Percussion: Star of the Show?
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- Опубликовано: 30 мар 2020
- Imagine you're given the chance to compose a piece of music for....solo snare drum. What do you do? How do you go about it? The last 100 years have seen an explosion in the amount of music written where Percussion is the star of the show - solo pieces for multiple percussion instruments, concertos, duos, quartets and percussion ensembles. In this video I look at the influences that led to this rise in percussion compositions, and talk to percussionist/composer Gene Koshinski about how to write a piece with no pitches and also how to notate it!
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#percussion #compositions
Videos referenced:
Gene Koshinski "Swerve" for Solo Snare Drum
• "Swerve" for Solo Snar...
Gene Koshinski "As One"
• "As One"
John Cage Water Walk
• John Cage "Water walk"
Mahler 6 Hammer Stroke
• famous hammer stroke M... and • HAMMER
Opera Storm piece:
• Marin Marais -〈Alcione...
Monastery percussion • TOACA (Semantron - the...
Steve Reich Drumming • Steve Reich - Drumming
Guatamalen Marimbas • Some beautiful, tradit...
Steve Schick on Solo Percussion • Steven Schick on Solo ...
Ghana Drums • KETE (Unity Drum, in C...
Stockhause Zyklus • Zyklus - Karlheinz Sto...
Cage Sonata V • John Cage - Sonata V (...
Ostinato Pianissimo Henry Cowell • Ostinato Pianissimo by...
Varese Ionisation • Edgard Varèse, Ionisat...
Stravinsky Soldier's Tale • Igor Stravinsky: L’His...
Baby Dodds: • BABY DODDS (Full Film)...
Feldman King of Denmark: • The King of Denmark by...
Psappha Xenakis • Robert Rocheteau | Psa...
DSO Percussionists • A Day in the life of t...
John Luther Adams triangle piece • John Luther Adams - Th... 
Видеоклипы
In HS I was the only percussionist. I’d play bass, snare, and cymbals for classical pieces at the same time on the kit. If those parts had rests, if I had a free hand, or if something else was more important, I’d play tamb, woodblock, cowbell, etc. as well. I later subbed for an orchestra where we played orf’s Carmina Burana with only 3 percussionists... a timpanist, a keyboardist, and me. I played every other part to the extent possible. Percussion is and always has been a total adventure at all times. It’s just literally any instrument (or object) no other serious musician wants to play.
Jesus, I can't imagine how you'd do that with any fewer than 5 or 6 players.
As a percussionist myself, I’m very glad you made this video.
Seeing you talk about people like Steve Reich, John Cage, and even talking with Gene Koshinski fills me with so much joy
Also, Correction for 10:26: It its entirety, _Drumming_ is between 55 and 85 minutes in length, and Movement 1 is for 4 PAIRS of tuned bongos
He's got a snarky puppy shirt. I trust him.
We see you Bruce we see you
What I love so much about Bernstein's music for West Side Story is how some of his pieces have percussion as the main instruments, almost carrying the melody. When I watched that movie, it was the first time I realized how much percussion can do.
Mahler knew it already: more cowbell! ;)
I've got a disease... There's only one cure... More cowbell
Strauss also!
@@ashleythorpe7933 Yup! Those were the times ;) You could see cows grazing more often than we can now, I guess. They had no TR-808, though :)))
One genre that uses percussion heavily is the Marching Arts. Marching Arts in general have always been a weird genre of music that is pretty unique. Marching Arts arrangers have the biggest problem of "how do I acoustically express emotion or a story to thousands of people, hundreds of meters away; while also using impact and volume to stun and wow the crowd". I think you should look into it cause its such an interesting topic from a concert point of view.
The marching arts go hard. Drum corps is totally a genre in its own right
I think the brazillians have answered if percussion can emotionally engaged or not. ... sexy brazillians helps too.
this need to be highlighted
Check out Eric Carr's channel, EMC Productions. He's a quad player with the US marines.
God yes please Drum Corps and specifically indoor percussion are amazing and deserve so much more attention
I personally love to compose for percussion. They have the most range of sound in the musical canon. One can do almost anything, from imitation of the natural world to multi-movement classicaly-influenced works. I personally think that it still has not been explored enough, so I hope the future brings a lot more!
