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 8324890

L am b e rt, J a m e s William

MULTIPLE PERCUSSION PERFORMANCE PROBLEMS AS ILLUSTRATED IN

FIVE DIFFERENT WORKS COMPOSED BY STOCKHAUSEN, SMITH BRINDLE,
COLGRASS, DAHL, AND KRAFT BETWEEN 1959 AND 1967

The U niversity o f O klahom a D.M.A. 1983

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Copyright 1983
by
Lambert, James William

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University
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 THE UNIVERSITY OF OKLAHOMA

GRADUATE COLLEGE

MULTIPLE PERCUSSION PERFORMANCE PROBLEMS AS ILLUSTRATED IN FIVE

DIFFERENT WORKS COMPOSED BY STOCKHAUSEN, SMITH BRINDLE,

COLGRASS, DAHL, AND KRAFT BETWEEN 1959 AND 1967

A DOCUMENT

SUBMITTED TO THE GRADUATE FACULTY

in partial fulfillment of the requirements for the

degree of

DOCTOR OF MUSICAL ARTS

By

JAMES WILLIAM LAMBERT

Norman, Oklahoma

1983
MULTIPLE PERCUSSION PERFORMANCE PROBLEMS AS ILLUSTRATED IN FIVE

DIFFERENT WORKS COMPOSED BV STOCKHAUSEN, SMITH BRINDLE,

COLGRASS, DAHL, AND KRAFT BETWEEN 1959 AND 1967

A DOCUMENT

APPROVED FOR THE SCHOOL OF MUSIC

Dr. Richard C. Gipson, Ma^or Professor

and Document Advisor

Dr. Irvin L. Wagner, Program Adv isor

Dr. Eug Enrico

Professor Michael Hennagin

Dr. Jerry Neal Smi :h

/
Dr. jàmes J. Yoch
 ©1983

JAMES WILLIAM LAMBERT

ALL RIGHTS RESERVED

 SPECIAL ACKNOWLEDGEMENT

Permission to reprint excerpts from Suite for Percussion by William

Kraft in this document has been received from Belwin-Mills Publishing

Company, New York, New York. University Microfilms International may

supply single copies of this document upon demand (which include Mr.

Kraft’s Suite for Percussion; additional permissions for the remaining

excerpts have been acknowledged earlier in this document).

All excerpts from William Kraft's Suite for Percussion are:

Copyright (5) 1963 by Mills Music, Inc.

Used with permission. All Rights Reserved.

 ABSTRACT

MULTIPLE PERCUSSION PERFORMANCE PROBLEMS AS ILLUSTRATED IN FD/E

DIFFERENT WORKS COMPOSED BY STOCKHAUSEN, SMITH BRINDLE,

COLGRASS, DAHL, AND KRAFT BETWEEN 1959 AND 1967

BY; JAMES WILLIAM LAMBERT

MAJOR PROFESSOR: RICHARD C. GIPSON, D.Ed.

This document concerns itself with the identification and cross­

relationship of three categories of performance problems related to

multiple percussion performance: (1) notation; (2) instrument placement;

(3) movement. These problems are illustrated through the works of

Karlheinz Stockhausen (Nr. 9 Zyklus), Reginald Smith Brindle (Orion

M. 42), Michael Colgrass (Fantasy Variations), Ingolf Dahl (Duetttno

Concertante), and William Kraft (Suite for Percussion) in the time frame

of 1959 to 1967.

Generative and significant twentiety century multiple percussion

compositions which preceded these works (prior to 1959) are discussed,

and the necessity for a systematic process of performance preparation to

such multiple percussion compositions is apparent. The selection of

these five works were chosen to illustrate a diversity of the number of

performers and consequent percussion instruments involved. In addition,

these works reflect the use of the following formats: (1) unaccompanied

multiple percussion solo; (2) concerto with percussion ensemble accompan-

Iment; (3) percussion ensemble; (4) multiple percussion with another

Instrument. Their stylistic Identities Illuminate the differences among

the five selected composers. The diversity of sounds in these works is

compounded by each composer's choice of Instruments, of notation, of

instrument placement, and of the conscious or subconscious visual impact

on the audience. This document describes the factors that combine to

make multiple percussion compositions a continuing musical challenge

within a systemlzed, developmental learning process.

 ACKNOWLEDGEMENTS

A debt of gratitude is owed to the five composers whose multiple

percussion compositions served as primary sources for this document:

Karlheinz Stockhausen; Reginald Smith Brindle; Michael Colgrass; William

Kraft; and Ingolf Dahl. Especially I want to thank William Kraft whose

genius in music is only matched by his genuinely warm personality.

The author expresses appreciation for the kind permission granted

by:

(1) European American Music Distributors Corporation, sole U.S. agent

for Universal Edition, for the use of eycerpts from Nr. 9 Zyklus by
Karlheinz Stockhausen in Figures 1-8, 16 and appendix 1.

(2) Henrichsen Edition, Peters Edition Limited, London, for the use of
excerpts from Orion M. 42 by Reginald Smith Brindle in Figures 9-15,
17, and appendix 2.

(3) Music for Percussion, Inc. to use excerpts from Fantasy Variations
by Michael Colgrass in Figure 18 and appendices 3-5.

(4) William Kraft to use excerpts from his Suite for Percussion in
Figures 26 and 31, and appendices 6-16.

(5) Alexander Broude, Inc. to use excerpts from Duettino Concertante by

Ingolf Dahl in Figure 19, 24, 25, 28, 29, 30 and 32, and appendix 17.

I also appreciate the cooperation and support of my graduate

music committee at the University of Oklahoma: Dr. Richard Gipson, major

professor; Dr. Eugene Enrico; Dr. Irvin Wagner; Professor Michael Hennagin;

Dr. Jerry Neil Smith; and Dr. James Yoch. In particular I want to thank

Dr. Gipson for the extra time which he freely gave in guiding and coordi-
nating this project to its completion. Gratitude is also expressed to

Jean Spray for her typing of and technical assistance for this document.

Finally, words cannot express my appreciation and love for my

parents, Clifford Louis and Voyce Olive Lambert— particularly my mother,

who started my music career at the age of four in her piano studio. They

have remained my constant supporters. An equal debt of gratitude, com­

panionship, and love is expressed for Doris Lynn Reed Lambert, my friend

and wife, who sang and played piano and percussion at all four of my

graduate recitals as well as proofread this document. I dedicate this

document to my parents and my wife.

 TABLE OF CONTENTS
Page

LIST OF FIGURES ...................................................... x

Chapter

I. GENERAL DESCRIPTION OF MULTIPLE PERCUSSION WORKS

COMPOSED BETWEEN 1959-1967 ................................... 1

II. PERFORMANCE PROBLEMS ASSOCIATED WITH THE NOTATION

OF MULTIPLE PERCUSSION SOLOS ................................. 15

III. INTERPRETATION OF MULTIPLE PERCUSSION INSTRUMENTPLACEMENT ... 27

IV, PROBLEMS OF MOVEMENT ASSOCIATED WITH MULTIPLE

PERCUSSION WORKS ............................................. 37

V. SUMMARY ....................................................... 44

BIBLIOGRAPHY .......................................................... 46

APPENDICES ............................................................ 51

1. PREFACE TO NR. 9 ZYKLUS BY KARLHEINZ STOCKHAUSEN.............. 52

2. INSTRUMENTS, INDICATIONS, AND LAYOUT TO ORION M.42

BY REGINALD SMITH.BRINDLE .................................... 54

3. PREFACE TO FANTASY VARIATIONS BY MICHAEL COLGRASS ........... 56

4. INSTRUMENT SETUP FOR FANTASY VARIATIONS BY

MICHAEL COLGRASS ............................................. 58

5. MICRORHYTHMIC TABLE DEVISED BY MICHAEL COLGRASS

(FROM FANTASY VARIATIONS) .................................... 50

6. COVER PAGE TO THE SCORE OF SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 62

7. OPENING SCORE FOR "FANFARE" TO SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 64
 Page

8. FOOTNOTES FOR "ANDANTE" FROM SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 66

9. FOOTNOTE TO "ANDANTE" FROM SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 68

10. FOOTNOTE TO "ANDANTE" FROM SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 70

11. FOOTNOTE TO "OSTINATOS" FROM SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 72

12. OPENING SCORE TO "TOCCATA" FROM SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 74

13. FOOTNOTES TO "TOCCATA" FROM SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 76

14. OPENING OF "CADENZE" FROM SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 78

15. FOOTNOTES FOR "CADENZE" FROM SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 80

16. FOOTNOTES FOR "CADENZE". FROM SUITE FOR PERCUSSION

BY WILLIAM KRAFT ............................................. 82

17. EXPLANATORY NOTE FROM DUETTINO CONCERTANTE

BY INGOLF DAHL ................................................ 84

18. LETTER OF PERMISSION FROM EUROPEAN AMERICAN MUSIC, INC.

IN REGARD TO NR. 9 ZYKLUS BY KARLHEINZ STOCKHAUSEN ........... 86

19. LETTER OF PERMISSION FROM PETERS EDITION LIMITED

IN REGARD TO ORION M. 42 BY REGINALD SMITH BRINDLE ........... 88

20. LETTER OF PERMISSION FROM MUSIC FOR PERCUSSION, INC.

IN REGARD TO FANTASY VARIATIONS BY MICHAEL COLGRASS .......... 90

21. LETTER OF PERMISSION FROM NEW MUSIC WEST PUBLICATIONS

IN REGARD TO SUITE FOR PERCUSSION BY WILLIAM KRAFT ........... 92

22. LETTER OF PERMISSION FROM ALEXANDER BROUDE, INC.

IN REGARD TO DUETTINO CONCERTANTE BY INGOLF DAHL ............. 94
 LIST OF FIGURES

FIGURE Page

1. Stockhausen's First Structure Type ........................... 17

2.. Stockhausen's Second Structure Type .......................... 17

3. Stockhausen's Third Structure Type ............................ 17

4. Stockhausen's Fourth Structure Type .......................... 18

Stockhausen's Fifth Structure Type ............................ IS

6. Stockhausen's Sixth Structure Type ........................... 19

7. Stockhausen's Seventh Structure Type ......................... 19

8. Stockhausen's Eighth Structure Type .......................... 20

9. Smith Brindle'sSymbols .................................... 22

10. Smith Brindle'sSymbols ....................................... 22

11. Smith Brindle'sSymbols ....................................... 22

12. Smith Brindle'sSymbols ................................ 23

13. Smith Brindle'sSymbols .......... 23

14. Smith Brindle'sSymbols ....................................... 23

15. Smith Brindle'sSymbols ..................... 23

16. Stockhausen's Instrument Placement ............................ 28

17. Smith Brindle's Instrument Layout ............................. 29

18. Colgrass' Instrument Layout ................................... 30

19. Dahl's Percussion Instrument Layout ........................... 30

20. Colgrass' Drum Layout ......................................... 31

FlGUUli Fage

21. Colgrass' Drum Layout ....................................... 31

22. Colgrass' Drum Layout ....................................... 32

23. Colgrass' Eight Pitches ..................................... 32

24. Dahl's Drum Layout ........................................... 33

25. Excerpt from Dahl's Duettino Concertante ................... 34

26. Kraft's Instrument Layout .................................... 34

27. Dahl's Problems of Movement .................................. 38

28. Dahl's Mallet Changes ........................................ 38

29. Dahl's Mallet Changes ........................................ 39

30. Dahl's Special Effect ........................................ 39

31. Kraft's Problems of Movement ................................. 42

32. Dahl's Problems of Movement .................................. 42

 CHAPTER I

GENERAL DESCRIPTION OF MULTIPLE PERCUSSION

WORKS COMPOSED BETWEEN 1959 AND 1967

The development of multiple percussion as an accepted musical

genre between 1959 and 1967 has been a profound artistic influence upon

current performances of percussion music. Multiple percussion— that is,

the simultaneous or sequential performance of more than one percussion

instrument (usually of contrasting timbres)— has its developmental genesis

in such works as Igor Stravinsky's L'Histoire du Soldat (1917)^ and

Darius Milhaud's Concerto for Percussion and Orchestra (1929) . Both of

these compositions reflect an increased sophistication in the demands made

upon a single percussionist to perform on several different percussion

instruments and to execute additional specifications of mallet selection.

