleksanderPuszPolemic,p.1 92 2.19 Bowingonmarimba,Cary,Black,(White(and(Rose,(p.19 93 2.20 Bowingandbendingnotesonxylophone,BryceSuite(for(Percussion, 93 p.2 2.21 UsingafingerTscrapingtechniqueonsnaredrum,R.Pusz,an (if?, 94 bars14t16 2.22 Representationaluseoftimpani,MorganLoss,p.14 94 vi
Example* Detail* Page* 2.23 Flamsplayedinalternating,Rudimentalstyle 95 2.24 Flamsplayedinostinatostyle 95 2.25 Dragsshowingstickingsforbouncedandalternatedexecution 96 2.26 Differentstickingsof 4Tstrokeruffs 96 2.27 Singleanddoublegracenotesondifferentpartsofthedrum,R.Pusz 96 After(M,p.2 2.28 Afewexamplesofgracenotestickingstoemphasisenuances 97 2.29 DoubleTstrokerollnotationandapplication 98 2.30 MultipleTbouncerollnotation 98 2.31 OneThandedtremolo,Bryce,Concerto(for(Marimba(and(Vibraphone,( 100 bars101t106 2.32 OneThandtremoloMorganLachy s(lullaby,bars43t44 101 2.33 OneThandedtremolo,CaryBlack,(White(and(Rose,(manuscript(p.4 101 2.34 OneThandedtremolo,CaryBlack,(White(and(Rose,(manuscript(p.13 102 2.35 OneThandedtremolo,LlewellynSong(Ball,(bars49T52 102 2.36 UsingoneThandedtremolo,Hovhaness,Fantasy(on(Japanese( 102 Woodprints,(p.6 2.37 BeckyLlewellyn,Song(Web, beatless tremolo,bars1t6 103 2.38 Fingertechniqueonsnaredrum onethandrollandrhythmsr.pusz, 103 an(if?,bars33t34 2.39 StickTbounce roll,wbenson,fandango,(bars(33[35( 104 2.40 Conventionalstaffnotation,writingforhomogenoussounds 105 2.41 Conventionalstaffnotationwithinstructions,DesportesThème(et( 106 Variations,(bars184T197 2.42 Conventionalnotationswithvariations,WitoldRudziński,Variations( 107 and(fugue,variation(iv,( bars 90T98 2.43 Conventionalnotationswithvariations,WitoldRudziński,Variations( 107 and(fugue,variation(vi, bars 138T141 2.44 Conventionalnotationswithvariations,WitoldRudziński,Theme,( 108 bars8t21 2.45 Amendedbeamsandaddedstickingshowing(myown)different 108 interpretivepossibilities fromwitoldrudziński,variations(and( Fugue 2.46 Graphicnotation,StockhausenZyklus,startingthepageonTomT 110 tomsandbells 2.47 Graphicnotation,StockhausenZyklus,startingthesamepageon 110 TomTtoms,SnareDrumandVibraphone 2.48 Graphicnotationandmovement,StockhausenZyklus,excerpt, 111 nominal(p.1 2.49 Notationwithlegend,symbols,instructions,WilliamKraft, 112 SarabandefromEnglish(Suite,(bars53T59 2.50 Tremolorollnotation 113 2.51 Traditional,rudimentalrollnotation 114 Chapter*Three:*Solo*Concerto(pour(batterie(et(petit(orchestre*by*Darius*Milhaud* Example* Detail* Page* 3.01 Combiningsounds,MilhaudConcerto,bars22and34 125 3.02 Voiceanduntunedpercussioninopera,Milhaud,mvtIV,Présages, 128 bars6t9 3.03 Rudeetdramatique,MilhaudConcerto,(bars8T11 140 vii
