Percussion instruments manage note length, articulation, and phrasing much differ-ently from other instruments. Percussion note lengths are often chosen exclusively for rhythmic readability, and articulation markings must often be reinterpreted as dynamic phrasing. The pointy- ness of these instruments’ sounds requires different expectations and different accommodations in playing and in notation.
Although real control over different articulations is not always possible or practi-cal, either because of the nature of a given instrument or the context of a passage, articulation and phrasing markings are still helpful. Percussionists realize these nota-tions through dynamic phrasing, mallet choice, and varianota-tions in muting or beating spot. A composer should not hesitate to write slurs into a glockenspiel or even a snare drum part; the slur sound can be achieved even though each note must be articulated.
The effect will not be as apparent as it would be on a clarinet, but these notations will make a difference.
On resonant instruments with pitch bend capabilities, such as timpani or flexa-tone, a true legato can be executed by striking the instrument once and then changing the pitch, but this is not particularly effective. The success of this effect depends on the volume of the resonance— the further the slurred note is from the original articu-lation (in time and in interval), the softer it will be. A slur alone will not indicate a glissando; glissando must be notated separately.
Note- Length Chart
The following chart categorizes instruments with respect to the length of their ring or sustain. Arrows indicate the range of instruments with variable sustain. All Group 2, 3, and 4 instruments can be dampened to have minimal sustain (Group 1).
Mark tree can only be dampened to be as short as Group 2. All instruments can be
“sustained” with tremolo to sound as long as Group 4.
Group Four
Exact or Inexact Note- Length Indications
Instruments in Group 1 of the Note- Length Chart (those without variable sustain) have little or no natural resonance. For these instruments, note length does not need to be notated exactly; a whole note will not ring any longer than a 16th note. The note length will not change unless the instrument is dampened while it is struck.
Instruments in Group 2 of the chart have a little resonance that can be controlled through dampening, but are generally left to sound for their full lengths. If accurate short durations are desired for special articulation effects, then dampening should be notated.
Under normal circumstances, the note lengths of these Group 1 and 2 instruments need not be notated accurately and should instead be chosen for rhythmic readability.
Excessive rests can clutter a part and make it difficult to read ( figure 3.22a). If inexact note lengths create phrasing problems, articulations can substitute ( figure 3.22b).
With the resonant instruments of Groups 3 and 4 in the chart on page 72, reso-nance should be considered and controlled either with accurate note lengths, damp-ening indications, or through the discretion of the performer. For the most control over note length, exact note lengths can be written (as one would for piano music) with an indication at the beginning of the part that note lengths should be accurately observed. For less specific notation, indications can be used only when necessary (for cymbals and other resonant instruments). An l.v. (laissez vibrer, “let vibrate”) or an open slur indicates to let the instrument ring (figure 3.23), and a coda symbol, two slashes, or the word cut, choke, damp, or secco indicates dampening.
Depending on the context, specification of note lengths and dampening may be best decided by the performer. Percussionists are accustomed to making decisions about when to stop an instrument from ringing and can often be expected to do so effectively.
The composer should be careful to not over- indicate note lengths and dampening.
There may not be enough time for the player to execute these indications, and many long notes and ties can clutter the part without any realistic effect. Dampening may take just a fraction of a second, but that fraction of a second must still exist. If the player needs to play, turn a page, or change mallets, then dampening might not be possible. A performer can sometimes dampen with one hand (especially with small instruments), in which case the other hand is free to do other things.
Figure 3.22 Exact or inexact note lengths
Figure 3.23 Muffle notation
Of course, with instruments sustained by being rolled on, bowed, scraped, shaken, cranked, or blown through, note length should always be notated exactly.
Muting (Muffling, Dampening)
Video 3.a—Note Length and Articulation
Instruments can be muted with a piece of cloth, tape, a mallet, a hand, or another body part. If an instrument is dampened directly after it is struck, it will simply shorten the note length. If the instrument is dampened while it is struck, it not only shortens the length but also changes the sound. Additionally, the sound of the reso-nance will change if the instrument is only somewhat dampened after the attack. (See Manipulations of Timbre in appendix C.)
Light dampening with a piece of cloth is often done to make drums drier and darker, and to clear up soft articulate passages on timpani and other large resonant drums. Heavy dampening is commonly done with pedal bass drums; towels, sheets, or something similar are often inserted into the drum, giving it a full but punchy sound. Muting can be used as a special effect on all instruments.
When a cloth mute is used, it takes some time to place it onto or remove it from the instrument. Other means of muting are more flexible; by muting with a mallet, finger, hand, leg, or torso, the percussionist can adjust the degree of muffling while playing. When complex muting is required, it is best if only one hand is required to play so the other hand is free to muffle.
Closed and open (dampened and free to ring) are commonly notated with +’s and
⚪’s, respectively. Passages like that shown in figure 3.24 are most effective on smaller instruments like the triangle, where dampening can be done quickly and easily; on instruments such as a large tam- tam, this is difficult to execute.
Figure 3.25 is a more complex example in which the sustain of multiple instru-ments is manipulated simultaneously or in quick succession. The brake drums can be muted by the mallet that strikes them, making quick dampening possible. These instruments only ring a short time, so the dampening must happen soon after the strike (in this case, an eighth note afterward). The cymbals and triangle must be muted by hand, so there must be a little extra time provided to get the hand in posi-tion to stop the resonance. This is further complicated by the fact that the hands are each holding two mallets. These instruments ring for a few seconds after being struck, so longer durations are possible.
