an annotated bibliography of percussion works by stanley
TRANSCRIPT
Louisiana State UniversityLSU Digital Commons
LSU Doctoral Dissertations Graduate School
4-3-2018
An Annotated Bibliography of Percussion Worksby Stanley LeonardKyle Douglas CherwinskiLouisiana State University and Agricultural and Mechanical College, [email protected]
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Recommended CitationCherwinski, Kyle Douglas, "An Annotated Bibliography of Percussion Works by Stanley Leonard" (2018). LSU Doctoral Dissertations.4555.https://digitalcommons.lsu.edu/gradschool_dissertations/4555
AN ANNOTATED BIBLIOGRAPHY OF PERCUSSION WORKS BY STANLEY LEONARD
AMonograph
SubmittedtotheGraduateFacultyoftheLouisianaStateUniversityand
AgriculturalandMechanicalCollegeinpartialfulfillmentofthe
requirementsforthedegreeofDoctorofMusicalArts
in
TheSchoolofMusic
by
KyleDouglasCherwinskiB.S.,CentralMichiganUniversity,2012
M.M.,UniversityofNorthernColorado,2014May2018
ii
TABLEOFCONTENTS ABSTRACT.........................................................................................................................................iiiINTRODUCTION..............................................................................................................................1CHAPTER1:BIOGRAPHY............................................................................................................3CHAPTER2:ETUDEANDMETHODBOOKS.......................................................................16CHAPTER3:UNACCOMPANIEDTIMPANISOLOS...........................................................21CHAPTER4:ACCOMPANIEDTIMPANISOLOS..................................................................28CHAPTER5:PERCUSSIONSOLOS...........................................................................................32 CHAPTER6:TIMPANIANDORGAN.......................................................................................39CHAPTER7:KEYBOARDENSEMBLE....................................................................................47CHAPTER8:CHAMBERPERCUSSIONENSEMBLE..........................................................53CHAPTER9:LARGEPERCUSSIONENSEMBLE..................................................................67CONCLUSION....................................................................................................................................83REFERENCES....................................................................................................................................84APPENDIXA:SOLOANDENSEMBLEINSTRUMENTATIONS......................................86APPENDIXB:NON-PERCUSSIONCOMPOSITIONS..........................................................113VITA......................................................................................................................................................118
iii
ABSTRACT
Timpanist,pedagogue,andcomposerStanleyLeonardhaswrittenoverone
hundredandtwentypiecesforpercussion,includingsolos,ensemblepieces,and
methodbooks.Severalmusicaltechniquesarerepresentedinhisbodyofwork,
includingtraditionalharmony,twelve-tonetechnique,graphicnotation,and
improvisation.Thepurposeofthisdocumentistocatalogalloftheseitemsintoone
sourceasareferenceforotherpercussionists.
Thedocumentbeginswithbiographicalinformation,includinghis
impressiveperformingcareer,hisyearsasaneducator,andthecircumstancesthat
ledtohiscompositioncareer.ThisrequiredinterviewingLeonardaswellasreading
severalofthearticleswrittenabouthim.Thelistofpieceswascompiledthroughthe
useofthecatalogfromthecomposer’swebsite,StanleyLeonard.com,theSibley
LibraryonlinecatalogattheUniversityofRochester,andalsovisitingthe
composer’shomeinNaples,Florida.Theannotationsrequiredpersonalstudyof
eachitemalongwithinsightfromthecomposerwhereneeded.Eachannotationwas
approachedfromthemindsetofapercussioneducatorsearchingforrepertoirefor
students.
Thisdocumentalsocontainstheinstrumentationsforallofthepercussion
ensemblepiecesandthesoloworksthatrequiremorethanatimpaniconsole,as
wellasalistofworksthatLeonardhaswrittenoutsideofthepercussionrepertoire.
1
INTRODUCTION
StanleyLeonardhasenjoyedalongandsuccessfulcareerinthemusic
industry.Asaperformer,hespentthirty-eightyearsasthetimpanistforthe
PittsburghSymphony.DuringthattimeheworkedwithconductorsWilliam
Steinberg,AndréPrevin,andLorinMaazelaswellasguestconductorsincluding
LeonardBernstein,AaronCopland,PierreBoulez,PaulHindemith,Eugene
Ormandy,andJohnWilliams.1
Hehasalsobeenwritingmusicforpercussionsincehestartedteachingat
CarnegieMellonUniversityin1958.Atthetime,therewaslittlemusicavailablethat
mettheneedsofhissmallclassofstudents.2Hecomposedsothathisstudents
wouldhavemusictoplay,andinsodoing,helpedcreatetherepertoireforthe
percussionensemblethatexiststoday.Hehasalsobeencommissionedbygroups
andindividualssuchastheNewEnglandConservatoryofMusic,Universityof
California,LosAngeles,theEastmanSchoolofMusic,LouisianaStateUniversity,
timpanistEdwardStephanoftheSanFranciscoSymphony,andtimpanistDonLiuzzi
ofthePhiladelphiaOrchestra.Inall,Leonardhascomposedoveronehundredand
twentypiecesforpercussion.3
1LaurenVogelWeiss,“StanleyLeonard,”PercussiveNotesVol.48,no.6(November,2010):12,accessedMarch26,2017.http://publications.pas.org/Hall%20of%20Fame/1011.10-13.pdf#search="stanley%20leonard.2BrettDietz,“AContinuingPursuitofExcellence:AnInterviewwithStanleyLeonard,”PercussiveNotesVol.46,no.3(June,2008):24,accessedMarch26,2017,http://publications.pas.org/Symphonic/0806.24-25.pdf#search="stanley%20leonard.3StanleyLeonard,“MusicCatalog,”StanleyLeonard.com,2015,accessedMarch26,2017,http://www.stanleyleonard.com/music.asp.
2
ThepurposeofthisdocumentistocreateacatalogofStanleyLeonard’s
compositionstobeusedasaresourceforotherpercussionists.Afterachapterof
biographicalinformation,theannotatedbibliographybeginswithLeonard’smethod
andétudebooks.Thenextfourchaptersfocusonaccompaniedandunaccompanied
timpanisolos,percussionsolos,andworksfortimpaniandorgan,respectively.The
lastthreechapterscompilealloftheLeonard’spercussionensemblecompositions;
dividedintokeyboardpercussionworks,chamberworks,andlargeensemble
works.4Eachannotationwillincludedifficultylevelalongwithtechnicaland
musicalrationaleforeachclassification.
4Forthepurposeofthisdocument,“chamberensemble”referstoanyensembleworkthatrequiresfiveperformersorless,whereassixperformersormoreplay“largeensemble”pieces.
3
CHAPTER1:BIOGRAPHY
StanleySprengerLeonardwasborninPhiladelphia,Pennsylvaniaon
September26,1931.Hegrewupinamusicalhousehold,hismother,Thea,beinga
pianistandhisfather,William,beingasinger.5Atayoungage,Leonard’sparents
startedtakinghimtoseethePhiladelphiaOrchestra,wherehediscovered
percussion.6
In1940,Leonard’sfamilymovedtoIndependence,Missouri.Itwasherethat
hestartedstudyingpercussion.Afterreceivingasnaredrumasagiftfromhis
parentsatageeleven,hebegantakinglessonsfromthelocalmusic-storeowner.7
Soonafter,LeonardenteredtheJuniorHighSchoolband,whichwasdirectedbya
violinistoftheKansasCityPhilharmonic.Withthisconnection,hewasabletotake
lessonswiththeprincipalpercussionist,VeraMcNaryDaehlin.
Duringthistime,Leonarddiscoveredthetimpani.Hedescribeshis
beginningsontheinstrumentinaninterviewwithBrettDietzpublishedina2008
editionofPercussiveNotes.
Atage14Idiscoveredthetimpani.TheIndependenceLittleSymphonywasconductedbyafamilyfriend.IdecidedIneededtobeginplayinginanorchestra.Itookmydrumtotheconductor’sofficeandauditioned.Helistenedtomeplayandthensaid,“Doyouknowanythingaboutthetimpani?”IrepliedthatIknewwhattheywere.Hetookmetotherehearsalroomandbroughtoutanancientsetofhand-tunedtimpaniwithsolidbrassbowlsmadeinBelgium.Iactuallyhavethosetimpanirestored,inmyhome.
5LaurenVogelWeiss,“StanleyLeonard,”PercussiveNotesVol.48,no.6(November,2010):11,accessedMarch26,2017.http://publications.pas.org/Hall%20of%20Fame/1011.10-13.pdf#search="stanley%20leonard.6StanleyLeonard,interviewbyauthor,January26,2018.7Ubiq.
4
Heshowedmehowtoholdthetimpanistickandsaid,“Cometonextweek’srehearsal.”8
UponreceivingplacementintotheLittleSymphonyin1945,Leonard
purchasedacopyofTheLudwigTimpaniInstructorandstartedworkingonthe
exercisesitcontainedtobetterorienthimselfaroundtheinstrument.Thisincluded
tuningexercisesbyChicagoSymphonyTimpanist,JosephZettleman.Healsotaught
himselftoplayscalesandarpeggios,whichwouldcontributetohisplayingability
andcompositionslaterinhiscareer.9
In1946,hebegantakinglessonswiththetimpanistoftheKansasCity
Philharmonic,BenUdell.Leonardsaidinaninterview,“Afterstudyingwith[Vera]
untilIwasatleastafreshman,Itookrealinterestinthetimpani.Mysnaredrum
chopshadimprovedquiteabit,soVerasuggested,‘whydon’tyoutakesomelessons
fromBen?’”10Udell,alongwithhisteacher,SaulGoodmanoftheNewYork
Philharmonic,becameidolstoLeonard.Heremarksina2010interviewwith
LaurenVogelWeiss,“I[would]listentotheNewYorkPhilharmonicontheradio
Sundayafternoons.Iwouldputtwopillowsonthedresserinmybedroomandplay
alongwithSaulGoodman.”11
8BrettDietz,“AContinuingPursuitofExcellence:AnInterviewwithStanleyLeonard,”PercussiveNotesVol.46,no.3(June,2008):24,accessedMarch26,2017,http://publications.pas.org/Symphonic/0806.24-25.pdf#search="stanley%20leonard.9JohnSoroka,“StanleyLeonard:ALifeinPercussion.”PercussiveNotesVol.48,no.6(November,2010):59-60,accessedMarch26,2017,http://publications.pas.org/symphonic/9508.58-61.pdf#search=”stanley%20leonard.10StanleyLeonard,interviewbyauthor,January26,2018.11LaurenVogelWeiss,“StanleyLeonard,”PercussiveNotesVol.48,no.6(November,2010):11,accessedMarch26,2017.
5
AlongwithhisparticipationintheLittleSymphony,Leonardalsoplayedin
theKansasCityUniversitySymphony.12Withmembershipintheseensembles,he
familiarizedhimselfwithorchestralworkswithsignificantpercussionparts.He
wouldtaketripstotheKansasCityLibrarytostudyscoresandcopythepercussion
partsdowninanotebook,whichisstillinhispossession.13Thetableofcontents
pageofthisnotebookcanbeseeninFigure1.Thebackportionlistsaseriesofseven
ExercisesfortheBattery.Theseareshortpiecesforcommonorchestralpercussion
instruments.Theyarehisearliestattemptsatcomposingforpercussion.
LeonardstartedplayingwiththeKansasCityPhilharmonicin1948asan
extrapercussionist.Hewasseventeenatthetime,aseniorinhighschool.After
graduation,hetookpartinaneight-weekmusicprogramthattheUniversityof
MichiganhostedatInterlochen.Duringthisprogram,hestudiedplayingand
conductingwhileearningcollegecredits.HecontinuedtoperformwiththeKansas
CityPhilharmonicforasecondyear.
In1950,heattendedNorthwesternUniversitywherehestudiedwiththe
timpanistoftheChicagoSymphony,EdwardMetzinger.Inaninterview,Leonard
expressedhisdisappointmentduringhistimeatNorthwestern.“Itwasn’tthekind
ofmusicalexperiencethatIwanted.Ihadbeenplayingprofessionallyfortwoyears
beforeIhadgottentocollege,soIknewwhatorchestrallifewasabout.Ionlywent
foronequarterandIquit.”14
http://publications.pas.org/Hall%20of%20Fame/1011.10-13.pdf#search="stanley%20leonard.12StanleyLeonard,interviewbyauthor,January26,2018.13StanleyLeonard,interviewbyauthor,February10,2018.14StanleyLeonard,interviewbyauthor,January26,2018.
6
Figure1:TableofContentsfromLeonard’sPercussionNotebook,1949
7
AfterNorthwestern,Leonardfollowedhishighschoolsweetheart,Margaret
AnnHolman,toLamoni,IowaandattendedGracelandCollege.15Whilethere,a
facultymembersuggestedheconsiderattendingtheUniversityofRochester’s
EastmanSchoolofMusic.HetookthisadviceandtransferredtoEastmanin1951
wherehestudiedwithWilliamStreet.
WhileatEastman,Leonardcontinuedtoperformasmuchashecould.He
participatedintheuniversity’sorchestra,theRochesterPhilharmonic,andwasa
chartermemberoftheEastmanWindEnsemble,whichwasestablishedin1952(see
Figure2).16Duringhisfinalyear,heandtheotherpercussionmajorscreatedthe
firstpercussionensembleoncampus,theEastmanMarimbaEnsemble,organizedby
GordonPeters.TheyearafterLeonardgraduated,thegrouprenamedthemselvesto
theMarimbaMasters.17
Figure2:EastmanWindEnsemblePercussionSection
(L-R:JamesDotson,JohnBeck,MitchellPeters,StanleyLeonard,andGordonPeters)
15StanleyLeonard,interviewbyauthor,January26,2018.16LaurenVogelWeiss,“StanleyLeonard,”PercussiveNotesVol.48,no.6(November,2010):11,accessedMarch26,2017.http://publications.pas.org/Hall%20of%20Fame/1011.10-13.pdf#search="stanley%20leonard.17StanleyLeonard,interviewbyauthor,January26,2018.
PERCUSSIVE NOTES 11 NOVEMBER 2010
MUSICAL INHERITANCEStan Leonard was born on September 26, 1931 in Phila-
delphia, Pennsylvania. His mother was a pianist and his father a singer, so there was always music in the Leonard house. The family moved from Pennsylvania to Independence, Missouri—a suburb of Kansas City—where Stan started taking snare drum lessons from a tuba player who owned the local music store. “But he did show me how to hold the sticks,” Leonard says. “And since I had been playing piano from the age of six, I could read music.” His junior high school band director, a violinist in the Kansas City Philharmon-ic, suggested that Stan study with the principal percussionist of the orchestra, Vera McNary (now Vera Daehlin). For the next six years, he studied with Vera and would eventually join her in the KCP percussion section. “I played percussion in the band at William Chrisman High School,” Leon-ard recalls. “And there was an orches-tra in Independence called the Little Symphony. My parents were friendly with the conductor, so I auditioned for him.” Following a short performance on the snare drum, the conductor took Stan downstairs to a rehearsal hall to see a primitive set of hand-tuned tim-pani that had come from Belgium at the turn of the previous century. “Even though we didn’t have any timpani at the high school, I knew what they were,” Leonard says. “The con-ductor showed me that if you tighten the head, it makes the note go up, and if you loosen the head, the pitch goes down. He gave me a pair of sticks and told me to come to the next rehearsal. “I vividly remember it. We played Schubert’s ‘Unfinished Symphony.’ I had to ask one of the horn players to play a B-natural for me because I didn’t yet own a pitchpipe! Eventually our high school bought a set of Leedy pedal tim-pani and I was in heaven. It was 1947 and I bought a copy of The Ludwig Timpani Instructor book that had been published in 1930. I still have that book. There was a section in there by Joseph Zettleman, who was the timpanist in the Chicago Symphony Orchestra in the early 20th century. He had written exer-cises for pedal timpani and I practiced all of them.”
For links to videos featuring Stanley Leonard as well as a list of Leonard’s compositions, visitwww.pas.org/publications/November2010webextras.aspx
Web Extra
By the time Stan was in 10th grade, McNary suggested that he take lessons from the orchestra’s timpanist, Ben Udell. “He was a former student of Saul Goodman,” explains Leonard. “He and Goodman were my idols and I tried to imitate the way they played, so I didn’t sit down; I stood up and danced around and tried to be Saul Goodman! “I would go to the library in downtown Kansas City to research all the scores that had big percussion parts in them. I would write the parts down by hand—I still have the notebook—and that’s one of the ways I learned repertoire. I also used to listen to the New York Philhar-monic on the radio Sunday afternoons. I would put two pillows on the dresser in my bedroom and play along with Saul Goodman.”
NORTHWESTERN, GRACELAND, AND EASTMANLeonard started playing percus-
sion with the Kansas City Philharmonic during his senior year in high school. “I played with them for two years, earning enough money to help pay for school,” he recalls. Following a semester at Northwestern University in Evanston, Illinois—where he studied with Edward Metzinger, timpanist with the Chicago
Symphony—Leonard moved to Lamoni, Iowa to be near his childhood sweet-heart, Peggy, to whom he has been married 58 years. While there, he at-tended Graceland College (now Grace-land University) for a semester. “One of the faculty members at Graceland had his doctorate from Eastman and suggested I go there,” Leonard explains. “I was accepted as a sophomore and was at Eastman for three years.” While in Rochester, Leon-ard studied under the legendary William Street. Among his classmates were two other future PAS Hall of Fame mem-bers: John Beck and Gordon Peters. Leonard was a charter member of the first Eastman Wind Ensemble as well as a member of the famous Marimba Masters percussion ensemble. “There were only six percussion majors in the whole school, and there were three orchestras, a wind ensemble, plus two bands,” he remembers. “We were just playing like crazy, which is what I want-ed.” Leonard graduated from Eastman in 1954 with a Bachelor of Music degree and a Performer’s Certificate in Per-cussion. Following a 21-month stint in the 19th Army Band at Fort Dix, New Jersey, where he served as timpanist,
By Lauren Vogel Weiss
Stanley LeonardStanley Leonard is best known as the principal timpanist with the Pittsburgh Symphony, a position he held for almost four decades. But he is also a prolific composer and a dedicated educator. From over 50 PSO recordings to compositions such as “Circus,” Leonard has left an indelible musical footprint for musicians, especially percussionists.
Percussionists in the Eastman Wind Ensemble (1954)L–R: James Dotson (deceased), John Beck, Mitch Peters, Stan Leonard (on timpani), and Gordon Peters.
8
In1954,LeonardgraduatedfromtheUniversityofRochesterwithaBachelor
ofMusicdegreeaswellasaPerformer’sCertificate.Duringtheprocessofearning
thiscertificate,Leonardcomposedandperformedhisfirsttimpanisolo.SoloÉtude
requiresseveraltuningtechniquesthatLeonardwouldeventuallybeknownforin
hiswriting.ItwaseventuallypublishedasthelastexerciseinhisSeventeen
TechnicalStudiesforKettledrumsin1970.18
Aftergraduating,Leonardjoinedthearmy.Hewasstationedwiththe19th
ArmyBandatFortDix,NewJerseyfortwenty-onemonthswhereheworkedasthe
timpanist,assistantconductor,andchiefclerk.Whilehewasapartofthisensemble,
hewasabletoperformontheABCnetworkseriesSoldierParadewithArlene
Francis19aswellasontheEdSullivanShow(seeFigure3).20
Figure3:EdSullivanShow,1955.
(Drummers:JackSeidleronleft,Leonardonright)
18StanleyLeonard,interviewbyauthor,January26,2018.19SoldierParadewasalsoknownasSoldierPatrolandTalentPatrol.20StanleyLeonard,interviewbyauthor,February10,2018.
9
In1956,LeonardreceivednoticefromWilliamStreetviapostcardthatthe
PittsburghSymphonyOrchestrawaslookingforatimpanist.Heappliedand
auditionedfortheposition.21BasedonLeonard’saccount,therewereonlythree
peoplewhoplayedfortheaudition.Aftertheprocessofplayingformusicdirector
WilliamSteinberg,theassistantmusicdirector,andthepersonnelmanager,hewon
theposition.Thisstartedathirty-eightyearcareerwiththeorchestra(seeFigure4
forhisheadshotfrom1956).
Figure4:StanleyLeonard,1956
WorkingwiththeorchestragaveLeonardaplethoraofopportunitiesand
experiences.Heworkedwiththreemusicdirectors:WilliamSteinberg(1956-76),21StanleyLeonard,interviewbyauthor,January26,2018.
10
AndréPrevin(1976-1984),andLorinMaazel(1985-1996),aswellasahostofguest
conductorsincludingAaronCopland,PaulHindemith,LeonardBernstein,andJohn
Williams.Hewasalsofeaturedasasoloistonfiveconcerts:DariusMilhaud’s
ConcertoforPercussionandSmallOrchestra,theAmericanpremieresofWerner
Tharichen’sConcertoforTimpaniandOrchestraandAndrzejPanufnik’sConcertino
forTimpani,Percussion,andStrings,andtheworldpremieresofSymphony
ConcertanteforTimpanistandOrchestrabyByronMcCullohandCelebration
OvertureforSoloTimpaniandOrchestrabyRaymondPremru.22
Aswascommonfororchestramusiciansofthetime,Leonardstarted
teaching.23In1958,hebecameanAdjunctProfessorofPercussionatCarnegie
InstituteofTechnology,whichwouldlaterchangeitsnametoCarnegieMellon
University.Inordertokeepupwiththegrowinginterestinpercussionensemblesat
universities,heorganizedthefirstpercussionensembleatthisinstitution.
Sincetheideaofthecollegepercussionensemblewasstillinitsinfancy,the
firstbeingorganizedattheUniversityofIllinoisbyPaulPricein1950,repertoire
wasdifficulttofind.24Leonardbeganwritingforpercussionensemblesothathis
studentshadmusictoplay.ThefirstensemblepiecehewrotewasCircusfor
percussionquintet.Thisisapieceinsixshortmovements:Introduction,Trapeze,
22LaurenVogelWeiss,“StanleyLeonard,”PercussiveNotesVol.48,no.6(November,2010):11,accessedMarch26,2017.http://publications.pas.org/Hall%20of%20Fame/1011.10-13.pdf#search="stanley%20leonard.23StanleyLeonard,interviewbyauthor,February10,2018.24GordonPeters,“TreatiseonPercussion”(master’sthesis,UniversityofRochester,1962),298.