Example* Detail* Page* 3.04 Atmospheric,MilhaudConcerto,bars92T96 141 3.05 Openingphrase,orchestra,MilhaudConcerto,bars1T4 144 3.06 Openingphrase,solo,MilhaudConcerto,bars5T9 145 3.07 Interplaybetweenthesoloistandorchestra,MilhaudConcerto,bars 146 13T14 3.08 Interplaybetweenthesoloistandorchestra,MilhaudConcerto,bars 146 15T18 3.09 Dialoguebetweenclarinetandsolo,MilhaudConcerto,bars20T21 147 3.10 RhythmicinterplayTclarinetandstrings,MilhaudConcerto,bars26T 147 28 3.11 EndoffirstsectionMilhaudConcerto,bars29T30 148 3.12 Juxtapositionofmotifsindifferentinstrumentalcombinations, 149 MilhaudConcerto,bars34T36 3.13 Juxtapositionofrhythmicpatterns,MilhaudConcerto,bars64T68 150 3.14 3:3:2rhythmicpatternMilhaudConcerto,solopart,bars64T67 151 3.15 Variationofthemaintheme,MilhaudConcerto,bars73T75 151 3.16 Endof Rudeetdramatique section,milhaudconcerto,bars79t80 152 3.17 Opening Atmospheric ModérésectionMilhaudConcerto,bars81T86 153 3.18 Soloentry,MilhaudConcerto,bars92T105 154 3.19 Sixteenthnotemotifs,MilhaudConcerto,bars113T117 155 3.20 Insistenttimpanipattern,MilhaudConcertobars134T141 156 3.21 Explosionofsoundwithwhip,MilhaudConcerto,bars143T145 157 3.22 Ending,bars,MilhaudConcerto163T168 158 3.23 Originaltimpanifigure,MilhaudConcerto,bar9 159 3.24 Amendedtimpanifigure,MilhaudConcerto(Pianoreduction),bar9 159 3.25 Movementacrossthreetypesofinstruments,MilhaudConcerto,bars 160 8T9 3.26 Movementacrossinstrumentsatpianovolume,MilhaudConcerto, 161 bars22t23 3.27 Movementandchanginginstruments,MilhaudConcertobars44T53 162 3.28 Movementandchanginginstruments,MilhaudConcertobars141T 163 145* 3.29 Weightsofstrokeacrossdifferentinstruments,MilhaudConcerto, 165 bars20t22 3.30 Readingfivestaves,MilhaudConcerto,bars22T29 170 3.31 Violinpartmissinginreduction,MilhaudConcerto,bar34 172 3.32 Missingclarinetpartinreduction,MilhaudConcerto,bars34T36 173 3.33 Doublebasspartmissinginreduction,MilhaudConcerto,bar37 173 3.34 Brasspartsmissinginreduction,MilhaudConcerto,bars43T45 173 3.35 Originaltimpanifigure,MilhaudConcerto,bar9 176 3.36 Amendedtimpanifigure,MilhaudConcerto(Pianoreduction),bar9 176 3.37 Timpaniparterasedinreduction,MilhaudConcerto,bar143 180 Chapter*Four:*Chamber*music:(Sonata(for(Viola(and(Percussion*by*Sculthorpe* Example* Detail* Page* 4.01 Harrison,First(Concerto(for(Flute(and(Percussion,flute,mvt3 191 4.02 Harrison,First(Concerto(for(Flute(and(Percussion,percussionmvt3 191 4.03 Cage,Forever(and(Sunsmellexcerpt,bars24T33 192 4.04 Colgrass,Variations(for(Four(Drums(and(Viola,(VariationII,bars45T 53 193 viii
Example* Detail* Page* 4.05a QuasiTMahlerianmelody,Sculthorpe,Sonata(for(Cello(Alone,bars43T 197 46 4.05b QuasiTMahlerianmelody,Sculthorpe(Sonata(for(Viola(and(Percussion( 197 bars49t52 4.06a Rapidlyrepeatedrhythmicfigure,Sonata(for(Cello(Alonebars53T57 197 4.06b Rapidlyrepeatedrhythmicfigure,Sonata(for(Viola(and(Percussion( 197 bars61t65 4.07a MartialTlikemotive,Sonata(for(Cello(Alonebars79T83 198 4.07b MartialTlikemotive,SculthorpeSonata(for(Viola(and(Percussion(bars 198 88T94 4.08a Percussivesounds,Sonata(for(Cello(Alone,bars79T93 200 4.08b PercussivesoundsextendedSculthorpe,Sonata(for(Viola(and( 200 Percussion,bars87T107 4.09 Percussionansweringviola,SculthorpeSonata(for(Viola(and( 202 Percussionbars87T93 4.10 Exampleofpercussionprovidingrhythmictextureandtimbral 203 colour,sculthorpesonata(for(viola(and(percussionbars49t54. 