Q Wy / Copyright © 1983 by C.L. Barnnouse Co, Published by GA. Barmhouse Co P.O, Box se0 Gauaiones, IA 52577 usa ‘All Rights teservad. No par ofthis publication may be Obed or reproduced in any lor by any means graphic, ‘lectrons or mnachanizal,inchusing pholocopring, recording, taping, oF information storage and eirieval systems without written peemlesion ot ihe pubisher. ~ Manutactured inUS.A.... Edited and Produced by Renny 8. Schill ‘Grapes by Elyse Morris Wyman 15 SOLOS FOR THE PERCUSSION PLAYER by 0) / Julia Fraser ee \ 7THE COMPOSER Julia Fraser grew up in both Canada end the United States, and started her musical training al an early age which included many years of study on the piano as well as on percussion. The composer is a graduate of Berklee College of Music in Boston with a Bachelor of Music degree in Composition, and also attended The Boston Conser- vatory of Music. She has composed a great variety of music for orchestra, chamber groups, piano, percussion solo and ensemble works, jazz bands of all sizes and for films, including the nationally award-winning film "The Orchard Murder.” In addition, she has served as a music editor for short subject films. Ms. Fraser currently composes and performs as a percussionist in the Los Angeles area CONTENTS (alphabetical arden) BOTTOMS UP... COWPOKIN' IN THE BIG VALLEY......... cerns : 2 84 DOS OLD BONES........... eee titrate atet abet : APPR Pen reeAPeeree | DOUBLE, DO YA TOO?........... a 7 ‘| Pei etl FIESTA DE LAS ENCINAS ..... 2.022.022 002002 0ec eee ece eee eet eset eee eee 86 THE GARDEN... 0... 0eeeeeeee eee 24 GYPSY : eee aad 6 HUMORESQUE ethane eet re rei aera ere eee ate Reratleeaee a JINGLE JY-RAYSSHIN oc. 0 ccc cc cence eee eee eee eee eee eee eset eee uec0) MARCHACHA.. 38 NOVEMBER BREEZE peice 20 SHOWTIME ......./ See eet Seateede SOFT SHOES... 0c. 0e sete cece cece eee etree ee eee eee p eer eten ees 8 SPARE CHANGE... WALTZING SUSPENDERS x r » i € x rINTRODUCTION Multiple percussion playing is a phrase used to describe one percussionist playing many percussion instruments in any combination at one time, Mallet instruments (Le. vibraphone, xylophone, marimba), Grums, cymbals and small accenting instrurnents such as triangle and woodblock are just a few ox. ‘amples of percussion instruments thal are used, as you will discover on your wey to becoming a multiple percussionist ‘This book introduces you to the instruments you will be playing in your school band or orchestra, lor when you enter the professional world, It will show you how to coordinate your hands, ditierent types of performance techniques and you'll learn to read several instrumental lines at tho same time. You'll also leam how to place your instruments, slicks and mallets in an organized set-up that will make them easy to play and save you from an embarrassing siluation — one where your hands are in {the sir and the next instrument you need is on the floor! Organizing your multiple percussion set-up will enable you to have a trouble-free and perfect pertormance, SETTING UP When pesforming a multiple percussion work, make sure your set-up is comfortable and uncluttered. A comfortable setup is one that allows you fo Stand in one place and reach all the instryments from that one position. ‘An unciutteted set-up means having only the instruments necessary for your performance in front of you. Using a stick tray on which to lay your mallets and sticks really helps to organize your set-up, Or you can use a music stand turned flat with a towel or plece of carpet placed on top, so the mallets and sticks won't make any noise when you set them down. Femember to pul your music in location where you can see It from any direction that you may turn, There are suggested set-ups for every piece of