11
LionTamer,Cannonball,MonkeyCage,andFinale.25Allofthemovementsare
programmatic,creatingasoundscapethatismeanttodepictthefigureinthetitle.
IntroductionandFinalerepresenttheopeningactandtheringmaster,respectively.
Theinstrumentationforthisworkissimple,onlyrequiringtubularchimesand
glockenspielforkeyboardinstrumentsandseveralcommonbatteryinstruments.He
continuedcomposingforthisensemblethroughouthistenureatCarnegieMelon.
StanleyLeonardisalsoareligiousman.DuringhistimeinPittsburgh,he
servedaspastorattheCommunityofChristChurchforthreeyearsintheearly
1970s.26Healsoorganizedthecongregation’sfirsthandbellchoirin1974,knownas
TheNewRingers.Hecontinuedastheirdirectoruntil1994.Duringthistime,hesaw
thegroupthroughtherecordingofthreecassettes,whichincludedmusichewrote.
Leonardalsocontinuedtowritetimpanisolos.Hehadaninterestintreating
timpaniasamelodicinstrument,notsimplyasdrums.Indescribingpieceswritten
uptothispoint,hesaid,“youmightchangeanoteorsomething,buttherewasno
senseofusingthepedalsasavitalpartofthemusicandtheinstrument.”27Thefirst
solothatwasnotincludedinamethodbookwasCanticle.Writtenin1972,this
workincludesseveralglissandiandquicktuningchangesthatcreatemelodies.This
extensiveuseofpedalsintimpaniplayingwillcontinuedandcontinuestobea
characteristicofLeonard’sworks.
LeonardleftCarnegieMellonUniversityin1978.WhilenotintheUniversity
setting,hewasstillteachingprivatelessonsfromhishome,playingwiththe
25StanleyLeonard,Circus(BocaRaton,FL:LudwigMastersPublications,Inc.,1972).26StanleyLeonard,e-mailmessagetoauthor,February14,2018.27StanleyLeonard,interviewbyauthor,January26,2018.
12
PittsburghSymphony,andcomposing.Itwasalsoduringthistimethathebegan
compilinginformationforamethodbook.Hefeltstronglyaboutincorporatingpedal
techniqueintothedefinitionofthecompletetimpanist,comparingthistechniqueto
theharppedals,orthetromboneslide.28HismethodbookPedalTechniqueforthe
Timpaniwaspublishedin1988.Atthispointintime,exercisesdidexistthatfocused
onretuningthedrumsthroughtheuseofpedals.ThisincludestheLudwigTimpani
InstructorthatLeonarduseddecadesearlier.29Thedifferencebetweenthose
resourcesandPedalTechniqueisthedetailthatLeonardgoesintodescribinghowto
achievethisaction.Thisbookcontainsasignificantamountofprosedescribing
positioning,mechanics,andthephysicalactofusingthepedals.Healsodefines
“pedalaccent,”whichistheactofmovingthepedalquicklywhilesimultaneously
strikingthedrum,therebyeliminatinganyglissandosound.30Thistechniqueisused
extensivelyinseveralofhissolosandpercussionworks.
Leonardreturnedtoacademiain1989whenhebecameanAdjunctProfessor
ofPercussionatDuquesneUniversity.Hiscompositionsinthisperiodincludeda
seriesofsoloworksthatwerewrittenforselectstudentrecitals.31Theseworks
include,butarenotlimitedto,DoublesforBrettDietz,EchoesofNineforShawn
28JohnSoroka,“StanleyLeonard:ALifeinPercussion.”PercussiveNotesVol.48,no.6(November,2010):60,accessedMarch26,2017,http://publications.pas.org/symphonic/9508.58-61.pdf#search=”stanley%20leonard.29LaurenVogelWeiss,“StanleyLeonard,”PercussiveNotesVol.48,no.6(November,2010):11,accessedMarch26,2017.http://publications.pas.org/Hall%20of%20Fame/1011.10-13.pdf#search="stanley%20leonard.30StanleyLeonard,PedalTechniquefortheTimpani(Cleveland,OH:LudwigMusicPublishingCo.,1988),12.31StanleyLeonard,interviewbyauthor,January26,2018.
13
Galvin,andEpigramforHeidiKohne.Healsowrotepiecesforthepercussion
chambergroupTempusFugit,whichconsistedoffiveofhisformerstudents:Brett
Dietz,ShawnGalvin,PerryGatchIII,RonaldJ.Heid,andDennisHoffmann.
In1994,LeonardretiredfromthePittsburghSymphonyOrchestra.He
continuedtoteachatDuquesneforsixmoreyears.Hestartedrecordinghis
compositionsduringthisperiod.ThealbumCanticlewasreleasedin1995and
includestheDuquesneAlumniEnsembleperformingCircusaswellasthesolo
Canticle,whichLeonardperforms.32Hehasparticipatedasaclinicianorperformer
atseveralPercussiveArtsSocietyInternationalConventions(PASIC),includingin
1996inwhichheperformedwithTempusFugitPercussionEnsemble(seeFigure
5).33HeandhiswifemovedtoNaples,Floridain1997.
SinceretiringfromDuquesnein2001,Leonardhasremainedactiveinthe
musicindustry.Besidescontinuingtocomposeforpercussionensemble,hebecame
theHandbellDirectoratVanderbuiltPresbyterianChurchinNaples,Floridain
2002.34HecomposedforthehandbellchoirThreeRiversRingers(Pittsburgh,PA)
andrecordedanalbumJubilatewiththem.35Hehasalsowrittenseveralworksfor
organandtimpanithatheplayswithorganist,JamesCochran.36
32LaurenVogelWeiss,“StanleyLeonard,”PercussiveNotesVol.48,no.6(November,2010):13,accessedMarch26,2017.http://publications.pas.org/Hall%20of%20Fame/1011.10-13.pdf#search="stanley%20leonard.33Ubiq.34StanleyLeonard,e-mailmessagetoauthor,February14,2018.35StanleyLeonard,“MusicCatalog,”StanleyLeonard.com,2015,accessedMarch26,2017,http://www.stanleyleonard.com/music.asp.36StanleyLeonard,interviewbyauthor,January26,2018.
14
Figure5:PASIC1996inNashville,Tennesseewith
TempusFugitPercussionEnsemble
Hisworkscontinuetobeperformedandrecordedaroundtheworld.With
thehelpofformerDuquesnestudentandAssociateProfessorofPercussionat
LouisianaStateUniversity,BrettDietz,andtheLouisianaStateUniversity
PercussionGroup,Hamiruge,Leonardhasbeenabletoreleaseasecondalbumofhis
works,Collage.37Then,in2012,Leonard,Hamiruge,andTempusFugitreleasedthe
albumReunion,whichincludesworkswrittenbybothLeonardandDietz.In2015,
formerprivatestudentandtimpanistfortheSanFranciscoSymphonyOrchestraEd
StephanperformedthepremiereofRhythmixfortimpaniandpercussionquartet
37StanleyLeonard,“MusicCatalog,”StanleyLeonard.com,2015,accessedMarch26,2017,http://www.stanleyleonard.com/music.asp.
15
withthepercussionistsoftheHyogoPerformingArtsCenterOrchestrain
Nishinomiya,HyogoPrefecture,Japan.38
Leonardhasenjoyedamusicalcareerthathasspannednearly70years.He
hasperformedaroundtheworldandrecordedextensivelywiththePittsburgh
SymphonyOrchestra.Hehascreatedworksthatfilledtherepertoryforthe
percussionensemblewhenitwasstillnewintheacademicsetting,andhehelped
definethecompletetimpanistwithhisPedalTechniquefortheTimpani.Asof2018,
hecontinuestocomposeandstillhaspiecestobepremiered.
38StanleyLeonard,Rhythmix,(Naples,FL:StanleyS.Leonard,2015),performancenotes.
16
CHAPTER2:ETUDEANDMETHODBOOKSLeonard,Stanley.ContemporaryAlbum:forSnareDrum.Cleveland,OH:Ludwig
MusicPublishingCo.1986.
Thisetudebookconsistsoffivesections.Thefirstisacollectionof
foursnaredrumetudesthatincludeinstructionssuchasswitchingthe
snaresonandoffandplayingonthesnaresideofthedrum.Thesecond
sectionisthefiveTimeStudiesoriginallypublishedin1960(SeeTimeStudies
inthischapter).Partthreeisacollectionofsixduetswhosedifficulty
graduallyincreasestothepointofhavingquintupletsandsextupletssplit
betweenthetwoperformers.Nextaretwoduetsforsnaredrumandmulti-
percussion,bothofwhichincludeimprovisationfromthemulti-percussion
player.ThebookconcludeswithashortpercussionsolocalledAccentuation
(SeeAccentuationinChapter5).Thisresourceisidealforintermediate
studentswhowouldliketobegintheirmulti-percussiontraining.
Leonard,Stanley.FortyHymnsandCarolsforTimpani.Columbus,OH:Per-MusPublications.2002.
Thisisacollectionoftimpanipartsforfortypopularhymntunesof
theChristianfaith,specificallythe1990PresbyterianHymnal.39Mostofthem
canbeperformedeasilyonthestandard26-and29-inchtimpani,withthe
occasionaluseofpedalingtechniques.Thisbookhasavarietyofuses:fora
teacher,itprovidesanumberofshortandsimpletimpanietudes;fora
studentandperformer,itprovidesexercisesfortheinstrumentaswellas
39ThePresbyterianHymnal:Hymns,Psalms,andSpiritualSongs(Louisville,KY:WestminsterJohnKnoxPress,1990).
17
partsthatmaybeneededinachurchperformance;finally,forachurchmusic
director,itprovidestimpanipartsthatcanbeincludedinservices.
Leonard,Stanley.FourDuetsforTimpani.VanNuys,CA:AlfredMusic.2014.
Thisisasmallcollectionofduetsthatrequirethreetosixtimpani.The
firstpiecerequiresonlythreedrums,the32-inchbeingshared,andwouldbe
appropriateforapairofhighschoolstudentswhohaveafirmunderstanding
ofduplerhythmsandtriplets.Witheachnewduet,adrumisadded:fourfor
thesecond,fiveforthethird,andsixforthelast.Thepiecesgradually
increaseinrhythmicdifficulty,makingthelastmoresuitableforapairof
youngcollegestudentsoradvancedhighschoolpercussionists.
Leonard,Stanley.FundamentalPerformanceConceptsfortheTimpani.Pittsburgh,PA:StanleyS.Leonard.1986.
Thisisanearlyinstructionalresourceonthefundamentalsoftimpani
playing,includingthestroke,differentmallettypes,drumssizes,and
muffling.Thedocumentincludeswarm-upsforgeneralplaying,cross
sticking,androlls.Itendswithaselectedbibliographyofsolorepertoire,
methodbooks,andconcertifortimpaniavailableatthetimeofpublication.
Theinformationwasupdatedin2000forTheTimpani:Musicaland
MechanicalFundamentals(alsointhischapter).
Leonard,Stanley.OrchestralRepertoirefortheTimpani.AnIntroduction.Cleveland,OH:LudwigMusic.1997.
Thiscollectionoffulltimpanipartsprovidesearlyrepertoirestudyfor
anorchestraltimpanist.ThepiecesselectedareMozart’sSymphonyNo.39,
Beethoven’sSymphonyNo.1andNo.7,theWilliamTellOverturebyRossini,
18
Brahms’AcademicFestivalOvertureandSymphonyNo.1,Tchaikovsky’s
SymphonyNo.4,andBurlesquebyRichardStrauss.Althoughtheauthor
givesnoinstructionsastohoweachpartshouldbeperformed,hedoesgivea
forewordthataddresseseffectivepracticeandstudyhabits.
Leonard,Stanley.PedalTechniquefortheTimpani.Cleveland,OH:LudwigMusicPublishingCo.1988.
Thislengthytextprovideswritteninstructiononpedaltechnique.The
authorgoesintodetailontheproperwaytosetupandapproachthetimpani
console,aswellasthephysicalactionstakentoperformglissandiand“pedal
accents.”40Alongwiththetwosectionsoftextdescribingbasicapproachand
advancedtunings,Leonardprovidesfifty-twopagesworthofwarm-upsand
exercises.Thetextincludesaselectbibliographyandinformationonthe
mechanicsoftheinstrument,alongwithcommonmalfunctionsand
remedies.
Leonard,Stanley.SeventeenTechnicalStudiesforTimpani.VanNuys,CA:AlfredMusic.2014.
Thiscollectionofetudesandexercisesisinfoursections:aseriesof
etudesforthreedrums,aseriesforfourdrums,pedalingexercisesfortwoor
threedrums,andthepieceSoloÉtude(seeSoloÉtudeinChapter3).The
authorprovidesmusicalinstructionsandmalletsuggestionsforallofthe
etudes.Sincethefirstsectionofthebookcallsforthreedrumsratherthan
two,thebeginningexerciseswouldbesuitablefortheintermediatestudent.
However,sincethedifficultylevelincreasesquickly,andthepedaling40“PedalAccent”isthetechniqueofusingthepedalingtoanewpitchandstrikingthedrumheadatthesametime,eliminatinganyglissandosound.
19
exercisesaremoremelodicthanmoststudentsareaccustomed,themajority
ofthisbookwouldbeappropriateforadvancedstudents.Itwasoriginally
self-publishedasSeventeenTechnicalStudiesfortheKettledrumsin1970.
Leonard,Stanley.TheTimpani:MusicandMechanics.Naples,FL:StanleyLeonardPercussionMusic.2000.
ThisisanupdatededitionofFundamentalPerformanceConceptsfor
theTimpani,publishedin1986.Inadditiontothecommentaryfromthe
earlierdocument,thiseditionincludesdiscussionofthemechanicsofthe
instrument,thegrip,stickingconcepts,andbasicmaintenance.Thewarm-
upshavealsobeenexpandedtoincludetuningexercisesontwodrums.The
textendswithashortglossaryofmusicalterminologyandanupdated
bibliography.Thiswouldbeidealforatimpanistwhowishestobetter
understandthefundamentalsofplayingandmaintainingtimpani.
Leonard,Stanley.TimeStudies.Pittsburgh,PA:StanleyLeonard.1960.
Theseetudesfocusonchangesinmeter.Eachentryistitledbyan
ascendingsetofnumbers(1-2-3,2-3-4,allthewayto5-6-7),whichcorrelates
withthetimesignaturechangesthatoccur.Forexample,thefirstetude,
titled1-2-3,concludeswithmeasuresalternatingbetween1/8,2/8,and3/8.
Thiscollectionwouldserveanintermediatetoanadvancedpercussionist
focusingonrhythmicunderstandingandphrasing.Thissetofetudescanbe
foundintheContemporaryAlbumfortheSnareDrum.
20
Leonard,Stanley.TwelveSoloEtudesfortheAdvancedTimpanist.VanNuys,CA:AlfredMusic.2015.
Thiscollectionexercisesthemusicianshipofthetimpanist.Inmanyof
theetudes,theperformermustplayslowlyandquietly,butstillcreatethe
senseofamovingline.Therearealsoquickstylisticchanges,suchasfrom
fast,articulateplayingtolegatorolls.Thiswillchallengetheperformer’s
stroketypesandmalletchoices.Althoughafewoftheetudeswouldbe
appropriateforintermediateplayers,themajoritywouldbebestsuitedfora
collegestudentfocusingonthisinstrument.
Leonard,Stanley.PerformanceResourcesfortheTimpani.Naples,FL:StanleyLeonardPercussionMusic.2015.
SimilartoFundamentalPerformanceConceptsandTheTimpani:Music
andMechanics,thisresourceprovidesinformationabouttheworkingsofthe
timpanialongwithaseriesofwarm-ups,amusicalterminologypage,anda
bibliographyoftimpanirelatedpieces.Thecommentaryexplainingthe
instrumentandmusicaltechniquesisreducedinthiseditioncomparedtothe
oldertexts.Thenewitemsinthispublicationareaseriesofsingle-page
listingsentitled“PerformancePathways,”“PerformancePrinciplesforthe
Timpani,”and“StickingConcepts.”Alsoincludedisashortessayentitled
“TheTimpani:MasteringMusicality,”inwhichtheauthorexplainshowto
incorporatemusicalityintoperformance.Educatorslookingtoprovidetheir
studentswithbeginninginstructioncanusethistext.
21
CHAPTER3:UNACCOMPANIEDTIMPANISOLOS
Leonard,Stanley.Canticle.BocaRaton,FL:LudwigMastersPublications,Inc.1972.
Thisearlytimpanisoloiscomposedintwomovements,thefirstbeing
arecitativefollowedbyaslowmarch,andthesecondbeingadancein7/8
withsimilarthematicmaterial.Thisworkhighlightsthemelodiccapabilities
ofthekettledrums—anaudiencememberwouldbeabletohumthetune
afterhearingitperformed.Althoughsomechromaticpitchesandborrowed
harmoniesareused,bothmovementsremaininthekeyofDminor.The
composermakessignificantuseofglissandithroughout,makingitoneofthe
mainmotivicgesturesinbothmovements.This,alongwiththeuseofpedal
accents,makesexperienceinpedalingcrucialforproperperformance.As
such,thispieceisbestsuitedforanadvancedstudentorprofessional
timpanist.
Leonard,Stanley.CollageforSoloTimpani.Greensboro,NC:C.AlanPublications.2009.
LikeseveralStanleyLeonardtimpanisolos,Collagerequiresan
advancedtimpanistwhoisaccustomedtopedaltechniques.Themelodic
linesthatthepieceutilizesrequiretheuseofpedalaccents.Therearealso
momentsinwhichtheentiretimpaniconsoleneedstoberetuned,whichwill
challengetheperformer’sspeedinthisprocess.Dependablegauges,fastears
andfeet,andfamiliaritywiththeinstrumentwillbeneededinforan
optimumperformance.
22
Leonard,Stanley.Danza.Naples,FL:StanleyLeonardPercussionMusic.2014.
Thisisaworkforalargepercussionconsolethatincludesfourpedal
timpani.Itisinfourmajorsections:aslow,recitative-likeopening;amiddle
sectioncombiningdupleandtripledancerhythms;animprovisedcadenza;
andanenergeticfinale.Itrequiresseveralpercussiontechniquestoperform,
includingtambourineplaying,timpanipedaling,readingfromtwostaves,
andpolyrhythms.Assuch,thisworkisbestsuitedforanadvancedplayer
whoisalreadyproficientintheabovetechniques.
Leonard,Stanley.Doubles.Cleveland,OH:LudwigMusic,1995.
Thissolorequirestheuseoffour-mallettechniqueontimpani,ora
specializedmalletthatcanstriketwodrumsatonetime.Thefirstsection,
labeledasacadenza,callsforallfourofthedrumstobestruck
simultaneously.Pedaltechniquessuchasglissandiarealsorequired.The
remainderofthepiecemovesquicklyin5/8.Onlyapairofmalletsisneeded
duringthissection,butpedalingisstillrequiredonallfourdrums.Doublesis
foranadvancedtimpanistwhohasexperiencewithpedaltechniques.
Leonard,Stanley.EchoesofEight.VanNuys,CA:AlfredMusic.2014.
ChronologicallythethirdandlastoftheEchoespieces,thisexample
drawingfromBeethoven’sSymphonyNo.8.SimilartoEchoesofSeven,thisis
inthreesections;thebeginninginspiredbythefirstmovement,startingwith
theprincipalmelodicmotifofthesymphony,thesecondsegmentrelatingto
thethirdmovement,andthefinaltenmeasuresbeingsimilartothefinaleof
thesymphony.Thispiececanbeusedtobeginteachingpedalaccents,since
23
thistechniqueisconfinedtoonedrumneedingtogobetweentwopitches.
ThisisthesimplestofthethreeEchoesworks.
Leonard,Stanley.EchoesofNine.Cleveland,OH:LudwigMusicPublishingCo.2002.
EchoesofNineisthefirstofthethreeEchoessolosinspiredbythe
timpanipartsofBeethovensymphonies,thisonealludingtoSymphonyNo.9.
Thethematicmateriallargelycomesfromexpandinguponwhatthe
timpanistplaysintheScherzo,withquotesfromtheothermovements
strategicallyplacedintothework,andendingwithmusicfromthe
symphony’sfinale.Itisashortpiecethatrequiresaperformerskilledin
pedalaccents.BeingthemostdifficultoftheEchoesworks,itisbestsuited
foranadvancedtimpanist.
Leonard,Stanley.EchoesofSeven.AsburyPark,NJ:KeyboardPercussionPublications.2012.
ThesecondofthethreeEchoespieces,itisinspiredbyelementsof
Beethoven’sSymphonyNo.7.Itisinthreesegments,callingfromthefirst,
third,andfinalemovementsrespectively.Itisabrisksolocallingfor
“Beethovenesque”articulationsanddynamicshifts,aswellas
“Leonardesque”tuningchangesandmelodiclinesthatrequirepedalaccents.
InrelationtotheotherEchoesbyLeonard,thispieceiseasierthanNineand
moredifficultthanEight.
Leonard,Stanley.Epigram.Cleveland,OH:LudwigMusic.1994.
Thissoloissplitintotwosections.Theopeningisarecitativethat
focusesonthelegatocapabilitiesoftheinstrument,whichincludesrollingon
onedrumwhileplayingamelodyontheothers.Theendoftherecitative
24
usesarhythmicstatementtotransitionintothefastersecondsection.This
portionoftheworkmostlyconsistsofcontinuoussixteenthnotes,requiring
attentionontheaccentednotestodelineatebetweenmelodiccontentand
accompaniment.AswithmanyofLeonard’sworks,anunderstandingof
pedaltechniqueisrequiredtoperformthisproperlyinordertoperformthe
glissandi,chromaticgestures,andharmonicchangesproperly.Thiswouldbe
asuitablesoloforanadvancedtimpanistwhounderstandspedaltechnique.
Leonard,Stanley.Forms.Cleveland,OH:LudwigMusicPublishingCo.1986.