4.11 Completemusicalfigure,SculthorpeSonata(for(Viola(and(Percussion 203 bars89t92. 4.12a Originalinstrumentation(claves),SculthorpeSonata(bars67T70 208 4.12b Amendedinstrumentation(sticks),SculthorpeSonatabars68T70 208 4.13 Openingfigure,SculthorpeSonata,(bars1T7 211 4.14 Openingphrase,SculthorpeSonatabars1T6 212 4.15 SculthorpeSonatabars7T12,wherestickingneedstobedecided 212 4.16 Playingsamefigureasabovebutwithsoftsticks,SculthorpeSonata 213 bars21t26 4.17 Conveying timelessness,througharmmovements,sculthorpe 213 Sonata,(bars7T19 4.18 GracenoteswithsoftsticksandrhythmicflowSculthorpeSonata,( 214 bars21t26 4.19 FortebongoanddiminuendotomTtom,SculthorpeSonata,(bars5T7 214 4.20 Cymbalsandtriangleentries,SculthorpeSonata(for(Viola(and( 216 Percussion,bars14T16and37T8 4.21 Movementincymbalsandtriangleentries,SculthorpeSonata(for( 217 Viola(and(Percussionbars14T19 4.22a TamTtamroll(excerpt)Sculthorpe(Sonata,bars244T250 217 4.22b Chinacymbalroll(excerpt),SculthorpeSonata,bars71T74 217 4.22c BassDrumroll(excerpt),Sculthorpe(Sonata,bars44T48, 218 4.22d BassDrumroll(excerpt),Sculthorpe(Sonata,bars188T194 218 4.23 Exampleofrudimentalrollnotation 220 4.24 Sculthorpe srollnotationsoncymbals,tamttamanddrums, 220 SculthorpeSonata,(pp.4,6,9,18,21 4.25 ForteFuneralMarch,SculthorpeSonata,(bars211T220 222 4.26 Deliberate articulation,snaredrum,sculthorpesonata,(bars87t93 223 4.27 Changingbeaterstoclapsticks,SculthorpeSonata,(bars55T57 223 4.28 Beatersandclapsticks,SculthorpeSonata,(bars69T72 224 4.29 Beatersandclapsticks,SculthorpeSonata,(bars80T82 224 4.30 Movementofbeaters,SculthorpeSonata,(bars12T16 227 4.31 Movementofbeaters,SculthorpeSonata,(bars32T39 227 4.32 Notationofrollsinmanuscriptandprintededition,Sculthorpe Sonatafigure8 230 ix
Example* Detail* Page* 4.33 Notationaldifferencesplayingonrimandsticks,Sonatafigure10 230 4.34a Notationof32ndnotes,SculthorpeSonata,figure24T1979edition 231 4.34b Notationof32ndnotes,SculthorpeSonata,figure24,1960 231 manuscript 4.35 Notationaldifferenceininstrumentbetweenmanuscriptandprinted 232 edition,sculthorpesonata,figure20 4.36 Notatedfreedomofinterpretation,SculthorpeSonatascore,figure 232 24,printededition 4.37 Notatedfreedomofinterpretation,SculthorpeSonatascorehandT 232 writtenscorewithamendments,p.11 4.38 Sculthorpe,Sonata,(edited(percussionpart 234 4.38 Sculthorpe,Sonata,(edited(percussionpart 235 4.38 Sculthorpe,Sonata,(edited(percussionpart 236 4.39 Readingprintedscore,SculthorpeSonata,(1960edition,(bars66T70 237 4.40 Readingoriginalscore,SculthorpeSonata,(originalmanuscript,(bars 237 67T70 4.41 