The best book I've ever found on percussion is "How to Write for Percussion" by Samuel Z. Solomon. It's an invaluable resource on my shelf
Sam is the man. He also has some supplemental materials on his Facebook. Plus, I’m playing on a few of his videos... so check it out
I came here to say this
0:28 love the Gene Koshinski shout out! He’s a fantastic composer for anyone looking into some creative ways for percussion writing!
I'm a Percussion student at Ohio State, and we as a studio focus very heavily on percussion compositions, performance, and pedagogy, and below I've listed my thoughts on percussion music from all three perspectives.
1. Percussion instruments can be melodious even without a defined pitch (all percussion instruments have a definite fundamental pitch, for instance my triangle is tuned to an E natural though overtones wash it out). William Kraft's "French Suite" is a prime example of using novel unpitched instruments to create melody within an established style(since it was mentioned in the video, Kraft premiered Zyklus in America, and recorded L'Histoire du Soldat).
2. Percussion works can come from nearly any type of inspiration, from a cool rhythmic concept, layering of multiple parts to create a macrorhythm/melody, or concepts of new sounds or ideas. John Cage did works within each of these ideas, and I personally am working on a marimba duet involving layering various 12/8 patterns over one another as well as including modal and pentatonic melodic ideas. My inspirations include the West African Bembe Bell Pattern (a 12/8 clave if you will), Steve Reich's explorations into these rhythms, which clapping music came from, and Mark Duggan's Kwasi, which was the impetus for these ideas.
3. Ugly sounds can sound beautiful and interesting on percussion instruments, even "ugly" chords can sound good on a marimba if they are voiced well, and this can allow sonic ideas to speak through percussion that cant be done in different settings. Also, feel free to create new instruments (if you define how to make them) however, please think of substitute instruments if they are expensive or rare, such as parsifal bells.
4. Percussion music spans nearly any genre on earth, from traditional african songs, to Bach Cello concetos on marimba, to ragtime, to even singing. Any stylistic idea can be expressed through percussion. A cool concept i learned about recently is Glenn Kotche's Mobile, a drumset based multiple percussion solo layered over electronic drone music.
5. Percussion music can be notated however the composer wishes, however this comes with the caveat that explanation is needed. We do not like interpreting incorrectly the notes you put on paper because it isnt explained well. Many of Cage's and Lou Harrison's works make very detailed notes for the types of sounds they want in their works.
6. If writing for multiple instruments per player, it would be very nice if a recommended set up were included, much as WIlliam Kraft does in French Suite. I choose to modify that set up to make Gigue easier, but it is much better than making my own. David Maslanka and Michael Colgrass didn't suggest set ups or sometimes even define what players play what instrument, and this adds much more work for the performer before they can begin rehearsing (Child's Garden of Dreams and Winds of Nagual are good examples for each composer respectively)
If anyone is interested in some ideas for mallet ensemble i highly recommend listening to Thank You by Ivan Trevino, Torched and Wreck by David Skidmore, and Marimba Quartet by Daniel Levitan (particularly movement 2). Each of these explore how repeated rhythms can create interested melodies just by certain notes sticking out of the color, but while the Skidmore is somewhat minimalist, the Levitan really shows how multiple moving lines can also create this rich polyphony that just makes a piece more interesting through multiple listenings, with each providing a different overall line to the audience.
Thanks for writing all this! Definitely going to check those pieces out.
Hey David! Great video! Just wanted to clarify that Ionisation is now known NOT to be the first piece entirely written for percussion but Amadeo Roldan's Ritmicas 5 & 6, written a year before in 1930.
I put Swerve on my senior recital at undergrad. It's such an amazing piece! Gene Koshinski is a damn mastermind. I loved hearing his and your thoughts on the world of percussion! Much appreciated.
I finally learn that those door slammy film scores percussion instruments are called taiko drums. Or impact drums. Never knew that till recently. Cool stuff!
Atticus by Doug Overmier is a really cool Jazz Percussion piece with marimbas, vibes, bells, and drum set. The whole album it's from is really good too with O-Zone percussion group
7:30 John Cage producing some ASMR
Thank you for this very informative overview of percussion in modern orchestral music! As a drummer, I have a problem, though: I love to play or to listen to jazz, funk, or various kinds of Latin etc. These musical styles and rhythms appeal to me on an emotional and 'motoric' basis. Modern pieces of 'serious' orchestral percussion don't have that effect. I try to understand their stucture and the composer's intentions, but that happens on a purely intellectual level. These pieces all sound pretentious and 'clever', and it takes a lot of effort to sit through them whereas in the aforementioned styles it is pure fun. But I realize that this is a completely subjective impression.