In L'Histoire du Soldat, Stravinsky requires that the percussionist

perform bass drum, low-pitched snare drum, field drum, tambourine, small

suspended cymbal, and triangle. Mallet selection in this work varies

from double-headed timpani-snare drum sticks to a triangle striker and

bass drum mallet. Instructions in French are given to the performer on

^Igor Stravinsky, L'Histoire du Soldat (London: J. and W. Chester,

Ltd., 1924). --------------------
2
Darius Milhaud, Concerto for Percussion and Orchestra (Wien:
Universal Edition, 1931). ~
the score as the need to change mallets arises,

Milhaud selected the following instrumentation for his percussion

concerto: four timpani; bass drum with pedal which also had an optional

striker-attachment to sound a suspended cymbal simultaneously when de­

sired; a second suspended cymbal; crash cymbals; tam-tam; triangle; wood­

block; castanets; rattle or ratchet; whip; metal block; tambourine; snare

drum; tenor drum; and a "long” drum (or tambourin provençal). Double­

headed timpani-xylophone mallets were necessary for this performance

along with a triangle striker and gong mallet. The notation of the in­

struments incorporates the traditional bass clef for timpani with a

diagrammed legend of the remaining instruments.

In both Stravinsky's and Milhaud's compositions, various percus­

sion instruments were selected to produce unique combinations of timbre

which heretofore had not existed. Each composer elected to have the

multiple percussion unit function in a different manner. Stravinsky chose

to have the percussion instruments underpin the rhythmic, dramatic units

of his multi-media, seven-instrument composition. Stravinsky used per­

cussion in a programmatic way to convey the tale of a war-weary soldier

who sold his soul to the devil and then attempted in vain to outwit

Lucifer. Milhaud constructed a concerto around the percussionist's use of

exactly-pitched timpani, relatively-pitched drums, and nonconventional

idiophones (such as a metal block, whip, and ratchet). The acceptance of

the multiple percussion genre in the twentieth century is shown by

Milhaud's decision to write a multiple percussion concerto and by

Stravinsky's use of multiple percussion in the medium of chamber music.

However, these works lack a systematic approach toward notation, set-up,

and instrument placement.

Subsequent to Stravinsky's multiple percussion composition in

1917 and simultaneous to Milhaud's multiple percussion concerto were works

by Edgard Varese (Hyperprism, 1926; Intergrales. 1926; Ionisation, 1931;

Senatorial, 1933-34) which utilized the timbre of multiple percussion by

having many performers play one, two, or three different instruments.

Between 1933 and 1939, this style of ensemble composition for multiple

percussion continued with the following composers and their works :

Jose Arderol, Estudio en Forma de Preludio y Fuga, para 37

Instrumentes de Perçus ion. Friccion y Silbido, 1933, 22 per­
cussionists; John Becker, Abongo. 1933, 15 percussionists;
William Russell, Fugue for Eight Percussion Instruments,
8 percussionists, March Suite, 3 percussionists. Three Dance
Movements. 4 percussionists, all in 1933; Jose Arderol, Suite,
para 30 Instrumentes de Perçus ion. Friccion y Silbido, 15
percussionists, 1934; Henry Cowell, Ostinato Pianissimo.
8 percussionists, 1934; Johanna Beyer, IV, 9 percussionists,
1935; Harold Davidson, Auto Accident, 12 percussionists, 1935;
Gerald Strang, Percussion Music for Three Players. 1936; Ray
Green, Three Inventories of Casey Jones. 5 percussionists,
1936; John Becker, A Dance. 6 percussionists, 1938; Johanna
Beyer, Percussion Opus 14. 11 percussionists, March for 30
Percussion Instruments, 6 percussionists. Three Movements for
• Percussion, 9 percussionists. Waltz for Percussion, 9 per­
cussionists, 1939; Henry Cowell, Pulse. 5 percussionists.
Return, 3 percussionists, 1939; William Russell, Percussion
Studies in Cuban Rhythms. 4 percussionists, 1939.3

Lou Harrison also wrote several significant ensemble compositions for

multiple percussion:

Fifth Simfony, 4 percussionists, 1939; Bomba, 5 percussionists,

1939; Canticle No. 3 , 5 percussionists, 1940; Labyrinth #3 ,
11 percussionists, 1941; Song of Quegtecoatl; 4 percussionists,
1941; Fugue, 4 percussionists, 1942.^

^Larry Dean Vanlandingham, "The Percussion Ensemble: 1930-1945"

(Ph.D. dissertation, Florida State University, 1971), pp. 37-40.

^Ibid., pp. 44-45.

Contemporary with Harrison's compositions were those of John Cage:

First Construction in Metal. 6 percussionists, 1939; Imaginary

Landscape No. I. 4 percussionists, 1939; Living Room Music,
unspecified number of percussionists, 1940; Second Construction,
4 percussionists, 1940; Amores, 4 percussionists, 1942; Credo in
Us, 4 percussionists, 1942; Imaginary Landscape No. 2 , 5 percus­
sionists, 1942; Imaginary Landscape N o . 3 . 6 percussionists, 1942;
She Is Asleep, 6 percussionists, 1943.^

Cage and Harrison also collaborated on another similar ensemble compo­

sition, Double Music, for 4 multiple percussionists (1941). In addition,

Carlos Chavez' Toccata is a percussion ensemble composition written in

1942 in which 6 performers use 17 percussion instruments.

Influences from these multiple percussion compositions were

apparent in the symphonic works of Bela Bartok and Paul Hindemith.

Bartok's 1937 compositions, Music for Strings, Percussion and Celesta,

and Sonata for Two Pianos and Percussion, displayed a challenging use of

orchestrâtional procedures in regard to multiple percussion. For

instance, in Bartok's Sonata, movement II, two percussionists used com­

binations of cymbals (struck on the edge and dome with either a thin

wooden stick or soft stick), snared and unsnared drums, tam-tam, xylo­

phone, and timpani.^ Hindemith's Symphonic Metamorphoses (1943) deals

with the percussion section as if it were a "multiple percussion"

ensemble within the orchestra instrumentation.

The prevailing influences of both Stravinsky and Milhaud pervaded

avante garde compositional techniques in regard to multiple percussion

through their lectures and writings as well as their music compositions.

^Ibid., pp. 57-58.

^Bela Bartok, Sonata for Two Pianos and Percussion (London:

Boosey and Hawkes, 1942), pp. 15-17.
Darius Milhaud was the teacher of both Karlheinz Stockhausen (1951) and

Michael Colgrass (1953). Milhaud encountered these two students while he

was a professor at the Paris Conservatory of Music (Milhaud also main­

tained a residence in Oakland, California). After Stravinsky's immigra­

tion to the United States he settled in Hollywood, where his compositional

influence among prominent American composers included percussionists

William Kraft and composer Ingolf Dahl. Another influence of multiple

percussion practice was generated by Milhaud's protege, Stockhausen, who

affected the Welsh composer, Reginald Smith Brindle, through his signi­

ficant writings for multiple percussion. During the forty-two year

period of time from Stravinsky's L'Histoire du Soldat (1917) to Karlheinz

Stockhausen's Nr. 9 Zyklus (1959),^ no clearly-defined pattern of multi­

ple percussion composition was apparent. In the eight years which

followed, however, several distinct compositional procedures emerged.

Stockhausen's unaccompanied multiple percussion work. Nr. 9 Zyklus,

g
heralded this significant era. Michael Colgrass' Fantasy Variations,

concerto for solo multiple percussion and six additional percussionists

(1961), alluded indirectly to Colgrass' teacher, Milhaud and his Concerto

for Percussion. The inspiration of Stravinsky pervades the compositional

thought of William Kraft and Ingolf Dahl. Dahl's Duettino Concertante

9 .
(1966) for flute and solo multiple percussion was also partly inspired

^Karlheinz Stockhausen, Nr. 9 Zyklus (London: Universal Edition,

1961).
g
Michael Colgrass, Fantasy Variations for 8 Chromatic Drums and
Percussion Sextet (New Yorkl Music for Percussion~ 1973).
9
Ingolf Dahl, Duettino Concertante for Flute and Percussion (New
York: Alexander Broude^ 1969).
by the multiple percussion works of William Kraft, such as the Suite for

Percussion, (1963).^^ Reginald Smith Brindle's Orion M. 42 (1967)^^

brings this eight year time frame (1959-1967) to full circle in that

Smith Brindle's work is also for unaccompanied solo multiple percussion

(as was Stockhausen's Nr. 9 Zyklus). The acceptance of multiple per­

cussion as a musical genre is documented through the compositions of

these five internationally recognized composers.

Born on August 28, 1928, in Modrath, Germany, Karlheinz

Stockhausen received a diploma in music from Cologne University in 1951.

As previously mentioned, Stockhausen also studied musical composition with

Milhaud in Paris during 1951. Stockhausen wasintrigued by therelation­

ship between the performer and the listener and developed a "new language"

in three evolutionary stages of development:

(1) Notation of actions

(2) Notation of compositional processes
(3) The notation of ideas for compositional realization.

Stockhausen's initial obsession with a "time-space" notational concept

13
was a result of his study and analysis of Webern's complex serial music.

In several of his compositions (including Nr. 9 Zyklus) Stockhausen iden­

tified structural entities as "groups" (or segments of time from a few

seconds to a few minutes in duration) and larger units (or "moments").

^^William Kraft, Suite for Percussion for Percussion Quartet

(Mellville, New York: Belwin-Mills, 1963).

^^Reginald Smith Brindle, Orion M. 42 for Solo Percussion (London:

Edition Press, 1968).

12
New Grove. 6th ed., s.v. "Stockhausen, Karlheinz," by G. W.
Hopkins, p. 154.
13 .
John Vinton, ed.. Dictionary of Contemporary Music (New York:
E.P. Dutton, 1974), p. 709.
 In the concept of "moment” Stockhausen sought a resolution
of listeners' difficulties in experiencing form in serial music.
Each individually characterized passage in a work is regarded as
an experiential unit, a "moment", which can potentially engage the
listener's full attention and can do so in exactly the same measure
as its neighbours. No single "moment" claims priority, even as a
beginning or ending; hence the nature of such a work is essentially
"unending" (and, indeed, ” unbeginning").

In further explanation of this idea of "moment", Stockhausen wrote that

...every moment, be it static or procedural, is personal, central,

self-sufficient. The order of events does not follow a predetermined
course from beginning to end; a given moment is neither the result
of what preceded it, nor the harbinger of what is to come. The
emphasis is, rather, on the "now".... ^

Stockhausen gave the name Nr. 9 Zyklus as a combination of "zyklus",

German for cycle, and the number nine representing his ninth composition

since Kontra-Punkte in 1953 (Stockhausen had eleven major works preceding

Kontra-Punkte) . As part of his duties in teaching composition at

Darmstadt during the summer of 1959, Stockhausen composed Nr. 9 Zyklus.

Nr. 9 Zyklus was designed to be a

physical and musical circle: the soloist is surrounded by a large

array of instruments on all sides, and in the course of the piece he
completes a circuit round them; the score itself is printed on a
number of spiral-bound pages (16), any of which may form the beginning
of the work with the rest following in cyclical sequence.

The piece is both mobile and directional, and while the processes by which

the work (Nr. 9 Zyklus) moves are the same in every performance, the

performer may choose from two possible directions: reading from left

^^New Grove. 6th ed., s.v. "Stockhausen, Karlheinz," by G. W.

Hopkins, p. 152.

^^Oscar Thompson, ed., International Cyclopedia of Music and

Musicians, 10th ed. (New York: Dodd, Mead & Co., 1975), p. 2159.

^^New Grove. 6th ed., s.v. "Stockhausen, Karlheinz," by G . W.

Hopkins, p. 152.
 17
to right; or, turning the score over, from right to left. By rediscov­

ering the solo multiple percussion medium which such composers as Milhaud

and Stravinsky had given the twentieth century, Stockhausen left his

compositional imprint and a definitive set of performance problems for

percussionists.

Michael Colgrass represents an American composer-percussionist

whose percussion composition has been characterized as playing a "signi-

18
ficant melorhythmic role". Born in Chicago on April 22, 1932, Colgrass

graduated from the University of Illinois with a music degree in 1956.

His percussion teacher was an American pioneer in college percussion

pedagogy, Paul Price. Among Colgrass' music composition teachers were

Eugene Weigel (1950-54), Lukas Foss (1952, 1954), Darius Milhaud (1953),
19
Wallingford Riegger (1958-59), and Ben Weber (1959-62). Among his

free-lance percussion experiences were commercial recordings under

Stravinsky's baton, performances with Leonard Bernstein (West Side Story),

and drum set playing with Dizzy Gillespie's band.

Colgrass' Fantasy Variations employs six percussionists who per­

form collectively thirty-four different percussion instruments in accom­

paniment to a percussion soloist on eight chromatic drums. This concerto

has descriptive titles defining stylistic moods for each of its four

movements; (1) "with lightness and grace;" (2) "veiled and soft;"

^^Vinton, Dictionary of Contemporary Music, p. 710.