Readingeditedpart,SculthorpeSonata,percussionpartbars64T77 237 Chapter*Five:*Percussion*Ensemble*in*Australia* Example* Detail* Page* 5.01 Grainger,Eastern(Intermezzo,manuscript,1899 245 5.02 Milhaud,Les(Choéphores,Presages,climax,p116 249 5.03 ShostakovichThe(Nose,(Entracte,(bars66T70 250 5.04 SuspendedCymbalpartinItalian,ShostakovichThe(Nose,(Entracte,( 251 figure69 5.05 ClashcymbalspartinItalianandRussian,ShostakovichThe(Nose,( 251 Entracte,(figure70 5.06 AmadeoRoldán,Ritmica(No.(5,bars1T5 252 5.07 EdgardVarèseIonisation,bars1T7 254 5.08 Windchimes,bowedcymbalandvibraphone,BrycePrelude,bars1T 258 9 5.09 Bowingandbendingnotesonxylophone,BrycePrelude,bars20T24 258 5.10 Derabucca,BrycePrelude,bars42T43 259 5.11 Vibraphone,BrycePrelude,bars4T5 259 5.12 Openingmelodyonvibraphone,BrycePrelude,bars5T9 260 5.13 Mixofsoundswithtubophone,vibraphone1,vibraphone2,bowed 260 xylophone,triangle,bryceprelude,bars21t24 5.14, Improvisedsection,BrycePrelude,bars50T54 260 5.15 Varietyofsoundsfromwoodenidiophones,BryceGames,bars7T10 261 5.16 Varietyofsoundsfromwoodenidiophones,BryceGames,bars14T20 261 5.17 Secondsubject,BryceGames,bars61T75 262 5.18 Tubophone,Bryce,Prelude,bars25T35 265 5.19 Derabucca,BrycePrelude,(bar51 266 5.20 Derabucca,BrycePrelude,(bar59 266 5.21 Derabucca,BrycePrelude,(bar73 267 5.22 Derabucca,BrycePrelude,(bar92 267 5.23 Guirostroke,BryceGames,bar10 268 5.24 Opening3 rd mvt,brycepranks,bars1t8 270 5.25 Opening,MorganBattery,bars1T21 273 x
Example* Detail* Page* 5.26 Snaredrummartialmotif,MorganBatterybars22T63 274 5.27 Cupgongs,mf,MorganBattery,bars30T62 274 5.28 Glockenspiel,pMorganBattery,bars35T62, 274 5.29 TamTtam,snaredrum,cupgongs,glockenspiel,MorganBattery,bars 274 30T36 5.30 pppsnaredrum,morganbattery,bars64t65 275 5.31 Marimbaentry,MorganBattery,bars70T71 275 5.32 Shatteringofillusions,MorganBattery,bars74T78 275 5.33 Martialmotifatfastertempo,MorganBattery,bars102T112 276 5.34 Buildupoftension,MorganBattery,bars126T131 277 5.35 Momentofdeath(bar149),MorganBattery,bars145T150 277 5.36 Reiterationoftunedmotifsoversnaredrum,timeafterdeath, 278 MorganBattery,bars145T158 5.37 OpeningMorganFuneral(Musicbars1T4 280 5.38 Juxtapositionoftimesignatures,MorganFuneral(musicfiguresD&E 281 5.39 Emotionalturmoil,MorganFuneral(musicfiguresFandG 282 5.40 Metalbeatersonvibraphone,MorganFuneral(musicfigureH 282 5.41 Wellingupofemotion,MorganFuneral(musictimpani(bottom 283 stave),figurei 5.42 Expressionsofgrief,MorganFuneral(musicfiguresMTO 284 5.43 OpeningMorganRequiembars1T17 285 5.44 Judgementandcondemnationonbassdrum,MorganRequiembars 286 19T22 5.45 ClimaxofjudgementandDies(Irae,MorganRequiembars32T35 286 5.46 Ascendingscalepassages,MorganRequiem,bars36T41 287 5.47 Descendingscalepassages,Morgan(Requiem,bars51T61 287 5.48 Dies(Belli DayofBattle,MorganRequiembars77T86 288 5.49 AcclaimingthegloryoftheGreatKingandcomingofeternalLight, 