music included in this book, oF, if you prefer, you may use your own set-up. A FEW TIPS Mallet instruments should be struck in the center of the bar unless an awkward passage requires in. stead that you strike the end of the bar, Avoid striking on the nodes (where the string runs through the bar). When you're playing a roll on suspended cymbals, place the mallets-or sticks on opposite edges of the cymbal to get an even and balanced sound. ‘Fo matched crip is usually easier to use while playing multiple percussion works in order to in sure smoothness and consistency when you're moving {som one instrument to another. It is important to use the type of mallets indicated by a composer. If you must make a substitu tion, choose an alternative that will produce a similar sound Suspend triangles and wind chimes from sturdy metal clips (you can clip them to a mus ‘or rack) and support cymbals and drums with sturdy stands, CARE AND FEEDING Percussion instruments are not toys!!! Treat them with respect. Instruments should not be placed on the floor or in any position where they might be kicked or knooked over. They may look sturdy but, in iact, are very delicate. Percussion instruments are designod to be hit, but you should use the appropriate sticks ot mallets. For example, do not play a vibraphone or xylaphone with brass mallets, or run pens or pencils Up and down a maliet instrument; scratches and dents will cause them to go out of tune. Cover mallet instruments with the proper cover everytime you finish using them. Polish glockenspiels and vibraphones with a non-abrasive silver potlsh, and dust marimbas, xylophones and Grams with 2 soft cloth. Don't risk scratching instruments by piling other instruments (or anything fIse) on top of them, Never place food or drinks on any instrument, Store drums and accessory ir- Struments ina warm, dry place and make sure there is enough room so they won't get poked, dented or broken, I standGLOSSARY eee eee ee pe BONGO DRUMS (Bongos): a set of two small, conically-shaped drums, altached together. Constructed of wood with calfskin heads that are {acked; also available with tunable tension rods. Struck with hands or sticks o produce a high-pitched, short sound, Played while sitting down and held between the knees, or placed on a stand COWBELLS: metai belis that wore originally worn around the neck of cows and had clappers in side, Now are used without clappers, and are siruck with sticks or mallets, May be held in one hand, suspended on a stand, or laid flat on a covered surface. Available in many sizes, GLOCKENSPIEL: (Orchestral Bells): 4 keyboard instrument made with 30 rectangular steel bars tuned lo create a chromatic scale. Ii has a written musical range of: @ (2) ; (>) r It’s mounted in a portable case which unfolds to lie flat on a stand or table. Sounds two octaves L higher than the written range, uniess otherwise indicated, Usually played with plastic or brass mallets. rc GUIRO: 4 hotiow, notched, gourd that is scratched or struck with a stick, . JINGLE BELLS (Sleigh Bells): various sizes of notched bells affixed in rows on four sides L of a block or cylinder that has a handle. Held in hand and shook to produce a bright jingle sound MARACAS: pried gourds with handles attached. When shaken, the seeds inside rattle. Also available in plastic, MARIMBA: a targe keyboars instrument with construction similar to the glockenspiel, but with wooden bars instead of metel. Bars are mounted above vertical motal tubes called resonators that are closed at one end. Its musical range is approximately W's supported by a large wooden or metat frame, and usvally played with yarn-wound matlets which produce a warm, mellow sound. . SNARE DRUM: a cylindrical wood - or metal-sheiled, two-headed drum