Formsisacollectionoffourpiecesthatcanbeplayedindividuallyor
togetherasmovementsforalargerperformance.Thefirstpiece,Cadenza,is
writteninamannerthatsoundsimprovisatoryandfeaturesglissandiand
chromaticmotion.TheRondinoisawaltzwithvariationsthatrequirespedal
accentstoaccomplishthemelodiclines.Recitativeisaslowmovementthat
incorporatesadroningpitchthatisrolledthroughoutwhilemelodicmaterial
isplayedaroundit.Thelastpiece,Ostinato,isanenergeticdancein5/8that
utilizesanaccompanyingostinatogesturetobeplayedbeneaththemelodic
material.Intermsofpedalingdifficulty,theRecitativeisthesimplest
followedbytheCadenza,duetotheirsloworfreetempi.TheRondinoandthe
Ostinatorespectivelyarethemoredifficultpiecesbecauseoftheirtonality
andrapidchanges.Assuch,thispieceasawholecanserveanadvanced
studentorprofessional,orspecificmovementscanbeplayedbyless
experiencedstudentstoworkonthesetechniques.
25
Leonard,Stanley.Madras.Pittsburgh:StanleyS.Leonard.1981.
Thissolointwomovementsfeaturesnotonlythepedaling
requirementsthatLeonardisknownfor,butalsodifferentsoundsthatcan
beproducedbythetimpani.Inthefirstmovement,whichisslowanduses
rollsforasignificantportion,theperformermustplayonthebowlsaswell
asperform“rimshots”onthedrum.Thesearedonebyplacingonemalleton
thedrumandstrikingtheshaftwiththeothermallet.Thesecond,faster
movementcallsfornumerousstick-clicksandtheoccasionalstrikingofthe
centerofthedrums.Duetothesesoundrequirements,aswellastheamount
ofpedalaccentsandglissandi,thisisasoloforanadvancedtimpanist.
Leonard,Stanley.MarchandScherzo.Columbus,OH:BachovichMusic.2010.
Thetwomovementsofthisworkwouldbesuitableforan
intermediatetimpanistwhoisbeginningpedaltechnique.TheMarchisa
slowandsteadymovementthatincorporatessomeadvancedrhythms,such
asseptuplets,andpedalaccentsonthreeofthefivedrums.TheScherzoisa
muchfastermovementin3/8thatrequiresnopedalingwiththeexceptionof
twoglissandi.Thismovementalsorequiresapairofroto-toms,requiringthe
performertoreadtwostavesforalargeportionofthework.Thepiecealso
callsformalletchangeswhileplaying,aswellasstrikingthebowlofthe
instrument.
Leonard,Stanley.SoloDialogue:forFourTimpaniandThreeTom-toms.BocaRaton,FL:LudwigMasters.1991.
Thisisashortsolothatcallsforfourtimpaniandthreetom-toms.In
thefirsthalfofthework,theperformermustplayaccompanimentfigures
26
withthelefthandonthetimpaniandthemelodiclinesonthetomswiththe
right.Thisrequiresdexterityandindependencesothemusiccanbephrased
appropriatelyanddoesnotsoundstiff.Thesecondhalfofthepieceisbrisk
andfrequentlychangesbetweenuncommontimesignaturessuchas3/16,
7/16,and5/8.Thispiecedoesnotrequirepedaltechniques,soa
percussionistwhodoesnotfocusonthetimpanicancomfortablyperformit.
Leonard,Stanley.SoloÉtude.FromSeventeenStudiesfortheTimpani.VanNuys,CA:AlfredMusic.2014.
ThisisLeonard’sfirstsolotimpanicomposition,whichisfoundasthe
lastexerciseinSeventeenStudiesfortheTimpani.Itisamarchthatchanges
keytwotimeswithoutusingrestsorfermatitofacilitateretuningthedrums,
requiringthesoloisttoperformthisactionwhileplaying.Italsorequires
pedalaccentsforarecurringfigureatcadencepointsinthefirstsectionand
theending.Rhythmically,thepieceremainsduple-basedwithmomentsof
sixteenthnotesyncopationandthirty-secondnotes.Thisworkwouldbebest
foranintermediatetimpanistwhohasbegunstudyingpedaltechniques.
Leonard,Stanley.Solus.Denton,TX:Drop6Media,Inc.2000.
Thisrequiresfivetimpaniandseveralpercussioninstrumentsto
createalargeconsole.Thiscreateschallengesforboththephysicalplaying
andreadingofthemusic.Physically,theconsolemustbeconstructedina
mannerthattheperformercanmakealloftheappropriatesounds
comfortably.Simultaneouspedalaccentsontwotimpaniarealsorequired,
makingitnecessaryforastooltobeintheconsole.Thisistheonlyexample
ofpedalinginthispiece,however.Theperformermustalsoreadtwostaves
27
andnoticewhentheinstrumentationofthetopstaffchanges.Rhythmically,
themusicincludesseptuplets,quintuplets,andmeterchanges.Anadvanced
percussionistwhohasnotstudiedpedaltechniqueextensivelywouldbe
capableofperformingthiswork.
28
CHAPTER4:ACCOMPANIEDTIMPANISOLOS
Leonard,Stanley.Canto:forSoloTimpaniandTrombone.Naples,FL:StanleyS.Leonard.2004.
Accordingtotheprogramnotesbythecomposer,themelodic
materialofCantocomesfromanancientAmbrosianliturgicalhymntitledTe
LucisAnte.Throughoutthework,thetrombonistpresentsthismelodyin
severalvariations,whilethetimpanistprovidesharmonicsupport,dialogue,
andrhythmicdrive.Fromtheopeningfanfareuntiltheendofthepiece,the
timpanistplaysseveralpedalaccents,rhythmicglissandi,andrapidtuning
changes.Theperformermusthavethedexteritytoapplydouble-strokes
duringasectionofcontinuoussixteenthnotes.Thereisaportioninwhichall
fourdrumsarestrucksimultaneously,requiringeitherfour-mallettechnique
orspeciallymademalletsthatcanstriketwodrumsatonce.Thisisan
appropriateworkforeitheranadvancedtimpanistudentoraprofessional
performer.
Leonard,Stanley.CantoII:forSoloTimpaniandFrenchHorn.Naples,FL:StanleyS.Leonard.2007.
ThisversionofCantowasrewrittenforaFrenchhorninsteadof
trombone.
Leonard,Stanley.ConcertinoforSoloTimpaniandKeyboardPercussionEnsemble.Cleveland,OH:LudwigMusic.1996.
Thispiecewaswrittentodisplaythemelodiccapabilitiesofthe
timpanibypairingthemwithkeyboardinstruments.Assuch,thesoloist
mustbeaccomplishedinpedaltechniquessothemelodicmaterialcanbe
performedeffectively.Thekeyboardpartsincludeunisonmelodicfigures
29
andhocketrhythmsthatrequireagroupofmatureplayers,suchascollege
studentsorprofessionals.Theworkalsoexperimentswithdifferentsounds,
includingstrikingthebowlsofthekettledrums,stick-clicks,andperforming
glissandiontheresonatorsofthekeyboards.
Leonard,Stanley.DuettoConcertino:forTimpaniandHorninF.Cleveland,OH:LudwigMusic.1995.
WritteninasimilarstructuretoFanfare&Allegrofrom1974(also
foundinthischapter),thisworkconsistsofthreesections.Thefirstisa
recitativethatfeaturesthehornwhilethetimpanistplayspedaltones.This
evolvesintoalyricalsectionwherethehornisagainfeaturedwhilethe
timpanistaccompanieswithasimplerhythmicmotif.ThethirdisanAllegro
sectionwithseveralchromaticgesturesinbothinstruments.Pedalaccents
areusedinordertoperformthechromaticandmelodiclinesinthetimpani.
Someonewhohasstudiedthistechniqueextensively,suchasaprofessional
timpanistoradvancedstudent,wouldbestperformthispiece.
Leonard,Stanley.Fanfare&Allegro:forTrumpetandSoloTimpani.London:N.Simrock.1974.
Thisduetfortrumpetandtimpanichallengesthepercussionist’s
technicalskillsaswellasmelodicplaying.InboththeFanfareandtheAllegro
sections,thetimpanistmustperformpedalaccentstoperformscalar
gesturesonasingledrum.ThemiddlesectionoftheAllegroisatimpani
feature,startingwithamelodicpassagefollowedbyquicksextupletrhythms
thatrequiretheoccasionalapplicationofdouble-strokestomaintainfluidity.
30
Thispiecewouldbesuitableforanadvancedstudentwhoisfocusedon
playingtimpanioraprofessional.
Leonard,Stanley.Marchatina.Pittsburgh,PA:StanleyS.Leonard.1979.
Thisisashortworkfortimpaniandviolin,whichisinABAform.The
Asectionsfeaturetheviolinwhilethetimpaniprovidesimplequarternote
accompanimentwithaddedactivityatcadencepoints.TheBsectionbegins
withasolotimpanilinethatrequirespedalaccents,followedbytheviolin
providingquarter-noteaccompanimentwhilethetimpanimaintainsthe
interest.Thetimpanistforthispieceshouldbecomfortableperformingpedal
accentsonallfourdrumsandbesensitiveenoughtobalancetoaviolin.
Leonard,Stanley.Recitative&Scherzo:SoloTimpaniwithPercussionEnsemble.Greensboro,NC:C.AlanPublications.2007.
Thistimpanisolowithpercussionquintetissplitintotwosections.
TheRecitativeislargelyatimpanisolothatincorporatescallandresponse
gestureswiththeensemble.IntheScherzo,despitehavingthemoredifficult
partduetothepedalaccents,thetimpanistplaysasamemberofthe
ensembleratherthanthefeature.Theensemblepartsdoincludequintuplets
intheRecitativebuttheScherzoisrelativelyeasytoperform.Also,the
repetitionofthekeyboardpartsmakesthemapproachableforintermediate
players.Thechallengeliesintheaccuracyoftheunisonlines.Atimpanist
whoisproficientinpedalaccentsshouldplaythesolopart.Thispiececanbe
performedwithpedalingonthe26-inchandthe29-inchdrumswhilethe
otherthreeremainonthesamepitchesthroughout.Thisisanappropriate
31
workforacollegeensembleandtheirteacheroranadvancedtimpani
student.
Leonard,Stanley.Rhythmix.Naples,FL:StanleyS.Leonard.2015.
Rhythmixisatimpanifeaturewithpercussionquartetthathas
inspirationsfromtraditionalJapanesemusicaccordingtothecomposer’s
programnotes.Thetuningsinthetimpani,aswellastherhythmsandthe
pitchcollectionsintheglockenspielandvibraphone,aresimilartothose
usedbytraditionalJapaneseinstruments.Thefastsectionsofthepiece
resembleaTaikoensemble.Thepieceissegmentedintofoursections,the
firstandthirdbeingslowandlyrical,andthesecondandlastbeingfastand
driving.Thechallengeintheensembleplayingisthehocketrhythmsinthe
slowsections.Forinstance,onegesturerequirestheplayerstosplit
quintuplets.Also,thesecondslowsectioninstructsoneperformerto
improviseonaslidewhistleinthestyleofatraditionalJapaneseflute.With
theexceptionofthesechallenges,thequartetmusicwouldbeappropriatefor
acollegegrouporanexceptionalhighschoolensemble.Thetimpanisoloist
shouldbeanexperiencedplayerwithpropertonequalityfortheslow
sectionsanddexterityforthequickrhythmsintheTaikosections.Sincethe
pedalingelementisnotasprevalenthereasinotherLeonardcompositions,
mostcollegetimpanistudentswouldbeabletoapproachitwithout
intimidation.
32
CHAPTER5:PERCUSSIONSOLOS
Leonard,Stanley.Accentuation.FromContemporaryAlbumfortheSnareDrum.Cleveland,OH:LudwigMusicPublishingCo.,1986.
Accentuationisapercussionsoloforthreetom-tomsandkickdrum
thatisfoundintheContemporaryAlbumforSnareDrum.Alloftherhythms
areduple-basedwithoccasionalsextupletsmakingitpossibleforan
intermediateplayertoperform.Besidesthechallengeofinterplaybetween
thehandsandthefoot,thepiecealsoincludesaseriesoflegatorollsthatare
difficulttoperform.Thiscompositionwouldfunctionasafirstpercussion
soloforacollegestudentoranadvancedhighschoolperformer.
Leonard,Stanley.Cascades:forSoloGlockenspiel.Naples,FL:StanleyS.Leonard.2012.
CascadesisStanleyLeonard’sonlykeyboardsolorequiringfour
mallets.Thepieceiscomposedofabriskopeningbasedinsixteenthnotes,a
slowerrecitativeinthemiddle,andabriefrecapitulationattheend.Itmakes
useofseveralcontemporaryharmonictoolssuchasclusterchords,quartal
andquintalharmonies,andharmonicplaning.Thesixteenthnotegestures
areneitherstrictlychromaticnorwhole-tonebutstillcreateadream-like
listeningexperience.Duetothedexterityrequiredtoplaywithfourmallets
onaninstrumentassmallastheglockenspiel,alongwiththespeedand
difficultyofthemelodies,Cascadesismeantforanadvancedkeyboardist.
Leonard,Stanley.Choirs:forMulti-percussionSolo.VanNuys,CA:Studio4Music(DistributedbyAlfredMusicPublishing).2001.
Thissoloissegmentedintothreemovements,eachfeaturinga
differentconsoleofinstruments,musicalcharacteristics,andchallenges.The
33
first,Woods,isplayedonwoodeninstrumentsandconsistsofsixteenthnotes
goingthroughaplethoraoftimesignatures,including5/16and2/8.The
second,Metals,isslowandfocusesonthemetalinstruments.Whilethereare
advancedrhythmssuchasquintupletsinthismovement,thefeatureisthe
resonanceofthesoundscreatedbythedifferentcomponentsoftheconsole.
Thelastmovement,Drums,requiressimilarrhythmicenergylikethefirst
movement,withtheadditionofusingthirty-secondnotesandtripletfigures.
Anotherchallengeinthisworkistheneedtoreadeachmovementintwo
staves.Duetotherhythmicandmusicalchallengeswithinthiswork,itisbest
suitedforanadvancedstudent.
Leonard,Stanley.Collage:forPercussionistandFlutist.Pittsburgh:StanleyS.Leonard.1972.
NottobeconfusedwithCollageforSoloTimpaniwrittenin2007,this
Collageisaduetforpercussionistandflutistwritteninsimilargraphic
notationasContinuumfrom1968.Thepercussionisthasalargerconsolein
thisworkthaninContinuum.Thesoundscapehasalsoexpandedtoinclude
glissandionresonators,playinginstrumentswithfingernails,andinsertinga
woodendowelintotheflutewhileitisbeingplayed.Fewrhythmsare
dictated,andpitchesarenotwrittenoutuntiltheendofthepiece.Thiswork
wouldbeappropriateforapairofmaturemusicianswhohaveaninterestin
contemporarytechniques,suchascollegestudentsorprofessionals.
Leonard,Stanley.OnThatDay.Pittsburgh,PA:StanleyS.Leonard.1972.
Thisisaworkfororgan,largepercussionconsole,andspeaking
congregation.Thepercussionistisgivensimilarimprovisatorynotationsas
34
intheduetContinuum,whiletheorganisgivenstandardnotation
throughout.Thebeginningoftheworkisvoidofmeterandmeasurelines
andislargelyimprovisedbythepercussionist.Inthemiddlesection,the
congregationrecitesIsaiah10:33-11:10whilethepercussionistaccompanies
withthetom-toms,adlibitum.41Thisisfollowedbyarecitativeplayedonthe
timpano,whichrequirespedalaccents.Theremainderofthepieceisnotated
withmetersandmeasureswithfewimprovisatorysectionsfromthe
percussionist.Thiswouldbeanappropriateworkforanadvanced
percussionistwhohasexperiencewithpedalaccentsinordertoperformthe
recitative.
Leonard,Stanley.Shadows:SoloMultiplewithPercussionEnsemble.Greensboro,NC:C.AlanPublications.2006.
Shadowsisapercussionsolowithkeyboardpercussion
accompaniment.Thepieceissplitintofourdifferentsections:amysterious
openingincorporatingunconventionalsoundssuchascrotales,dobachi,and
Thaigong,adancethatfeaturesthesoloistonthesnaredrum,ashort
keyboardchoralwherethesoloistislargelytacet,andadrivingfinalewith
constantmeterchangesandtom-tomvirtuosity.Thesoloistshouldbean
advancedplayeroraprofessional.Theensemblepartsdoincludesome
interplayinthefirstsection,andthetempooftheendingpairedwiththe
rapidmeterchangeswillcreateachallenge.However,thesepartsare
41StanleyLeonard,OnThatDay(Pittsburgh,PA:StanleyS.Leonard,1972),performancenotes,9.
35
repetitiveenoughthatagroupofintermediateplayerswouldbeableto
performthem.
Leonard,Stanley.Sonnet:forPercussionistandTape.Pittsburgh,PA:StanleyS.Leonard.1978.
Sonnetisfortapeandpercussionistinwhichthepercussionistisgiven
significantimprovisationalfreedom.Thetapeisacombinationofpercussive
pulsesoundsandareadingofWilliamShakespeare’sSonnet116with
electronicalterations.Thepercussionistfreelyimprovisesthefirstthirdof
thepiecewhileaseriesofelectronicpulsesareheard.Thesecondsectionisa
readingoftheSonnetwhilethesoloistimprovisesarounddictatedrhythmic
groupings(i.e.5-3-2).Inthefinalsection,thesoloistisconfinedtoplaying
notatedrhythmsonthesnaredrumwhilethetapesoundsoutthefirstwords
ofeachlineoftheSonnetelectronicallyaltered.Thiswouldbeanappropriate
pieceforanadvancedpercussionistwhohasaninterestinelectronicmusic
andtheabilitytoimprovise.
Leonard,Stanley.SuiteforViolinandPercussionist.Pittsburgh,PA:StanleyS.Leonard.1983.
Thisduetforpercussionandviolinisinthreemovements,titledPsalm
19,Psalm23,andPsalm33,respectively.Thefirstmovementischaracterized
bydrivingrhythmsfrombothperformersaswellasseveralchromaticlines
playedbytheviolin.Althoughslower,Psalm23stillrequiresrhythmic
integrityduetotheconstanteighthandsixteenthnotes.Legato
characteristicsarepresentedfrombothplayersattimes,withthe
percussionistplayingrollswithtwoorfourmalletsonthemarimbawhilethe
36
violinistplaysstrictrhythms,orviceversa.Psalm33isadance-like
movementthatregularlychangesfrom4/4to3/8meters.Thepercussionist
forthisworkshouldbeexperiencedwithplayingandbalancingwithastring
player,andbeabletoperforminachambersetting.
Leonard,Stanley.Triptych.Pittsburgh,PA:StanleyS.Leonard.1970.
Thisisaworkfororgan,largepercussionconsole,reader,and
antiphonalbrassplayer.Thefirstportionoftheworkisvoidofmeterand
measurelinesrequiringtheorganistandpercussionisttousetheirmusical
sensibilitiesandnon-verbalcommunicationtoplayentrances,melodies,and
rhythmicgesturesappropriately.Latersectionsoftheworkincludemeters
andmeasuresfortheorganistandbrassplayer,butnotthepercussionist.
Thisrequiresthepercussionisttoadapttothetendenciesoftheother
performers.Therhythmsforthepercussionistareuncomplicated.However,
theneedtoadapttotheotherperformersrequiresaplayerthatisadvanced
inchambermusic.
Leonard,Stanley.TwoMeditations.Pittsburgh,PA:StanleyS.Leonard.1980.
Thissolochallengestheinterpretiveabilitiesoftheperformer.The
firstmeditation,titledUnity,alternatesbetweenimprovisedpercussion
playingandprerecordedsounds.Thetypesofsoundsandthedynamicsof
eachtwenty-secondsegmentarespecified,butallelseisuptotheperformer,
includingthemediumofsoundusedintherecording.Thesecondmeditation,
WordGames,makesuseoftwentycardsdepictingdifferentwordssuchas
“Hate,”“Pride,”“Love,”etc.Foreachcarddisplayed,theperformermustplay
37
aresponserequiringamatureartisticability.42Thisisaworkforamature
performerwithsometheatricalexperience.
Leonard,Stanley.Ubique:forMultiplePercussion.Pittsburgh,PA:StanleyS.Leonard.1970.
ThissolousesgraphicnotationsimilartoContinuum,whichis
describedinChapter8.Thepieceisdividedintofivesections:an
introduction,threeEpisodes,andacoda,allofwhichareplayedattacca.
Muchisimprovised.Leonarddictatesthebeginningandendingofeachand
setsparametersforcreatingthemiddlecontent.Duetotheimprovisatory
natureofthework,itisrecommendedthatamaturemusicianand
percussionistperformthispiece.
Leonard,Stanley.WillO’theWisp:DuoforPercussionandClarinet.Naples,FL:StanleyLeonardPercussionMusic,2005.
Thepercussionisttravelsbetweenthreeinstrumentalconsolesinthis
duetwithaclarinetist.Theoneusedfortheshortestamountoftimeisthe
timpani,uponwhichacadenzaisperformed.Allofthepedalaccents
requiredherecanbeconfinedtotheinnertwodrumsmakingthissection
moremanageable.Onthevibraphone,alongwithplayingcall-response
gestures,four-mallettechniqueisnecessaryforaslowsectionthatfeatures
theclarinet.Themosttimeisspentattheconsoleofthepercussion
instrumentsminusthetimpaniandvibraphone.Duetotheamountof
instruments,Leonardwrotethepercussionpartusingtwostaves.Bothofthe
42ForexamplesofwhattoplayinWordGames,aperformercanlookatthescoreforthepercussionquintetWordGamesII,describedinChapter8.Thispieceispresentedinasimilarfashion,onlywithspecificnotationsandinstructions.
38
playershavemomentsinwhichtheyarethefeaturedvoiceorthe
accompaniment,butamajorityofthetimetheyaretrueduopartners
presentingmelodicandrhythmicinterplay.Assuch,thepercussionistforthis
performanceshouldbeamatureenoughmusiciantobalancewithabassor
B-flatclarinet.
39
CHAPTER6:TIMPANIANDORGAN
Handel,GeorgeFrideric.Hornpipe.ArrangedbyStanleyLeonard.Naples,FL:StanleyS.Leonard.2010.
ThisisanarrangementofGeorgeFridericHandel’sHornpipefromThe
WatermusicSuiteinD.Thetimpaniprovidetherhythmicenergyand
harmonicsupportfortheprimaryvoicesfromtheorganist.Thedrums
remainonthesamethreepitchestheentirepiece,andthemostchallenging
rhythmsencounteredareeighthnotes.Thus,thisisoneofthesimplerworks
amongthisgenreofLeonard’swriting.Anypercussionistwhoknowshowto
playtheinstrumentwithpropertoneandplaywithaduopartnercan
performthispiece.