18
Theodore Baker, Baker's Biographical Dictionary of Musicians
(New York: G. Schirmer, 1971), p. 337.
19 .
Vinton, Dictionary of Contemporary Music, p. 144.
 20
(3) "delicate and swift;" (4) "explosive and animated." The total syn­

thesis of forty-two percussion instruments creates a larger multiple per­

cussion spectrum through which the soloist is projected.

William Kraft is an American composer and retired principal per­

cussionist of the Los Angeles Philharmonic Orchestra. Born in Chicago on

September 6, 1923, Kraft studied music at Columbia University (1949-52).

While in New York City Kraft's musical composition teachers included

Norman Lockwood, Henry Cowell, Jack Beeson, Otto Luening, Seth Bingham,

Vladimir Ussachevsky, and Irving Fine. Simultaneously, Kraft was a per­

cussion student of two outstanding percussionists-teachers (1948-52);

timpanist Saul Goodman of the New York Philharmonic Orchestra and per­

cussionist Morris Goldenberg of the Julliard School. Kraft's compre­

hensive music study also included conducting with Leonard Bernstein at

21
the Berkshire Music Center (1948). Kraft's diverse musical experiences

have included jazz performing and arranging, musical acquaintances

with Stravinsky and Varese, solo percussion performances with the Los

Angeles Philharmonic Orchestra, and a guest lectureship on contemporary

22
music techniques and notation at the University of Southern California.

Kraft's Suite for Percussion includes five diverse movements for

a quartet of multiple percussionists. The five movements are entitled;

I. Fanfare; II. Andante; III. Ostinatos; IV. Toccata; V. Cadenze.

20
Colgrass, Fantasy Variations for 8 Chromatic Drums and Percussion
Sextet.
21 .
Vinton, Dictionary of Contemporary Music, p. 407.
22
Baker, Baker's Biographical Dictionary of Musicians, p. 923.
 10

Movements I, 111, and IV create a choir of relative-pitched drum sounds

from bongos and tambourine to two differently pitched snare drums, field

drum, tenor drum, and bass drum. Movements II and V serve as contrasting

timbrai entities with Movement II being scored for two glockenspiels,

vibraphone, cow bell, temple bell, five tuned gongs, and tam-tam. Move­

ment V summarizes the contrasting tone colors of the drum choir (Movements

I, III, IV) and the melodic choir (Movement II) by requiring the following

percussion instruments: song bells; flexatone; bongos; snare drum; medium

bass drum; temple bell; vibraphone; large bass drum; five tuned gongs; and

large tam-tam. Kraft's musical structure in his suite parallels his

choice of instruments in that Movements I, III, and IV are conventional

part-form creations while Movements II and V are comparatively less tra­

ditional in structure. The collage of multiple percussion timbre is

amazingly splendid and made even more interesting by the specified se­

lection of special mallets as well as hand-control of sound origins.

Because William Kraft was one of the most highly-regarded per­

cussionists and composers of percussion music in southern California, it

was inevitable that he would influence the percussion writing of composer

Ingolf Dahl. In particular, Dahl sought the percussion advice of one of

Kraft's admirers, Los Angeles percussionist Karen Ervin, who demonstrated

multiple percussion techniques for Dahl by performing some compositions

23
of William Kraft (French Suite ). Born in Hamburg, Germany, on June 9,

1912, Ingolf Dahl's parents enabled him to study music at the Hochschule,

Cologne (1931-32) and at the Zurich Conservatory (1932-36). After Dahl's

23
J. N. Berdahl, "Ingolf Dahl: His Life and Works" (Ph.D.
dissertation. University of Miami, Florida, 1976), p. 170.
 11

immigration to the United States in 1938, he settled in southern

California, teaching at the University of Southern California from 1945

24
until his death in 1970. Dahl was significantly influenced in his com­

positional style by his close collaboration with Igor Stravinsky. Dahl's

music has been characterized formally as "large, imaginatively conceived

structures held together by motivic and tonal inter-relationships and

25
complex but compelling harmonic forces."

Dahl's Duettino Concertante was composed at the request of his

friend, flutist Doriot Anthony Dwyer and her Boston Symphony Orchestra

colleague, percussionist Everett Firth. Dahl completed the work in

Los Angeles on December 3, 1966.^^

The Duettino Concertante was first performed on December 10,

1966, by flutist Susan Stockhammer Cohn and percussionist Barry
Sullivan, during a concert of Dahl's music at the University of
Southern California.

The duration of the work is approximately eleven minutes. It is in

four movements, entitled 'Alla marcia. Arioso accompagnato,
"Fughetta," and "presto Finale." The percussion instruments used
are not "pitched" in the conventional sense, but are graduated in
sound from low to high and notated accordingly on the single per­
cussion staff (tenor drum, field drum without snare, low suspended
cymbal, four tuned bongos, wood block, and small triangle.) In
addition, Dahl has included symbols to specify where, how, and with
what the instruments should be struck, and to indicate a variety of
coloristic effects, such as using the fingernails or creating a
glissando with the elbow. The flute part is serially organized,
but each movement is oriented toward a different key, beginning with

24
Thompson, International Cyclopedia of Music and Musicians,
p. 206.
25
New Grove, 6th ed., s.v. "Dahl, Ingolf," by Warren Anderson,
p. 147.
26
Berdahl, "Ingolf, Dahl: His Life and Works," p. 170.
 12

C in the first movement, proceeding by minor thirds to E-flat,

F-sharp, and A, and returning to C during the last movement.
The combination of the pitch relationships in the flute and
the clear changes in percussion produces a dialogue that
occasionally becomes very complex, as in the four-part fughetta
of the third movement.2?

Dahl's Duettino Concertante elevated the use of multiple percussion to an

equal musical participant in a chamber music setting (parallel to the

compositional perception of Stravinsky's percussion part in L'Histoire

du Soldat). Through his Duettino Concertante, Dahl makes unique phrasing,

articulation, and dynamic demands on the multiple percussionist. He also

reflects sophisticated cognizance of multiple percussion set-up logistics

and consequent, precise notation.

Born in Bamber Bridge, England, on January 5, 1917, Reginald

Smith Brindle was trained in architecture, and it was only after he

served in the British Army during World War II that he studied music

seriously at the University College in North Wales, Bangor. Music compo­

sition lessons followed with the Italian composers Pizzetti and

Dallapiccola (1949-53). Smith Brindle worked for the Italian radio in

their music broadcasts (1956-61) and taught at the University of Bangor

28
(1967-70). Although he was influenced by such Italian composers as

Berio, Maderna, Mono, and Donatoni, "the constant changes in Smith

Brindle's style have not made it easy for the public to come to terms
29
with him." A preoccupation with serialism in the 1950's turned to a

^^Ibid.
28
Vinton, Dictionary of Contemporary Music, p. 688.
29
New Grove, 6th ed., s.v. "Smith Brindle, Reginald," by Gerald
Earner, p. 422,
 13

creative time when he wrote primarily for and about percussion as

evidenced by his book, Contemporary Percussion (1970). "To take an ex­

treme case of enthusiasm , in 1967, perhaps under the influence of

Stockhausen, he wrote for little else other than percussion, completing

30 . .
three major pieces" [Auriga, Orion M. 4 2 , and Crux australis).

Smith Brindle categorizes percussion instruments for his single­

movement work Orion M. 42 into four areas: 1. "metals" (2 crotales, 2

triangles, 2 cymbals, tam-tam); 2. "woods" (wood chimes, 3 woodblocks,

3 temple blocks, and orchestral castanets); 3. "membranes" (2 timbales,

31
3 tom toms); 4. "tuned" (vibraphone and 1 timpani). Twelve graphic

symbols are given by Smith Brindle for his instruments along with ten

indications for mallet selections as well as the manner in which an in­

strument is to be struck. Spatial notation combined with tempo indica­

tions through the amount of cumulative seconds (or minutes and seconds)

create exceptional problems in performance preparation for an eight

minute, fifteen second, unaccompanied composition.

In conclusion, many compositions have appeared in recent years

using multiple percussion instrumentation performed by a single per­

former. From 1959 to 1967 several significant composers from Europe and

the Americas have contributed to this wealth of multiple percussion

repertoire, which includes works for solo players as well as compositions

that demand multiple percussion performance integrated into chamber or

large ensemble works. The popularity of multiple percussion composition

3°Ibid.
31
Smith Brindle, Orion M. 42 for Solo Percussion, preface.
 14

is so recent that a consistent approach to performance preparation has

not been developed. Unique performance problems confront the soloist

performing a number of percussion instruments either sequentially or

simultaneously. Current performance practice is impeded by notational

inconsistencies, by problems associated with instrument placement, and by

the musician's lack of skill development. The problems of motion aware­

ness in the performance of percussion works by recent composers has sur­

passed the traditional pedagogy of performance preparation.

There is, therefore, a need to analyze the associated performance

problems of multiple percussion compositions in order to identify a sys­

tematic approach toward the performance preparation of these works. The

purpose of this document is to determine the problems of notation, of

instrument placement, and of movement related to the performing of five

multiple percussion compositions written between 1959 and 1967.

 CHAPTER II

PERFORMANCE PROBLEMS ASSOCIATED WITH THE NOTATION

OF MULTIPLE PERCUSSION SOLOS

Notation of multiple percussion compositions presents unique per­

formance problems for percussionists. Two primary trends have been demon­

strated by the five composers defined in this study: (1) graphic nota­

tion (nonconventional, nonstandardized, and unique to each composer)

exemplified by Stockhausen and Smith Brindle; (2) modified-conventional

notation by Colgrass, Dahl, and Kraft. Each of these two general

approaches to notation has proven successful for precise performance

interpretation; however, the mere existence of a nonstandardized notation

system exhibits one of the many performance preparation problems which

must be overcome by the contemporary multiple percussionist. In each of

these two systems the composer's proposals to treat the notation of the

instruments, the associated mallets, and special performance techniques

will be discussed.

Karlheinz Stockhausen provided an explanatory preface to his

Nr. 9 Zyklus in which guidelines for time interval interpretation, dura­

tions, intensity, and eight structure types are given for the percussion­

ist's assistance in performing this single movement, unaccompanied multi­

ple percussion solo (25 percussion instruments are required). Two addl-

15
 16

tlonal sets of symbols correspond to the thirteen types of Instruments

and to the types of sticks which are utilized in Nr. 9 Zyklus. These

instruments include: (1) marirabaphone; (2) guero (guiro); (3) 2 wood-

drums; (4) suspended bunch of bells; (5) side drum; (6) 4 tom-toms;

(7) 2 cymbols; (8) hi-hat; (9) triangle; (10) vibraphone; (11) 4 cow­

bells; (12) gong with a raised center; (13) tam-tam (appendix 1). There

are three stick specifications: (1) hard sticks; (2) soft sticks;

(3) iron beater (appendix 1). These composite symbols continuously

orient the performer to the correct instrument and stick-type trhoughout

Nr. 9 Zyklus. Stockhausen states that "durations and Intervals of entry

(time-lnterval between attacks) are drawn to scale; equal distances cor­

respond to equal amounts of time." He further remarks that "one inter­

pretation can begin with any page, and must then run through all pages

in the given order without interruption and. finish with the first stroke

of the page you started with." Specific visual directions in regard to

the dampening or nondampening of resonant percussion instruments are

defined:

• and are damped sounds, and undamped (laissez vibrer);

at the beginning of a group, applies to all the tones in the
group. laissez vibrer until the end of wavy line.

Instructions with regard to the intervals of tempo are:

and Vm * always as fast as possible.

observe the proportions of the intervals of entry.
-rn closed system: follow up with a tone or group immediately
on reaching the final barline (with resonating instruments,
the sound may be damped at the final barline, instead of
the above procedure).
= accelerando.

32
Stockhausen, Nr. 9 Zyklus. preface.
 17

= recardando: intervals of entry in these are free, and so

is the total duration.^^ *

Stockhausen enlightens the performer's perception of "intensity" or rela­

tive dynamic determination by his visually "different thickness of the

points and lines: they vary between — and

Stockhausen outlines eight structure types of graphic notation

through which the performer deduces a logical choice of performance.