289 MorganRequiembars151T161 5.50 Emotionalturmoil,MorganCloud(Cuckoo(Land,bars16T26 290 5.51 Cacophonyofmadness,MorganCloud(Cuckoo(Land,bars27T40 291 5.52 Morecraziness,oncasioandtoydrum,MorganCloud(Cuckoo(Land, 292 bars41t59 5.53 Closingbars,MorganCloud(Cuckoo(Land,bars60T70 293 5.54 OpeningofMorganFons(Amoris,bars1T16 294 5.55 ffinterjectionandscream,morganfons(amoris,bars107t117 295 5.56 forteinterjection,morganfons(amoris,bars144t146 296 5.57 fffinterjection(morgan(fons(amoris,bars159t164 296 5.58 Briefchangeofmood,MorganFons(Amoris,bars247T254 297 5.59 Endofpiece,MorganFons(Amoris,bars296T299 298 5.60 Tubophone,MorganFons(Amoris,bars225T234 300 5.61 Whistlesandderisivenoises,MorganCloud(Cuckoo(Land,bar25T26 300 5.62 Coordinatingvoiceandinstrument,MorganCloud(Cuckoo(Land,bar 301 27T33 5.63 Chanting,MorganRequiem,bars165T170 301 5.64 Parallelmotioninsevenths,MorganRequiem,bars52T56 301 5.65 Changinginstrumentsasedited,betweenxylophone,glockenspiel, 303 andsnare/bassdrum,morganfuneral(music,figuresetoi 5.66 Sharinginstruments,editedpart,MorganFuneral(Music,figuresFTH 304 5.67 Changingbeaters,editedtenordrum/3tomTtoms/bassdrum, timpanipart,morganfuneral(music,figuresfth 305 xi
Example* Detail* Page* 5.68 Vibraphonewithmetalbeaters,MorganFuneral(Music,figureH 306 5.69 Changingbeaters,glockenspieltovibraphone,MorganFuneral( 306 Music,figureI 5.70 Juxtaposedtimesignatures,MorganFuneral(Music,figuresDTE 307 5.71 vibraphoneentrypoints,morganfuneral(music,figured 307 5.72 Playingglockenspielandsnaredrum,MorganBattery,bars61T74 311 5.73 Playingglockenspielandwoodblocks,MorganBattery,(bars161T169 311 5.74 Playingglockenspielandbassdrums,MorganBattery,(bars113T152 311 5.75 Directionforplayers1and2tosharebassdrum,Morgan,Funeral( 312 Music,figureC 5.76 Coordinatingbowandmallet,Morgan,Fun(and(Games,bars109T120 314 5.77 Coordinatinghandandfootplayinggracenotes,MorganFun(and( 315 Games,(bars113T116 5.78 12/8Timesignaturedividedinto2+3+3+2+2,MorganFun(and( 315 Games,(bars34T38 5.79 Coordinatingwindchimes,cymbal,snaredrum,pedalbassdrum 316 andvibraphone,morgan,voyage(into(solitude,bars15t33 5.80 Fastchangesofbeatersandinstruments,Morgan,Concerto(for( 317 Percussion,Cadenza,p.9a 5.81 Opening,thirdmovementBryce,Jazz(Suite,( Richard s(rag ),bars1t 318 8 5.82 OneThandedtremolo,Bryce,Concerto(for(marimba(and(vibraphone,( 319 bars101t106 5.83 Optionofimprovisation,Bryce,Uncle(Bill,bars34T37 319 xii