of indefinite pitch. Wires i (the snares) are stretched across the bottom head. The drum is struck on the top head, whic! zi makes the bottom head vibrate. This vibration causes the wires to hil the bottom head, creating a loud sound. Snares can be turned off. Struck with wooden sticks, wire brushes or aecasionally e with mallets, “ : SUSPENDED CYMBAL: a thin bress plate which is suspended horizontally and vibrates when ‘ struck with sticks or soft mallets. Cymbals have an indefinite pitch and cynamically can range rE { from soft to very loud.1 4 J TAMBOURINE: a smali drum with 2 narrow wooden shell which may have a calfskin or plastic head, There are openings in the sholl thal hold metal disks (jingles) held in place by wire Available in many diameters. The rim is held in one hand and it's struck with the fist, knuckies, hand or fingertips of the other hand, May be shook in the air to produce a roll; can be suspended or placed horizontally on @ covered surface and hit with the fingers or sticks, TOM - TOM: TRIANGLE: a bar of round stee! bent into a triangle shape with one comer open. Available in ferent sizes. Mav be suspended on a string and held in one hand, or hung from a rack or stand. Usually struck with a thin metal beater. VIBRAPHONE (Vibraharp, Vibes): 4 keyboard instrument with metal bars (usually aluminum} mounted above resonators. The metal bars ring much longer than the bars on other mallet inslruments, therelore it is equipped with a foot pedal thal controls a dampening bar. Musical range is three octay 2 one or two-neaded drum of eylinarical shape. Struck with sticks or mallets. ‘A motor is available that moves small discs located inside the resonators thus producing @ tremelo, Yarnwound mallets are used most commonly. WHISTLE: A metal device designed to produce a loud and shrill sound by blowing al through it WIND CHIMES: Pieces ot glass, brass, bamboo or other materials suspended from strings in an arrangement that allows them lo strike together and produce a delicate tinkling sound. Struck. with mallets or hands. WOODBLOCK: A block of wood with a rectangular shape and a slot in each side to create a resonating chamber. May be played while holding in a cuppad hand and striking with a stick or mallat in the opposite hand, placed on a carpeted trep table, or suspended from a motal woodblock holder. Usually played with wooden sticks or hard mallets. XYLOPHONE: & keyboard instrur ‘Struction similar to the marimba, The musical range is smatler than {ha marimba: 1 with wooden bars mounted above resonators and a con- ey t sounds one octave higher than written, Hard rubber or plastic mallets are most commonly used to produce a crisp, sharp sound. THE SET-UP ‘At the beginning of each piece there Is a diagram illustrating the suggested set-up of instruments as if they were facing you. The list of instruments on the leftthand side of the page is the key to the in: Struments in the illustration. The glossary of instruments explains the instruments, if they are un familiar to you. Notice that each percussion instrument in the music is represented by @ line or space on a staff, A glockenspiel, xylophone, marimba or vibraphone will have a separate staff, and the other in- struments will be on a staff or partial sta‘f above. The mailat instruments all use the treble olel( ()) and all the other instruments use the indefinite pitch clet( ||). "Appropriate mallets are also suggested at the beginning of each piece. Yarn-wound mallets pro- duce a mellow, soft sound; rubber mallets produce a soft tone with a more definite attaok; plastic and Erass mallets produce a very sharp, crisp altack. Wire brushes produce a very soft brushing sound and tte nol easily substituted. Drum sticks produce a crisp sound. Plastic-tipped