Stockhausen states these eight structure types to be comprised of the

following:

I. Composed straight through as usual; all dots and/or groups

are fixed by the time-scale (Figure 1].

r.-f
F ig u re 1 ^ ^ ^ CD, ------- — —

o g g z E n n îE I I I ISifeig

2. Where several bracketed staves | I occur, one is to be

chosen for one performance. [Figure 2],

Figure 2
ni
1J ! ' 1 . i ! ' :
I1 1 M ■ ;! • M l '

33
Ibid.
34
Ibid.
 18

Croups and/or dots in triangles ^ are interchangeable

(as regards their succession), but they must begin at the in­
dicated points /f\ \[/ in the measured time-lapse (Figure 3]

Figure 3

-■V

A-= V
4. Groups and/or dots in rectangles I.. ] are interchangeable
(as regards their succession) and can be folded into the measured
time-lapse at any point within the length of the rectangle: both
successively and simultaneously (wherever possible) [Figure 4],

Figure 4

---- ,
-- —

5. Groups and/or dots in 2 rectangles drawn one above the other

are just as in single rectangles. But a group or dot
I - I ,i from one rectangle should be followed by a group or
dot from the other } (alternate). In some rectangles
and pairs of rectangles, only connections and changes
indicated by arrows may be played [Figure 5].
 19

Figure 5

0=01

050

6. Croups and/or dots in bracketed rectangles

drawn simultaneously above and below the ^ — |i
continuous measured stave: the procedure
is the same as for single rectangles, but the contents of one of
tlie rectangles are to be played. [Figure 6) .

Figure 6

i«=L

7. Groups and/or dots in rectangles which are occasionally widened

p —I :the procedure is the same as for simple rectangles,
but the reservoir of elements is increased during the
time of the widening [Figure 7).
 20

Figure 7

0.0

Docs without stave-lincs for the 4 Tom-toms: the distribution of

the points is determined statistically by their density (speed)
and thickness (intensity); the pitches are free; intervals of
entry are— taking account of d e n s i t y - r e l a t i v e l y free J Figure 8).

Figure 8

In structure types 1, 3, 4, 5, 7, 8, all elements are to be played.

In none of the structures types may an element be repeated. In the
variable structure types 3-8 the player should leave as much silence
as possible. In structure types 3-8 the dots and groups that are
variable as regards their placing in time, should be folded into the
fixed time lapse in such a way that variable and fixed attacks occur
simultaneously as often as possible, so that complex sound-mixtures
result, consisting of the sounds of 2 or more instruments. The
variable sound-elements can be played within the attack (- process).
 21

and in the course of, and during the decay or release (- process) of
the fixed sound-elements and vice versa. In particular the guero
strokes should be combined with the attack of a different instru­
ment .

Stockhausen sought to categorize and clarify every marking of unusual

notation in his Nr. 9 Zyklus. His combined efforts in music composition

and explanation are a credit to his instructional, innovative creativity.

Stockhausen's meticulous care with a universal visual language which can

translate to percussionists whose spoken language is diverse is under­

lined hy the fact that Stockhausen gives three different written Inter­

pretations of the same symbology (German, French, and English).

Stockhausen's unprecedented notational design for an unaccompanied multi­

ple percussion solo established a definitive precedent for future compo­

sers of the same musical medium.

Reginald Smith Brindle*s unaccompanied multiple percussion solo

Orion M. 42 denotes symbols for instruments (twelve different types cate­

gorized among four percussion families), mallet types (five), and special

hand or mallet techniques (five). The instrument legend (appendix 2)

corresponds, for the most part, to the instrument's shape or singularly

visual distinction. The only exceptions are the symbols for two timbales

and three tom-toms. The remaining ten instruments include: (1) two

crotales; (2) two triangles; (3) two cymbals; (4) large tam-tam; (5) wood

chines; (6) three wood blocks; (7) three temple blocks: (8) orchestral

castanets; (9) vibraphone; (10) one timpani. The five indications for

mallets or sticks include: (l) soft beaters; (2) hard beaters; (3) wood

sticks; (4) metal beater; (5) heavy tam-tam beater (appendix 2). The

^^Ibld.
 22

special visual instructions for hand or mallet techniques are: (1)

"stroke wood chimes;" (2) "clasp wood chimes with both hands;" (3) "play

with fingers, knuckles, palms, etc.;" (4) "strike instrument at rim;"

(5) "at centre"^^ [appendix 2]. As Stockhausen demonstrated in Nr. 9

Zyklus, Smith Brindle also uses his symbols throughout his thirteen page

composition with only occasional literal reminders or additional instruc­

tions (Figure 9). Unlike Stockhausen, however. Smith Brindle also em-

Figure 9

ploys a mixture of common Italian and English musical terms for direc­

tions related to the prepared condition of the instrument (Figure 10),

KiTMICO r.iu

Figure 10 W f 0 0 dlz:

the use of a fingernail (Figure 11), the indication of whether to use the

Figure 11 1 U 4 „ H

36
Smith Brindle, Orion M. 42 for Solo Percussion, preface.
 23

right or left hand (Figure 12), the changes of speed of the music

J'o*'
Figure 12

(Figure 13), the indication of stylistic treatment (Figure 14), or a com-

Figure 13

LtHTO
■

Figure 14 Figure 15
E"*

- 0 =r •/

bination of musical speed and style (Figure 15). This integration of

spoken and visual communication reflects Smith Brindle's motley career

geographically (in Wales and Italy) as well as musically (as an innova­

tive, outspoken composer and author of two books on twentieth-century

music). Smith Brindle's self-declared musical independence combined with

traceable notational influences from Stockhausen have created his own

unique style which demonstrates "strong individuality," "rhythmic themes,"

37
and a "fundamentally emotional inspiration."

37
New Grove, 6th ed., s.v. "Smith Brindle, Reginald," by Gerald
Lamer.
 24

The use of a modified conventional music notation for multiple per­

cussion compositions can be shown by Michael Colgrass' Fantasy Variations,

William Kraft's Suite for Percussion, and Ingolf Dahl's Duettino Concer­

tante . Although each of these three composers elected to structure their

own unique form to their works, their notational applications are gener­

ally consistent with established notational systems. Michael Colgrass

refers the exact pitches of the eight "chromatic drums" to an alto clef.

In Colgrass' preface, he also describes how to construct the eight drums

if they are not readily available (appendix 3). Additionally, Colgrass

specifies four kinds of "beaters" which he wants the soloist to use:

"(1) regular snare drum sticks (thin); (2) brushes (open to half fan);
38
(3) wool covered wood; (4) disc sticks" [appendix 3]. Colgrass makes a

final note in his preface to Fantasy Variations concerning his notation

for rhythmic modulations and the performance preparation thereof (appendix

5). Conventional notation for the remaining six members of the accom­

panying percussion ensemble is used. These six performers have thirty-

four collective instruments divided among themselves (appendix 4).

William Kraft provides no prefatory remarks to his conventionally-

notated Suite for Percussion. The four performers have twenty-three per­

cussion instruments divided among them. Nine footnoted remarks by Kraft

make reference to unusual or special performance techniques. These

include; (1) harmonics on the bells (appendix 8); (2) independent tempo

shifts (appendix 8); (3) description of a French bell (appendix 9);

(4) fingernail tremelo (a, endix 10); (5) performance instructions for

38
Colgrass, Fantasy Variations for 8 Chromatic Drums and Percussion
Sextet, preface.
 25

bass drum (appendix 11); (6) open, ringing sound (appendix 13);

(7) sharp, short, dry sound (appendix 13); (8) the holding of a rattan

mallet for bongos (appendix 13); (9) alternate mallets for bongos (appen-
39
dix 15). ^

Ingolf Dahl's Duettino Concertante is also conventionally notated

with double staff notation for flute and multiple percussion. The multi­

ple percussion notation makes use of the traditional five-line staff and

assigns a single instrument to a particular line or space (with the addi­

tion of three ledger lines above the staff); therefore, all twelve percus­

sion instruments have a particular position as devised by Dahl (appendix

17). Dahl does make a requirement that the drums be graduated in pitch

from low to high and corresponds the legend for the drums in respect to

their relative pitch (e.g. the lower the drum, the lower it occurs visu-
AO
ally on the staff). Twenty-four special markings for mallet, hand

selection, striking area, and special effects are also made by Dahl in

his prefatory remarks (appendix 17). Other than these special considera­

tions, Dahl maintains conventional notation for the multiple percussion­

ist.

The lack of a standardized system of notation for multiple

percussion has presented problems of creative expression by composers as

well as performance preparation problems for the percussionist. Because

of the unique manner in which almost every composer has elected to notate

a multiple percussion work, a time frame of language assimilation must be

39
Kraft, Suite for Percussion for Percussion Quartet.
AO
Dahl, Duettino Concertante for Flute and Percussion, preface.
 26

allowed in the learning process of notation for each composition. This

language assimilation is iargely nontransferable from one multiple per­

cussion composition to another and therefore demands careful interpre­

tation of each composer's special markings. Problems associated with

graphic notation are compounded because of their nonconventional features.

The use of the conventional staff to signify multiple instruments instead

of a single instrument with multiple pitches is also a distinctive issue

encountered by the multiple percussionist. Finally, alternative markings

within either graphic or conventional notation systems, whether they are

arrows or shaped notes, present supplemental obstructions to performance

preparation. Though hardly insurmountable, notational problems in multi­

ple percussion compositions are among the first which are encountered

in performance preparation. Once these musical language problems are

solved through score study, familiarity with symbols, and initial associ­

ation with the disparate instruments involved, the remaining performance

preparation problems of instrument layout and motion awareness can be

resolved.
 CHAPTER III

INTERPRETATION OF MULTIPLE PERCUSSION

INSTRUMENT PLACEMENT

The placement of multiple percussion instruments is interrelated

with the presence (or absence) of a suggested layout of instruments by

the composers of such compositions. The associated printed staff or

graphic notation also plays a role in instrument placement. The perfor­

mance problem of instrument placement in multiple percussion compositions

is largely the result of these inconsistencies among composers of such

work's. For those composers who do construct an instrument layout, even

more incongruous designs exist: this is the result of whether or not

the composer worked through his creative process at the actual instru­

ments. Those composers who did their work at the physical placement of

the instruments usually include a carefully constructed design of their

instrument placement or "layout". This printed arrangement eliminates

most of the experimental preparatory stage by the multiple percussionist.

Modifications may be necessary but certainly not as many as those

necessary without a design. On the other hand, those composers who

elect not to specify an instrument layout must rely on the performer's

ingenuity, creative background, and good judgement.

Karlheinz Stockhausen diagrams a distinct "placing" of instru-

27
 28

mentis for his Nr. 9 Zyklus in the preface to the work (Figure 16 and

Figure 16 O c

' □ ° ? = r A
( V j r -

appendix 1). The instruments which first catch the eye are the marimba-

phone (or marimba) and the vibraphone. Their inverted "v-shape" creates

the center open space for the performer. It is important that the small

end of the marimba (or high-pitched notes) butt into the large end of

the vibraphone (or low-pitched notes). The exact degree of the

"v-shape" must be determined after the remaining instruments are placed.

It is ideal for the performer to be no more than one step away from any

single percussion instrument; therefore, the placement of the log drums

and guiro must be elevated above and slightly over the sharp/flat keys

of the marimba. The guiro can be mounted on a cymbal pole as illustrated

in Jim Lambert's article, "A Student's Preparation of Z y k l u s This

is also true of the tam-tam, gong, and four cowbells in respect to the

vibraphone. Alternate (or additional) notation is made for the use of a

second triangle over the marimba and a second guiro over the vibraphone

in addition to the primary (or nonparenthetical) suggested placement.

The open end of the "v-shape" includes an arrangement of a high-hat, four

tom-toms, (from high-to-low, left-to-right), and a "side" or snare drum.

^^Jim Lambert, "A Student's Preparation of Zyklus," Percussionist

11 (Fall 1973): 16.
 29

These instruments are banked by a second row of a triangle (suspended on

a music stand or a special triangle stand), a secondary guiro, a small

suspended cymbal, a large suspended cymbal, and a secondary triangle.

Suspended bells are the final instrument to be placed at the foot of the

marimba. The music for Nr. 9 Zyklus must be cut out from the printed

score and glued or pasted on large panels of cardboard. These panels are

placed on conventional music stands but obviously need to be elevated

above the bank of instruments. This process eliminates page turning

and allows the percussionist to focus on the appropriate sound production

with his hands.

Stockhausen's incredible organization of Nr. 9 Zyklus from a

printed, spiral-bound composition which can be performed either left-to-

right, or upside down left-to-right, to his circular (modified tri­

angular) arrangement of instruments is almost mystical: the result of the

performer's motion (in respect to the instrument arrangement) is either

clockwise or counter-clockwise. The exact placement of the multiple

percussion instruments is of supreme importance.