Handel,GeorgeFrideric.TheRejoicing.ArrangedbyStanleyLeonard.Naples,FL:StanleyS.Leonard.2010.
ThisisanarrangementofG.F.Handel’sTheRejoicingfromTheRoyal
FireworksMusicoriginallywrittenin1749.Itisashortpiecethatcaneasily
beperformedonfourdrumswithoutanytuningchanges.Rhythmically,
nothingpresentedismorecomplexthanacombinationofeighthand
sixteenthnotes.Duetoitsshortlengthandrhythmicsimplicity,a
percussionistwhoisstillanoviceattimpanicanperformit.
Leonard,Stanley.Alleluia:LasstunsErfreuen.Greensboro,NC:C.AlanPublications.2003.
Thispiecewouldbeidealforatimpanistwithintermediatepedaling
abilities.Theonlypedalaccentsrequiredoccurintheslowsectionsofthe
workandcanbedoneonthetwoinnerdrums.Retuningtheouterdrumsis
necessary,butthiscanbedoneduringthelongperiodsofrestprovided.The
40
timpanistisalsorequiredtoimproviseongivenpitchesandplayonthe
centeroftheheads,whendirected.
Leonard,Stanley.BalladandDance:forOrgan,Flute,andTimpani.Naples,FL:StanleyS.Leonard.2013.
Thetimpaniplayasupportingroleinthistriowithorganandflute.In
boththelegatoBalladsectionandthejoyousDance,thefluteisgiventhe
principalvoicewhiletheorganprovidesoccasionaldialoguewhile
accompanying.Thetimpanistprovidesharmonicsupportandenergetic
rhythmicmotion.Intermsofpedaling,onlyonedrumrequiresretuningin
eitherofthegivensections.Duetotherhythmicsimplicityandtheminimal
pedaling,anyintermediatepercussionistwhoisstillanoviceatpedal
techniqueswouldbecapableofperformingthiswork.
Leonard,Stanley.CelebrationHymn:forOrganandTimpani.Naples,FL:StanleyS.Leonard.2005.
Thisisanoriginalworkfortimpaniandorganduet.Itfeaturesthe
organthroughout.Thetimpanistservesasharmonicsupportand
accompaniment,neverplayingarhythmfasterthanaquarternoteinthe
entirework.Inthehands,themostdifficulttechniquedisplayedisthefour-
strokeruff,eachofwhichisisolated.Inthefeet,thereareseveralinstancesof
retuning,mostofwhichcanbedoneonthemiddledrums,though
occasionallythe32-inchneedstochange.Duetothesimplicityofthe
rhythms,thispiececanbeusedasapedagogicaltoolforquickretuningand
pedalaccents.Inperformance,thepedaltechniquesrequireanintermediate
timpanist.
41
Leonard,Stanley.ChristmasFantasy:forOrganandTimpani.Naples,FL:StanleyS.Leonard.2014.
InChristmasFantasy,LeonardarrangedamedleyofInDulciJubilo,O
ComeEmmanuel,andAngelsWeHaveHeardonHigh.Thetimpanistmust
includeanA3handbellintheconsole.Theonlypedalingthatexistsisinthe
formofretuningduringrestsandfewpedalaccentsinthetransitionbetween
thesecondandthirdtune.Rhythmically,withtheexceptionofthehemiola
patternthatoccursduringthefirstportion,themostcomplicatedgestureisa
setofsixteenthnotes.Thus,thiswouldbeanappropriateworkforan
intermediatetimpanistwhoisstillperfectingthesepedaltechniques.
Leonard,Stanley.EasterFanfare:forOrgan,Trumpet,andTimpani.Naples,FL:StanleyS.Leonard.2009.
Thisisashortworkisforatriooforgan,timpani,andtrumpet.The
fourdrumsmaintainthesamepitchesthroughoutmostofthepiece,with
onlytwoinstanceswherethe29-inchmustberetuned.Inbothofthese
moments,theperformerisgivenappropriatetimetodoso.Musically,much
ofwhatthetimpanistplaysisindialoguewiththetrumpetplayer.Assuch,
thetimpanistshouldtrytomatchphrasingwiththetrumpet.An
intermediatepercussionistwhoisnotfocusedontimpaniwouldbeableto
performthispiece.
Leonard,Stanley.EasterPrologue.Naples,FL:StanleyS.Leonard.2012.
Inthisbrieftrio,thetrumpetandtimpaniplayindialoguewhilethe
organprovidestheharmonicsupport.Thepedalrequirementsareconfined
tothe32-inchdrumbeingretunedonce,andthemostcomplicatedrhythms
42
employedaresixteenthnotes.Thus,thispiecewouldbeanappropriatepiece
forapercussionistwhocanplaytimpaniwithpropertonebutisanoviceto
pedaltechniques.
Leonard,Stanley.FantasiaonLuther’sHymn.Greensboro,NC:C.AlanPublications.2003.
AnarrangementofAMightyFortressisOurGodbyMartinLutherfor
timpaniandorgan.Thepieceopenswitharecitativebythetimpanist,which
includesquintupletrhythms,double-stops,andpedalaccentsinchromatic
motion.Duringtheremainderofthework,thetimpanistmustalso,when
directed,playthecenteroftheheads,playglissandi,improvisewithvarious
implements,andperformfour-strokeruffs.Thisworkisbestsuitedforan
advancedtimpanist.
Leonard,Stanley.FantasiaonSaintDenio.Naples,FL:StanleyS.Leonard.2007.
ThisworkisbasedonthehymnImmortal,Invisible,GodOnlyWise,as
Leonardprintsintheprogramnotes.Thepedalinginthispiececanmostlybe
doneduringlongrests.Therearefewpedalaccents,butthosethatexistcan
bedonewithoneofthemiddledrums.Anintermediatetimpanistwhohas
notstudiedpedalingextensivelywouldbeabletoperformthispiece.
Leonard,Stanley.HeisRisen:forOrgan,TrumpetandTimpani.Columbus,OH:Per-MusPublications,LLC.2005.
Thisorgan,timpani,andtrumpettrioincorporateselementsof
ChristianandJewishtraditionsinaworkforanEasterservice,asnotedin
theprogramnotesbythecomposer.ThepieceisasettingofthehymnJesus
ChristisRisenToday,withthetrumpetactingasaShofar,aninstrumentused
43
inJewishreligiousservices.Pedalaccentsandretuningduringrestsare
requiredfromthetimpanist.Allofthenecessarypedalingcanbeperformed
ontheinnerdrums,whiletheouterdrumsmaintainthesamepitches
throughout.Anintermediateplayerwithexperiencewithpedaltechniques
wouldbesuitabletoperformthispiece.Also,thetempooftheworkmakesit
aviablepedagogicaltoolforpedaltechniques.
Leonard,Stanley.HymnofJoy.Naples,FL:StanleyS.Leonard.2010.
Thisworkincorporatescompoundtimesignaturesinbothitsslow
openingandjubilantsecond-half.Thetimpanistalternatesthedutiesof
supportingthebasstonesoftheorganandprovidingrhythmicdrivetothe
piece.Itcanbeperformedusingfourdrumswithoutanypitchchanges,
thoughaplayerhighlyexperiencedinpedalingtechniquewouldbecapable
ofperformingitusingtwo.Regardlessofthenumberoftimpaniemployed,
thisisbestsuitedforanintermediatepercussionistduetotherapidtime
signaturechanges.
Leonard,Stanley.InDulciJubilo.Naples,FL:StanleyS.Leonard.2009.
Thisisanorganandtimpaniarrangementofthisfolktunethatis
typicallyheardduringtheChristmasseason.Themajorityofthepitch
changesrequiredcanbedoneduringperiodsofrest,buttherearetwo
sectionswherepedalaccentsareused.Thefirstisatthebeginningwherethe
timpaniplaytheopeningphraseofthisrecognizabletune.Thesecondisof
harmonicimportancetothemelodyplayedbytheorgan.Rhythmically,
knowledgeoftriple-meter,duple-meter,andhemiolaisnecessary.
44
Leonard,Stanley.OComeEmmanuel.Naples,FL:StanleyS.Leonard.2005.
InthisarrangementoftheChristmashymn,thepercussionistmakes
useofanA3handbellaswellasfourtimpani.Withtheexceptionofplayingin
unisonwiththeorganneartheendofthepiece,thetimpaniprovide
harmonicaccompanimentwithoccasionalrhythmicgesturesthataddenergy
andasenseofmotion.Pedaltechniquesarenecessaryinthiswork,butthe
slowandmoderatetempimakethismanageable.Itisalsopossibletodoall
ofthechangesonthemiddletwodrums,withtheexceptionofoneinstance
inwhichthe32-inchdrumisadjusted.Assuch,anintermediatetimpanist
withsomefamiliarityofpedaltechniquescanperformthisworkproperly.
Leonard,Stanley.PraiseYetheLord(LobedenHerren).Naples,FL:StanleyS.Leonard.2010.
Asmentionedinthescore,thistimpaniandorganduetisbasedonthe
hymnLobeDenHerren.Formuchofthework,thetimpanispelloutaB-flat
majorchordinsecondinversionwhiletheorganpresentsthemelodiesofthe
hymn.However,inthemiddlesectionofthework,thetimpanistisgiventhe
melody,requiringtheperformertomakeuseofpedalaccentsontwoofthe
drums.Becauseofthis,itisbestthatanintermediatetimpanistwith
experienceinpedaltechniquesperformthiswork.
Leonard,Stanley.Prelude.Naples,FL:StanleyS.Leonard.2014.
PreludeisbasedonmusicfromthehymntuneBlestBetheTiethat
Binds,alsoknownasDennis,asnotedinthescore.Forthemajorityofthe
piece,thetimpanistservesasaccompanist:providingharmonicsupportand
rhythmicmotion.Thetempoincreasesslightlyasthepieceprogresses.Asit
45
doesthetimpanistbecomesmoreactive.Attheclimaxofthework,the
timpanistisgivenabriefandrhythmicallyexcitingfeaturethatrequires
pedalaccentstoperform.Afterthisburst,thepiecegraduallyendssimilarly
tohowitopened.Excludingtheclimacticpoint,theworkisstraightforward:
norhythmsfasterthaneighthnotes,littleintermsoftuningchanges,and
moderatetempi.Thepedalingrequiredinthemiddleofthepieceislimited
yetexposed,soaperformerwhohasexperiencewiththistechniqueis
preferred.
Leonard,Stanley.ThemeandVariations:forOrganandTimpani.Naples,FL:StanleyS.Leonard.2011.
Thispieceissegmentedintoanopeningtheme,threevariations,and
endswithaslightlyalteredrestatementoftheopeningmaterial.Therhythms
forthetimpanistaresimple,theonlychallengesarisingintheenergetic
variationsin6/8and5/8.However,apercussionistwithmodestexperience
withthesemeterswillbeabletomanagethismaterial.Pedalaccentsare
necessaryontheinnerdrumsduringtheopeningandclosingthemes,and
retuningtheouterdrumsduringprovidedrestsisalsorequired.
Leonard,Stanley.VoicesofPeace.Pittsburgh,PA:StanleyS.Leonard.1996.
Thisisatwenty-minuteworkfororgan,twopercussionists,readers,
andvoice.Itcombinesspokenmessagesofpeaceandmusicalelementsfrom
differentpartsofthegeographicandspiritualworld,asexpressedinthe
performancenotesbythecomposer.43Thepercussionistwhoplaysthe
43StanleyLeonard,VoicesofPeace(Pittsburgh,PA:StanleyS.Leonard,1996),performancenotes.
46
timpanimusthaveexperiencewithpedalaccents,thoughnotexcessively.
Thesecondpercussionistisgivenaseriesof7:6polyrhythmstoperformon
thevibraphonenearthebeginningofthework,howevertheremaining
musicgetsnomorecomplicatedthantripletsandsixteenthnotes.
Intermediateplayerswithexperienceinthesetechniqueswouldbecapable
toperformeitheroftheseparts.
Leonard,Stanley.VoluntaryforOrgan,Trumpet,andTimpani.Naples,FL:StanleyS.Leonard.2003.
Thisworkincludestrumpetandanoptionalchoiralongwiththe
organandtimpani.Itconsistsofthreemajorsections:theoutsidefeaturing
dialoguesbetweenthetrumpetandthetimpani,andthemiddlesectionbeing
asettingofMartinLuther’sAMightyFortressisOurGodwiththeoptional
choir,asnotedinthescore.Itisrecommendedthatthispiecebeperformed
withfourdrums,althoughaplayerskilledinpedaltechniquesmaybeableto
usetwoorthree.Anintermediatetimpanistcanperformthispiecewithfour
drums.
47
CHAPTER7:KEYBOARDENSEMBLE
Haydn,FranzJoseph.FourCanons.ArrangedbyStanleyLeonard.Cleveland,OH:LudwigMusicPublishingCo.1985.
FourCanonsisacollectionofvocalworksbyFranzJosephHaydn
arrangedforaminimumoffourkeyboardinstruments.Thesearetrue
canons,inthateachpersonplaysexactlythesamepartbutentersata
differenttime.Thiscollectionwouldworkwellforyoungstudentsasbothan
individualassignmentaswellasanexerciseinensembleplaying.
Mozart,W.A.Spiegelkanon(MirrorCanon).ArrangedbyStanleyLeonard.London-Hamburg:N.Simrock.1976.
ThiskeyboardquartetisanarrangementofMozart’sSpiegelkanonfor
violins.Thisarrangementisperformedtwicethrough.Themarimbasplay
alonethefirsttime,presentingthepieceaswrittenbyMozart.Themetallic
keyboardsjointhesecondtime,addingdecorationandsomechromaticism.
Thiswouldbesuitableforyoungkeyboardistsworkingonchamberplaying
skillssuchasbalanceandnon-verbalcommunication.Thepartscanalso
serveasreadingexercises.
Leonard,Stanley.Ballade.Naples,FL:StanleyS.Leonard.2018.
Balladeisatonalworkforsixplayers.Withtheexceptionofabrief
transpositionintothedominant,andonepassageofborrowedharmonies,
thepieceremainsinthekeyofCminor.Thepieceisnotchallenging
rhythmically,thusmakingthepartsaccessibletoyoungerensembles.The
melodiesareeasytolearnduetotheirstepwisemotionandtonality.Some
technicalchallengesincludetheuseoffourmalletsinkeyboardpartsandthe
48
glockenspielplayermakingafastchangetoamarimba.Despitethesefew
issues,thisisaworkthatwouldbesuitableforagroupofintermediate
keyboardists.
Leonard,Stanley.Waltz:TheHarlequin.Naples,FL:StanleyLeonardPercussionMusic.1974.
Thiswaltzisorchestratedforallofthekeyboardinstruments
commonlyfoundinahighschoolbandroom:glockenspiel,xylophone,
vibraphone,chimes,andamarimbaplayedbytwopeople.Althoughthereisa
sectionthatisclearlyinE-flatmajor,muchoftheworkistonallyambiguous.
Thecomposermakesuseofchromaticlines,clusterchords,andrandom44
notesforthisaffect.Therhythmsintheworkareallbasedinsixteenthnotes,
andallofthepartsindividuallywouldbeapproachablebyintermediate
keyboardists.Thiswouldbesuitableforahighschoolpercussiongroup.
Leonard,Stanley.Mirrors.AsburyPark,NJ:KeyboardPercussionPublications.2012.
Thiskeyboardsextetincludestwelve-toneelements.Thebeginning
motif,aswellassomeofthemelodicmaterialthroughout,isbasedonan
exactiterationoratranspositionofaspecificrow.Thepieceisalsofullof
fast,chromaticrunsandcomplexrhythmssuchasthequintuplets.Duetothe
difficultyofthepartsandthesuddentempochangesthatoccur,anadvanced
ensembleshouldperformthispiece.
Leonard,Stanley.PreludeforFourMarimbas.Pittsburgh,PA:VolkweinBros.1972.
Preludeisashort,tonalmarimbachoralforfourplayers.Thepiece
canbeplayedontwo4.0-octavemarimbas,althoughthecomposerdoesoffer44Rhythmsaredictated,buttheplayersareinstructedtostrikepitchesatrandom.
49
thealternativeinstrumentationofusingaxylophone,vibraphone,andone
marimbafortheremainingparts.Beingthatallthenotesarerolled,this
workwouldbesuitableforyoungplayersworkingonthistechnique,aswell
astheirabilitytobalancewithotherplayers.
Leonard,Stanley.Processional.Naples,FL:StanleyLeonardPercussionMusic.1997.
Writtenformarimbaquartetpluspercussion,Processionalisawork
thatcouldbeusedtoteachrolltechnique.Thepieceiswrittenasamarimba
choirinfour-partharmonyinthekeyofAMajor.Eitheroneortwopeople
canplaythepercussionpart.Thecomposeralsogivestheoptionofinvolving
astringbasstodoublethelowestmarimbapart.Thispieceisappropriateas
arecitalpieceforyoungkeyboardists.
Leonard,Stanley.Quarimba.Cleveland,OH:LudwigMusicPublishingCo.1995.
Inthismarimbaquartet,StanleyLeonardexperimentswithtwelve-
tonecompositiontechniques.Thefirstsectionofthepiecebeginswiththe
initialstatementofthetonerowinthebass,followedbyrestatementswith
ornamentationsandcountermelodiesbeingpresentedintheupperthree
voices.Thesecondsectionisasoftchoralthatbeginswithatransposedform
oftheinitialrow.Besidesbeingusedtoteachstudentsaboutthistypeof
music,itisagoodexerciseinchamberplayingduetoitsuseofrhythmic
interplay.Thepiecewouldbeaccessibletotalentedhighschoolstudentsand
anycollegeensembleinterestedincontemporarymusic.
50
Leonard,Stanley.Scherzo.Pittsburgh,PA:StanleyS.Leonard.1975.
Scherzoisapracticeinextremelyquietplayingfromaneight-piece
percussionensemble.Thecomposerdescribesthepieceas“anexplorationin
pianissimo,‘humming,’sonorities.”Thisisaccomplishedbyhavingevery
instrumentplayquick,quietsixteenthnotesataminor-secondinterval.The
workhasneithermelodynortraditionalharmonicstructure;itisallclusters
ofquiettremolos,withthetimpanistprovidingdronesthatoccasionally
glissandoupinpitch.Thiswouldbeanappropriateworkforanintermediate
groupofplayersasanexerciseinquietplayingaswellasalistening
experimentfortheaudience.Thescoresuggeststheuseoftwotimpanifor
thepiece.However,duetotherangeneeded,D2-F3,itwouldbeacceptableto
usethreedrums:the32-,the29-,andthe26-inch.
Leonard,Stanley.SerenadeforKeyboardPercussionEnsemble.Cleveland,OH:LudwigMusicPublicationCo.1997.
Thisisasimplekeyboardchoralforfiveplayers.Itisinatraditional
ABAform.TheAsectionsarebuiltaroundalyricalmelodyinGmajor.TheB
sectionisaseriesofchordchangesusingborrowedandextendedharmonies
notfoundintheAsections.Althoughthevibraphonistrequiresthreemallets
attimes,thisisapiecethatcanbeapproachedbyabeginningtoan
intermediategroupofkeyboardists.
Leonard,Stanley.ThreeDuets.Naples,FL:StanleyS.Leonard.2002.
Thesearearrangementsofnumbers1,4,and8ofJohannSebastian
Bach’s15Two-PartInventions.Theinstrumentationforthesepiecesismeant
tobeapairofmarimbas,butLeonardincludestheoptionofusingany
51
keyboardinstrumentthataccommodatestherangesrequired.Ascanbe
expectedbyBach,thepiecesareverytonalandfollowanunderstandable
form.Thesewouldserveasreadingexercisesforstudentswiththeinstructor
playingonepartwhilethestudentplaystheother.Theycansalsoserveas
performancepiecesforyoungpercussionistswhoalreadyhavesome
experienceontheseinstruments.
Leonard,Stanley.TwoContemporaryScenes.Pittsburgh,PA:StanleyS.Leonard.1968.
Thisshort,two-movementpieceformallettriocanbeusedto
introduceintermediatestudentstocontemporaryformsofkeyboardmusic.
Thefirstmovementisslowandlegatowithaglockenspielmelody
accompaniedbythemarimbaandvibraphone.Thesecondmovementis
morerhythmic,makinguseofhockettedrhythmsbetweenplayers,and
advancedfiguressuchasquintuplets.Alsointhismovement,theplayers
mustusethebackendsoftheirmalletsaswellastheirfingernails.Thiswork
requiresrhythmicmaturityandshouldbeplayedbyagroupofintermediate
players.
Praetorius,Christoph.RiseUpOFlame.ArrangedbyStanleyLeonard.Pittsburgh,PA:StanleyLeonard.1970.
Thispieceisarrangedforakeyboardpercussionsextetfromacanon
bythe16thCenturychoirmasterandcomposer,ChristophPraetorius.Beinga
canon,youngpercussionistscaneasilyunderstandthestructureofthework
andshouldbeabletolearntheirpartswithouttrouble.Theinstrumentation
issimplebeingmadeupofthebasickeyboardinstrumentsthatmostband
52
roomspossess.Thispiecewouldbeappropriateforayounggroupwhoare
stillrelativelynewtokeyboardinstruments.
53
CHAPTER8:CHAMBERPERCUSSIONENSEMBLE
Leonard,Stanley.TheAdvancingGong.Pittsburgh,PA:StanleyLeonardPercussionMusic.1971.
Thisisanaleatoricworkforpercussionquintetandtape.Thetapeisa
setofthreemusicalsegmentsthattheensembleprerecords.Theyareplayed
backathalf-speedfortheperformancewheretheinstructionsdictate.The
liveplayingisnotatedwithouttimesignatureormeasures,onlyanimplied
tempo;everyonereadsoffofafullscore.Thereareafewinstancesofunison
attacks,andasingleunisonrhythmbetweenthetom-tomplayersnearthe
end.Intermsofrhythm,thepieceisintermediatewiththemostadvanced
examplebeingquintuplets.Allofthekeyboardpartsareeitherrapidly
improvisedorwritteninlargenote-values,makingthemuncomplicated.Due
tomoderntechnology,thetapesegmentscanbecontrolledbyeitheroneof
theperformersorbytheconductor.Also,itispossibletoperformthiswork
withoutaconductor,butthiswillrequireplayerswhoareexperiencedin
non-verbalcommunication,aswellasafairamountofpreparation.Witha
conductor,mostcollegepercussionensembleswouldbeabletoperformthis
piece.