List*of*Plates* Chapter*One*ReHconceiving*the*Percussion*Medium* Plate* Detail* Page* 1.01 Bongos,tuneableusingaspanner,ontiltablestand 24 1.02 ChinesetomTtom,concerttoms,twoTheadedtom 27 1.04 KolbergpedalTomTtom 29 1.04 Markedtuningsonmetalshelldrums(Kolberg) 30 1.05 TunedBooTbams(Kolberg) 30 1.06 Tangobassdrum8 x26 (frominternet) 31 1.07 Bassdrumbeaterselection 33 1.08 Exampleofplankofwoodusing(dowel)beaters(Peinkoferand 39 Tannigel) 1.09 Exampleofhammer(PeinkoferandTannigel) 39 1.10 FourTrowxylophonefromtheplayer sperspective 43 1.11 OriginalfourTrowxylophonemalletsandearlytypesofmalletsfor 49 keyboardxylophone 1.12 Selectionofmalletsinuseinthemiddleofthetwentiethcentury 49 1.13 Deagansteelmarimbaphonewithkeysenabledforbowing 51 1.14 Examplesofcontemporarywoundmarimbaandxylophonemallets 53 1.15 Relativethicknessesandlengthsofearlyandcontemporarymallet 54 handles 1.16 ExamplesofdifferenttypesofmalletsT cluster, slap,snaredrum 54 stickwithmetalandfeltends 1.17 Songbells 55 1.18 Tubophone 56 1.19 Vibraphone3.5octaves(Vanderplas) 56 1.20 OnenoteofanAngklung 57 1.21 Gambangwithchromaticallyarrangedinonerow 57 1.22 BooTbams(Kolberg) 58 1.23 PVCPipeInstrument(frominternet) 58 1.24 Cimbalominfolkensemble,Hungary(frominternet) 58 1.25 SteeldrumsnotelayoutTTenorSteelpans(Vistapan) 62 1.26 SteeldrumsnotelayoutTDoubletenorpans(Vistapan) 63 1.27 SteeldrumsnotelayoutTDoublesecondsF#3TC#6(Vistapan) 63 1.28 SteeldrumsnotelayoutTDoublesecondsE3TEb6(Vistapan) 64 1.29 SteeldrumsnotelayoutTDoublesecondsF#3 C#6(Panyard) 64 1.30 SteeldrumsnotelayoutTDoublesecondsF3TC6(Panyard) 65 1.31 Kolbergtambourineshowingthemethodofmounting,jinglesand 66 methodofplayingalong,uninterruptedthumbroll 1.32 Cowbellwithrounded(yellow)plasticstrip(LP) 67 Chapter*Two*Evolving*Percussion*Techniques* Plate* Detail* Page* 2.01 TraditionalSnareDrumgrip 72 2.02 MatchedGrip 72 2.03 Wristaction 78 2.04 Legendofstickingsandplacementonsnaredrum,R.Pusz,After(M 86 2.05 Kraft,Images,legendofstickingandplacement 88 2.06 Scrapingtechniqueonsnaredrumlegend,R.Pusz,an (if?, 93 2.07 Legendofstickings,DavidGeorgeChoose(Your(Own(Adventure 99 xiii
Plate* Detail* Page* 2.08 Diagramsofbrushplayinginstructions,DavidGeorgeChoose(Your(Own( 99 Adventure 2.09 Comparisonofmalletsizes.Mallet(a)isforLlewellyn spiece;(b)is 103 Balter smushroomhead. 2.10 Playinginstructionslegend,R.Pusz,Continuity 104 2.11 Diagramandpictogramlegend(fragment),Stockhausen,Zyklus 109 2.12 Layoutdiagram,Stockhausen,Zyklus 111 2.13 Legend,WilliamKraft,SarabandefromEnglish(Suite 112 2.14 PlayinginstructionsKraftSarabande 113 Chapter*Three*Solo*Concerto(pour(batterie(et(petit(orchestre*by*Darius*Milhaud* Plate* Detail* Page* 3.01 NotationlegendMilhaud,Concerto,(pianoreductionscore 137 3.02a Setupdiagram,MilhaudConcerto 138 3.02b Playinginstructions,MilhaudConcerto 138 3.03 RotoTtoms,Kolbergcatalogue,2007,p.12 164 3.04 DoubleTendedmalletsassuggestedfortheMilhaudConcerto 166 3.05a BassDrum/detachableCymbalintypicaldrumsetusedinthetheatre 169 3.05b BassDrum/detachableCymbalbeaterdetail 169 3.06 Alternativemethodofplayingthebassdrum/cymbalandalternative 169 sounds 3.07 InstrumentlegendMilhaud(Concerto,Pianoreduction 171 3.08 Templeblocksonstand,andgeneralpercussionstand,Kolberg 181 catalogue2007 3.09 