Great video! Really enjoy having Gene on; he's been a composer that I've watched for a while (as a percussionist), and I love how his writing is very fun to listen to. I've been meaning to do As One for a while with a friend of mine.
A few comments: I feel like the explosion of percussion in the orchestra comes with a great danger, namely that if not written carefully, it can drown out the rest of the orchestra REALLY quickly. Also, I'm not sure a lot of percussion parts are extremely necessary, and I've found that there isn't as much care taken to choose what instrument is truly important and adds to the rest of the ensemble. This is unfortunately present in modern Wind Ensembles, where massive walls of percussion seem to both contribute very little to the overall ensemble and draw attention away from the wind instruments. There is absolutely nothing wrong with using a lot of instruments, but they have to be chosen carefully and with a clear purpose in mind, much of which I feel is not necessary.
But where I've found that percussion REALLY shines is in solo literature and concerti, where it can the face of the ensemble and is the main focus for the audience. Now that isn't to say that you shouldn't be careful when writing the piece itself in percussion in it, and really think through if something is necessary or not. And in chamber music, percussion brings the central problem of balance to the forefront; if walls of percussion can drown out and fight against the orchestra, what can percussion do in a chamber setting, then, with other orchestral instruments? It's a fun challenge for the modern composer to think through and handle.
Hi David! In answering your question about multi percussion solos and or notation, there’s a great book by Michael Udow called the Contemporary Percussionist. He actually notates everything on the staff itself, just like if it were regular music. It’s an interesting and probably a more intuitive way in writing for solo percussion.
And as you very well know, it’s all dependent on the composer, whether it’s his thoughts or ideas...it’s his message what he or she tries to get across.
I have the distinct pleasure in performing many different types of styles of music as a percussionist, composer and arranger. Some of which is John Cage’s Child of Tree, Third Construction, Xenakis “Rebounds” and etc. Love to chat with you sometime about it.
Many years ago I went to a performance (I think it was in the "Towards the Millennium" series) by Rattle's Band at Symphony Hall. There was a quadruple percussion section, and at the end of the piece the brass section donned ear defenders, and we were presented with a cresendissimus of volcanic proportion, ending with what I titled "a four gong conclusion". I just can't remember what the piece was. Any ideas?
Write some percussion duet/solo pieces, Mr. Bruce! I was actually on your website not too long ago looking for rep for my senior recital (which is now undergoing social-distance modifications), and couldn't find much besides the Consolation of Rain. Would love to see a cool marimba piece or something ;)
Hurray, new video!! Waiting for this moment so much! I've been watched almost all your videos during this quarantine, and I'm very grateful for that♥
Great stuff, keep it coming!
i've been waiting for this video for so longgggg
If anyone here loves crazy percussion, check out the composer John Mackey. His percussion writing is seriously the best ever. Great examples are his pieces "Wine-Dark Sea" and especially "The Frozen Cathedral."
Hey, that is the Liederhalle in the Thumbnail, just where I live.
Great video as always! Thanks!
David thank you for your work. I am always working in isolation. Writing for percussion is just what I am working on and remarkably enough your video popped up. Again, thank you for expanding my mind.
this video was really interesting and gave me a lot of creative inspiration for my music! i used to play percussion in school and this video reminded me why i loved it. thanks mr. bruce
thank you for being informative & educative Mr Bruce
Thank you for raising awareness for our cause!
Truly enjoy your content!
amazing work!
This video is absolutely great to understand the evolution of percussion. In addition, the conversation with Koshinsky is very inspiring and illuminating. Thank you Bruce!
1:38 *boing* goes the drumstick. Jazz-cat approves.
Thank you David!
As a percussionist and percussion teacher - thank you for this!!!
Gene koshinski is amazing! I’m happy to see him in one of your videos!!
You should do a video about indoor drumline or drum corps! Could be interesting
Yes. That would be interesting. Specially taking note what cool jazz or bossa nova are doing for drum in quiet sound.
Thanks for making great content!! Im a new fan and love it!
