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How to Write for PERCUSSION Paperback – March 1, 2004


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Paperback, March 1, 2004
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Frequently Bought Together

How to Write for PERCUSSION + Behind Bars: The Definitive Guide to Music Notation + Essential Dictionary of Orchestration (The Essential Dictionary Series)
Price for all three: $98.12

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Product Details

  • Paperback: 192 pages
  • Publisher: Samuel Solomon (March 2004)
  • Language: English
  • ISBN-10: 0974472107
  • ISBN-13: 978-0974472102
  • Product Dimensions: 9.8 x 6.9 x 0.6 inches
  • Shipping Weight: 13.6 ounces (View shipping rates and policies)
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (21 customer reviews)
  • Amazon Best Sellers Rank: #438,275 in Books (See Top 100 in Books)

Editorial Reviews

Review

"A must for all composers, conductors and instrumentalists. By far the most absorbing and demanding book on percussion writing." -- Jeffrey Milarsky, Percussionist, Conductor, Professor in Music, Columbia University

"A true contribution to the literature of orchestration." -- Samuel Adler, Professor Emeritus, Eastman School of Music, Composition Faculty, Juilliard School, Author, The Study of Orchestration

"It will be required reading in my classes and a fixture on my desk." -- Steven Mackey, Composer, Guitarist, Professor of Music, Princeton University

About the Author

Percussionist Samuel Z. Solomon has been responsible for dozens of world premieres of solo and small ensemble works. With saxophonist Eric Hewitt, he is co-founder of the Yesaroun? Duo; the Duo has been featured in recitals all over the northeast United States, in Italy, and in Cuba. Mr. Solomon made his Carnegie Hall debut in February of 2000, performing the world premiere of John Mackey?s Concerto for Percussion and Orchestra as guest soloist with the New York Youth Symphony. In December 1999 he was featured in Lincoln Center?s Alice Tully Hall, performing the American premiere of Iannis Xenakis?s final composition, O-Mega for percussion solo and chamber orchestra, with the New Juilliard Ensemble. Mr. Solomon spent six summers at Tanglewood, three as a Fellow of the Tanglewood Music Center, and six years at Juilliard, receiving two degrees. He lives in New York City.

Customer Reviews

4.7 out of 5 stars
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See all 21 customer reviews
I am a concert music composer.
osen
This book offers great information concerning the practice of notating and selecting percussion instruments when composing music.
falmvtex
I heartily recommend it to composers and orchestrators.
Antonio G. Barata

Most Helpful Customer Reviews

7 of 7 people found the following review helpful By Jeffrey Irving on May 21, 2004
This book addresses nearly every aspect of composing successfully and creatively for percussion. It is a must have for any composer who wishes to expand his compositional palate and increase his awareness of the possibilities and limitations that percussionists face with regard to mallet/stick choices, timbre characteristics, setup issues, etc. It is also a must have for any serious percussionist. It serves as a reminder to us all as to what is actually possible to achieve on our instruments and how we can further advance it through careful decision making and a willingess to push our limits as performers. There is nothing else like this book in print ANYWHERE.
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7 of 7 people found the following review helpful By kentfx on August 11, 2005
I should think this would be particularly useful for film, TV, and other media composers, as the standard work by Emil Richards is terribly out of date. Also, Solomon's book is far more detailed than Richards' was, and more practical all around. It would be useful if there were a web site connected with it with with examples of the sounds of all the instruments referenced, playing characteristic rifs.
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5 of 5 people found the following review helpful By A Customer on April 15, 2004
if you are a percussionist, composer, or new music scholar, this book is an absolute must. Written in a functional colloquial, "How to write for Percussion" clearly explains many of the key issues in composing for percussion instruments in orchestral, chamber, and solo contexts.
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3 of 3 people found the following review helpful By osen on November 14, 2010
Verified Purchase
I am a concert music composer. One of the things I like about being such a composer in the 21th-century is the abundance of percussion instruments and complex rhythms available to us. However, writing and notating these percussion parts is also a challenge, unique to the 21th-century, and we must have the guidance and assistance of professional percussionist. "How to Write for Percussion" is now my new guide to notating composing for percussion. I am enjoying this book very much.
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2 of 2 people found the following review helpful By Greg Michaels on September 11, 2012
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This book is an excellent companion to the standard orchestration texts one might buy, such as Adler or Forsyth. It goes into great detail about all of the instruments, sticks, notation, etc. Basically anything you could need to start writing for percussion, which isn't often covered in great detail in other books. It's very nice to now have a reference that doesn't gloss over the percussion and gives very good insights into writing for this large and complex body of instruments.
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2 of 2 people found the following review helpful By falmvtex on May 30, 2011
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This book offers great information concerning the practice of notating and selecting percussion instruments when composing music.

There is also a great section at the back which includes contemporary score examples for reference.

If you're an orchestrator or composer writing for percussion, become informed and buy this book.
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2 of 2 people found the following review helpful By Robert Zimmerman on March 6, 2011
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If you need to write or arrange for percussion this book will be your bible - well written and easy to reference, with excellent examples drawn from the literature.
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2 of 2 people found the following review helpful By Wendy L. Morrow on March 8, 2007
This book was so incredible! Not only did it teach the fundamentals of percussive writing, it also explored contemporary techniques and how to write for them too. It's almost like a performance and writing guide, perfect for a composer!
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