ExampleofadifferentnotationalarrangementforMilhaud,Concerto 182 Chapter*Four*Chamber*music:(Sonata(for(Viola(and(Percussion*by*Sculthorpe* Plate* Detail* Page* 4.01 LegenddevisedbyPusz,SculthorpeSonata(for(Viola(and(Percussion 209 4.02 Claveinholder(Kolberg) 225 4.03 PiccoloWoodblock(Kolberg) 225 4.04 PiccoloWoodblocks(SteveWeiss) 225 4.05 SnareDrumstickvarieties(Kolberg) 226 4.06a PercussionInstrumentation,1960manuscriptSculthorpeSonata 233 4.06b PercussionInstrumentation,1979edition,Sculthorpe,Sonata 233 4.07 SetupwithoutthesecondBassDrum,SculthorpeSonata 238 4.08 AlternativesetTup,Sculthorpe,Sonata 239 4.09 Legend(amended),SculthorpeSonata 239 Chapter*Five*Percussion*Ensemble*in*Australia* Plate* Detail* Page* 5.01 Deaganmetalmarimba 244 5.02 ExampleofPercyGrainger'sInstrumentationandcurrentequivalents 246 5.03 InformationonIonisation(asarrangedforsixplayersby(Les( 256 Percussions(de(Strasbourg 5.04 Tubophone 264 5.05 AnglesofRefractionwhenplayingoncurvedsurfaces 265 5.06 Changingattitudetowritingforpercussion,Morgan,Fun(and(Games, titlepage 313 xiv
List*of*Tables* Chapter*One*ReHconceiving*the*Percussion*Medium* Table* Detail* Page* 1.01 ComparisonofdifferenttypesoftomTtoms 27 1.02 Typesofsnaredrumsaccordingtocontextofuse 29 1.03 Sizesofvarioustypesofbassdrum 31 1.04 RangesoforiginalkeyboardstylemarimbasmadeintheUSAby 46 Deagan 1.05 SizesandtuningsofpreT1922Deaganxylophonesinauthor s 47 collection 1.06 SizesandpitchesofDeagansteelmarimbaphones,withresonators 51 1.07 SizesandpitchesofDeaganWoodmarimbaphones 52 Chapter*Three*Solo*Concerto(pour(batterie(et(petit(orchestre*by*Darius*Milhaud* Table* Detail* Page* 3.01 SoundsandrangesofthepercussioninstrumentsintheMilhaud 135 Concerto 3.02 GenresfromwhichthepercussioninstrumentschosenforMilhaud s 136 Concerto 3.03 LegendofinstrumentgroupingsinMilhaud sconcerto 137 3.04a SummaryoftheactioninMilhaud sconcerto,(rude(et(dramatique 142 3.04b SummaryoftheactioninMilhaud sconcerto,(modéré 143 3.05 Milhaud suseofbeatersonthevariousinstrumentsintheconcerto 166 3.06 Discrepanciesbetweeneditions(orchestralpart) 172 3.07a DiscrepanciesbetweeneditionsinthesolopartRude(et(dramatique 174 3.07b DiscrepanciesbetweeneditionsinthesolopartModéré 175 Chapter*Four*Chamber*music:(Sonata(for(Viola(and(Percussion*by*Sculthorpe* Table* Detail* Page* 4.01 ComparisonsofinstrumentsbetweenSculthorpeSonataand 206 StravinskyL histoire( 4.02 Discrepanciesbetweeneditions 229 ( Chapter*Five*Percussion*Ensemble*in*Australia Table* Detail* Page* 5.01 Tablesoforiginalandeditedinstrumentallocationmvt1inLoss 308 5.02 Tablesoforiginalandeditedinstrumentallocationmvt2inLoss 309 5.03 Tablesoforiginalandeditedinstrumentallocationmvt3inLoss 309 5.04 Tablesoforiginalandeditedinstrumentallocationmvt4inLoss 309 5.05 Tablesoforiginalandeditedinstrumentallocationmvt5inLoss 309 5.06 TableoftotalinstrumentallocationforeachplayerinLoss 310 xv