Less interrelated to the composition, but nevertheless important,

are the instrument layouts for Smith Brindle's Orion M. 42 (Figure 17 and

Figure 17
 H)

appendix 2), Colgrass' Fantasy Variations (Figure 18 and appendix 4), and

1) m) . o)
Figure 18

oo

Soloist [ I

Conductor

Dahl's Duettino Concertante (Figure 19 and appendix 17). Smith Brindle's

The drums must be graduated from low to high

Figure 19
r-vm. o " '"'"k
( ym. ^ Q ^ O Ufmgnw
O O UmiKiiH
O .Q Ô
O I'M). h.l)
T.t).

instrument layout is based on his "timbrai" division of Orion M. 42 into

four generic percussion areas: (1) metals; (2) woods; (3) membranes;

(4) tuned (appendix 2). The only exception to this timbrai unity is

Smith Brindle's placement of the single timpani (which he classifies as

"tuned"; with the "membranes" instead of adjacent to the vibraphone (his

other "tuned" instrument). The instruments are arranged in a semi­

circular shape from left-to-right as follows: timpani; three tom-toms

banked by two timbales; tam-tam; vibraphone banked by large and small

suspended cymbals, high and low crotales, and large and small triangles;

orchestral castanets; three temple blocks banked by three wood blocks and
 31

a cluster of wood wind chimes. It is most important to modify Smith

Brindle's placement of the timpani so that it flanks the three tom-toms

rather than being positioned almost behind the tom-toms as he illustrates.

As in Nr. 9 Zyklus, the performer must be no more than one step away from

any given instrument. The music for Orion M. 42 ought to be mounted

on large cardboard panels (similar to Nr. 9 Zyklus) and elevated above

the banks of membrane and wood instruments (on the left and right of the

performer). A large hanging rack is a solution to the mounting of

the tam-tam, cymbals, crotales, and triangles. This means that the

tam-tam becomes more positioned over the end of the vibraphone than

indicated. This more compact instrument arrangement (than seems to be

illustrated) lessens the distance that the performer needs to move among

the instruments.

Colgrass' Fantasy Variations positions the soloist within a semi­

circular arrangement of the six accompanying percussionists (Figure 18

and appendix 4). The soloist has a suggested instrument arrangement

which includes two rows of four drums each. What is not clear from the

soloist's point-of-view is whether the arrangement of the drums is chro­

matic in nature (Figure 20) or consecutive (Figure 21). The remaining

Figure 20

Figure 21
 '32

mod if Leation arises from the arrangement of the drum staggering based on

the pitches Colgrass gives (e^, e, a, , d^, e^ , and f^). These

pitches reflect a possibility of the drum arrangement beginning with the

"banked" row farthest to the left (Figure 22). In fact this arrangement

^b b b^
g e e
Figure 22

accommodates the drum arrangement with the printed alto clef notation

(especially for percussionists who would associate these pitches with a

keyboard percussion instrument). However, Colgrass* special selection of

these pitches within the context of a "chromatic" arrangement suggests a

transferability of a keyboard arrangement of the drums to alto clef no­

tation with the exclusion of obvious pitches. Figure 23 shows the eight

pitches which are used in the solo part for Colgrass' work:

Figure 2 3

e a
The transferability is nearly negated, though, because of the absence of

seven pitches in this conventionally accepted keyboard arrangement. There

is no necessity for a special preparation of the printed music as was the

case in Nr. V Zyklus and Orion M. 42. The accompanying six percussionists

are positioned in a collective semi-circular shape (toward the audience)

with individual setups also in a semi-circular arrangement (toward the

performer. Figure I*). Conventional notation with orchestral percussion

 33

instruments (appendix 4) constitutes the requirements for Colgrass'

ensemble.

Dahl's Duettino Concertante contains a suggested placement for

the percussion instruments (Figure 19 and appendix 17), but curiously

does not make any suggestion concerning the relative placement of the

flautist. Dahl's arrangement of percussion instruments (from left to

right) is reflective of his corresponding staff instrument legend (from

bottom to top). The notated, lowest instrument is the tenor drum, which

is positioned physically at the extreme left. Adjacent to the tenor

drum's right (as the performer faces the setup) are the field drum and

two snare drums. Banked above the snare drums are four bongo drums

(arranged in two sets of pairs) and a wood block. The cymbals (which

have a special "x" marking in the staff) are to be banked (without indi­

cation of specific size) above the tenor and field drums. The triangle

is to be placed adjacent to the cymbals. Dahl specifies that the drums

must be graduated (in pitch) from low to high. Modifications in the

placement are required by certain of Dahl's passages which move from

low to high (or vice versa) in succession on the drums (Figures 24 and

25).

Figure 24
 34

iX
Fifture 25 ■/

For purposes of eye contact and ensemble precision the flute performer

ou^ht to be positioned facing the Dahl percussion setup, near the bongos.

This permits maximum ensemble precision. No special c<msiderations of

the music (other than an extra performance score for the percussionist)

are needed.

Kraft's Suite for Percussion makes no suggested instrument Lay­

out for any of the four multiple percussionists. Kraft obviously assumes

in this multiple percussion ensemble either that skilled individuals with

at least an intermediate knowledge of instrument placement will be guided

by a conductor's setup expertise or that four advanced performers will

elect to design their own setup. In either instance the notated place­

ment of the instruments on the score (from bottom to top) implies a setup

from largest to smallest drums (left to right). Figure 26 illustrates

Figure 26

< ,

'V'

(More of CK if tjo conJ-uchte)

 •5‘3

this point (also appendix 7). This license from the composer of setup

design enables this multiple percussion ensemble to be flexible with the

performance situation.

Each of these five works present the possibility of setup improve­

ment; however, Nr. 9 Zyklus is the least flexible to change. This is due

to the unique relationship between the composition and the actual perfor­

mance. As previously mentioned, the Kraft Suite for Percussion offers

the most adaptability to instrument placement because of the lack of a

suggested setup. The primary considerations in this collective multiple

percussion work are the presence or absence of a conductor and the indi­

vidual performance background of each player. Both the Dahl

Duettino Concertante and the Smith Brindle Orion M. 42 demand relatively

compact placement of the instruments. The reasons for this are the rapid

passages found in each work. The solo player's instrument arrangement

in Colgrass' Fantasy Variations can be adjusted in its staggering, de­

pending on the performer's ability to interpret the notation quickly.

Percussionist Michael Udow states an important suggestion in re­

gard to instrument placement and its related notation.

As a percussionist, I find it very helpful when beginning

to work on a new multiple percussion piece to close my eyes
and imagine the physical percussion setup. Then I imagine
the notation system. I practice transferring the visual image
of the notation system with the visual image of the percussion
setup. By doing this, I learn the notation system in relation to
the instrumentarium prior to my initial practice session with the
instruments.

42
Michael W. Udow, "Visual Correspondence Between Notation Systems
and Instrument Configurations," Percussive Notes Research Edition 18
(winter 1981): 28.
 36

An important factor in any multiple percussion instrument setup is the

performer's familiarity with the placement of the instruments. This

facilitates the flow of the composition and enables the diverse percussion

instruments to become one unit or one (collective) percussion instrument.

The performance problems associated with the percussionist's awareness of

the instrument placement will be discussed in the next chapter.

 CHAPTER IV

PROBLEMS OF MOVEMENT ASSOCIATED

WITH MULTIPLE PERCUSSION WORKS

There is little documented research concerning the relationship

of the multiple percussionist's physical body movement and the actual

composition of the multiple percussion work. Of the five works cited in

this study, only Stockhausen's Nr. 9 Zyklus gives an organizational

choreography to its performance. The remaining four compositions offer

resultant body motion to the performance but rarely is the percussionist

aware of this fact until a video recording of the performance is

observed. In addition, as previously stated, the multiple percussionist's

awareness of the multiple percussion instrument is the important factor

to subsequent fluid body language as well as technical fluency in per­

formance .

Problems of movement associated with multiple percussion works

are divided into two categories; (I) those problems associated with the

pragmatic aspects of technical fluency (made difficult as a result of

the physical distance of the instrument layout); (2) those problems which

concern themselves with aesthetic congruence (e.g. body language associ­

ated with dynamics, articulations, or structural ideas). The pragmatic

areas of technical fluency include executional or spatial problems, mallet

37
 38

pri'parat ioii;i 1 problems, anti unusual eff('cts associated with the multiple

percussion work. Dahl's Duettino Concertante contains each of these as­

pects. In Movement II, measures 54-57, the multiple percussionist per­

forms from the extreme left end of the setup to the right end. This pas­

sage must be rehearsed slowly (Figure 27) so that continuity of musical

Figure 27

rapidd,ma ctm prtcinoM

57
Ailaitio,cometprimaU.M , •-luol
rFp
---— »-----

thought begins to emerge in this excerpt. In Movement IV of Dahl's work,

the percussionist is required to use several different kinds of mallets

(one at a time). At one point in this movement (Measures 118-134,

Figure 28), the percussionist has just completed the use of yarn mallets
118.

Figure 28

»^.I I. .
/

(conxidi llofiCunu)
 14

and has I'nnr <|iiick b^ats to t rado mal lets with bnishfs wliicii aro invcrtod

to list- art rtiibst itnto trianglo strikors. At iiioasuro 111 (!'iguro 24) thi*
133^
Figure 24

^ (c o m d da tdribjno)

III

brushes are to be returned to their normal brush end. These two changes

must be ca Ieu IativeI y timed, paced, and executed in a snu>oth, graceful

fashion; but, tlii'ir mere presence compounds the normal performance* read i-

ness by adding these particular requirements. The final movement of

Dahl's work ;ilso demonstrates tin; special or unusual effect brought about

by snapping the snares suddenly and noisily on to t he bottom head

(Measure 172, Figure 10) The performer must be aware of the location of

Figuri* 30

the snare strainer on the drum and be consistent with placing the snare

drum in the same location. These added motions have no common practice

or documented pedagogy to support a systemized approach; furthermore,

almost all of these morions are to date nontransferable to other multiple

percussion composi t i o n s .

Limited research in regard to motion awareness for other per­

cussion instruments has been made— primarily for the marimba. Combs'

study articulates an Important hypothesis which is transferable to multi-

 40

pie percussion instruments. Combs' states:

The performer on a mallet-played instrument is the only

musician who cannot rely on his tactual sense, since he makes
no direct contact with the instrument itself. He depends more
heavily than other musicians on the "sixth sense", usually called
the kinesthetic sense by modern physiologists. This is the sense on
which one depends heavily when finding his way through a familiar
room in total darkness, when performing often-repeated tasks such as
typing without having to watch every step of the operation, and when
manipulating complicated key punch systems. *

This concern with a kinesthetic sense or instrument awareness is obvious­

ly transferable to a multiple percussion instrument and the subsequent

spatial familiarity of its individual instrument components.

Another study concerning this topic was undertaken by Raush.

Raush discusses three performance problems associated with spatial orien­

tation on the marimba: "...its inordinate length, the variance in the

width of the bars, and the absence of the marimbist's tactile awareness
44
of his instrument." These three factors are parallel to those problems

encountered by the multiple percussionist. The multiple percussion in­

strument is not a standard length; on the contrary, its physical struc­

ture is unique to each composition. The individual instrument components

of the multiple percussion instrument are of inconsistent diameter or

width— thus creating the need to consistently use the same instruments

when rehearsing or performing in a given multiple percussion work in

order to structure a setuo familiarity. Otherwise, the multiple percus­

sionist might be faced with a modification of Combs' analogy of a person

43
Joseph Carl Combs, "The Problems of Sight-Reading on Mallet-
Played Instruments and Their Relationship to Kinesthetic Sensation"
(D.M.E. dissertation. The University of Oklahoma, 1967), p. 2.
44
John Richard Raush, "Four-Mallet Technique and Its Use in Selec­
ted Examples of Training and Performance Literature for Solo Marimba"
(D.M.A. treatise. The University of Texas at Austin, 1977), p. 122.
 41

walking into a darkened room but being surprised and stumbling because

someone else rearranged the furniture. The third problem of the absence

of a tactile awareness on the marimba also applies to multiple percussion.

This tactile sense must be replaced by a muscle sense in which the multi­

ple percussionist senses or feels relative distances with apparent ease.

The total awareness of familiarity of the multiple percussion

instrument is the accumulative result of the previously discussed nota­

tion preparation problem and the visual memorization of the setup or lay­

out. There is no substitute for familiarity of the setup: this is

accomplished through the consistent repetition of instrument placement

combined with an anticipation of body movement based on the notational

association of the multiple percussion work. This means that ideally the

multiple percussion setup should not be moved or rearranged from one

rehearsal session to another. If there is dn absolute need to put the

instruments in storage between rehearsals, their consequent rearrangement

must be calculatively as similar as possible. Through the repetition or

memorization of the instrument setup the subsequent visual recognition of

the notation of a multiple percussion work, and the associated physical

placement of the instruments, the bodily anticipation of musical form and

structure becomes almost instantaneous.

