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Informationen zum Autor Samuel Z. Solomon teaches percussion at The Boston Conservatory, Boston University, and The BU Tanglewood Institute. He is author of the acclaimed book, How To Write For Percussion, as well as three books on percussion playing and was curator of two collections of percussion etudes and solos. Solomon is founding member of the Yesaroun' Duo and the Line C3 percussion group, and is principal timpanist of the Amici New York chamber orchestra. Please visitwww.szsolomon.com for more. Klappentext How to Write for Percussion is a comprehensive resource that clearly explains and simplifies all issues that percussionists and composers face with respect to each other. Zusammenfassung While composers and percussionists are working more closely than ever with one another, there are few resources that address this collaborative relationship in depth. However, Samuel Z. Solomon, himself a percussionist and teacher, offers a comprehensive examination of the issues that percussionists and composers encounter in How to Write for Percussion. The first edition, self-published in 2004, provided musicians and music programs the world over withpractical and indispensible information about issues of notation, concert production, and much more. This new edition goes even further as Solomon offers more insights derived from his personal experience as a percussionist and teacher and from his collaborations with other musicians. The second edition of How to Write for Percussion expands the survey of behind-the-scenes processes-from instrument choice and notation to logistics, execution, and concert production-to uncover all the tools a composer needs to comfortably create innovative and skilled percussion composition. Solomon also includes more excerpts and performances as well as interviews with famous percussionists and composers that capture the intricacies of percussion composition. Moreover, the secondedition features an expanded text with more instruments and more analysis, plus an extensive Online Video Companion containing over nine hours of videos with demonstrations, performances, interviews, and analysis to flesh out and clarify the material in the book. This updated edition of How to Write forPercussion will appeal to a wide swath of musicians including composers, arrangers, and percussionists. Those who have already utilized the first edition will welcome the upgrade, and those who have yet to benefit from Solomon's perspective will likewise find his insights illuminating. Inhaltsverzeichnis Table of Contents; Introduction; How This Book is Organized; Instruments Covered; Working with Percussionists; Location Specifics; The Value of Not Reading This Book; 1. General Framework; A Dysfunctional Family; Comparison of Family Relationships; The Problem of Pitch; The Pitches of Percussion; The Validations and Limitations of Novelty; Three Methods for Indeterminately Pitch Instruments; The Written/Improv Divide; Expanding the Color Palette (to Shrink the Setup); The Value of Improvised and Non-Notated Music; Social Composition; Write for People, Not Sounds; Write What is Wanted, Not What To Do; Working with Percussionists; 2. General Logistics; Instrument Choice and Management; Six Stories, Three Sad and Three Happy; Why Use Fewer Instruments?; How to Consolidate; Inexpensive Instruments; Exotic Instruments; Electronic Percussion; Multiple Options for a Specified Instrument; Instruments Percussionists May Not Play; Multiple Percussionists; Section Setup; Orchestra; Wind Ensemble; Broadway Pit; Drum Corps and Marching Bands; Specialists; Non-Percussionists Playing Percussion; Chairs and Stands; Issues of Playability; Excessive Polyphony; How Fast Percussionists Can Play; Unidiomatic Writing-Music that Often Requires Memorization; Dynamics; Reaching Instruments; Instruments with Pedals; Physical Exertion and Shaking; Working with Headphones or Headset Microphones; 3. General Notati...