David - can I just say a big thank you for including all those references. I confess that I got very distracted by them and had to come back and watch your video much later!
Thank you so much! This was really interesting!
Brilliant!
Really enjoyed this video, as a percussionist (like everybody else) I thank you...
Cool video!
emanuel sejournee, alice gomez, mitchell peters, and ney rosauro are some of the composers who have written beautiful music for marimba, vibraphone or percussion ensamble.
Don't forget Eric sammut
I was lucky to watch Rosauro and his ensemble live a couple of ears ago. Very eye-opening (and ear-opening, too).
this is great, thank you!
5:30 The ashtray on the right of course being an essential part of the drum kit.
DAMN that share solo was amazing
Normal Composers: "How do you make interesting percussion music?"
WGI Indoor Percussion, Drum Corps, Rock Bands, Mbalax, Gnawa Musicians, and pretty much any musical tradition that isn't western european with a few major exceptions: "Yes"
Where’s Taiko?
Dave, you should check out Carl Vine's Percussion Symphony! Australian composers tend to have an interesting approach to percussion composition - Elena Kats-Chernin and Peter Sculthorpe come to mind.
A big moment that changed my perception on percussion music was first listening to the Brazilian group Uakti. Their songs bring me tranquility in a way I thought wasn't possible with a sound so heavily percussive. For example, listen to their song 'Trilobita'. They also have a lot in common with 'the wizard' Hermeto Pascoal, having a playfulness with unusual instruments and everyday objects.
Thank you for this video! I went over to Gene Koshinski and found a new fascinating channel/musician !!! :D
Good to see that you're O.K.
Very interesting topic, but my mind stick on the "crown" of the snare drum. I really like the sound of the metal stick on the frame. Thank you from Montréal,Québec, Canada.
Steven Schick was a professor at my school before he moved on to UC San Diego. He was famous for performing pieces by Stockhausen and Xenakis. His insight on percussion is amazing and liberating.
I’ve seen Gene perform! Great guy
Bruce, gad damn, that was such an interesting topic and video! Thank you so much, I really apreciate it. Sad that I didn't know this before writing the piece I just send of to a competition... Well whatever. It was really helpful to see the scores. Thank you a lot!
If you are trying to write another piece for percussion, I have another comment on this video with many suggestions and ideas that would make any performer's life easier, primarily quality of life ideas, and piece examples if you need a springboard
Hi David! Would love to see a video with a tour of your home studio/office setup. Cheers!
4:24 that's freaking blastbeat!
I am new to playing percussion and am struggling to find my «right to be in the orchester» as I feel that what we do is not understood by the «real» musicians. Your video is very inspiring and motivating. Thank you!
Time to finish my "Suite for Graduated Mixing Bowls"!
Great video but you did not mention Bartok.
To me as a drummer and percussionist one of the first great writers for Percussion in combination with other instruments, so that I had really the feeling of equality. Also a feeling That a real composed part was written. Just check out the Perc parts from Bartoks concerto for orchestra.
Just want to share a personal eureka moment with a composed percussion piece: Per Nørgård's Waves. In many ways an extremely simple piece with some very simple ideas, but I couldn't wrap my head around how one would notate something that is so mechanical, yet breaks the grid of the notational system in such a profound way. I ended up buying the score out of curiosity and in a lot of ways his solution was painfully obvious. Can recommend 10/10. Thanks for amazing videos Bruce!
Check out Nørgård's symphonies too!
19:58 “Fanfare for four flowerpots”
What a terrific review of percussion, thank you David. Although it makes me wonder further about the vibrant percussion styles of Jazz and Rock and how much that has influenced modern classical music. - A little Ginger Baker with your Evelyn Glennie?
Ya. I mean Terry Bozzio has been trying to meet orchestral music half-way. It seems kinda snooty not to incorporate the modern trap kit and the innovations from popular western music. Like speaking a language but omitting all the verbs.
As always, I enjoyed your video very much and found it to be quite educational. However, despite the one of a kind nature of his instruments, I was disappointed that you didn't even mention Harry Partch. Stay healthy. Looking forward to you next video.
Thank you.
2:50 the great percussionist Pedro Estevan!!
all i know about writing for just percussion is that one of my high school band mates wrote a competition solo for marching tenor set that used a lint roller to strike the low drum and get the noise when it unstuck. it was incredible.