An aethestically important and peculiar relationship exists in

multiple percussion works between the aural composition and the visual

composition. The very nature of a multiple percussion instrument necessi­

tates the anticipation of body motions. The articulation, structure, and

listener expectation of a multiple percussion work are based to some de-

 42

gree on body motion. In Kraft’s Suite for percussion the articulation of

the opening rolls in the first movement necessitates a similar visual or

choreographic motion from each of the four performers (Figure 31). in

• W * c « .7 t| but fTM lr
Madarac* A ad«M « ( a #
*03
Figure 31 t

tt

III

IV

Dahl's Duettino Concertante, the structural form of the third movement is

made visually apparent by one entry being sounded in the.percussionist’s

left hand, another in his right, and the third and fourth by an aural

means of a tessitura differential in the flute part (Figure 32). This

m . Tnghettâ

Figure 32

© O

Ï
 43

visual separation of voices in the multiple percussion part dramatically

distinguishes the imitative or canonic musical form. Smith Brindle's

Orion M. 42 acknowledges the idea of listener expectation by notating

associated mallet changes. In one instance, a vibraphone theme is stated,

followed by a tam-tam passage. The visual exchange of mallets (from

vibraphone to tam-tam) accomplished in such a slow manner as to antici­

pate the subdued volume of the tam-tam prepares the listener for the

"timbre" of tam-tam sound. The consideration of visual flow is dis­

counted when a multiple percussion work is heard solely through an audio

reproduction. Solving choreographic problems is part of the final per­

formance preparation of a multiple percussion composition, but inclusion

of calculated visual mannerisms and graceful, fluid motions cannot be

over-estimated as a primary contributor to listener comprehension of a

live performance.
 CHAPTER V

SUMMARY

In the previous four chapters, five significantly diverse multiple

percussion works composed between 1959 and 1967 have been identified.

They were selected to reflect a diversity of compositional format:

(1) unaccompanied solo; (2) concerto; (3) chamber duet; and (4) composite

ensemble combination. Their related performance preparation problems

of notation, setup, and movement have been discussed, and their non­

related individuality has been made apparent. The diversity of sounds in

these works is compounded by each composer's choice of instruments, of

notation, of instrument placement, and of the conscious or subconscious

visual impact on the audience.

Like any other musician, the multiple percussionist must develop

a systematic approach toward solving the problems in performance prepa­

ration of his medium. While the multiple percussionist is faced with the

compositional variables mentioned above, the developmental processes of

notational familiarity (consequent musical structure and style), calcu­

lated instrument placement, and associated instrument awareness remain

constant from one work to another. The most important cross-relationship

in the multiple percussion repertoire is that these developmental

processes and the mastery of their technical problems must begin anew

44
 45

with every multiple percussion work performed. The twentieth-century

performer of the pianoforte assumes that his instrument has eighty-eight

keys and that those keys will be arranged in the same way and produce

the exact same pitch, regardless of the composer's work for that medium.

However, the multiple percussionist transfers only a learning process

from one multiple percussion work to another.

It must also be noted that a composer's stylistic identity be­

comes much more distinct when he uses the multiple percussion medium.

The fame of Karlheinz Stockhausen, Michael Colgrass, William Kraft,

Reginald Smith Brindle, and Ingolf Dahl is based to a large extent on

their compositions that use multiple percussion. Future composers who

use multiple percussion should examine the strengths and weaknesses of

instrument combinations, instrument legends, and notational alternatives

used by those composers.

It is of utmost importance that the multiple percussion performer

systemize an organized approach toward learning a multiple percussion

work. This includes the comprehension of the work's notational system,

the associated instrument placement, and an awareness of body motion

associated with the work. These factors combine to make multiple per­

cussion compositions a continuing musical challenge within the identifi­

cation of a systemized, developmental learning process.

 BIBLIOGRAPHY

Musical Compositions

Colgrass, Michael. Fantasy Variations for 8 Chromatic Drums and

Percussion Sextet. New York: Music for Percussion, 1973.

Dahl, Ingolf. Duettino Concertante for Flute and Percussion. New York:
Alexander Broude, 1968.

Kraft, William. Suite for Percussion for Percussion Quartet. Melville,

New York: Belwin-Mills, 1963.

Milhaud, Darius. Concerto for Percussion and Orchestra. Wien:

Universal Edition, 1931.

Smith Brindle, Reginald. Orion M. 42 for Solo Percussion. London:

Edition Peters, 1968.

Stockhausen, Karlheinz. Nr. 9 Zyklus. London: Universal Edition,

1961.

Stravinsky, Igor. L'Histoire du Soldat. London: J. and W. Chester,

Ltd., 1924.

Books

Apel, Willi. Harvard Dictionary of Music. Cambridge, Massachusetts:

Harvard University Press, 1958.

Austin, William W. Music in the 20th Century. New York: W. W. Norton,

1966.

Baker, Theordore. Baker's Biographical Dictionary of Musicians.

Completely revised by Nicolas Sionimsky. New York: GT Schirmer,
1971.

Bavin, Charles. The Percussion Band from A to Z . London: Evans

Brothers, 1960.

Blades, James. Percussion Instruments and Their History. London:

Faber and Faber, 1975.

46
 47

Busoni, Ferruccio. Sketch of a New Esthetic of Music. Translated by

T. Baker. New York:G . Schirmer, 1911.

Lang, Morris, and Spivack, Larry. Dictionary of Percussion Terms. New

York: Lang Percussion Company, 1977.

Marcuse, Sibyl. Musical Instruments. A Comprehensive Dictionary. New

York: W.~w"! Norton and Co. , 1975.

Peinkofer, Karl, and Tannigel, Fritz. Handbook of Percussion Instruments.

Translated by Kurt and Else Stone. Mainz: B. Schott's Sohne,
1976.

Peters, Gordon B. The Drummer: Man. Wilmette, Illinois: Kemper-Peters

Publications, 1975.

Scholes, Percy A. The Concise Oxford Dictionary of Music. 2nd ed.

Edited by John Owen Ward. London: Oxford University Press, 1977.

Smith Brindle, Reginald. Contemporary Percussion. London: Oxford

University Press, 1970.

Smith Brindle, Reginald. The New Music: The Avante Garde Since 1945.
London: Oxford University Press, 1975.

Thompson, Oscar, ed. International Cyclopedia of Music and Musicians.

lOth ed. New York: Dodd, Mead & Co., 1975.

Vinton, John, ed. Dictionary of Contemporary Music. New York: E. P.

Dutton, 1974.

Articles in Journals/Dictionary

Baker, Don R. "Multiple Percussion Techniques." Instrumentalist 31

(April 1977): 75-59; (May 1977): 74-43.

Baldwin, John. "Multipercussion in Chamber and Solo Music." Percussion-

ist 5 (Spring 1968): 286-289.

Baldwin, John. "Multipercussion: Techniques and Materials." School

Musician 41 (May 1970): 10.

Brown, A. "A Survey of the Notational Procedures Found in Contemporary

Percussion Music." Brass and Percussion 2, no. 5 (1974): 14-15.

Colgrass, Michael. "Fear and the Creative Process." ACA Bulletin 8,

no. 5 (1959): 21-22.

Colgrass, Michael, "Michael Colgrass (interview)." Music Journal 35

(September 1977): 4-6.
 48

Colgrass, Michael. "Something Better than Quack Goes the Duck." Music
Magazine 2, no. 6 (1979); 38.

Colgrass, Michael. "Walking in the Wrong Direction." Music Magazine 2,

no. 4 (1979): 38.

Dahl, Ingolf. "The Composer in Academia; Reflections on a Theme of

Stravinsky." College Musician 10 (1970): 72-74.

DeFelice, L.A. "Problems in Percussion Notation." Percussionist 6

(Summer 1969): 108-112.

DePonte, Niel. "No. 9 'Zyklus' How and Why?" Percussionist 12

(Summer 1975); 136-149.

Erickson, E. "A New Clef Sign for Percussion Instruments." Brass and
Percussion 2, no. 1 (1974): 14.

Eyler, David P. "The Top Ten Ensemble Works." Instrumentalist 34 (May

1980): 20.

Francheski, D.L. "Notational Problems." Percussive Notes 13 (Fall

1974): 12.

George Ron. "Research into New Areas of Multiple Percussion Perfor­

mance and Composition." Percussionist 12 (Spring 1975): 110-131

Jamison, Roger. "Percussion Notation," Woodwind World, Brass, and

Percussion 17, no. 5 (1978); 36.

Lambert, Jim. "A Student's Preparation of Zyklus." Percussionist 11

(Fall 1973); 15-18.

Earner, C. "The Music of Reginald Smith Brindle." Music Teacher 112

(June 1971); 543-545.

Larrick, C.H. "'Duettino Concertante' by Ingolf Dahl— Analysis."

Percussionist 13 (Fall 1975); 17-28.

Leach, Joel. "The Use of Symbols in Multiple Percussion." Brass and

Percussion 1, no. 2 (1973); 7-9.

McCarty, F . "Notational Standards for Percussion— A Report on the Ghent

Conference." Instrumentalist 29 (June 1975); 53-55.

McCarty, F. "Symbols for Percussion Notation." Percussionist 18 (Fall

1980); 8-19.

McCormick, R.M. "Duettino Concertante by Ingolf Dahl— Analysis."

Percussionist 8 (Fall 1975); 14-16.
 49

McKenzie, Jack. "Some Performance Problems of Contemporary Percussion

Composition." Percussionist 2 (Summer 1965): 1-6.

McKinney, J. R. "Play a Multiple Percussion Solo." Instrumentalist 31

(January 1977): 54-57.

Nelhybel, Vaclav. "Percussion Notation." Instrumentalist 29 (June 1975):

56.

Neuhaus, Max. "Zyklus." Percussionist 3 (Fall 1965): 6-12.

New Grove, 6th e d . S.v. "Dahl, Ingolf," by Warren Anderson.

New Grove, 6 th e d . S.v. "Stockhausen, Karlheinz," by G. W. Hopkins.

New Grove, 6th ed. S.v. "Smith Brindle, Reginald,'' by Gerald Larner

O'Connor, G. A. "Prevailing Trends in Contemporary Percussion Notation."

Percussionist 3 (Summer 1966); 61-74.

O'Neill, J. C. "Recent Trends in Percussion Notation." Percussionist

18 (Fall 1980): 20-55.

Otte, Allen. "Preferences in Percussion— 1973." Percussionist 11

(Spring 1974); 89-97.

Pimentel, Linda. "The Solo Percussionist's Performance Limitations."

Percussionist 11 (Summer 1974): 128-129.

Ptaszynska, M. "Tonal Control of Indefinite Pitch Percussion Instruments."

Percussionist 18 (Fall 1980); 4-7.

Udow, Michael W. "Visual Correspondence between Notation Systems and

Instrument Configurations." Percussive Notes Research Edition 18
(winter 1981); 28.

Unpublished Dissertations

Berdahl, J. N. "Ingolf Dahl: His Life and Works." Ph.D. dissertation.

University of Miami (Florida), 1976.

Combs, Joseph C. "The Problems of Sight Reading on Mallet-Played

Instruments and Their Relationship to Kinesthetic Sensation."
D.M.E. dissertation. The University of Oklahoma, 1967.

Rausch, John Richard. "Four-mallet Technique and Its Use in Selected

Examples of Training and Performance Literature for Solo
Marimba." D.M.A. treatise, The University of Texas, 1977.
 50

VanlandIngham, Larry Dean. "The Percussion Ensemble: 1930-1945.

Ph.D. dissertation, Florida State University, 1971.
 Appendix 1

Preface to Nr. 9 Zyklus

By Karlheinz Stockhausen

51
 Appendix 1

ZYKLUS f o r o n e p e rc u ss io n is t

â O o ,

*m.l*ma«ni (#*»k#W
# k , L ...
□ < «tfk « * l alkr#»#).
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in Ikii Mal# (T em i#m# ikaaW
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X *M c#Alr# m * # f # * #ik,## *p#cilk M IM K #I #4 ( t ( T ) . W * « k k # la c ë n iM . * ,m l « k
M**M«• fOM).
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Tka tfickc «Ml far «KiaaMi a* m an m l# «né «< l« iM wK t a «a «WfMr «licraiMiatH

000 ••m ##MM kwACkw k#Mii4

I M 'M # * # W # # n w #
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# wm « I tk . é M lk iA f (M(k*
Ac k •«4<c#M .
V ita a i l i M n l i «kaaW t a « « n M <« ma## a m lla r M lk«m l<
f iM a M I (« ra l« M , « r k r a k a a ; a r M a # a l a a l c k ra m a ta # * # a l
im Ik# M M f a a m lf a r a l l k a a M . a r «Mk ka ik iM k a la va rta M a

AJI »I*A# la la l- fa rm ra a ra a a w " a a # a r a k a "

la #M m a fim ta
H.a*
I

•Trt#«fkt (fc#*fl*>
o
V ary ih # U r i k litg .^ A i coM *w#»|f.