drum sticks produce a ‘orisper sound than wood-lipped drum sticks. om i Read the performing tips when they appear at the beginning of a composition, and enjé) yourself with all of these new sounds.1. Large Tambourine (with head) 2. Small Tambourine (without head) 3. Medium Tambourine (without head) All three tambourines lying down on carpeted trap table. OOO ‘oo mam. J =100-132 By JULIA FRASER (Steike with tip of drumstick on tambourine head) pri | One pair wooden drumsticks. (Strike odgo of tambourine with sie of drum stick! ¢ eee f eee =E Sopyigh 089 Ci, Baranouse co, Ostloga iA S2877 international Lasynaht Sead tad. ea Tee veg| py py ma J + J SP eae TREC EOL Jy) ate eee J mp JJ |__d S 5 “ pups lit eee JSOFT SHOES 1. Cowbell (taped to muffle the sound) Tin Car (with plastic td) (9 Ib.) Tin Can (with plastic lid) (1 1b.) \ne pair wire brushes Sonat To make thefn cans more stable, tape inem togetner. Sot the tin cane on a coverod trap rable. When you see te syrnbot "2" or "©", play a semi-ciceular motion or side brosh across the plssti li By JULIA FRASER Sai Tin Gan wien pseu td Tin Gon with Dare bez aa caatage ia ae a zi i - od ee - ; wt tt Preece reer es : piece eget EE Ete TL : Ihe = +S 5 eS = 7 sep up ee 7 5 Se Af z —— i as aaa ti a 7 2 my = PRS pe eT ra pefeaa atar Pes fateh See ee eee SS Pp t P ee : & Copyright 1983 by C., Baronouse Go, Oskaloosa, 18 2577 Intemational Copyright Secured "Maden USA i Rights Reserved - a je ts flowScrape up on sides | oa wel Re g =} | LL ” ee Sarmpup She = ‘Saopeap Ste scree eee ee eee 7 Ti ; - “2 * 5 r f if Senge op Su | re 4 foarte t He ua C H —2 Bee aeeeeEEe Saeeeeteaados=™=ree esaanea coer J t t Scrape up Sie ers cir sansa HEE reee ogee GTI seg cece eee acer eee 5 =U See ree eeeeeeeeaeEEeEeOe oH ee . are Seco eee gee Rot c Serapeup Ste fifeigtitie rea Coe ‘ : ee? ant pee ' i GE SS ou R — Sf: TJINGLE JY-RAY-SH'N 1. Jingle Betis 2. Maraca 4 3 Practice each instrument separately belore playiig them together. Hold the jingle bells ver. lically and shake them up ang down to get a ciean sound. Keep: ing the instruments quiet while they aren't being played can, at times, be a problem, Hold them Still until you use tham, and set them down on a covered table when not in use, Shake all the in struments when a roll symbol is 7 um. } =100 By JULIA FRASER Wold jingle ble int end, maracas han sila __ Evenly shaker sete) Ee (ot 3 a iosle Bete & 4 ee TF tt =] f Put marae dow, Fick up taboo Z ee Sep FES fag = >» f toad Kombat FET eS ees aoa =e > Cre tity >> oS Se Foam f 2 2 St P ft pee. al (es OS ey P B tf 1h 1985 by CL, Barnnouse Co, Oskalooss, 1A $2577 scopy International Copyright Secured Maas in GSS il Rights Reserves oro ers peatPut tambourine down, Pick up marace aa ae a i EG SEF AOE EEE =, Pr Put merace down. Pick op tambourine Put jingle bells down, Pick up marae. SS as FF P PEPER eee =a] (eters Sc aeeaae >—= Fs Put marace down, Pick ae eee P up ingle bls, f Bae geee eee peer le # =2 : A , SHOW. TIME 1 ae 2 Large Tomtom 3. Small Tom-tom 4. Tambourine Pizy the glockenspiel part separately until you feel comt able: then add the other par.s, 1 the middle of the second pagé listen for the melody played o~ the drums, fambounne and. 5. Woodblock Rim Meodbleck, Romerbert sk 1 ; the glockenspie! witha light One pair medium-nard i Fle touch anc a fas! “downup” | rubber mallets LRG * motion of the fingers and wris By JULIA FRASER a L © Copyrign 1983 2y CL Bamhovee Co, Cekslonte, 1A 2577 ional Copyright Sexured Made m DSR ail Rights AusorvedTo CoosPage S-ShowtimeDOS OLD BONES «2 Brass Bells or Brass Wind * Chimes "3, Xylophone for other mallet s instrument) : 3 One pair hard rubber or ) plastic mallets. (if play- il « ing'an vibes use herd, | yarn matiets,) (HI ] [DIT mum, 1 =120 ‘Shake