When playing hand- to- hand for an extended period of time, an average percus-sionist can play 16th notes at ♩=144.2 That means one hand can move at half that speed.
Figure 2.6 One- handed figuration with breaks
2. The tempi given throughout this section are comfortable and are for passages in which each hand or mal-let stays on one surface. Faster playing is possible, but should be used with caution and with consideration of the issues discussed. “Hand- to- hand” playing means the hands simply alternate (right, left, right, left. . .) instead of using double strokes or more complicated four- mallet stickings.
When the percussionist is holding four mallets (figure 2.7),3 the speed is slowed to 16th notes at ♩=120, because two mallets in a hand are more mass to move. This tempo applies to both hand- to- hand motion and mallet- to- mallet motion with each hand.
Double strokes can be executed as 16ths at up to ♩=200 with snare drum sticks.
With hard plastic, hard rubber, and wood mallets, that tempo is decreased slightly to
♩=170. If softer beaters and four mallets are used, double strokes cannot be made any faster than hand- to- hand single strokes. The double- stroke tempo (♩=200) does not mean that one hand can play half as fast, because steady articulations do not result when one hand is isolated (figure 2.8). When the percussionist is using hands and fingers without sticks or mallets, it can be assumed the speeds are slightly less than that of a pianist.
Sixteenth notes at ♩=100 can be expected when the percussionist is using both feet when seated (♪=100 for one foot). Just as a hand can squeeze out quick notes in small groups (see figure 2.6), a foot can perform two quick notes.
Unidiomatic Writing— Music That Often Requires Memorization
The following four situations often require memorization for accuracy:
quick beater or instrument switches quick tuning on timpani
unidiomatic writing for keyboard instruments
quick passages that include many different instruments Figure 2.7
Four- mallet figuration
Figure 2.8 Double strokes
3. Four- mallet stickings are often notated 1, 2, 3, and 4, with 1 being the left- most mallet.
While picking up mallets or switching instruments, the percussionist may need to look away from the music or conductor; this requires that the performer memo-rize exactly what to pick up, put down, or go to— and how much time each takes to execute. Quick timpani tuning often requires that the player put an ear down to the drum and listen to the pitch or look down at the tuning gauge; as a result, the player must memorize exactly which pitch to go to, on which drum, and how much time it takes to execute.
Keyboard percussion instruments are large and awkward, and during passages that are especially unidiomatic (see chapter 5) the player must often look down for accuracy. The layout of a multi- percussion setup will be relatively unfamiliar to the percussionist, and he or she will have to look down during passages that move quickly over many different instruments; this is especially true for setups that include both keyboard and non- keyboard instruments.
In all four cases, the performer’s attention is momentarily away from the music and the conductor. Memorization thus will usually be required, and the performer will need more time to prepare the part.
Dynamics
Video 2.c— Dynamics, Reaching Instruments, Pedals
Dynamics are often a function of velocity— that is, how fast the beater is mov-ing when it strikes the instrument. For this reason, when a fast motion is required, a louder dynamic will be most natural. For example, if one hand is required to consecu-tively strike two instruments on opposite sides of a large setup, the stroke will need to be very quick and the resulting dynamic will tend to be loud.
Maintaining dynamic continuity around a setup of instruments that speak differ-ently can be a considerable challenge. One common problem occurs when a snare drum is included with other drums; the bright, sharp sound of the snare drum sticks out. In certain playing situations, it may be impossible to compensate for this signifi-cant dynamic difference. (See A Dysfunctional Family in chapter 1.)
In a large ensemble such as an orchestra, especially soft sounds will not project enough to be heard. Some special effects described in this book are subtle and soft, and should therefore be reserved for chamber and solo contexts.
When the percussionist is holding four mallets, his or her control of dynamics is limited between the two mallets of one hand when simultaneously striking a surface.
For example, if two mallets of one hand strike two notes of a marimba together, they will tend to sound the same dynamic. Slight dynamic differences are possible but diffi-cult, and attempts to achieve extreme dynamic differences may result in the mallets not striking at the same time. In this case, the best way to achieve two different dynamics is by striking with two separate hands or by holding mallets of two different hardnesses.
Reaching the Instruments
Video 2.c— Dynamics, Reaching Instruments, Pedals
Instruments far away from each other in a setup may not be able to be played at the same time. This can be a problem, especially with two mallets in one hand. The performer may be able to reach two instruments with two separate hands, but not with the two mallets of one hand (the mallet span is much smaller than the arm span).
This commonly becomes a problem with stacked mallet instruments. (See Stacked Instruments in chapter 5.)
Instruments with Pedals
Video 2.c— Dynamics, Reaching Instruments, Pedals
Vibraphone and tubular bells have sustain pedals, timpani have pedals that adjust the pitch, and hi- hats and pedal bass drums have pedals that strike the instrument.
With especially large setups, it may be impossible for the performer to reach a pedal while playing another area of the setup; the sustain on a vibraphone may need to be cut short or a bass drum articulation may need to be substituted if the percussionist is positioned too far from the pedal.
Simultaneously operating multiple pedals is possible, but the percussionist may need to sit down to do so. Keyboard instruments often require that the player stand, so complicated passagework on multiple pedals in setups that include keyboard instruments should be avoided. Playing multiple pedals with just one foot can also be awkward and difficult. If a foot pushes a bass drum pedal, and then moves to another pedal, the bass drum pedal may swing back and forth and create unwanted noise. In some cases, the foot may need to rest on the pedal for a moment after it is depressed to ensure the proper sound (such as the choked clash or “sock” of the cymbals of a hi- hat). Performers commonly sit when complicated timpani tuning is required, but tuning with accuracy can be especially difficult if the foot must quickly leave the pedal.
Occasionally, composers request that instruments normally struck with a stick or mallet instead be articulated with a bass drum pedal. This can be advantageous, as it can free up the hands to play other things, but it can also create setup chal-lenges. Mounting an instrument in the proper position to be played with a pedal often requires that the performer build or buy a special device. Devices exist for mounting cowbells and plastic woodblocks for pedal operation, which makes those the most probable candidates for adding pedal instruments. This, however, remains more dif-ficult than playing these instruments with a hand- held beater. (A discussion of idiom-atic pedal writing can be found in Idiomidiom-atic Writing for Drums in chapter 6.)
Physical Exertion and Shaking
Percussionists are commonly required to use physical force to execute a pas-sage. Crash cymbals, loud rolls, and quick passages can tax the player’s muscles and increase his or her heart rate. This will make the player’s hands shake slightly, and for up to a minute afterward the execution of soft delicate passages may be difficult.
Working with Headphones or Headset Microphones
A percussionist may have to wear headphones or a headset microphone in pieces involving electronics. If the player has to move around a large setup, he or she can easily get tangled in the cord. The cord can also get caught on instruments, disturbing them or pulling the headphones or microphone from the performer’s head. In these situations, it is best to keep motion to a minimum, if possible. Wireless headsets are preferable if a lot of moving around is involved.
Such pieces should always be practiced with the equipment before the perfor-mance; this can bring to light any problems that can be fixed before the dress rehearsal.
These logistics are often the performer’s issue, but composers are frequently involved in getting the equipment for such pieces and they should be aware that these prob-lems may arise.
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