I« vM
t#nrk»#k••k*Kk.
. •( IM I M f « r#HM
L lm » » w #1 ( # M I *#r»
ktfk.^atikMm#A#l#& T arn la m . # k # m pM ik*#
A il t*aiM i« kma f a rm r a y ia w w " ir a m a la " ( — “

t m Mwck * k#A # * # a iM rv *
m«M#r#Mrv<k m#,k# wMIk#kMtMf • irv c k «H k • k a r l « t k . é
A o lk in f *0#c»lk w la lI c a W
MKkk Ti#m#ll v ilk iklk
V ary Ik# w fikiag p#a#i CMkMwallf

Universal Edition (London) L t d ,, London, I960

Used by Permission of European American
Music Distributors Corporation, So le U.S.
Agent for On ivc'rs.-i I Edition
 Appendix 2

Instruments, Indications,
and Layout to •
Orion M. 42
By Reginald Smith Brindle

1(
 Appendix 2

in s t r u m e n t s

• M f c t a U _Wro4i TwwJ
0-A. ^crotaUff ®TT wooi ckmM ® n 2 hmWJtr Vith^L.
2
*/•“ 3V
m— .M )
© t a 5wo«LWock*
^ ®nJ ) tpm X#w%f
" " fL L r. i \
Q
/
1T
11 Tt»U,i. ^ -
‘“ ,'--uw.u.5 w . # V ^
CUrj*
_ orcWth-ol
CA^tinclfr
■wT

LHDICATIOKS^ LAYOUT
58 «*(t wbit
ffjl W«r^ o
Kti «r#*i tVULf C(H«r& tmm* #rh«%WU^

f IcaIw
)k#Lt *w»Ji cLtMf s
cU*^ w»4 cLiMMf wmW* V«H%
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fVriW Club»

Reprinted by Kind Permission of the Publishers, Hinrlchsen Edition,.

Peters Edition Limited, London.
 Appendix 3

Preface to Fantasy Variations

By Michael Colgrass

53
 56

Appendix 3

CHROMATIC DRUMS

The CHROMATIC DRUMS are pitched as follows:

They do not change throughout the piece, and are notated in the third line C-clef to avoid
ledger lines. These are the actual pitches the drums must achieve, not Just a relative
facsimile, and are obtained easily with cardboard shelled drums of 8" diameter and 4" depth.
The shells, about 1/4" thick, are available from paper manufacturers in the form of tubing
suitable for shipment of carpets and linoleun. On this drum the flesh and counter hoops are
one in the same made with 10/16" x 2/16" aluminum stripping (a), which is a standard cut (see
diagram). The thin calfskin heads are tucked around the rim loosely, that is, to form a
collar, and an angle piece (b) is screwed into a hole already threaded in the aluminum at
four equidistant points on the circumference. The long (4^" x 3/16") screw (c), also a
standard piece, with a separator (d) and wing nut (e) at the bottom, fits through a hole
in each angle p^iece and thereby tightens each head simultaneously. A timbale holder
connected to the shell (f) hooks on to the rod of a converted fold-up music stanl (g) which
serves as a rack for each drum.

b) angle pieces

aluminum hoop

screw

separator

wing nut
gL
f ) timbale holder

g) music stand rod (hammered)

BEATERS

Beaters to be used on CHROMATIC DRUMS are: 1) regular wooden snare drum sticks (thin);
2) brushes (open to half fan); 3) wool covered wood — lOO^ virgin wool stretched over tip
of medium weight snare drum stick and taped at the neck to eliminate metallic ictus of wood
on membrane; 4) disc sticks each made with 16 1^" circular discs of 100% virgin wool perforated
at the node and drawn over the tip of a wooden timpani stick from which the felt ball has been
removed. With discs in place washer is replaced and wool is trimmed to simulate the striking
surface of a felt piano hammer.

Used by Permission from

Music for Percussion, Inc.
 Appendix 4

Instrument Setup
for Fantasy Variations
by
Michael Colgrass

^7
 58

Appendix 4

ENSEMBLE SET-UP

Player 1 a) Glockenslpel (aounda ISa)

b) High pitched triangle
c) Small xylophone (sounds 8a)
d) 3 graduated wood blocks

Player 2 e) Medium triangle

f) Celeste (sounds 8a)
g) Sltile cymbal (with rivets)
h) High tambourine (but not small)
1) Bongos

Player 3 1) Bongos
J) Vibraphone (with slow motor adjustment)
k) Medium tambourine

Player 4 1) Pair 16" crash cymbals

m) Marimba
n) Timbales
o) Chines

Player 5 o) Chimes
p) 3 graduated cowbells (muffled)
q) 4 Timpani (2-28", 1-25", and 1-23")
r) 2 triangles (medium and low)

Player 6 s) Finger cymbals (suspended on music rack)

t) Concert bass drum (34" x 14")

DIACA4M FOR SET-UP

1) ") n) o)

«V OO
d)-, ■■■■£pog)

Soloist I J
Conductor

Used by p e r m is s io n from
Music f o r P e r c u s s io n ^ I n c .
 Appendix 5

Microrhythmic Table
Devised by
Michael Colgrass
tfrom Fantasy Variations)

59
 60

Appendix 5

NOTE

The notation for rhythmic modulations in this work is based on the assumption
that all odd, or bracketed groupings, e.g.'— 3— 11 — l — i i— 5— «etc., are tense
by nature because they are against the basic metrical unit of a given bar.
When this conducted unit is allowed to "fall away" the odd group can "float out"
freely, that is, without tension and one or more of these odd group units can
become the new basic metrical unit. To emphasise the difference between this
rhythmic feeling and all other changes in time which are similar in feeling but
not the same (i.e., accelerando, ritardando, meno and piu mosso, con moto, etc.),
dotted bar lines, triangular and star-like note heads and "microrhythmic" meter
signatures are employed (see table below).

MICRORHYTHMIC T'WLE

J 1/2

J J 2/4

i l l 3/6

4/8

rrm
m m
5/10

6/12

J J J J j 'T ] 7/14

J J ] J J JJ
r r m r T T T iw
HC
New York City
November 2, 1961

Used by Permission from

Music for Percussion, Inc.
 Appendix 6

Cover Page to the Score

of Suite for Percussion
By William Kraft
 62

Appendix 6

SCORE

SUI TE
FOR
PERCUSSI ON
|.FANFARE II-ANDANTE lll-OSTINATOS IV■TOCCATA V-CADENZE

BY
WILLIAM KRAFT
FOR PERCUSSION QUARTET

PERCUSSION 1 PERCUSSION II PERCUSSION III PERCUSSION IV

BONGOS, GiOCKENSPtEL TWO SNARE DRUMS, FIELD DRUM, TENOR BASS DRUM,
TAMBOURINE SONG BEILS, (High I Low) GLOCKENSPIEL DRUM, VIBRAPHONE TUNED GONGS,
aEXITONE BASS DRUM, E TEMPLE BELL FRENCH BELL OR LOW TAM TAN, HAND DRUM
BONGOS COW BELL TEMPLE BELL

J /^ I lll^ T u b lis h in g C o r p . M E L V IL L E , N .Y . 1 1 7 4 6

Used by Kind P e r m is s io n o t W illia m K rafc

 Appendix 7

Opening Score for "Fanfare" to Suite for Percussion

By William Kraft

63
 64

Appendix 7

T0 HtmttUéUi

Suite For Percussion

f o r NrcwM ioaQuM tM

WMXU04 KHAPT
n ëfwm# (higk M d low)
1. Fanfare
III PtoM drum Md T « w r dcuM
IV W#« dfwm
A«lMM(d«co.72)kulffMlv
*Wk#ol##Um#on##%po) Mod#»#*# d«km AmI mm# ft# W o rn )

H
NP 9 .0 .

Ill

IV

m
Mod#»#*# » * l(0 as

tf
Eihti=3^}Ü--=-^
Jt mf /

Used by P e r a la iilo n o f U I U I j b K rafc

 Appendix 8

Footnotes for "Andante" from Suite for Percussion

By William Kraft
 6 ()

Appendix 8

I C tockensptel II. A ndante

II G lockenspiel
III V ib rap h o n e,F re n ch B ells'"* , „
j r Low Cow B ell.^ ^ c T em p le Bell r :=
IV T uned Conga v "
Andante J =70, but with v e ry flexible p hrasing

-j¥ * - —
j -j:- -
-J
m pi— J w J J 1— 3 — ' I— ^ --- 1
GUp. II m olto U gaio soft msllots

Small Tam pi# Bell (sounding ktt'— oT^ — '

III
p Fingertips
1— 5 — 1 aag gaa o a a
Tuna 1 Gongs Solo ^ 3
IV

” ** 3 _ 3
* ClockaDsplal Harmonica sound a tooth or a diminished 12th above and a n produced by holding mallet
looaely In vertical position ( I .e .hanglng) and striking narrow aides of bars I J •— o —> I j
V# Glockenspiel 1 Ignons tempo changes In Sih bar. ^ cT

Used by Kind Permission of William Kraft

 Appendix '■)

Footnote to "Andante" from Suite for Percussion

By William Kraft

A7
 ()S

Appendix
rit. Mono J - 50

ril.

ril.
French BttU *

o r fleehy p e rt of It!

Lot ring

Temple Bell

M eflet

Let sounda die

in in
diminuendo inorendo

(Keep pedal down)

L.V .

Clap. I A llegro ^=160

ff
hard mallets

ff hard mallets

■ ^ _______________ T a g ^ T ' a m Sol o ^ ^ ^ ^ ring _____

P jT iian ^ le boatar near edge]

* Freoch Belt ts a very resonant lowiCow Dell. Therefore use any low D Cow Dell as substitute if necessai-y.

Used by Kind Permission of William Kraft

 Appendix 10

Footnote to "Andante" from Suite for Percussion

By William Kratt

6y
 70

Appendix 10

T em po I
I— 3

mp
L.V. ■oft maltets L.V,

P fP

PP
L.V

1-----3 — , 1 - . - . - 3 . , r— J — I /

J" # # # —
. . ' t i ' i - v - v "3 " i ---------------- / ------

mp -
jU*»»
- - 'F T
p
A Vibraphone

g
trem olo
Ffnganitlli
Side of flat oo kaob
.. . ■ / ----
f — --:p

' HutiMo o r FlogoroAil trofiiot«t frrogulmr patiarns (I.e. ao pattorna.) Many Qotaa-nodlatonic.chrom atlclriadlcfonaatloaa.

Used by Kind Permission of William Kraft

 Appendix H

Footnote to "Ostinatos" from

Suite for Percussion

By William Kraft

71
 72

Appendix 11

I Tambourine III PleU Drum 111. O stinatos

II Snare Drum IV Uaaa Drum
Preaio J- ‘ Ca.lUO

H t= H
Bniahoa ( altomato a UckJoK) Bru #hoa played with amootlJog alroke: oRCttot whor » markadA o r .

— d — Y- i — 1— r - + — f — r - i — H — ‘
h ' ------
4— r ■\— H — H— H — S E E
4— i— ¥- 4— 1— K- 4— h-¥-
P
III

IV — ----- ~ — - -- ■

(2^1 (Ihuoib)
mi
S S L t # # . ] S j S J
-# p -4 - H ♦ — r ------r- U "4 T ---- 1 ■ 1 -----r —

7 W f — ■pSfte
----- 1----- h— K- 4-------1— f - 4 - ^ t ------ H-----K4— K; 4 4- f- P r 1—
i------ r r- 1" ' 1— r
- -
r j lJ U t ie lw i /
"1

m W
p

[laro porn 14 1 Knuckles

• 1 ' S l S : J. r .-p -.
-• r 4 -1------ --- —
(H» J6 RP
—"
~r----- P—IT ~P—fT^‘-----
7
■ : ■I' S ■■■■ Ft r r

— I
« wn c I 'z z E fS s
:p-— S F s
•t- -t- -1— 1
— f= 4-------- 1-—7 - 4— M ------- H— K4------- 4—4 H — 4------ f—
lun Slie'll'
_L elf. \
-
I p # #

poco

jr- F T Z F '" 3 E J 3 Z T : ^ '. _ = S =

i E Z T - - .S
- f - f - -

y 1 # 'tr--0-0-'m-
' Î ; ;* t ' y

y '-.0 -0" -iÉz::.T^fr=jn. rn.-M~.lis— - f —A

t r ; T . z ^ r :f. ™ W f - '

V « V jr.- .y r ;. r
'J f t .# . I - :- y - à y y :p r= i jv c -

B u« Drum'Hltfta h&al oo rlghl h«wi with mom of Xylo. mallot (rattan a^ck). t^ ft hand oo loft hood with hard Tlropaol
mal lot. Cuotrol liogloc by muffling with baa# of twdma.