Percussionists often use various dampening techniques on resonant instruments to control the sound and note lengths, regardless of whether or not the dampening is Figure 3.24
Open/ closed notation
indicated by the composer. For example, the resonance of a concert bass drum head is usually controlled with a leg, hand, or towel.
Dampening some wind chimes or a mark tree is somewhat difficult to execute effectively. These instruments are often left to exhaust themselves naturally, even though they ring for a rather long time. Some mark trees have damper bars that allow the percussionist to muffle the instrument in less time.
Dead Stroke
Video 3.a—Note Length and Articulation
A dead stroke is achieved by holding the mallet on the instrument after the attack, so as to dampen the vibration. Dead strokes are commonly notated with a plus sign (+) over the note. Ringing notes in a passage with dead strokes can be indicated with a circle (⚪) over them; this is not necessary but can help to clarify. “D.S.” or staccato dots are other common indications for a dead stroke. These notations are not stan-dard and should be explained at the top of the score and part.
Dead strokes take more time to execute than normal strokes because the mallet head needs to spend more time on the instrument. Dead- stroke passages will not be effective at fast tempos.
With drum sticks, wood mallets, plastic mallets, and hard rubber mallets, dead strokes create a buzz sound as the beater bounces quickly on the instrument (like the bounce of a buzz roll). Mallets wrapped with yarn, cord, and felt have a soft layer of material to cushion the attack and eliminate the bounce. This buzz can be avoided by using wrapped mallets (e.g., instead of plastic mallets, very hard yarn or cord mallets could be used) or by wrapping a layer of moleskin or tape around the mallet head.
Dead strokes can be used as short notes on a marimba or vibraphone to contrast with the resonating normal strokes (see Steven Mackey’s See Ya Thursday). On drums they sound harsher and raise the pitch slightly as the drum head is stretched by the pressure of the dead stroke.
Damper Pedals
Video 3.a—Note Length and Articulation
The vibraphone and tubular bells have damper pedals, so note length is more eas-ily observed. Some glockenspiels have pedals, but this is rare. Pedaling can be notated as one would for piano (mm. 2– 7 in figure 3.26). Pedal indications are very clear but
Figure 3.25
limited because all the notes are dampened and released at once; these instruments do not have the piano’s ability to sustain individual notes while the damper is applied.
If specific note lengths are written without pedal indications, percussionists can try to use the pedal while dampening individual notes with a mallet or hand. This would allow some notes to ring longer or shorter than other notes as necessary (mm. 20– 27 in figure 3.26). Often, slurs are used to indicate pedal groupings (mm. 8– 10). When using accurate lengths and slur marks following a passage that uses pedal indications, the composer may indicate “pedal ad lib.” to avoid ambiguity. Within complicated passages, it should be expected that some concessions be made where notes must be slightly shortened or extended.
Flutter pedal is often used on the vibraphone, but rarely notated. Half pedal does not work well because the damper bar on most vibraphones is inconsistent. The use of such pedal techniques is best left to the performer’s discretion. Effective realization of vibraphone passages often requires complex pedaling as the performer responds to the subtleties of his or her particular instrument. It is recommended that a composer not over- notate pedal usage so as to encourage the performer’s sensitivity. Moreover, excessive pedal indications can clutter a part and leave little room for dynamics.
If necessary, a weight could be used to hold down the pedal of a vibraphone or a set of tubular bells to leave them free to sustain without the player’s foot. Most Figure 3.26
Pedal notation Source: From Nico Muhly’s Sustained Music.
tubular bells and some vibraphones have a mechanism that can be used to keep the damper open.
Rolls
Video 3.b— Rolls
A roll is a tremolo. Percussionists and composers often use rolls to simulate sus-tain, but it only truly functions as sustain with soft mallets on especially resonant non- articulate instruments, like cymbals and gongs. Some instruments from Groups 2 and 3 of the Note- Length Chart on page 72 (such as large drums and the low regis-ter of a marimba or vibraphone) are also capable of producing seamless sustain, but only with soft mallets and at soft dynamics. In all other cases, a roll will be perceived as a tremolo and should be treated as such.
The character of tremolo is much different from that of a true sustain; it is a source of rhythmic intensity and often also provides audible rhythmic material. One might treat this material as ornamentation, the way a harpsichordist, guitarist, or harpist might use ornamentation or arpeggiation to replace longer note values. This is espe-cially true with multiple- surface rolls— those executed by one player on more than one pitch or instrument (e.g., rolled four- note chords on marimba). In these cases, the tremolo on each pitch or instrument will be far slower because it will likely be played by just one hand. In such instances, percussionists must work extra hard to simulate sustain by varying the roll speed, roll type, and balance, as too much regular-ity will sound like an intended rhythm.
The composer may choose to have control over the material inside a roll by replac-ing a rolled passage with notated rhythms and figuration, or this may simply be left to the discretion of the performer. With the latter option, the performer will have a much easier time achieving success if the composer uses the rolls with acknowledg-ment of the activity they communicate.