Leonard,Stanley.BachianaforPercussion.London:N.Simrock.1974.
BachianaisacollectionoffourworksbyJohannSebastianBachthat
Leonardarrangedforpercussionensemble.45Itcanbeplayedwithbetween
fourandsixplayersdependingontheassigningofthebatterypercussion
45MinuetinGmajorBMVAnh.114,MarchinDmajorBMVAnh.122,MinuetinDminorBMVAnh.132,andPolonaiseinGminorBWVAnh.123,respectively.
54
parts.Thefamiliarmelodiesandthesimplerhythmsmakethisan
appropriateworkforagroupofyoungplayerswithvaryingplayingabilities,
thestrongestplayingthekeyboardpartsandthemorenovicestudents
playingthepercussion.
Leonard,Stanley.Beachwalk:forPercussionEnsemble.Cleveland,OH:LudwigMusicPublishingCo.1997.
Thispercussionquintetisbuiltontheexpositionanddevelopmentof
afive-notemotif:B-flat,E,A,C,B-natural,or“BEACH”usingGermanpitch
designations.Leonardtakesadvantageofthetonalambiguityofthemotif,
composingchromaticlinesthatgiveitadarkandmysteriouscharacter
throughout.Despitetheentireworkbeingwrittenin5/8,alloftherhythmic
materialisstraightforward,withtheexceptionoftwopassageswhere
quintupletsareplayed.Thiswouldbeanimpressiveworkforanupper-level
intermediategrouptoperform,thoughitshouldbenotedthatthetimpani
playermusthavepedalingexperience.
Leonard,Stanley.Circus.BocaRaton,FL:LudwigMastersPublications,Inc.1972.
Circusisapercussionquintetinsixmovementsthatismeanttodepict
differentaspectsofattendingthecircus.TheIntroductionisadrivingpiece
withpolyrhythmsandinterplaybetweenpartsthatcreatesexcitementand
addsasenseofgrowingintensitytothework.Trapezeisawaltzthatfeatures
glissandiontheglockenspielandslidewhistletodepictthetitleact.Lion
Tamermakesuseoftempleblocksandtom-tomstocreatethesenseofbeing
inthejungle,andrimshotstorepresentcracksofawhip.Cannonballisaslow
funeralmarchwithfielddrum,snaredrum,bassdrumandcymbalsthatends
55
inaveryloudattackontwobassdrums,representingtheperformerswalkto
thecannonandtheinevitableexplosion.InMonkeyCagetheplayersmake
useoffastrhythmsonarticulateinstruments,suchascowbell,triangle,anda
bassdrumstruckwithrattan,torepresenttheenergyofacreaturetryingto
escapeacage.46IntheFinale,elementsofthepreviousmovements,suchas
therudimentalplayingofCannonballandthearticulateplayingofMonkey
Cage,arerevisitedwiththeadditionofapolicewhistletobringthecircusto
aclose.Allofthemovementsincorporatecompoundrhythmsaswellas
unisongesturestocreatetheforwardmotion.Buzzrollsonthesnaredrum
arefeaturedinmanyofthemovements,sotheplayerofthisinstrument
shouldbestronginthistechnique.Thisworkwouldbesuitableforahigh
schoolgroup.Thecomposeralsomentionsthatitisacceptabletohavemore
thanfivepeopleperformthiswork,ifnecessary.
Leonard,Stanley.ClosingPiece.Pittsburgh,PA:StanleyS.Leonard.1969.
Thisfastmovingquintetcreatesmelodicmaterialbyusinggraduated,
non-pitchedinstrumentsandemployingrhythmicinterplay.Fourofthe
playersaredesignatedSoprano,Alto,Tenor,andBasstodenotetherelative
pitchoftheirsnaredrum,triangle,andwoodblock.Thecomposerthen
createsmelodiclinesthroughrhythmicinterplay,similartothestyleusedin
earlypercussionensemblessuchasToccatabyCarlosChávez47andThree
46“Articulateinstruments”areinstrumentsthatcreatesoundsthathavelittletonoresonance.47CarlosChávez,Toccata(NewYork:MillsMusic,1954).
56
PiecesforPercussionQuartetbyWarrenBenson.48Althoughallofthe
rhythmsaresimpleevenatafasttempo,thechallengeoftheworkismaking
sureallofthepartslineupproperly.Itisasuitableworkforanintermediate
groupofpercussionistswhohaveexperiencedthiskindofinterplay,suchas
atalentedgroupofhighschoolstudentsoryoungcollegepercussionists.
Leonard,Stanley.Continuum:forTwoPercussionists.Pittsburgh,PA:StanleyS.Leonard.1968.
Thistimpaniandkeyboardduetiswritteningraphicnotation.The
composerusessymbolsforglissandi,fastorslowimprovisation,andthetype
ofmalletsusedtocreatethedesiredsoundscapesandthematicelements.
Withtheexceptionofthreetimedevents,theinterpretationofthespaceand
tempoisatthediscretionoftheperformers.Withthisleveloffreedom,only
musicianswhohavethematuritytounderstandtheuseofspaceshould
attemptthispiece.
Leonard,Stanley.CycleforPercussion.Pittsburgh,PA:StanleyS.Leonard.1969.
Thisquartetcontainsthreeelementsthatstandout:asnaredrum
cadenzaattheopeningandclosing,significantinterplaybetweenallofthe
players,andtheuseoffiveglasslampshadesorbowlsasinstruments.The
cadenzasarestraightforwardyetrequiredynamiccontrolfromthe
performer.Theglassbowlsandthetempleblocksprovideamelodicelement
tothework,sometimesplayingcountermelodieswitheachother.The
interplayisthemostchallengingaspectofthework—sixteenthnoterhythms
48WarrenBenson,ThreePiecesforPercussionQuartet(NewYork:G.SchirmerInc.,1960).
57
aresplitamongthefourplayers.However,sincethisconceptiscommon
practiceinmanydrumlines,anadvancedhighschoolgroupwouldbeableto
performthiswork.
Leonard,Stanley.DanceSuite.Pittsburgh,PA:StanleyS.Leonard.1969.
Thisquartetiswritteninthreeparts.Thefirstandlastareslowand
withoutatimesignature,themiddleamoderatelyfastdancestartingin5/4
andendingin4/4.Eachperformerisgiventheentirescoretoreadfromdue
tothenatureoftheoutermovements.Thedancesection,whichisstrictly
writtenout,presentscomplexrhythmsbetweenplayers.Theplayersalso
needtomovefrominstrumenttoinstrumentregularlythroughout,creatinga
logisticalchallenge.Itispossibletoalleviatethisbyaddingaplayer,or
reorganizingwhoplayswhatinstruments.Inaddition,instructionsare
providedtopermitthepiecetobeperformedincollaborationwitha
companyofdancers.Thispiececanbeplayedbyagroupofcollegiate
performerswhohaveexperiencewithhighlyengagedchamberplaying.
Leonard,Stanley.Duales.Naples,FL:StanleyS.Leonard,2014.
Thisworkisafeatureforamarimbaandvibraphoneplayer,witha
percussionaccompanist.Thepercussionpartrequirespedalingandglissandi
ontimpani,aswellasquickswitchestoandfromtom-toms.Thesolo
keyboardpartcallsforsimilarquickchangesfromvibraphonetomarimba,
alongwithindependentrolls,four-malletchords,andreadingtwostaves.
Thispiecewouldbesuitableforapairofcollegestudentswhoarefocusing
ontheserespectiveinstruments.
58
Leonard,Stanley.DuoforTwoTimpanists.Cleveland,OH:LudwigMusicPublishingCo.1997.
Thisduoforeightpedaltimpanirequiresplayerswhohavean
understandingofpedaltechniquessuchasquickglissandiandpedalaccents.
Therearealsoinstancesinthefastersectionsthattheplayershavethe
melodicgesturessplitbetweenthemaswellasharmonicmotioncreatedby
playingdouble-stops.Thisrequiresthattheperformersalsohavethe
appropriateeartrainingsothatthesesectionscanbeperformed
appropriately.Thispiecewouldtosuitableforapairofintermediateto
advancedstudentswhohavefocusedonkettledrums.
Leonard,Stanley.Duologue:forTimpaniDuet.NewYork:BachovichPublications.2012.
Thistimpaniduetmakesuseofrhythmicinterplaythroughout.
Makingsurethatthetwosetsofdrumsareplayedwiththesamecolorand
characteristhechallengeofthework.Thepedalingrequiredinthispieceis
minimal,makingeitherpartaccessibletoastudentwhoisstillanoviceat
thistechnique.However,therequirementofmatchingtone,color,and
rhythmdoesrequireapairofintermediatepercussionists.
Leonard,Stanley.Genesis.Pittsburgh:StanleyS.Leonard.1970.
Genesisisaworkforpercussionquintet,narrator,andmixedchoir.
Thefirsttwothirdsofthework,whichisonlyforthepercussioninstruments
andthespeaker,isperformedthroughtheuseofcuesfromtheoration
ratherthanmeters.Theconclusionoftheworkfeaturesthechoirandisdone
inagiventempo.Thepercussionservestherollofaccompanimentforthis
59
work.Assuch,thepercussionistsshouldbeexperiencedinchamberplaying
andcomfortablewithadjustingtothespeaker.Theuseofseveralquintuplet
andseptupletrhythmscallsforperformerswhoareatleastatacollegelevel.
Theworkitselfwouldbestbesuitedforachoirconcert,beingthatthevocals
arethefeature.
Leonard,StanleyHousemusicforPercussion.Pittsburgh,PA:StanleyS.Leonard.1968.
HousemusicforPercussionisashort,three-movementworkfor
percussionquartet.Thefirstmovementisquiet,slow,andiscomposedina
seriesof5/8,3/8,and2/8timesignatures.Amelodyintheglockenspielis
accompaniedbyrhythmicinterplaybetweentambourineandtom-tom
players.Thesecondmovementisatambourinefeaturestartingwitha
composedcadenzathatrequiresdynamiccontrolforfastandslowrhythms.
Theremainderofthismovementisaduetbetweenthetambourineandthe
tamtam.Thelastmovementisfortambourine,woodblock,castanets,and
triangleplayinginrhythmsandcounter-rhythms,ratherthantheinterplay
thatwasseeninthefirstmovement.Thiscanserveasapedagogicalpiece
presentingcompoundmeters,aswellashowtocontroldynamicsonthe
instrumentsemployed.
Leonard,Stanley.Impressions.Pittsburgh,PA:StanleyS.Leonard.1968.
Thisshorttriopresentscommonpercussioninstrumentscreating
uncommontimbres.Namely,theuseofwirebrushesonthexylophone,the
differentimplementsusedonthesuspendedcymbal,andthevirtuosicnature
ofthetriangleplaying.Thepiecebeginswithtriangleandglockenspielsolos.
60
Bothoftheseareaccompaniedbymeteredglissandiupanddownthe
xylophonewiththebrushes.Afterabriefinterjectionofbatteryinstruments,
theworkendssimilarlytohowitbegan.Thiswouldbeanappropriate
exerciseforagroupofyoungpercussionistswhoarebeginningtheir
percussionensembleexperience.Anunderstandingoftripletsisrequired,
andthereisasolitaryseptupletintheglockenspiel,butthepieceisshort
enoughthatitcanserveasaninstructionaltoolforsuchafigure.Depending
onthesituation,afourthplayermaybeincludedtoplaythebassdrumand
tamtam,duetothequickinstrumentalchangeswrittenintheparts.
Leonard,Stanley.IncidentalMusicforPercussion.Pittsburgh,PA:StanleyS.Leonard.1969.
Thisearlyworkforpercussionquintetisvoidoftimesignatures.Itis
structuredaroundtheparticularentrancesandrhythmsexpressedbythe
players.Itisintwomovements,thefirstbeingslowandmakinguseof
rhythmicinterplay,whilethesecondmovementisfastwithplayersentering
atspecifictimeswiththeirownuniquefiguresthatarerepeated
continuously.Theworkconcludeswithacodathattheensembleenterson
cue.Despiteafewrhythmicchallengesinthesecondmovement,namelyone
isolatedseptuplet,thiswouldbeanappropriatepieceforatalentedgroupof
highschoolstudentsorayoungcollegeensemble.
Leonard,Stanley.Pairs:forMixedPercussion.Nashville,TN:Row-LoffPublications.2001.
Pairsissonamedduetotheseveral“pairs”ofinstrumentsthatmake
upeachplayers’consoles.Itisabriefpiececonsistingofamaestoso
61
beginning,amarch-likemiddlesection,andanendingin6/8.Thereare
severalexamplesofrhythmicinterplaythroughoutthework,givingthe
audibleimpressionthatonepersonisplayingallfourtimpani,orallfourof
thenon-pitcheddrums,wheninfacttheyaresplitbetweentheplayers.Thus,
oneofthechallengesoftheworkisfortheduotomatchthetonequalityof
theirrespectiveconsoles.Theperformersmustalsoreadtwostaves.Dueto
thesechallenges,aswellasthehighdifficultylevelofsomeoftheinterplay,
thisworkisbestsuitedforapairofplayerswhocancommunicatewelland
whoplayatanintermediatelevel.
Leonard,Stanley.PresentingPercussion:forPercussionQuintet.ColumbusOH:Per-MusPublications.2007.
Thispercussionquintetwithnarratoris,asthetitlesuggests,a
demonstrationofpercussioninstruments.Itisdividedintofivesections,an
introductionofsteadyclapsthattheaudienceparticipatesin,followedby
segmentsfeaturingwood,drums,metals,andconcludingwithacombined
ensemble.Eachsegmentisseparatedbyahardstopasthenarrator
introducesthenextsegment.Itispossiblethattheperformersrotatethe
narration.Duetoitsnatureasapresentationpiece,allofthepartsaresimple
enoughtobegraspedbyayounggroupofperformers.
Leonard,Stanley.Promenade.Cleveland,OH:LudwigMusicPublishingCo.1997.
ThispercussionsextetfollowsasimpleABAformwhileprovidingan
unconventionalsoundscapetoaccompanyasimplemelody.BothAsections
beginwithamotifofrhythmicinterplayprovidedbyallofthenon-pitched
instruments,suchastempleblocks,vibraslap,andbrakedrums.Themelody
62
isthenpresentedinthechimes,glockenspiel,andtimpaniwhilesnare,
cymbal,andbassdrumprovideaccompaniment.TheBsectionisslowerand
featuresthesamemelody,thistimefromthecrotales(orvibraphonebased
onavailability),whiletheotherperformersplayanaccompanimentthrough
amoreintricaterhythmicinterplay.Thisisasuitableworkforahighschool
percussionensemble.
Leonard,Stanley.Tenere.Pittsburgh,PA:StanleyS.Leonard.1969.
Thisquartetisdescribedinthescoreas“astudyinSustained
PercussionTone.”49Althoughtherearepitchedinstrumentsused,thereisno
melodicmaterialinthetraditionalsense.Theworkconsistsentirelyofslow,
rhythmicinterplaybetweenthefourplayersandtheresonatinginstruments.
Thispiecerequiresagreatdealofpatience,duetotheslowtempo,number
ofrests,andattentiontosoftdynamics.Itshouldbenotedthatthereisa
glissandointhetimpani,aswellasamomentofimprovisationinthe
vibraphone,thoughneitherexamplearedifficulttoperformwithproper
instruction.Thispiecewouldbesuitableforayounggroupofpercussionists
asanopportunitytofocusonthesoundsoftheinstruments.
Leonard,Stanley.Telin-Ting.Pittsburgh,PA:StanleyS.Leonard.1974.
Thisisapercussionquartetthatfeaturessoundsandinstrumentsof
EasternAsia.Theuseofatemplebellandrapidlyacceleratingrhythmsare
traitsfoundinJapaneseTaikomusic.Alloftherhythmsinthepieceare
duple-basedandcaneasilybeapproachedbyanyintermediateplayer.The
49StanleyLeonard,Tenere(Pittsburgh,PA:StanleyS.Leonard,1969),1.
63
composerincludestheoptionofextraplayersoraudienceparticipationto
playpairsofwoodendowelsasthepieceendsandthequartetgradually
walksoffstage.Thiswouldbestbeaccomplishedbyplantingpeopleinthe
crowdsothattheproperaestheticisaccomplished.Itisalsosuggestedthat
thepiecebeconducted,duetothelargenumberoffermatiandadlibitum
sections.Itispossibletoperformwithoutaconductor,butsomeofthe
transitionswillneedtobewellrehearsed.Whenconducted,highschool
playerscanperformthepiece;withoutaconductor,itshouldbedonebyan
advancedcollegegroup.
Leonard,Stanley.ThreeRivers.Naples,FL:StanleyS.Leonard.2012.
Thisworkforpercussionquintetisdividedintothreesegments.The
firstsectionisslowandfocusesonthekeyboardspresentingthelightly
chromaticgesturesofthework.Themiddlesectionisaquickandenergetic
drumfeaturein7/8.Thefinalportionischaracteristicofthebeginning;only
itexpandsupontheoriginalmelodiclines.Eventhoughthereis
chromaticisminthiswork,theamountofrepetitionofsimilarmaterial
makestheindividualpartsmoremanageable.Rhythmically,withthe
exceptionofalimitednumberofquintuplets,thepiecewouldbe
approachabletoadvancedhighschoolperformers,andmostcollege
students.
Leonard,Stanley.ThreeSketches.Pittsburgh,PA:StanleyS.Leonard.1970.
Thisworkisdividedintothreemovements,eachofwhichfocusesona
differentinstrumentorgroupofinstruments.Thefirstmovementfeatures
64
thefourplayersandrhythmicinterplayontheirrespectivedrumsand
cymbals.Thesecondfocusesonthexylophoneandglockenspielwhilethe
otherplayersoffersimpleaccompanimentduringtheshiftingmeters.The
thirdmovementisatrumpetfeaturewithpercussionaccompaniment.This
pieceisapproachableforatalentedgroupofhighschoolplayersandmost
collegeensembles.
Leonard,Stanley.ThreeSpaces.Pittsburgh,PA:StanleyS.Leonard.1969.
Thisisashortpercussiontriowithmodestinstrumentation.Every
playerisgiventhreeinstrumentsthatmustbeplayedasoneconsole.As
such,theperformersmusthaveimplementsthatareapplicableforavariety
ofinstruments,suchasahardmarimbamalletthatalsoworksfora
woodblockandbassdrum.Itconsistsoftwosections:aslowlegatoopening,
andafastandspiritedsection.Bothsectionsincorporaterhythmicinterplay
andcompoundrhythmsbetweenallthreeplayers.Therhythmsinthepiece
areduple-basedwithonesextupletgesture,andthemelodicmaterialinthe
marimbainvolvestri-tonemotions,orremainingononepitchforalong
periodoftime.Thiswouldbeasuitablefirstpercussionchamberpiecefor
youngstudents.
Leonard,Stanley.Trioso.Greensboro,NC:C.AlanPublications.2003.
Thisshorttriorequiresmanyinstruments,mostofwhichcanbe
foundinanycollegepercussionstudio.Theonlyexceptionmaybethefive
Thaigongs.TheVivacetempothatmakesupamajorityofthepiece
alternatesbetween6/8and2/4andrequireseachperformertoswitch
65
instrumentsquickly.Therhythmicinterplayincludingsyncopationneededat
thistemporequiresalotofenergyanddeliberateplaying.ThemiddleLento
sectionfocusesonthekeyboardinstrumentsbeingaccompaniedbyresonant
sounds,suchassoftmalletsontomtoms.Thetriothenplaysanaccelerando
intoarestatementofearliermaterialasthepiecesprintstothefinish.Dueto
theenergyneededtoplaythisworkatthenecessarytempo,thisworkisbest
suitedforagroupofcollegeorprofessionalpercussionists.
Leonard,Stanley.WingedChariot.Greensboro,NC:C.AlanPublications.2003.
Writtenforapercussionquintet,thispieceutilizeschromaticand
non-diatonicgesturesplayedinunison.Theworkiseasytounderstand
rhythmically,containingmostlysixteenthnotesandonesectionbuiltaround
triplets.However,thebrisktempopairedwiththeneedforunisonaccuracy
fromallofthekeyboardinstrumentsmakesthisaworksuitableforan
advancedcollegeensembleoraprofessionalgroup.Thiswouldbeanideal
worktotakeontour,beingthatthelargeinstrumentsrequiredarestandard
inhighschoolbanddepartments.
Leonard,Stanley.WordGamesII.Pittsburgh,PA:StanleyS.Leonard.1973.
ThisworkforpercussionquintetisasequeltoWordGames,the
secondmovementofthepercussionsoloTwoMeditations(seeChapter5).
Similartothesolo,aseriesofwordsprintedonlargecardsaredisplayedand
theensembleperformsmusictoemulatethatword.Thedifferenceisthatthe
ensembleversionusesconventionalnotationandspecificinstructions,
wherethesolodoesnot.Thepiecealsocallsfortheaudiencetoreadthe
66
wordsaloudastheyaredisplayed.Besidesthefiveplayers,itisnecessaryto
haveuptothreestagehandsavailabletochangethecardsattheappropriate
times.Itisalsorecommendedtohaveaconductortofacilitatethelogistics,
thoughanadvancedgroupcoulddowithoutwithproperpreparation.
Musically,thispiecerunsthegamutintermsoftechniques:improvisation,
freeplaying,unisongestures,playinginopposingtempi,etc.Ultimately,
whetherthisworkisconductedornot,itshouldbeplayedbyadvancedand
maturemusicians.
67
CHAPTER9:LARGEPERCUSSIONENSEMBLE
Leonard,Stanley.Antiphonies.Denton,TX:Drop6Media,Inc.2000.
Thisworkisforeightperformersandaconductor.Thesetupofthis
pieceincludestwoseparatequartetsoneithersideofthestageandone
instrumentalconsoleinthemiddle,referredtoasthemediatorposition.