Thank you for your historical and awareness of Percussion.
Hopping I learn more and more about percussion.
How can I get a copy of that snare percussion piece's music to Incorporated in my Jazz drumming.
I know I can watch the video and copy it that way, but I would like to have the sheet music from the author. God bless you. Have a blessed Easter weekend. JCT:)
David Bruce rocking a Snarky Puppy shirt? Hell yes.
Finally percussion gets awareness!!!
I ended up playing percussion because I joined marching band in high school without knowing an instrument besides piano. Now that I'm in college, I can't imagine an instrument fitting me better, and I have noticed that wind ensemble and concert band and other classical band music really puts percussion on the side. Most composers don't even bother to arrange the percussion parts properly. The majority of the first few days of rehearsal of a new piece, percussion has to sort out and arrange our own parts because the same instrument part will be listed across 5 different parts. All that effort only for the percussion to do minimal to serve the piece. On top of that, the wind instruments are often unaware of these problems, so the percussion section just seem incompetent and lazy, which divides the band even outside of rehearsals. This point isn't brought to attention in music ed classes either, so professors who aren't invested in percussion will often have this same idea of percussionists. It's a really sad state of affairs, and sometimes infuriating, that an entire section of instruments with their own involved technique and developed sound is so discriminated. I'm surprised a doctor or someone else of credibility hasn't written extensively about this already.
If you want an expanded history of the drum kit look up the series that was made with Sticky Wicket. He collected a bunch of early 20th century drum kits.
And than in pop music there are so many styles and entire genre focused around drums and rhythms. Well of course often those are synthesized sounds or natural sounds played back (sampled) with a machine. And than they might not even be played but being programmed and sequenced. But still music, percussion, organized sounds - compositions :)
I couldn't help but associate Steven Schick's speak on this video with a phenomenon that has been happening here on Brazil since 2014. Our country has been in a political crisis for almost a decade now, from popular manifestations against government's corruption in 2013 (which then escalated to what lead to Dilma Rousself's impeachment in 2015) to the recent protests against Bolsonaro's ideological agenda and his posture about the Coronavirus epidemic here.
Birthed from this social instability is a type of popular manifestation called Panelaço, which consists of protesters hitting frying pans (usually with a wooden or metal spoon) as a mean of showing popular dissatisfaction or even support for authorities aligned with the society's will. It really came to my mind after Schick's vision about the percussion being the voice of the people who have none - even tho the Panelaço thing started as a bourgeois movement.
As a social phenomenon it really ties up with our West African origins - as the african ethnicities that were enslaved throughout four centuries in our country brought the rhythm patterns (and most of the percussion that would become the so-called Brazilian percussion) from which Brazil's musical identity is recognized all over the world.
This was a huge ass comment lol but at last I wanted to thank David for the really informative and interesting video 💜 Wish you people forces to deal with this situation we all are facing right now, things will be better!
"Monastic quality" please develop more that intersting music as religion concept in another video would love that! Excellent investigation as always david!
Lovely sign off. My biggest hope is that great Art may come of all this and inspire some real progress in a Brave New World in the vain of the (extremely tasteful) political expressions thrown in towards the end here. You are without doubt a force for Good in that regard. Keep doing what you do
Hmm, tomorrow I'll listen again to the Terry Bozzio solo albums. And teh duets for good measure.
Percussion is also the star of modern pop too, or at least the kick drum is, seems to be the lead instument in modern pop.
Pity you didn't mention Japanese taiko drumming, specifically kumi-daiko ensembles, like Kodo or Ondekoza.
The physical stamina it requires is astounding.
Ikr, even commenters are forgetting it.
Percussion is the spice of music.
What is the video of the performance of Parade by Erik Satie? I can't find it
You should check out Rodrigo Constanzo's stuff for snare and electronics.
Student percussionist here, if your confused about clear notation, or if something is possible to play for your composition, etc. Just let us know, percussion is a completely different world and we know that.
Cool piece...Harry Partch?
Two words: “Harry” “Partch”!
Hello David, I'm not sure if you are aware of it or it just happened in the heat of the production, but this lovely video is somewhat less compelling because I can't always look straight in your eyes. Glasses are usually a problem in television. And (blue) reflections are also killing the contact between you as the storyteller and your audience. In this video, if you compare footage at 15:14 with the long footage around 08:10 you immediately see the difference. I don't want to sound too picky. But I think this aspect can bring the quality of your productions to a higher level. Without many noticing the reason why.