with hands a Barna or Woodan Wing Crimea — 15 To produce a full, ich tone on a mallet instcument, sttike the ber seltly end crescende slightly while rolling. Roll of strike in Center of the bars, By JULIA FRASER D : B + Pickup mals 4g \ 3 T eee With matte {© Copyrign 1263 by C1, Barohouse Go. Oskaloosa, 1A 62577 : International Copyright Secured" Made in USK" al Rights ReservedPage 2- Dos O16 Bones 5 : eft = = = = Gdeede uw 7 a Move lightly with hand éBOTTOMS UP 1.2.3, Small Tin Cans ("bot toms up" on covered table) (1 Ib, size) 4.5. Large Tin Cans (“bot- toms up” on covered table) (3 tb. size) €- 6 Tambourine ams) One pair medium-hard yarn mallets Ks A \ QE A 4 Tin Cons —_ [| When striking the tin cans, use a fast “dowrup” wris' motion, or the tin cans will fall over. (If you have problems, try taping the cans together) Play the rhythms on one tin can first until you play all the rhythms correctly. Use alternate sticking except where otherwise indicated, Practice very slowly unt you can play all the way through without mistakes. By JULIA FRASER on Tie Gant EI a t P (Change to mallet - use sheft ends Fg stienss Rok CEE SSS Se —== at === = = ‘ —= + tf el : u t S22 &.Sopysight 1985 by GL Bamtouse Go, Oskacose. 1A 2577 . Opytighl Secured” Made m USA. ai Aighis Reserved ee Lhaus eee bee ee mf (Change to mallet heads) R se mallet heads Rfe NOVEMBER BREEZE 4, Suspended Cymbal 2, Suspended Cymbal 3. Marimba (or other matiet in- strument) One pair medium-hard yarn mallets 2 1 By JULIA FRASER ¢ 2 Saoeutg Somes 2 (a z " pf ps Mori lor other © Copyriant 1983 by C.L, Barnhouse Co, Oskaloosa, 1 $2517, internalonst Gopyrigh Seesred "Made nUSA AI Rights ReservesWALTZING SUSPENDERS Betore trying this piece, look at Jingle Bells the triangle pant. The symbol Glass Wind Chimes ‘means open and the symboi "+" means closed. To play the Brass Bells (or wind chimes) ge Triangle triangle open, hit the triangle on : je Triangle one side with a triangle beater.To Medium Triangle play the triangle closed, place the Small Triangle other hand on the triangle 10. “¢ Sampen it whan it is struck. Piay 1 thismythm: so 2 ek te eS ‘and repeat it until switching from i ‘oven to closed position is com fortable, Then try the rhythms i 6 written in the piece, @ triangle beater en shaking wind chimes and 's8 bells, move your hand even: and experiment to produce a sound, Each set will respond "erently. 2 3 4 Wm eAAa | Mam.d #132 By JULIA FRASER ; 1 Triangle —— (Shake (Shake) ; So Toonge Sh ne Games aoa ne po, fae 4 oe - a T T ze Hit and tot cing ‘cp (Pick up triangle beatet) Se = = = ~—— F a i Eg eS 2 ( P nf —————— 7 P , With triangle beater € Copyight 1983 by C.L, Barchayse Go, Qskalogsa, 18 62577 Invernaiionshbopyright Boguied Mase mn USA. AI Bighis Reserved * ;ereye ‘it with triangle beater) : +4 5 teed sioite; THE GARDEN 1. Vibes (or mallet instruments) 2. Suspended Cymbal 3. Suspended Cymbal 4, Brass Wind Chimes ‘One pair sott yarn mallets By JULIA FRASER (Move wind chins wit ait) wv ETF : af TM & Copyright 1869 by GL, Berninause Co, Oskalogna, 1A 82577 International Copyright Secured Made nUSA™ All Rights ReservedPage d-The Garden f P accel PP. SS “= P2 DOUBLE, DC YA TOO? 4. Small Cowbell To tearm the mhythms, play this 2: Medium Cowbel! ser tomy in "order. fo mone ; Smoothly. trom ‘drumheads to 3. Small Tom-tom rims, and trom cowbel!s to drums. 