Severalperformersgetanopportunityplayfromthispositionduringthe
piece.Thepiecehasseveralwritteninstructions,whichincludeimprovising
ongivenrhythms,respondingtotheimprovisationofthemediator,orto
applaudtheotherquartet.Thenotatedsectionsrequireadvanced
percussionistswhocanplayfastkeyboardpassagesincomplexmeters,such
as13/8.Thiswouldbesuitableforagroupofadvancedcollegestudents.
Leonard,Stanley.DanzaBamboo:forPercussionSextet.Naples,FL:StanleyS.Leonard.2016.
Thissextetmakessignificantuseofbamboosticksandotherwooden
sounds.Itiscomposedinthreemajorsections.Thefirstfeaturesbamboo
sticksandfootstompsinacomplex9/8meter.Here,thecomposermakes
useofunisonrhythms,polyrhythms,andthevisualaspectofperformers
strikingeachother’ssticks.Nextisaslowportionthatfeaturesshort
melodiescreatedbythefourangklungs,50andmelodicmaterialinthetom-
toms.Thepiececloseswithafast,energeticsectionin11/16.Althoughthe
complexmeterscanbechallenging,thesesectionsarelargelyunisonand
employsimplerhythms,makingthemmoremanageable.Althoughitis
50“Angklungs”areBambooinstrumentstunedtospecificpitches.
68
intendedforacollegeensemble,thisworkcouldbeplayedbyanadvanced
groupofhighschoolstudents.
Leonard,Stanley.DrumCelebration.VanNuys,CA:AlfredMusic.2014.
DrumCelebrationisapieceforthirteenplayersthat,asthetitle
suggests,focusesondrums.Theworkrequireseightdifferentsnaredrums;
fourhighinpitchandfourlowinpitch,alongwithabassdrum,timpani,
gong,andcymbal.ThepiecebeginswiththemotiffromMauriceRavel’s
Bolero,andgraduallyincreasesinintensity.Bytheend,theplayershave
experimentedwithusingbrushes,playingonrims,differentstylesof
rimshots,andfootstomps.Theamountofunisonplayingthatisrequired
betweenthetwogroupsofsnaredrumsischallenging.Thiswouldbe
suitableforahighschoolgroupwhoneedtopracticerhythmicaccuracy.
Leonard,Stanley.TheEarth,Wind,andFire:forPercussionOctet.Naples,FL:StanleyLeonard.1990.
Thisoctetisdividedintothreedifferentsections,meanttorepresent
thethreeelementswithinthetitle.Thebeginning,Earth,isslowanduses
gradualdynamicswellsfromthelowsoundinginstrumentsandthosewith
aneerieresonance,suchasthetunedgongsandtamtams.Windfeatures
chromaticrunsplayedbythemarimbasandtheglockenspiel.Thepiece
concludeswithFire:anenergeticsectionthatincorporatesseveral
compoundtimesignatures.Italsohighlightsinstrumentsthatmimic
cracklingembers,suchasthetempleblocks,angklung,andtamtamwith
trianglebeaters.WiththeexceptionofWind,whichconsistsmostlyof
sixteenthnotes,thereareadvancedrhythmsandpolyrhythmsthroughout
69
thework.Thekeyboardpartsarepatternbased,butsincemanyofthese
pattersareatonalanduniquetoeachplayer,theycanbechallengingto
someonenotaccustomedtohearingsuchdissonances.Thisisafittingwork
foracollegeensemble.
Leonard,Stanley.ExMachina.Denton,TX:Drop6Media,Inc.2000.
Thisworkforsevenpercussionistsismeanttosoundmechanical
accordingtotheprogramnotesbythecomposer.Thisisdoneusingsimple
unisonrhythmswithtwelve-tonemelodicgestures,severalofwhich
completetheaggregate.Asthepieceprogresses,itbecomesmoretonaland
moredance-likeusingmeterssuchas7/8.Itendswithatriumphantfanfare
inthekeyofCmajor.Thegreatestchallengeofthisworkliesinthefirsthalf,
wheremostoftheunisontwelve-tonegesturesexist.Theslowtempoandthe
repetitivenatureofthissectionmakeitpossibleforintermediateplayersto
accomplishthem.LikemanyofLeonard’sworks,thetimpanistwillneedto
havesomeexperiencewithpedalingduetothechromaticnatureofthepart.
Leonard,Stanley.Fanfare,Meditation,andDance.Pittsburgh,PA:StanleyS.Leonard.1982.
Thisworkforpercussionoctetincludesadvancedrhythmicgestures,
complexcross-rhythms,andadegreeofimprovisation.TheFanfarefeatures
thetimpaniandthemusicisbasedonthethematicdevelopmentofspecific
rhythmicmotifs.Theperformersattimesarerequiredtoimprovisearounda
givenrhythm.Thereisalsorhythmicinterplaybetweenmanyofthe
performersthatrequiresprecision.TheMeditationislargelyaseriesofsoft
clustersonoritiescreatedbythekeyboardinstrumentsandcrystalglasses.
70
Thesnaredrumisfeatured,playingaslowandsoftrhythmicfigurewhilecup
gongs,templeblocks,andantiquecymbalsperformlightimprovisation.The
audiencetakespartintheperformanceaswell,beinginstructedtohumaD-
naturalneartheendofthemovement.ThismovesdirectlyintotheDance,
whichisabriskmovementthatlargelyalternatesbetween6/8and5/8or
6/8and2/4meters.Thismovementrequiresgreatrhythmicaccuracyand
discipline,particularlysinceagreatportionofitisplayedatasoftdynamic.
Thisisachallengingworkthatissuitableforanadvancedcollegegroupor
professionals.
Leonard,Stanley.FestivalFanfare.Naples,FL:S.LeonardPercussionMusic.2001.
Thisisashortandenergeticworkthatrequirestwelvepercussionists.
Elevenoftheperformersmustplayatanintermediatetoadvancedlevelon
thekeyboardsduetothesubstantialuseoffastunisongestures,including
iterationsofatwelve-tonerow.Thetimpanipartincludeslongglissandiand
onerepeatedsectioninwhichpedalaccentsarerequired.Alloftherhythms
usedareuncomplicated,howeverthespeedandaccuracynecessaryfromall
oftheplayersprovidesachallenge.Thus,thisisaworkbestsuitedfora
collegeensembleorastronggroupofhighschoolplayers.
Leonard,Stanley.FourDimensions.Pittsburgh,PA:VolkweinBros.,Inc.1978.
FourDimensionsisapercussionsextetthatfeaturesfourdifferent
stylesofmusic:jazz,march,aleatoric,andclassical.Inthefirstsection,four
playersmakeuptherhythmsectionandpseudo-drumsetwhilethe
glockenspielandxylophoneplaythemelodyandcountermelody,
71
respectively.Thenextsectionisaquietmarchwithrhythmicinterplay
betweenthesnaredrum,fielddrum,tom-toms,andbassdrum.Italso
includesroto-tomsquotingtheopeninggestureofStarsandStripesForever
bySousa.Eachplayeristhengiveninstructionsonhowtoperformthe
aleatoricsection.Somearegivenspecificrhythmstoplay,othersspecific
pitchesandinstruments.Thefinalsection,classical,incorporatesstandard
orchestralinstruments.Here,familiarquotesfrompercussionorchestral
repertoireareplayed,suchasthetimpanipartfromtheScherzoof
Beethoven’sSymphonyNo.9,thesnarerhythmfromRavel’sBolero,and
glockenspielexcerptsfromDukas’TheSorcerer’sApprentice.Pedagogically
speaking,thispiecewouldbeusefultoteachtheintricaciesofthesefour
differingstyles.Itwouldbebeneficialtoahighschoolorcollegeensemble.In
1991,LudwigMusicrepublishedthisworkasFourImageswithminor
alterations,suchasfewersuspendedcymbalsandaddedrepeatstosome
sections.
Leonard,Stanley.FourImages.Cleveland,OH:LudwigMusic.1991.
SeeFourDimensions.Leonard,Stanley.GoodChristianMenRejoice.Denton,TX:Drop6Media,Inc.2000.
ThisisanarrangementofthetuneInDulciJubiloforten
percussionistsandafour-octavehandbellchoir.51Allofthekeyboardparts
remaininthekeyofAmajorwithseveralunisongestures,makingtheparts
simpletolearn.Themajorityoftheworkisintriplemeter,butdoesswitchto
51Apianocansubstituteforthehandbellchoir,ifnecessary.
72
duplemeterinthemiddlesection.Thiswouldbeanappropriateworkfora
highschoolpercussiongrouporacollegeensemble.
Leonard,Stanley.Hurricane.Greensboro,NC:C.AlanPublications.2006.
Hurricaneisalargepercussionensemblepiecerequiringfourteen
playersandasignificantnumberofinstruments.Thepieceissplitintotwo
sections,thefirstbeingslowandominous,andthesecondbeingfastand
exciting.Theslowsectionisorchestratedsparsely,mostlycontainingquiet
rollsonthebassdrums,cymbals,andsnaredrum.Thissectionculminates
witheachplayerbuildinginintensitywhileimprovising.Inthefastsection
thatfollows,articulateinstrumentssuchascongas,brakedrums,andbass
drumswithhardersticksarefeatured.Theentirepiececonsistsofunisonor
compoundrhythmsbetweenmanyoftheplayers,requiringattentionto
detailandaccuracy.Therearealsosuddendynamicchanges.Ahighschool
groupwhohasaccesstothelargenumberofinstrumentswouldbeableto
performthispiece.
Leonard,Stanley.Interiors.Naples,FL:StanleyS.Leonard.2017.
TheseptetInteriorsconsistsofthreesections.Thefirstsectionisa
unisonstatementofafive-notemotifthatisgradually,yetmetrically,slowed
downanddissolved.Thisleadstothesecondportionthatfeatures
improvisationoncrystalglassesorsingingbowlswhileothersoft,resonant
instrumentsthatoccasionallyinterject.AfterasteadybuildofEAeolian
material,theensembleenterstheenergeticfinale,whichfeaturesdiminished
harmonies,andtheunisonstatementofatwelve-tonerowthatcompletes
73
theaggregate.Withtheexceptionofvarioustreatmentsofquintuplets,the
rhythmsareaccessibletomostintermediatepercussionstudents.The
challengearisesintheaccuracyoftheunisonchromaticgesturesatthegiven
tempi.Mostcollegeensembleswouldbecapableofpresentingthispiece.
Leonard,Stanley.JanissaryBand.Greensboro,NC:C.AlanPublications.2011.
Thispieceforfourteenplayerspayshomagetothemusicaltraditions
oftheTurkishMehterBand,asmentionedbythecomposerintheprogram
notes.TheworkbeginswithJanissaryinstrumentssuchasthecrescent(see
Figure6)playingsimplerhythmswhilethekeyboardsperformaunison
melodyintheAAeolianmode.Thisisfollowedbyafastvariationusingthe
samesimplerhythmsplayedonmoderninstruments,suchasbrakedrums
andtimpani.Nextisatimpanirecitativewithsoftinterjectionsbythetwelve
trianglesandtamtam.Thepieceendswithavariationoftheopening
materialin7/8thatacceleratesuntilthefinish.Sixteenthnotesarethemost
advancedrhythmthepiecepresents.However,alloftheinstrumentsthatare
duplicatedplayeitherunisonorcompoundrhythms,makingaccuracythe
greatestchallengeofperformingthework.Thetimpanipartrequires
pedaling,butonlyintherecitativesection,makingitapproachablefora
playerstillperfectingthisskill.Thispiececanbeperformedwithorwithout
aconductor.Thisisasuitableworkforahighschoolgroup.
74
Figure6:CrescentInstrumentforJanissaryBand.
Leonard,Stanley.Kymbalon.Greensboro,NC:C.AlanPublications.2006
Kymbalonmeans“cymbal”inGreek,thusmostoftheattentionofthis
workisputoncymbals.Itrequiresnineplayers,eachhavingasuspended
cymbalandatamtamintheirconsole.Themusicisdividedintothree
sections:anopeningthatfeaturesthecymbalsandchimes,aslowersection
thatfocusesonthekeyboardinstruments,andaclosingin5/8thatincludes
energeticrhythmsonthetom-toms.Thereisalsoatransitionbetweenthe
slowandclosingsectionsthatismarked,“SoftImprovisationw/brushes[on]
SuspendedCymbal”forallnineplayers.52Rhythmically,theperformersmust
beabletoplayquintupletsandsextuplets,aswellasperformthenecessary
rhythmicinterplayinordertoperformthewrittencymbalmelodies.Thisisa
52StanleyLeonard,Kymbalon(Greensboro,NC:C.AlanPublications,2006),22.
75
largeworkthatrequiresmanyinstrumentsandexperiencedplayers,making
itappropriateforacollegepercussionensemble.
Leonard,Stanley.MainStreet:forEightPercussionists.Naples,FL:StanleyS.Leonard.2017.
Thisisanoctetthatprimarilyconsistsofbatterypercussionwith
somechromaticelementsfromthekeyboardinstruments.Thepiecebegins
withslowrhythmicinterplaybetweenthemembraneandmetallic
instrumentsandmelodicgesturesfromthechimesandvibraphone.The
secondsectioniscomprisedofdrivingrhythmsplayedinunisonbythefield
andsnaredrums,withaccompanyingrhythmsprovidedbytherestofthe
battery.Thisisfollowedbyakeyboardfeaturethatusesthesamegestures
fromthebeginningofthework,manyofwhichareexpandedupon.Aftera
shortperiodofsoftimprovisation,thefinalebegins.Here,alowdrumplays
perpetualsixteenthnotesastheotherplayersgraduallylayerintothe
texture.Allofthepartsbuildinactivityuntilafinalsprinttotheendofthe
piece.Allsectionsdrawfromalimitedlibraryofmelodicorrhythmic
gesturesandusetheminseveraldifferentways,includingdifferent
instrumentalpairingsorlayeringschemes.Thisisasuitableworkformost
collegeensembles,beingthattheyaremorelikelytograspthe5:4
polyrhythmsthatoccur.
Leonard,Stanley.March:forPercussionEnsemble.Denton,TX:Drop6Media,Inc.2001.
Thispercussionsextetwaswrittenforinstrumentscommonlyfound
inaconcertbandpercussionsection.Theworkrequiresattentiontodynamic
76
controlbyallsixplayers.Italsoincludesplayingsomeoftheinstrumentsin
uncommonways,suchasthetriangleorthetubularchimesbeingcompletely
muted.Rhythmically,theworkdoesincludethirty-secondnotesaswellas
varioustypesoftriplets.Thisworkwouldbeappropriateforastronggroup
ofhighschoolstudentsorforayoungcollegeensemble.
Leonard,Stanley.RetrospectionsFanfare.Naples,FL:StanleyS.Leonard.2013.
RetrospectionsFanfareisgiventhesubtitleIonisationRedux,duetoits
instrumentationandsoundtreatmentbeingsimilartoIonisationbyEdgard
Varése.Fanfarebeginswithasoftdrumrollwhileotherpercussivesounds
graduallycreepoutofthetexture.Thecombinationofthetripletand
quintupletrhythmsandthelargotempocreatesthefalseimpressionthatthe
ensembleisimprovising.Themiddlesectionarrivessuddenlyata
significantlylouderdynamicandwithmuchmoreactivityintheformof
rhythmicinterplayandunisongestures.Theperformancealsoincorporatesa
theatricalelement,instructingtheperformersto“…continuewiththe
motionswhileplaying,but[notto]strikeinstruments.”53Thepieceendswith
aseriesofloudunisonstrikesonanythingwithintheperformersreach,with
theexceptionofthepianistwhohasspecificpitches.Duetotherhythmic
complexityandthepatienceneededtoperformeffectivelyattheslowtempo,
thisshouldbeperformedbyacollegegroupofmusicians.
53StanleyLeonard,RetrospectionsFanfare(Naples,FL:StanleyS.Leonard,2013),10.
77
Leonard,Stanley.SacredStones.Greensboro,NC:C.AlanPublications.2004.
Thispieceforsevenpercussionistsisdescribedbythecomposeras
“…anincantationonthemystery,power,andcelebrationthatcomesinto
beingthroughtheenergyofstone.”54Assuch,thecharacterofmuchofthe
workisetherealwithplayersimprovisingrhythmsontheirrespectivepairof
stonesandcreatinguncommonsoundsfromcommoninstruments,suchas
playingagonginacontainerofwater(watergong)andbowingthe
vibraphonebars.Rhythmically,thepieceincludesadvancedrhythmssuchas
septupletsandquintupletsaswellas5:3polyrhythmsanddifficultcross-
rhythmsbetweenplayers.Thepieceendsenergeticallyina7/8meterthat
featureshanddrums.Thisisachallengingworkthatwouldbebest
performedbyanadvancedgroupofcollegestudentsorprofessionals.
Leonard,Stanley.SixBagatellesforEightPercussionists.Greensboro,NC:C.AlanPublications.2011.
SixBagatellesisasix-movementworkforpercussionoctet.Becauseit
takesovertwentyminutestoperforminitsentirety,andthelargenumberof
instrumentsitrequires,thecomposermakesanotethatitcanbedonein
“variouscombinationsofanylessernumberofmovements.”55Thefirst
movement,Fundamentals,featuresinstrumentscommonlyfoundinaconcert
bandpercussionsection.Thetimpaniserveasametronome,playingsteady
halfnotesthroughthemovement.Theotherinstrumentseitheraddtothe
54StanleyLeonard,SacredStones(Greensboro,NC:C.AlanPublications,2004),PerformanceNotes.55StanleyLeonard,SixBagatellesforEightPercussionists(Greensboro,NC:C.AlanPublications,2011),programnotes.
78
texturewithlongrolls,orparticipatein5:3or5:4polyrhythms.Dobles,the
secondmovement,makesuseoflesscommoninstruments,suchasvibraslap,
crotales,andguiro,aswellasinstrumentsplayedinuncommonways,such
aswiththehandlesofmalletsorthe“prepared”marimbathathasasheetof
paperoverthebars.Althoughtherhythmsherearenomorecomplicated
thansixteenthnotes,thearticulatenatureoftheinstrumentsmakethe
interplaybetweentheplayerschallenging.Triplumismarch-likeandfocuses
onbatteryinstruments.ThefourthmovementiscalledMarimbasand,as
implied,featureskeyboardinstruments.NextisCinq,whichisaquick
movementin5/8thatiscomprisedofmostlyarticulateinstruments,suchas
woodblocks,fivemuffledtomtoms,twomuffledbassdrums,snaredrum,
andtambourine.Thelastmovement,Unum,isscoredsimilarlyas
Fundamentals,withtheadditionoffivedobachi.Itisalsostructuredsimilarly
tothefirstmovementinthat,afteranintroductorysection,thetimpaniserve
asametronomewhiletheotherinstrumentsgraduallyaddlayersofthematic
materialuntiltheyareallplayingattheclimaxofthework.Theuseof
advancedrhythmicinterplayandpolyrhythmsinallofthemovementsmake
thisworkappropriateforseasonedpercussionists.
Leonard,Stanley.Skies.Denton,TX:Drop6Media,Inc.2000.
Skiesisfortenpercussionistswithalargeinstrumentation.The
beginningsectionisthemosttechnicallydifficultduetoitsuseofunison
melodieswithadvancedrhythms.Afterthisopening,thepiecemovestoa
drumfeaturein6/8thatisrhythmicallyuncomplicated.Aslowtonalsection
79
follows,whichfeaturesforeigninstrumentssuchasthetunedThaigongsand
thedobachi.Thepieceendswithasectionsimilartothebeginningwith
feweradvancedrhythms.Duetothetechnicalrequirementsofthekeyboard
players,thisworkisbestsuitedforacollegeensemble.
Leonard,Stanley.SymphonyforPercussion.Denton,TX:Drop6Media,Inc.2009.
Thisworkfornineplayersspotlightsthedifferentmaterialsthat
percussioninstrumentsaremadefromandcombinesthemintoamassive
work.Thesymphonycanbeperformedasonelargepieceoranyofthe
movementscanbeperformedindividually.Thefirstmovementisnamed
DrumTune.Itexploresthedifferentsoundsthatbatteryinstrumentsare
capableofmakingdependingonthestyleofbeaterused,aswellifthe
instrumentiscoveredwithacloth.Therhythmsincludedgetnomore
advancedthansixteenthnotesandtriplets,howeverthe15/16and5/8
metersareusedsignificantlyinthemiddlesection.Thesecondmovement,
TheBells,iswrittenformetalinstrumentssuchasglockenspiel,vibraphone,
andanaluminion,whichthecomposerdescribesaswindchimeofaluminum
plates.56Allsevenoftheperformersplaysparselyforasignificantamountof
themovementasameansofexploringtheresonantcapabilitiesofthe
instruments.Xylemisforallnineplayersandfeatureswoodeninstruments,
suchasxylophoneandclaves.SimilartoTheBells,thefirstportionofthis
movementhighlightstheinstruments’resonantcapabilities,mostlythrough
rolls.Thesecondportionismuchfasterandrhythmic,withsimplemelodic56StanleyLeonard,SymphonyforPercussion(Denton,TX:Drop6Media,Inc.,2009),TheBellsprogramnotes.
80
ideasbeingpresentedfrommanyoftheplayers.Thefinale,Evolutions,
combinesthefamiliesofinstruments.Differentmusicalconceptsare
revisited,namelytherhythmicideasfromthefirstmovement,andthe
conceptofresonancethatcomeslater.Asawhole,acollegiateensemble
wouldbebestsuitedforthispiece.
Leonard,Stanley.TravelingMusic.BocaRaton,FL:LudwigMastersPublications.2013.
Thispiecebeginswithalltenperformerswalkingonstagetotheir
respectiveconsoleswhileplayingonhard-coveredsuitcases.Itendsin
similarfashion,withtheperformerspickingupthesuitcasesandplaying
themwhilewalkingoffstage.Themusicinthemiddleisdividedintosections
thatrepresentdifferentpartsoftheworld:handdrumsforAfrica;dobachi,
gongs,andtempleblocksforAsia;andthekeyboardinstrumentsandtimpani
forEurope.Theindividualpartsarerhythmicallyuncomplicated,andthe
melodiesaretonalandsimple.Consideringtheelementofwalkingonandoff
stage,itisidealthatthisworkbeperformedwithoutaconductor.Thiswork
wouldbesuitableforagroupofhighschoolpercussionists.
Leonard,Stanley.Voices.Naples,FL:StanleyS.Leonard.2011.