Used by Kind Permission of William Kraft

 Appendix 12

Opening Score to "Toccata"

from Suite for Percussion

By William Kraft

71
 74

Appendix 12
It
I BongO'Ttmbourlne IV. ToCC2C2
II Two Snare D rum s
III Field D rum -T enor D rum (o r Long Drum)
IV Bast D rum . Hand Drum o r very large Tam bourine wichout Jingles played wlih hard vibraphone m allet
A llegro d>120
Bom*» p . p . sUcin)

s.D,,Suras olf

/ dim.

I f , dim.
B.O.

OH

dim, VP

HP flP

mp

HP
a cm
A

m f f tem p re

mp m / dim,

m/ dim.

/y

ff ff

fX

XX XX

Used by Kind Permission of WiLliam Kraft

 Appendix 13

from
Suite for Percussion

By William Krafc
 76

Appendix 13
m BD

mp

m f

m f

PP c r ts c .

m f

Rlm Shot mf

m f /a-W/ m f

m f
To B u » Pnirn-Loft Hmd Wood M illot-Blthl H»nd-riU

Wood
(W ««c.

* o«i1nictnK wound towards e(l|{o of drum,

••sharp short dry sound at oentsr of head.

Used by Kind Permission of Willi.im Kraft

 Appendix 14

Opening of "Cadenze" from

Suite for Percussion

By William Kraft

77
 78

Appendix 14

V. Cadcnzc
I Soox B«1U FlexKooe toundg lit Vibraphone 13
-
B IV Large
IV umrgo OM#
Baaa wrum
Drum (ci 32" or more). Tuned Googe (aame a# In
(ca.
rum. Medium B u g Drum (cm. 28") II), Large Tam Taro
Bouode tfva
Temple Bell ^ .
Bail D r u i n ^ d e n z a r .h .: R .« « o , L .H .th trd telt B.D.M«ll«t
J>ca.l60 _ luHsa

tec. rapid scraping

g C\ come aopra

VP

® pi-*
Bongo with ftngari.vT Y rapid nod Irrog !tr
II

VIbr.
III
B.D. with (Ingar*
(no pnllilvoty ripld
m J lrf«gul«r.
IV
O
mp

Used by Kind Permission of William Kraft

 Appendix 15

Footnotes for "Cadenze" from

Suite for Percussion

By William Kraft

79
 80

Appendix 15
Mono mosso
' A sec. Allegro

.Cadenza a<J Ub.

snip scuDC.

fjt p

p
o A lle g ro ma non croppo J«tOO Mad.Hard MtlleU

VIbr. mall«ta(baii cnda)

Bongo#

S.D. p _
B 'D ^ (no snares)

Hub rio« ok^l Geo| «Uli flM tliia or m «iii foa

TciMjila better in cttculir mocioo to pwdyca
inoowoomuiuMfiMwn«l

Any note#-but I r r e ^ a r and la rg e in te rv a la -c o v er whole Inatrum ent

no pedal

Two large Gong Mallet# m p

add pedal bit by bit

* i . R.H - Hold bail of VIbr.Mallet In hand, rattan extended over Doogo(tlp about 2/3nl# In.)
L .H . snap# rattan end against head producing explosive sound like rim shot.
*2, L .H . - tip of rattan on head. It.H. -Stick (rattan) plays against underside of U.K. stick and a# sound Increase#
ai te m ates lie tween stick and head until speed leads Into tremolo scraping oo head.

Used by Kind Permission of William Kraft

 Appendix 16

Footnotes for "Cadenze" from

Suite for Percussion

By William Kraft
 82

Appendix 16

R . H , F I ox IU mio
Soog Bell# (hftfd malleC)

mpl

cco

>

T .T, Coot»

at fin e

lunga
O

f f f

motto eresc. f f f

f f f F lit oo dom#
T .T . CODJ»

f f f mp ■U4 Ultiitt gtlM.

kctOM e«M«« o(

Used by Kind Permission of William Kraft

 Appendix 17

Explanatory Note from

Duettino Concertante

By Ingolf Dahl

8i
 84

Appendix 17

Explanatory Note
lU i f I P a i r II

T c n o f Dntm F i t U Dt«m U ow H ig h F omi lu n cd Wood D Iock Sm all T nam gla

w ith o ttl Miarcft S n a ic D nim S n a ic Drum (g ra d u a lc U l 6 oa | o «
( P ic c o l o l

L o w M ip c fld e d C ym bal H igh a u ip c n d c d C y m b al

T h e drum a mw*l b e g rad u a te d from low lo high

c,..T
O llna^aa
O

r,..,

If a c c c a a a ry , f e ll p a d a n r o th e r d e v ic e a a h o u ld b e u a e d on th e drum a lo c a tu r c proper b a la n c e b c iw c c n flu te a n d p e rc u a a io n .

a o fi c n d a o f d o u b le h e a d e d a lic k a
ÎÎ ^ a lid e a c ro s s drum h e a d in a wavy lin e

r i
h a rd c a d a o f d o u b le h e a d e d a lic k a
O' BP th e rim o f dnwn

•ÎÎ ra tta n a lic k a w ith w ound m a lle la o - rim sh o t

Ai re v e ra e e n d o f r a tta n a tic k a 8 -

-rxl
on s id e o f drum

II h fu ah e a o n dom e o f cym bal

11 ic v c r a e e n d o f b ru a h e a (m e ta l I o n c e n te r o f cym bal

fin g e r n a ila —^ o n ed g e o f cym bal

w p la y w ith h a n d # o r fin g e ra A~ s p lit brush o v e r e d g e o f cy m b al

-ee a n a re a o n o in d e a d c e n te r o f dnim h e a d

Q.O a n a re a o ff o a t c tirc m e e d g e o f drum h e a d

l e f t elbow a lid c a from e d g e to

0 . 0 c ir c u la r a lid e on drum a o r cy m b al a 0 » — c e n te r o f drum ( g lis a a n d o l

anap on a n a re a (DÎ th e b ra c k e te d a tic k re m a in s u n c h a n g ed

N o te M etinnum e m arking# s h o u ld h e fo llo w e d a s c lo s e ly u s p o s s ib le D u r a tio n about I I ailnutca

Used by Permission of Alexander IJroiide, Inc.

 Appendix 18

Letter of Permission from

European American Music, Inc.
in Regard to N r . 9 Zyklus
by Karlheinz Stockhausen
 «()

Appendix 18

m rc p e a n
Am erican Music
DiSTRIBUTORS CORPORATION
11 W ett End R oad • T olow a, N ew teriey 07S12
(201I2S6-7100 • T ele« 2 S 2 i1 1

11 November 1982

Hr. J « M « William Lambert

Director of Pcrcueiion Studlei
Caeiaron Unlverelty
Lawton, OK TISOS

Rat Karlhalnt StocXhauien - ZYKLUS

Dear Hr. Lamberti

In accordance w iik your rc<)ucti o f 26 O c to b e r 1982 , we herein grani a non*

eacfuiive licenie for you to uae (he abovcmencioned eacerpi in your doctoral diiierration.
provided the condition# liated below are iatiificd:

I. Under th ii excerpt, the following copyright inform ation m u tt appear:

Unlverial Edition (London! Ltd., London, 1960
Uaed by permlniion of European American Munie Ointributorn Corporation,
nola U.S. agent for Universal Edition.

2. Mention will be given u i in the prefatory or appendix acknow ledgem enti. if any.

J. T hii permUaion is valid providing your doctoral diatertation it com pleted within I
(one) year o f the date o f thia letter.

4. Thia utage it rettricted only for the purpote outlined in your letter, which it attached
hereto and becom e! a part hereof, and it not lo be lold, o r d ittrib u ted in any manner
whattocver, w ithout the content o f the publisher, and it n o t to be reproduced except
for the archiver o f the Univcriity.

5. In contldcration for the foregoing, you agree to pay to European American Muiic
D ittribuiort C orporation, a token licenic fee o f T hirty live DoUart (1 15.00). which
shall be paid when tigned copies o f thii letter are returned to ut.

6 One (1) copy o f your diuerration it to be provided to the publisher gratis, upon
com pletipn (hereof.
 Appendix 19

Letter of Permission from

Peters Edition Limited
in regard to
Orion M. 42
by Reginald Smith Brindle

87
 H8

Appendix 19

Peters Edition Limited

Ctfttion f •«•«••HtMichMa

119 • 12& Waidour S uw l

London W1V4DN
ToUphon* ; 01.4)97726
WI#tnytwdN*ISIlM Music l*ubHshtrs since IHOO

Mr. Jame# William Lwmbert,

Director of Percuaaion Studiaa,
Department of Performing Arta,
Cameron lUniveraity,
Lawton, Oklahoma 7)505,
U#5#A.

5th November 1982

Dear Hr. Lambert,

Thank you for your letter dated 26.tO.82. Thia ia to confirm our permiaaion
for you to uae eatractn from "Orion M.42", by Reginald Smith-Drindle, in
your diaaertation "Performance Problème Aaaociated with Multiple Percuaaion
Vorka Sompoaed Between I960 and 1900!'. 1 would be grateful if you could
print the following acknowledgement underneath the extracte:*

"Reprinted by kind permiaaion of the publiahcra, llinrichaen Edition, Petera

Edition Limited, London.

I truat thia will be acceptable to you and remain,

Youra aincerely,
PET£RS EDITION LIMITED

Miaa Claire Jarvia,

Copyright Manager.
 Appendix 20

Letter of Permission from

Music for Percussion, Inc.
in regard to
Fantasy Variations
by Michael Colgrass

8 ‘)
 90

Appendix 20

MUSIC Fo r pE R C ussioN , I n c .
170 w*. »T«(CT, fr. Uu<kBdU(« fU. 1 1 1 1 4
phoNc:(IOS) 1844

November 1, 1982

Mr. James William Lambert

Department o f Performing Arts
Cameron University
Lawton, OK 73505

Dear Hr. Lambert:

This Is in reply to your l e t t e r of October 26.

We hereby grant you permission to use excerpts only from "Fantasy
Variations" by Michael Colgrass for you doctoral d is s e r ta tio n .
Please s ta te th a t I t Is used by permission from MUSIC FOR PERCUSSION,
INC.
Good luck.
S incerely,

«rAaro FTsher (>

lUSIC FOR PERCUSSION-, INC.

3F:ss
 Appendix 21

Letter of Permission from

New Music West Publications
in regard to
Suite for Percussion
by William Kraft
 92

Appendix 21

NEW MUSIC WEST

PUBUCATIOMS

October 11, 1982

This la to affirm that Hr. Jim Lambert has

my permiaaion to uaa excerpts from aeveral
of my compoaitiona for diacuusion in hia
doctoral diaaertation.
diayrtatio

/o/ivAz

WILLIAM KRAFT
C/0 NEW MUSIC WEST PUBLICATIONS
P 0 BOX 7454
VAN NUYS, CALIFORNIA 91409

P. O. BOX 7434 VAN NUYS. CAUFORNIA 91409, U.SVL (213) 994-1484/769-3379

 Aooendix 22

Letter of Permission from

Alexander Broude, Inc.
in regard to
Duettino Concertante
by Ingolf Dahl

4 i
 94

Appendix 22

I November 1982

James William Lambert

Director of Percussion Studies
Department of Performing Arts
Cameron University
Lawton, Oklahoma 73505

Dear Hr. Lambert:

Thank you for your letter of 26 October regarding

Duettino Concertante by Ingolf Dahl.

Permission is granted for the use of excerpts

from the above work; use is restricted to that
described in your letter.

Yours faithfully,

Alexander Broude, Inc.

'Dean H. Streit

D H S: ip s

A B I/A IEK A N M R «R O U O €. IN C /M U S IC P U B U SH E SS /Î3S W 57tM S t NV. NY lo 6 l» /( 3 IJ |S a 4 .1 6 7 4 /C A B lE A ieR O M U S(C