4. Large Tom-tom Watch “for” doublesticning “ara lay evenly. Try this fora warm ‘One pair wooden drumsticks Be Ning Cee tee Selore PIV REL RR LOL freer cere Flay cowbelts with tips of drumsticks to produce «clean and crisp tone. Dynamics are very important wen playing this (and any) piece of music, Play ‘the “p's very softly and the “t's very loudly, By JULIA FRASER ‘Small TomTom’ == one . at [ SSS t On heaes LLRR LLRR L CR L RLALR LR R © Copyright 1983 vy C1, Barpnouse Co, Oskaloosa, 1A $2577 3% Intornalions! Copyright Secured Mage in USA. all Rights Reserved2 Douste, Ue Ya Too? On headsPage 8. Double, Do Vas Tao? == = ___p sen _ee == ——s SSS [ i a a eae LERRLLEA CL R L RR LLARLLER LR L RR LLERRLER tL R L RR LURRLER L RL RR0 1. High Bongo Drum (or smait drum) Low Bongo Drum for medium drum) Vibes (or other mailet in: strument} On vites or marimba, use hard yarn mailets, On xylophons or glockenspiel, use hard rubber ot plastic: HUMORESQUE 1 Cl 2 Piay slowly and evenly until you feel comfortable with the music When piaying glissandos: Move the maliel at @ speed that wil) make the glissando last for the duration of the note, Be sure to strike the note that is written, ano then start the glissando, oe Einorm + (UTED 7 7 de : : By JULIA ia vevaions = © Copyright 1963 by C.L, Baranouse Co,, Oskaloosa, JA 52577 . Made inUSA. ait Rights Recerved Inleinational Copyright Securedan SPARE CHANGE 1, Suspended Cymbel Practice playing cymbal rolls. 2. Suspended Cymbal White rong, ramembe: to posh . Snare Dr lon tne mallets on opposite sides Se ea bf the cymbal, Notice the meter 4, Metal Bowl (face down on Shanges, and count carefully. The quarter cote remains constant covered table) theaughout, When enanging one peir soft yarn matlets matte, take your time and con- ea wooden dramaticks Cemteate on mating 2 clean en Dae patti 2 1 trance One pair wire brushes um. 66 Soft yarn mallets Sopandeg Cymal 3 ——— Sizengea cymbal 2 ———| pmempe p om Of (change to sticks) WD vy —— sf mp p—= m.m, ) =100-120 Eventy Sticks R ; RLR ee pee a ———— == ESS SSS SS — : ¥ + by indicates “Tet vibraefiet ring". <9 yni'1983 by Gi Barahouse Co., Oskalonsa. 1A $2577 Copy eterna SPERM See Bebsred Mace in USA Ai Rights Reserveda (Change to brushes) {henge to soft yarn males) Soft yarn mallets wf Si Wire brushes 3 2COWPOKIN’ IN THE BIG VALLEY Piay the glockenspiel with a light and fast "downup" motion of the wrist. If you leave the matiet on the bat, tne sound will be mut fd. Waten aut for two notes played together. They shouldn't Sound like flams. Piay very slowly al first, until all the notes are piayed correctly and you feel Gortortable moving from one in Strument to another, Then try playing at @ faster tempo, - Glockenspiel “Large Cowbell Medium Cowbell Small Cowbell Tambourine Ine pair hard plastic mallets VA i i 5 mM, J,=92 \ Y Lightly F By JULIA FRASER ‘Frail Gowen Hage ae Son ciocamsont ———f HER nnouse Co, Oskaloosa, 1A $2677 = ESE OS a aitRights Reserves Copyright 1963 by Oar Inteinational Copyright Sued PALO L rFIESTA DE LAS ENCINAS 4; Whistle (hold in mouth} 2, Woodblock 3, Woodblock (different pitch) 4, Marimba (or other mallet in- strument) one pair ard yarn mallets poet S2zay i ae eee \> resto i Bee: [FER —E a aoa aera ers mp dye pb % 2} H the P Lopytignt 1983 by CL, Barnnouse Ga., Oskaloosa. 18 52577 ' iniinationsPbedyright Seeuied Made In USA All Aighls ReservedFd MARCHACHA 4. Guiro 2. Small Cowbell 3. Glass Jar (with metal lid) 4. Large Cowbell 5, Woodblock ‘One pair timbale sticks or light wooden drumsticks Learn tne myths first by playing this pigce slowly on a practice pad or on one of the instruments Fen ty ton the multiple setup Lay all Instruments, except the giass fa, tial ons carpetec sur face. The glass jar should stand Upright wath tne meta ie on to3 nuse Co, Oskalogse, 1 £2577, MSSeinUSAL Ai Righis ReservedR LRLERL LRLURL ERELLRE RL =. st et + ee4 ‘page 3. Marenacna af crescendo y accelarando Ay =e = o Eee eee 3 o Sf * The bracket indicates repeated pattem. Notice thot the accents atways occur on the gost jar, Practice this section ising the accantsas londinarks, Play siowly until you can play it perfect. ~ o — os ie anne Se ee