Thisisaworkfortenpercussionists;afeaturedpercussionquintet
accompaniedbyakeyboardquintet.Bothgroupsshareinthemusical
challengesthatarepresentedinthepiece,includingtheuseofadvanced
polyrhythmssuchas5:4,advancedrhythmicfiguresinunison,andinterplay
withineachgroup.Thegreatestchallengeforthekeyboardistsisthe
accuracynecessarytoplaytherepetitivetonerowsthatmakeupthefast
81
sections.Thekeyboardpartswouldbeappropriateforacollegeensemble,
whilethepercussionquintetconsistofmoreadvancedstudentsor
professionals.
Leonard,Stanley.WinterFantasy.Denton,TX:Drop6Media,Inc.2000.
Thispieceisfortenpercussionistsandhandbellchoir57.Itconsistsof
threesections.ThefirstisbasedonasimplemelodyinGmajorplayedbythe
handbellsandthekeyboardinstruments.Themiddlefeaturesthepercussion
playingsleighbellsinhockettedorunisonrhythms.Themelodicinterest
hereisprovidedbythetempleblocksandsledrunner,whichisametalski
fromasnowsled.Thefinalsectionisarecapitulationofthemelodyfromthe
beginning.Allofthepartsaretonalwithnochromaticpitches,andthe
rhythmsareduplebasedwithnothingmorecomplicatedthandotted-eighth
andsixteenthnotes.Ahighschoolgroupwouldbeabletoperformthiswork.
Leonard,Stanley.Zanza:forSixPercussionists.Naples,FL:StanleyS.Leonard.2003.
ThispieceforsixpercussionistsshowcasestheAfricanthumbpiano
sometimesknownasaZanza,Sansa,orKalimba.Inadditiontothe
improvisedsolosheardfromthisinstrument,thekeyboardinstruments
imitateitbyusingdead-strokesonasimilarpitchcollection.Theoutside
sectionsareenergeticanddance-likewithfrequentlyshiftingmeters,
uncomplicatedrhythms,tempithatgraduallyaccelerate,andsolosforsome
ofthedrumparts.Theslowermiddlesectionfeaturesfourtambourinesthat
aregraduatedinrelativepitch.Thissectionismeanttosoundmorefreethan
57Apianocansubstituteforthehandbellchoir,ifnecessary.
82
structured.Duetotheinstrumentalrequirementsandthemetricchangesof
theoutsidesections,Zanzawouldbestbesuitedforacollegeensemble.
83
CONCLUSION
StanleyLeonard,alongwithhavinganimpressiveperformingcareer,hasmet
equalsuccessasacomposerofworksforpercussion.In1958,hestartedwritingso
thathisnewlycreatedpercussionensemblewouldhavemusictoplay.Bydoingthis
inaperiodwhenfewpieceswereavailable,hehelpedcreatethepercussion
ensemblerepertoirethatexiststoday.
Duringhissixtyyearsofcomposing,Leonardhasexperimentedwithseveral
compositionalstyles.Hehaswrittenseveraltraditionaltonalworks,suchas
ProcessionalandBallade,buthasalsousedpost-tonaltechniquesinworkssuchas
QuarimbaandMirrors.HecreatedhisowngraphicnotationforContinuumand
Ubique.HealsoincorporatedelectronicsinSonnetandTheAdvancingGong.His
outputislargeinquantity,butitalsoincludesseveraldifferentgenres.
Hiswritingfortimpanihasalsobeensignificant.Hewasoneofthefirstto
writeamethodbookfocusingonpedaltechnique,andhashelpedredefinehow
timpanistsplaytheirinstrument.Also,hisseveralsolosrequiringextensiveuseof
thispedaltechniquehighlightthemelodiccapabilitiesofthetimpani.
Astherepertoireforpercussioncontinuestoexpand,itisimportanttostudy
thecomposerswhohavecontributedtoit.Leonardispreeminentamongthosewho
havemadeitpossibleforthepercussionensembletoexistthewayitdoestodaydue
totheamounthewroteandtheseveralstylesofwhichhecomposed.Studyingand
cataloginghisworksmakesiteasierforeducatorstoseethecapabilitiesof
percussioninstruments,whichwillbetterequipthemtoteachtheirstudents.
84
REFERENCES
Benson,Warren.ThreePiecesforPercussionQuartet.NewYork:G.SchirmerInc.1960.
Chávez,Carlos.Toccata.NewYork:MillsMusic.1954.Dietz,Brett.“AContinuingPursuitofExcellence:AnInterviewwithStanley
Leonard.”PercussiveNotesVol.46,no.3(June,2008):24-25.AccessedMarch26,2017.http://publications.pas.org/Symphonic/0806.24-25.pdf#search="stanley%20leonard.
Leonard,Stanley.Circus.BocaRaton,FL:LudwigMastersPublications,Inc.1972.Leonard,Stanley.Kymbalon.Greensboro,NC:C.AlanPublications.2006.Leonard,Stanley.“MusicCatalog.”StanleyLeonard.com.AccessedMarch26,2017.
http://www.stanleyleonard.com/music.asp.Leonard,Stanley.OnThatDay.Pittsburgh,PA:StanleyS.Leonard.1972.Leonard,Stanley.PedalTechniquefortheTimpani.Cleveland,OH:LudwigMusic
PublishingCo.1988.Leonard,Stanley.RetrospectionsFanfare.Naples,FL:StanleyS.Leonard.2013.Leonard,Stanley.Rhythmix.Naples,FL:StanleyS.Leonard.2015.Leonard,Stanley.SacredStones.Greensboro,NC:C.AlanPublications.2004.Leonard,Stanley.SixBagatellesforEightPercussionists.Greensboro,NC:C.Alan
Publications.2011.Leonard,Stanley.SymphonyforPercussion.Denton,TX:Drop6Media,Inc.2009.Leonard,Stanley.Tenere.Pittsburgh,PA:StanleyS.Leonard.1969.Leonard,Stanley.VoicesofPeace.Pittsburgh,PA:StanleyS.Leonard.1996.Peters,GordonB.“TreatiseonPercussion.”Master’sthesis,UniversityofRochester,
1962.ThePresbyterianHymnal:Hymns,Psalms,andSpiritualSongs.Louisville,KY:
WestminsterJohnKnoxPress.1990.
85
Soroka,John.“StanleyLeonard:ALifeinPercussion.”PercussiveNotesVol.33,no.4(August,1995):58-61.AccessedMarch26,2017.http://publications.pas.org/Symphonic/9508.58-61.pdf#search="stanley%20leonard.
Weiss,LaurenVogel.“StanleyLeonard.”PercussiveNotesVol.48,no.6(November,
2010):11-13.AccessedMarch26,2017.http://publications.pas.org/Hall%20of%20Fame/1011.10-13.pdf#search="stanley%20leonard.
Weiss,LaurenVogel.“StanleyLeonard:TheContemporaryTimpanist.”Percussive
NotesVol.34,no.5(October,1996):55.AccessedMarch26,2017.http://publications.pas.org/Symphonic/9610.55-56.pdf#search="stanley%20leonard.
86
APPENDIXA:SOLOANDENSEMBLEINSTRUMENTATIONS1PERCUSSIONISTCascades
Glockenspiel.Choirs
4HighWoodblocks,4TempleBlocks,4WoodDrums58,C4,E4,G4,andB4Crotales,4SuspendedCymbals,3TamTams,PiccoloSnareDrum,7Tom-toms,BassDrum.
Collage(FluteDuet)
Glockenspiel,Vibraphone,Marimbaofanysize,LargeSuspendedCymbal,TamTam.
Danza
4Timpani,3HighTom-toms,3MediumAlmglocken,2Tambourines,SuspendedCymbal,LowAntiqueCymbal.
OnThatDay
SnareDrum,4Tom-toms,3SuspendedCymbals,GandAChimeNotes,Vibraphone,HeadlessTambourine,Glockenspiel,Ratchet,ElephantBells,25-or26-inchTimpano.
SoloDialogue
4Timpani,3Tom-toms.Solus
5Timpani,4Tom-toms,C4,E4,G♯4,andB4Crotales,LargeChineseCymbal.Sonnet
Glockenspiel,Vibraphone,3SuspendedCymbals,ThaiGong(orSmallTamTam),SnareDrum,4Tom-toms,4TempleBlocks,4Almglocken,1Maraca,MarkTree.
584Tom-tomswithwoodendiscsareasuitablesubstituteforWoodDrums.
87
SuiteforPercussionandViolin
SnareDrum,4Tom-toms,KickDrum,2Tambourines,Sistrum,2Woodblocks,4SuspendedCymbals,3AntiqueCymbalsorLargeFingerCymbals,Glockenspiel,4.0-OctaveMarimba.
Triptych
Vibraphone,SnareDrum,4Tom-toms,3SuspendedCymbals,Glockenspiel,BellTree,TimpanoinB-flat.
TwoMeditations
4Tom-toms,3SuspendedCymbals,Woodblock,MuffledTriangle.Ubique
Maracas,IronPipe,4TempleBlocks,2SuspendedCymbals,SnareDrum,4Tom-toms,LargeTamtam,KickDrum.
WillO’TheWisp
Vibraphone,4TempleBlocks,1.0-OctaveCrotales,TamTam,RainStick,Tambourine,3Tom-toms,3SuspendedCymbals,4Timpani.
2PERCUSSIONISTSContinuum
Player1: 4Timpani.Player2: Glockenspiel,Vibraphone,Xylophone.
Duales
Player1: 4.3-OctaveMarimba,Vibraphone.Player2: 4Timpani,3Tom-toms,SuspendedCymbal.
DuoforTwoTimpanists
Player1: 4Timpani.Player2: 4Timpani.
88
Duologue
Player1: 4Timpani.Player2: 4Timpani.
Pairs
Player1: Bongos,2LargeCowbells,26-and23-inchTimpani.Player2: 2Tom-toms,2SuspendedCymbals,32-and29-inchTimpani.
ThreeDuets
Player1: 4.3-OctaveMarimba.Player2: 4.3-OctaveMarimba.
3PERCUSSIONISTSImpressions
Player1: Xylophone,HandCymbals.Player2: Glockenspiel,SnareDrum.Player3: Triangle,SuspendedCymbal,TamTam,BassDrum.
ThreeSpaces
Player1: SnareDrum,TamTam,25-or26-inchTimpano.Player2: 2Tom-toms,SuspendedCymbal,28-or29-inchTimpano.Player3: 4.0-OctaveMarimba,BassDrum,Woodblock.
Trioso
Player1: Vibraphone,4.3-OctaveMarimba,HighSuspendedCymbal,4TempleBlocks,Maracas.
Player2: Bongos,SnareDrum,MediumSuspendedCymbal,AgogoBellor
2Cowbells,4ThaiGongs.Player3: 4Timpani,LowTom-tom,LowSuspendedCymbal,SmallBass
Drum,Clave.
89
TwoContemporaryScenes
Player1: Vibraphone.Player2: Glockenspiel.Player3: Xylophone,4.0-OctaveMarimba.
4PERCUSSIONISTSBachiana
Player1: Glockenspiel,Xylophone,4.0-OctaveMarimba.Player2: 4.0-OctaveMarimba,Glockenspiel.Player3: SmallSuspendedCymbal,Triangle,Chimes,4.0-OctaveMarimba
orVibraphone.Player4: SuspendedCymbal,Triangle,SnareDrum,Tambourine.
CycleforPercussion
Player1: 5LargeGlassLampShades.Player2: 2SuspendedCymbals,TamTam.Player3: 3TempleBlocks,BassDrum.Player4: SnareDrum.
DanceSuite59
Player1: Vibraphone,Tambourine,3TempleBlocks,SnareDrum,Triangle,4.0-OctaveMarimba.
Player2: 2SuspendedCymbals,TamTam,3TempleBlocks,Timbales,4
Timpani,Woodblock,C5Chime.Player3: C5Chime,4.0-OctaveMarimba,Claves,SuspendedCymbal,
Woodblock,TamTam.Player4: 4Timpani,Glockenspiel,FingerCymbals,LargeBassDrum,
Vibraphone.59AllInstrumentscanbeshared.
90
FourCanons
Players1-4:KeyboardInstrument.60HousemusicforPercussion
Player1: Glockenspiel,Tambourine.Player2: Tambourine,Woodblock.Player3: 2Tom-toms,Castanets.Player4: TamTam,Triangle.
MirrorCanon
Player1: 4.0-OctaveMarimba(PossiblySharedwithPlayer3).Player2: Glockenspiel.Player3: 4.0-OctaveMarimba(PossiblySharedwithPlayer1).Player4: VibraphoneorSecondGlockenspiel.
PreludeforFourMarimbas
Player1: 4.0-OctaveMarimba(PossiblySharedwithPlayer3)orXylophone.
Player2: 4.0-OctaveMarimba(PossiblySharedwithPlayer4).Player3: 4.0-OctaveMarimba(PossiblySharedwithPlayer1)or
Vibraphone.Player4: 4.0-OctaveMarimba(PossiblySharedwithPlayer2).
Processional61
Player1: 4.0-OctaveMarimba(PossiblySharedwithPlayer3).Player2: 4.0-OctaveMarimba(PossiblySharedwithPlayer4).
60Intendedfor4Marimbas,thoughanykeyboardinstrumentsmaybeusedatthediscretionoftheperformers.61OptionalTriangleandFingerCymbalPartsfor5thand6thPlayers.
91
Player3: 4.0-OctaveMarimba(PossiblySharedwithPlayer1).Player4: 4.3-OctaveMarimba(PossiblySharedwithPlayer2).
Quarimba
Player1: 5.0-OctaveMarimba(SharedwithPlayer4).Player2: 4.0-OctaveMarimba.Player3: 4.0-OctaveMarimba.Player4: 5.0-OctaveMarimba(SharedwithPlayer1).
SymphonyforPercussion:I.DrumTune
Player1: SnareDrum.Player2: 2HighTom-toms.Player3: 2LowTom-toms.Player4: 4Timpani.
Telin-Ting
Player1: JapaneseTempleBell62,4TempleBlocks,4WoodDrums,SmallClaves,Vibraphone,Xylophone.
Player2: LargeRaspingStick,MarkTree,3SuspendedCymbals,Chinese
Cymbal,Glockenspiel,HighTom-tom,4.0-OctaveMarimba(SharedwithPlayers3and4).
Player3: Guiro,4SuspendedCymbals,2LowElephantBells,Chimes,4.0-
OctaveMarimba(SharedwithPlayers2and4).Player4: LargeBassDrum,2HighElephantBells,LargeTamTam,Small
TamTam,BrakeDrum,4.0-OctaveMarimba(SharedwithPlayers2and3).
62ResonantCowbellwithsoftbeatermaysubstitutefortheJapaneseTempleBell.
92
Tenere
Player1: FingerCymbals,SmallHandCymbals,Glockenspiel.Player2: 2SuspendedCymbals,LargeHandCymbals.Player3: TamTam,Triangle.Player4: Vibraphone,F4ChimeNote,4Timpani.
ThreeSketches
Player1: BassDrum,Xylophone,Glockenspiel.Player2: SnareDrum,BassDrum.Player3: SnareDrum,3TempleBlocks,Woodblock,Triangle.Player4: HandCymbals,SuspendedCymbal.
5PERCUSSIONISTSBeachwalk
Player1: Glockenspiel,5HighTom-toms.Player2: Vibraphone,4TempleBlocks.Player3: Xylophone,Crotales(EandC),BellTree.Player4: Chimes,SuspendedCymbal,TamTam,BassDrum.Player5: 4Timpani,Guiro.
Circus63
Player1: SnareDrum,FeldDrum,Triangle,Chimes.Player2: 3TempleBlocks,Glockenspiel,SlideWhistle,2Tom-toms,Snare
Drum,Cowbell,SuspendedCymbal.Player3: SuspendedCymbal,TamTam,Triangle,HandCymbals,
Tambourine,PoliceWhistle.
632BassDrumsarerequired.Allotherinstrumentscanbeshared.
93
Player4: BassDrum,2Tom-toms,3TempleBlocks,SuspendedCymbal,BassDrum.
Player5: 3Timpani,BassDrum.
ClosingPiece64
Player1: SnareDrum,Triangle,Woodblock.Player2: SnareDrum,Triangle,Woodblock.Player3: SnareDrum,Triangle,Woodblock.Player4: SnareDrum,Triangle,Woodblock.Player5: SuspendedCymbal,4Timpani.
Genesis65
4Timpani,SnareDrum,FieldDrum,Bongos,4Tom-toms,4TempleBlocks,Woodblock,BassDrum,Chimes,Glockenspiel,Vibraphone,2SuspendedCymbals,TamTam,2Triangles,2Tambourines.
IncidentalMusic
Player1: Chimes,4SuspendedCymbals,SnareDrum.Player2: LargeTamTam,Chimes,BassDrum.Player3: Woodblock,3SuspendedCymbals,TamTam.Player4: 5TempleBlocks,Glockenspiel,4Timpani.Player5: Triangle,BassDrum,Xylophone,Timpano(SharedwithPlayer
4).PresentingPercussion
Player1: Claves,4Roto-tomsorHighTom-toms,WindGongorChineseCymbal,ThaiGongorSmallTamTam.
Player2: 4TempleBlocks,Tambourine,Triangle.
64TheSnareDrums,Triangles,andWoodblocksaregraduatedinpitch.65Instrumentsarenotassignedtospecificplayers.
94
Player3: Slapstick,LargeDjembeorLargeTom-tom,SuspendedCymbal,4.0-OctaveMarimba.
Player4: 2Woodblocks,2Congas,Cowbell.Player5: 4-noteLogDrum,DrumKit(KickDrum,SnareDrum,Cymbal),
SmallMetalPlate.Rhythmix
Soloist: 4Timpani.Player1: Vibraphone,3MediumTom-toms,Claves,SleighBells,RainStick.Player2: Glockenspiel,2MediumCupGongs,Bongos,SlideWhistle.Player3: 3HighGongs,SuspendedCymbal,2Woodblocks,LargeTamTam
(SharedwithPlayer4).Player4: BassDrum,2BrakeDrums,Claves,LargeTamTam.
Serenade
Player1: Glockenspiel.Player2: Vibraphone.Player3: 4.0-OctaveMarimba.Player4: 4.0-OctaveMarimba.Player5: 5.0-OctaveMarimba.
Shadows
Soloist: 4Dobachi(CupGongs),5TempleBlocks,2SuspendedCymbals,RainStick,SnareDrum,ChineseCymbal,ThaiGong,8SmallTom-toms,BassDrum,MarkTree,2.0-OctaveCrotales.
Player1: Glockenspiel,5.0-OctaveMarimba(SharedwithPlayer1).Player2: Vibraphone.Player3: Chimes.Player4: 5.0-OctaveMarimba(SharedwithPlayer1).
95
TheAdvancingGong
Player1: TamTam,2BrakeDrums,2WoodBlocks,Maracas,SnareDrum,3AntiqueCymbals(SharedwithPlayer2).
Player2: 3AntiqueCymbals(SharedwithPlayer1),GlassWindChime,
Chimes,2SuspendedCymbals.Player3: Marimbaofanysize,Glockenspiel,4HighTom-toms.Player4: Xylophone,Vibraphone,4LowTom-toms.Player5: 4TempleBlocks,TamTam,4Timpani.
ThreeRivers
Player1: Glockenspiel,4AntiqueCymbals,LargeTamTam.Player2: Vibraphone,SnareDrum,SmallTamTam.Player3: Chimes,Bongos,MetalPlate.Player4: BassDrum,SuspendedCymbal,4Medium-HighTom-toms,4.5-
OctaveMarimba.Player5: 4Timpani,4TempleBlocks.
WingedChariot
Player1: LargeMaraca,Xylophone,Glockenspiel.Player2: Vibraphone,Triangle.Player3: 4.0-OctaveMarimba,4TempleBlocks,SuspendedCymbal.Player4: BassDrum,Chimes,SnareDrum,SuspendedCymbal.Player5: SnareDrum,4Timpani,4Dobachi(CupGongs),LargeTamTam.
WordGamesII
Player1: Vibraphone,SmallTamTam,3SuspendedCymbals,HandCymbals,HighElephantBell,SnareDrum.
Player2: LargeTamTam,Glockenspiel,4.3-OctaveMarimba,4HighTom-
toms,2BrakeDrums.
96
Player3: 4.3-OctaveMarimba,SnareDrum,Xylophone,SnareDrum,ElephantBell,Chimes,2Woodblocks.
Player4: Chimes,Timpani,FingerCymbals,Chimes.Player5: 3BassDrums,4.3-OctaveMarimba,FingerCymbals,4.3-Octave
Marimba.6PERCUSSIONISTSBallade
Player1: Glockenspiel,5.0-OctaveMarimba(SharedwithPlayer6).Player2: Vibraphone.Player3: Chimes.Player4: 4.3-OctaveMarimba.Player5: 4.3-OctaveMarimba.Player6: 5.0-OctaveMarimba(SharedwithPlayer1).
DanzaBamboo
Player1: HighBambooSticks,BoardorBooBlock,BambooWindChimes,F3Angklung.
Player2: MediumBambooSticks,BoardorBooBlock,BambooWind
Chimes,D3Angklung.Player3: LowBambooSticks,BoardorBooBlock,BambooWindChimes,
C3Angklung,Cajon.Player4: LargeRainStick,LowestBambooSticks,BoardorBooBlock,
Cajon,B♭2Angklung.Player5: Claves,4Tom-toms.Player6: LargeTamTam,BassDrum,ChineseCymbal,SmallGong.
97
FourImages/Dimensions66
Player1: 4TempleBlocks,SuspendedCymbal,SnareDrum,Xylophone,Woodblock.
Player2: MarkTree,Glockenspiel,FieldDrum,Tambourine,Suspended
Cymbal.Player3: Xylophone,Vibraphone,4Roto-toms,2Timpani,Triangle.Player4: 3Tom-toms,LargeTamTam,HandCymbals.Player5: BassDrum,4.0-OctaveMarimba,Tambourine,SmallGong.Player6: Triangle,Vibraphone,LargeTamTam,HandCymbals,Large
SuspendedCymbal.March
Player1: Chimes,Tambourine,LargeTom-tom.Player2: SuspendedCymbal,HandCymbals.Player3: SnareDrum.Player4: FieldDrum,Woodblock,Xylophone.Player5: BassDrum,Glockenspiel.Player6: 3Timpani,Triangle.