I think in China, it's totally normal, and probably been a thing for centuries, that solo shows would have solo percussion performance. The most well known thing might be the Kuaiban (快板), which usually go along with some sort of talk show (and can probably be considered some kind of "bard music" I guess... Even though there're zero melodic sounds it's still for telling stories nonetheless). But there are also percussion kits (that has a few drums and a few snares). Also Chinese opera can sometimes have only vocal and percussion parts, without any melodic instruments.
Solo percussion music: Stomu Yamash'ta, "Red Buddha".
3:41 MORE COWBELL
Check jim casella’s youtube channel for his marching percussion arrangements of classical music
The DW drumset in the thumbnail is quite possibly the closest thing I've ever seen to my ideal kit...
I just wonder how much of this unique writing for percussion can you include in a larger piece? It'd be interesting if we had ensembles with woodwinds and a percussionist, or combinations with others as well. There's so much possibility with percussion that it feels impossible for anything to gain a lot of traction.
honestly if you look for it, you can find nearly any type of mixed ensemble involving percussion. My friend and studio TA is part of a percussion/violin duo and is doing his Doctoral thesis on the style, and ive personally seen a bassoon/duet as well
I don't write much for percussion outside of accenting orchestral chords. But I do have a question related to rhythm. I am writing a piece about the emotional contrast of a man who lost his family and love of his life for somebody else. On the one hand, he is sometimes in a fake happiness when with somebody else. On the other hand, he tends to be alone and heartbroken.
I know what I want in each section, but I don't know how to make the rhythm and meter move smoothly between them. In the melancholic minor key sections, the left hand of the piano is playing a triplet arpeggio bass in 4/4, so 12 notes to the bar. In the happy major key sections, those triplets become a quarter note waltz rhythm in 3/4. The minor key sections are at quarter = 90 BPM and the major key sections are somewhere between quarter = 120 BPM and quarter = 140 BPM.
Perhaps the meter is the easiest to get to change smoothly since the minor key sections separate each beat into 3 subdivisions. But what about the rhythm? I'm afraid that if I just suddenly move from the triplet arpeggios to the quarter note waltz that there would be too sudden of a change, like a jolt from Andante to Allegro. So how can I get the rhythm to smoothly change from the triplets to the waltz while having the notated tempo change not be gradual?
Have you tried a sudden change? I personally think they can work well.
Beyond that, one of the things to try is using a hemiola (I probably spelled that wrong, but my browser doesn't have an autocorrect entry for it) as a metric modulation tool. So basically, keep your 6/8 part going in one hand, but have the other hand start to play every other subdivision. You can then make that the quarter note of the new section.
Hopefully that helps.
as another comment suggested, a sudden change or hemiola are an option, another idea or two, would be to keep the former rhythm and tempo while switching time signature, which with agogic accents can help the transition; another idea would be to switch from triplets to eighth notes in the former tempo and time signature which would also reduce the harshness of transitions. if you need an example to understand, the well known marimba solo "yellow after the rain" uses this transition, going from 16th notes to triplets, to 8th notes, to quarters in the transition back to the primary thematic material.
10:07 There was never any mention of Xenakis, did he mean Cage?
I recently got into an orchestra, and my biggest problem is that I just can't practice the instruments.
I have a vibraphone and drumset at home, but that just doesn't do it.
Everything is kinda ok, but I feel like working on my marimba sound isn't really possible on the vibraphone and even worse, I practice the timpani parts on my toms.
Timpani are difficult to play and I barely have practice with them, which sucks. I did get 2 hours of lessons to learn the basics, but I just can't afford timpani and there is no public space that I could practice at.
Including an 1812 clip but not one with a cannon was a big missed opportunity.
I define a percussion instrument as: Any instrument that is not a wind instrument.
Although chimes blowing in the wind..is an instrument I consider a percussion instrument.
Fascinating. I play a drum kit and was once told that piano is technically a percussion instrument because its strings are hit with a hammer (in a harpsichord the strings are plucked).Is that correct...anyone?
How did you not talk about the solo in Handel's 'music for the royal fireworks'?!