Mirrors
Player1: Glockenspiel.Player2: Vibraphone.Player3: Chimes.Player4: Xylophone.Player5: 4.0-OctaveMarimba.Player6: 4.3-OctaveMarimba.
66Players1,3,and6shareinstruments.
98
Promenade
Player1: 4TempleBlocks,Glockenspiel,Crotales(orVibraphone).Player2: Vibraslap,Chimes,Tambourine.Player3: 4HighTom-toms,SnareDrum,Maracas.Player4: Slapstick,SuspendedCymbal,HandCymbals,Triangle.Player5: 2BrakeDrums,BassDrum.Player6: TamTam,4Timpani.
RecitativeandScherzo
Soloist: 5Timpani.Player1: SnareDrum,4TempleBlocks,2.0-OctaveCrotales,Guiro,Mark
Tree.Player2: Glockenspiel,Claves.Player3: Xylophone,Vibraphone,LargeCowbell.Player4: Chimes,TamTam,Vibraslap.Player5: BassDrum,SuspendedCymbal,4.3-OctaveMarimba.
RiseUpOFlame
Player1: Glockenspiel.Player2: Xylophone(SharedwithPlayer3).Player3: Xylophone(SharedwithPlayer2).Player4: 4.0-OctaveMarimba(SharedwithPlayer5).Player5: 4.0-OctaveMarimba(SharedwithPlayer4).Player6: Chimes.
99
Waltz
Player1: Glockenspiel.Player2: Xylophone.Player3: Vibraphone.Player4: Chimes.Player5: 4.3-OctaveMarimba(PossiblySharedwithPlayer6).Player6: 4.3-OctaveMarimba(PossiblySharedwithPlayer5).
Zanza
Player1: LargeTamTam,2.0-OctaveCrotales,4TempleBlocks,Glockenspiel,MarkTree,SopranoTambourine.
Player2: SuspendedCymbal,Vibraphone,6Almglocken,AltoTambourine.Player3: Chimes,ChineseOperaCymbal,ChineseCymbal,Tenor
Tambourine.Player4: 4HighTom-toms,Shekere,Sansa67,4.0-OctaveMarimba,Bass
Tambourine.Player5: 4LowTom-toms,5.0-OctaveMarimba,WaterGong.Player6: BassDrum,5Timpani.
7PERCUSSIONISTSConcertino
Soloist: 4Timpani.Player1: Glockenspiel.Player2: Vibraphone.Player3: Xylophone.Player4: 4.0-OctaveMarimba.
67“Sansa”isaKalimbawithatleast7tones.
100
Player5: 4.3-OctaveMarimba.Player6: 5.0-OctaveMarimba.
Interiors
Player1: Glockenspiel,Bongos.Player2: Vibraphone,3CrystalBowls,Tambourine.Player3: Chimes,LargeTamTam,2SmallGongs,2Woodblocks.Player4: Xylophone,1.0-OctaveCrotales,SuspendedCymbal,4Tom-toms.Player5: 5.0-OctaveMarimba,3LargeAlmglocken,Slapstick.Player6: BassDrum,MarkTree.Player7: 4Timpani,3SuspendedCymbals.
SacredStones
Player1: Glockenspiel,2SopranoStones,LargeTamTam,HandCymbals,LargeMaracas,Timbales,1.0-OctaveCrotales(ExtraC,D,E),LargeStone.
Player2: Vibraphone,2AltoStones,SopranoGong,PekingOperaGong(or
ChineseCymbal),LargeStone.Player3: 4.0-OctaveMarimba(PossiblySharedwithPlayer5),2Tenor
Stones,PiccoloSnareDrum,AltoGong,LargeStone.Player4: 4.0-OctaveMarimba,LargeRainStick,Woodblock,4Dobachi
(CupGongs),5TempleBlocks,TenorGong,LargeDoumbek,SuspendedCymbal.
Player5: 5.0-OctaveMarimba(PossiblySharedwithPlayer3),WindGong,
2Congas,BassGong,2BassStones,LargeStone.Player6: Chimes,BassDrum,LargeSlapstick,4LowTom-toms,Water
Gong,TamTam,2.0-OctaveCrotales(SharedwithPlayer7),LargeStone.
Player7: 5Timpani,BassDrum,MarkTree,2.0-OctaveCrotales(Shared
withPlayer6).
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SymphonyforPercussion:II.TheBells
Player1: FingerCymbals,Aluminion.68Player2: Chimes.Player3: Vibraphone.Player4: Glockenspiel.Player5: GlassWindChimes,MarkTree.Player6: 3SuspendedCymbals.Player7: 2TamTams.
8PERCUSSIONISTSAntiphonies
Player1: Glockenspiel,2Cowbells,SnareDrum.Player2: 4.3-OctaveMarimba,4HighTom-toms,SnareDrum.Player3: Xylophone,LargeTamTam,Ratchet,RideCymbal,SnareDrum.Player4: 3Timpani,HighClaves,SnareDrum.Player5: Chimes,4.3-OctaveMarimba,SmallGong,Tambourine,Snare
Drum.Player6: Vibraphone,BassDrum,4TempleBlocks,SnareDrum.Player7: 4LowTom-toms,2SuspendedCymbals,SnareDrum.Player8: 3Timpani,Tambourine,LowClaves,SnareDrum.Mediator: SnareDrum,3Tom-toms,Woodblock,2SuspendedCymbals.
68“Aluminion”isawindchimeoflargealuminumplates,similartovibraphonebars.
102
ExMachina
Player1: Glockenspiel,SnareDrum,4Dobachi.Player2: Xylophone,BassDrum,Glockenspiel,2.0-OctaveCrotalesor
Vibraphone.Player3: Chimes,FieldDrum,Clave.Player4: Vibraphone,BassDrum,4HighTom-toms.Player5: 4.0-OctaveMarimba(PossiblySharedwithPlayer6),4Low
Tom-toms.Player6: SuspendedCymbal,HandCymbals,MarkTree,5.0-Octave
Marimba(PossiblySharedwithPlayer5).Player7: LargeTamTam,SuspendedCymbal,SockCymbal(Hi-Hat),4
TempleBlocks,4.0-OctaveMarimba.Player8: 4Timpani,4WoodDrums.
Fanfare,Meditation,andDance
Player1: Glockenspiel,3Dobachi(CupGongs),Maracas,FingerCymbals.Player2: 4Tom-toms,4CrystalGlasses,FingerCymbals,Vibraslap.Player3: SnareDrum,Vibraphone,Bongos.Player4: 3SuspendedCymbals,HandCymbals,4TempleBlocks,4
AntiqueCymbals,LargeWoodblock.Player5: Chimes(SharedwithPlayer7),3SmallTamTams,Guiro,Low
Tom-tom,SuspendedMetalPlateorBrakeDrum.Player6: LargeTamTam,SnareDrum,Vibraslap.Player7: BassDrum,Xylophone,Chimes(SharedwithPlayer5).Player8: 4Timpani,4.0-OctaveMarimba.
103
MainStreet
Player1: SnareDrum,Glockenspiel.Player2: Vibraphone,SnareDrum.Player3: Chimes,FieldDrum.Player4: SnareDrum,LargeTamTam,Slapstick,5.0-OctaveMarimbaPlayer5: SuspendedCymbal,HandCymbals,Triangle,MediumTamTam.Player6: BassDrum,4TempleBlocks,BulbHorn.Player7: SnareDrum,3Tom-toms.Player8: 5Timpani,Tambourine.
Scherzo
Player1: Glockenspiel,Sandpaper,SuspendedCymbalPlayer2: Vibraphone,Sandpaper,SuspendedCymbalPlayer3: Chimes,LargeTamTamPlayer4: Xylophone,Sandpaper,SuspendedCymbalPlayer5: 4.0-OctaveMarimba,Sandpaper,SuspendedCymbalPlayer6: 4.0-OctaveMarimba,Sandpaper,SuspendedCymbalPlayer7: 4.3-OctaveMarimba,Sandpaper,SuspendedCymbalPlayer8: 3Timpani
SixBagatelles69
Player1: Glockenspiel,2HighWoodblocks,Crotales(G6andF6),SnareDrum.
Player2: Xylophone,SnareDrum,Vibraphone,5SmallDobachi(Cup
Gongs).69Canbeperformedwith3Marimbas,1Xylophone,1Vibraphone,and1SetofChimes.
104
Player3: Vibraphone,4.0-OctaveMarimba(SharedwithPlayer6,Chimes,FieldDrum,5MuffledTom-toms.
Player4: 4.3-OctaveMarimba(SharedwithPlayer5),Xylophone,Field
Drum,2BassDrums.Player5: 4LowTom-toms,SnareDrum,TenorDrum,4.3-OctaveMarimba
(SharedwithPlayer4),Vibraslap(SharedwithPlayer6),Claves,Guiro,MarkTree,SuspendedCymbal,HandCymbals,SmallGong,BassDrum.
Player6: Chimes,4CowbellsorAlmglocken,HandCymbals,5
Woodblocks,4.0-OctaveMarimba(SharedwithPlayer3),Vibraslap(SharedwithPlayer5),BassDrum(SharedwithPlayer7).
Player7: LargeTamTam,4TempleBlocks,BassDrum(Sharedwith
Player6),4.0-OctaveMarimba,2.0-OctaveCrotales,2SuspendedCymbals.
Player8: 4Timpani,2HighTom-toms,2LowWoodblocks,Suspended
Cymbal,Tambourine,Vibraphone.TheEarth,Wind,andFire
Player1: SmallThaiGong,B4andC5Angklung70,BellTree,Chimes,ChineseCymbal,1.0-OctaveCrotales.
Player2: Vibraphone,G4andA4Angklung,Glockenspiel,Woodblock.Player3: C♯4,E4,F♯4,G4,G♯4,B4,andC5TunedGongs,E4andF4
Angklung,4TempleBlocks,Conga,HighSuspendedCymbal.Player4: 3TamTams,4.0-OctaveMarimba.Player5: SmallBassDrum,LargeSuspendedCymbal,Ratchet,Snare
Drum,4Dobachi,Slapstick.Player6: MediumBassDrum,4.3-OctaveMarimba,LargeElephantBell.
70Angklungscanbesubstitutedwith4graduatedpairsofClaves.
105
Player7: LargeBassDrum,WindGong(orLarge,BrightSuspendedCymbal),4HighTom-toms.
Player8: C4andD4Angklung,4LowTom-toms,4.0-OctaveMarimba,4
Timpani.9PERCUSSIONISTSKymbalon
Player1: SuspendedCymbal,TamTam,Glockenspiel,2.0-OctaveCrotales.Player2: SuspendedCymbal,TamTam,Chimes,4.3-OctaveMarimba
(PossiblySharedwithPlayer5),5TempleBlocks.Player3: SuspendedCymbal,TamTam,Chimes,4.3-OctaveMarimba.Player4: SuspendedCymbal,TamTam,Vibraphone.Player5: SuspendedCymbal,TamTam,5.0-OctaveMarimba(Possibly
SharedwithPlayer2),Tambourine.Player6: SuspendedCymbal,TamTam,4HighTom-toms,HighFinger
Cymbals.Player7: SuspendedCymbal,TamTam,4LowTom-toms,LowFinger
Cymbals.Player8: SuspendedCymbal,TamTam,MarkTree,Surdo.Player9: SuspendedCymbal,TamTam,BassDrum,4Timpani.
SymphonyforPercussion:III.Xylem
Player1: HighClaves.Player2: LowClaves.Player3: 2Woodblocks.Player4: 4TempleBlocks.Player5: Castanets.Player6: 4WoodDrums.
106
Player7: Xylophone.Player8: 4.0-OctaveMarimba(SharedwithPlayer9).Player9: 4.0-OctaveMarimba(SharedwithPlayer8).
SymphonyforPercussion:IV.Evolutions
Player1: Glockenspiel.Player2: Xylophone.Player3: Chimes,4.0-OctaveMarimba.Player4: HandCymbals,MarkTree,LargeSuspendedCymbal,TamTam.Player5: SnareDrum,Vibraphone.Player6: 4HighTom-toms,SmallTriangle,HighHandCymbals.Player7: 2LowTom-toms,LargeTriangle,LowHandCymbals.Player8: BassDrum,SmallSuspendedCymbal,TamTam.Player9: 4Timpani.
10PERCUSSIONISTSGoodChristianMenRejoice
Player1: Glockenspiel,HighFingerCymbals.Player2: Vibraphone,LowFingerCymbals.Player3: Chimes.Player4: Xylophone,HighTom-tom.Player5: 4.0-OctaveMarimba,Tambourine.Player6: 4.3-OctaveMarimba,Tambourine.Player7: 5.0-OctaveMarimba(orSynthesizedBass),Tambourine.Player8: 4Timpani.
107
Player9: MediumTom-tom,HandCymbals.Player10: BassDrum,SuspendedCymbal,Tambourine.
Skies
Player1: Glockenspiel,3BrakeDrums,4TempleBlocks.Player2: Vibraphone,AgogoBell,SmallThaiGong.Player3: Chimes,2Caxixi,4Dobachi(CupGongs).Player4: 4.0-OctaveMarimba(PossiblySharedwithPlayer6),2Congas,
FingerCymbals.Player5: 4.0-OctaveMarimba,Slapstick,LowTom-tom.Player6: 5.0-OctaveMarimba(PossiblySharedwithPlayer4),Bongos,
SleighBells.Player7: 3HighTom-toms,2.0-OctaveCrotales.Player8: 3LowTom-toms,1.0-OctaveTunedGongsorVibraphone.Player9: SmallTamTam,LargeTamTam,SuspendedCymbal,Hand
Cymbals,Tambourine,4Timpani.Player10: SuspendedCymbal,BassDrum,MarkTree.
TravelingMusic
Player1: Suitcase,Glockenspiel,LargeMaracas,LargeTamTam,Caxixi.Player2: Suitcase,Vibraphone,Bongos,Slapstick.Player3: Suitcase,Chimes,Cowbell,MarkTree,AgogoBell.Player4: Suitcase,HandCymbals,SuspendedCymbal,SmallTom-tom,
SmallGong,2Congas.Player5: Suitcase,4Timpani,Guiro,TempleBlocks,Shekere.Player6: Suitcase,Xylophone,4MediumLowTom-toms,ThaiGong.Player7: Suitcase,4.0-OctaveMarimba,SleighBells,Cuica,PiccoloSnare
Drum.
108
Player8: Suitcase,4.3-OctaveMarimba,Triangle,ChineseCymbal.Player9: Suitcase,BassDrum,Tambourine,4Dobachi(CupGongs).Player10: Suitcase,4Timpani,Surdo,PoliceWhistle,2LargeWooden
Dowels,BassDrum.Voices
Player1: Glockenspiel.Player2: Vibraphone.Player3: Chimes.Player4: 4.3-OctaveMarimba.Player5: 5.0-OctaveMarimba.Player6: 3SuspendedCymbals,LargeTamTam,SleighBells.Player7: PiccoloSnareDrum,SnareDrum,MarkTree,Claves,Bongos,
SuspendedCymbal.Player8: 3HighTom-toms,4Dobachi(CupGongs),HighCajon.Player9: 3LowTom-toms,HighFingerCymbalsorTunedGong,
Vibraslap,MediumCajon.Player10: 3BassDrums,LowFingerCymbalsorTunedGong,4Temple
Blocks,LowCajon.WinterFantasy
Player1: Glockenspiel,Woodblock.Player2: Vibraphone,SleighBells.Player3: Chimes,SleighBells.Player4: Xylophone,SleighBells,HighBongo.Player5: 4.0-Octave(SharedwithPlayer7),SleighBells.Player6: 4.0-OctaveMarimba,SleighBells.
109
Player7: 5.0-OctaveMarimba(orSynthesized/AcousticBass),SleighBells,HandCymbals.
Player8: 4Timpani.Player9: MarkTree,4TempleBlocks,SuspendedCymbal,HandCymbals,
Triangle.Player10: SleighBells,SledRunner.71
12PERCUSSIONISTSFestivalFanfare
Player1: Glockenspiel.Player2: Vibraphone.Player3: Vibraphone.Player4: Chimes,Bongos.Player5: Xylophone.Player6: 4.3-OctaveMarimba.Player7: 4.3-OctaveMarimba.Player8: 4.3-OctaveMarimba.Player9: 5.0-OctaveMarimba.Player10: TamTam,HandCymbals,SuspendedCymbal,2.0-Octave
Crotales(SharedwithPlayer11).Player11: Tom-toms,2.0-OctaveCrotales(SharedwithPlayer10),3Tom-
toms.Player12: 4Timpani,BassDrum.
71“SledRunner”canbeasnowsledturnedupsidedownorasinglemountedsledrunner.
110
13PERCUSSIONISTSDrumCelebration
Player1: HighSnareDrum.Player2: HighSnareDrum.Player3: HighSnareDrum.Player4: HighSnareDrum.Player5: LowSnareDrum.Player6: LowSnareDrum.Player7: LowSnareDrum.Player8: LowSnareDrum.Player9: HighSuspendedCymbal,HighHandCymbals.Player10: LowSuspendedCymbal,LowHandCymbals.Player11: SmallGong,TamTam.Player12: BassDrum.Player13: 4Timpani.
14PERCUSSIONISTSHurricane
Player1: LargeTamTam.Player2: LowSuspendedCymbal,Bullroarer.Player3: TamTam.Player4: HighandMediumSuspendedCymbals.Player5: ChineseCymbal,LargeRainstick,LargeWoodblock.Player6: 4TempleBlocks,HighCongaDrum.
111
Player7: SmallSteelDrumPan,LowCongaDrum.Player8: 3BrakesDrums,LargeSlapstick.Player9: SnareDrum,Rainstick.Player10: 2HighTom-toms.Player11: 2MediumTom-toms.Player12: 2LowTom-toms.Player13: BassDrum.Player14: LowBassDrum.
JanissaryBand
Player1: Crescent,Glockenspiel,Triangle,Tambourine.Player2: Crescent,Xylophone,Triangle,Tambourine.Player3: Crescent,Vibraphone,Triangle,Tambourine.Player4: Crescent,Chimes,Triangle,Tambourine.Player5: 2HighTom-tomsorBongos,4TempleBlocks,Triangle.Player6: 2HighTom-toms(LowerthanPlayer5),4TempleBlocks,
Triangle.Player7: 2HighTom-toms(LowerthanPlayer6),4TempleBlocks,
Triangle.Player8: 2LowTom-toms(HigherthanPlayer9),3BrakeDrums,
Triangle.Player9: 2LowTom-toms(HigherthanPlayer10),3BrakeDrums,
Triangle.Player10: 2LowTom-tomsFieldDrums,3BrakeDrums,Triangle.Player11: HandCymbals,Triangle.Player12: HandCymbals,Triangle.
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Player13: LargeTamTam,LargeBassDrum.Player14: 4Timpani.
RetrospectionsFanfare
Player1: ChineseCymbal,SmallTamTam,MuffledCowbell,LargeBassDrum.
Player2: Gong,SmallTamTam,LargeTamTam,MuffledCowbell.Player3: Bongos,TenorDrum,MediumBassDrum,LargeBassDrum.Player4: FieldDrum,SnareDrum.Player5: SmallSiren,Lion’sRoar.Player6: LargeSiren,Slapstick,Guiro.Player7: 3TempleBlocks,Claves,Triangle.Player8: SnareDrum,LargeMaracas,SmallMaracas.Player9: PiccoloSnareDrum,SnareDrum,SuspendedCymbal.Player10: HandCymbals,Chimes,SleighBells.Player11: Guiro,Castanets,Celeste(orGlockenspiel).Player12: Tambourine,LowestTamTam,2BrakeDrums.Player13: Slapstick,Triangle,SleighBells.Player14: Piano.
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APPENDIXB:NON-PERCUSSIONCOMPOSITIONSHANDBELLLeonard,Stanley.ANewProcessional.Pittsburgh,PA:VolkweinBros.,Inc.1981.Leonard,Stanley.AJoyousPeal.Naples,FL:StanleyS.Leonard.2008.Leonard,Stanley.Acclamation.Naples,FL:StanleyS.Leonard.2013.Leonard,Stanley.AmazingGrace(solow/organ).Naples,FL:StanleyS.Leonard.
2003.Leonard,Stanley.AmazingGrace(w/organ).Naples,FL:StanleyS.Leonard.2004.Leonard,Stanley.BeachSpring.Naples,FL:StanleyS.Leonard.2013.Leonard,Stanley.CarillonCelebration.Naples,FL:StanleyS.Leonard.2006.Leonard,Stanley.CaroloftheBells.Naples,FL:StanleyS.Leonard.2003.Leonard,Stanley.ChristmasPrelude.Milwaukee,WI:JensonPublications.1985.Leonard,Stanley.ChurchofChrist.Pittsburgh,PA:StanleyS.Leonard.1979.Leonard,Stanley.CrownHimwithManyCrowns.Naples,FL:StanleyS.Leonard.
2008.Leonard,Stanley.DanceinFive.DaytonOH:TheAmericanGuildofEnglishHandbell
Ringers.1983.Leonard,Stanley.Dayspring.Naples,FL:StanleyS.Leonard.1999.Leonard,Stanley.FanfareforBells.Naples,FL:StanleyS.Leonard.2013.Leonard,Stanley.Fantasy.Pittsburgh,PA:StanleyS.Leonard.1978.Leonard,Stanley.Grazioso.Pittsburgh,PA:StanleyS.Leonard.1981.Leonard,Stanley.HarktheHeraldAngelsSing.Pittsburgh,PA:StanleyS.Leonard.
1988.Leonard,Stanley.HeIsRisen.Pittsburgh,PA:VolkweinBros.,Inc.1982.Leonard,Stanley.HymnofPraise.Naples,FL:StanleyS.Leonard.2009.
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Leonard,Stanley.IWonderasIWander.Pittsburgh,PA:StanleyS.Leonard.1988.Leonard,Stanley.Innsbruck.Pittsburgh,PA:VolkweinBros.,Inc.1980.Leonard,Stanley.Introit.Naples,FL:StanleyS.Leonard.2010.Leonard,Stanley.JoytotheWorld.Pittsburgh,PA:StanleyS.Leonard.1981.Leonard,Stanley.Jubilate.Pittsburgh,PA:StanleyS.Leonard.1974.Leonard,Stanley.JustAsIAm.Naples,FL:StanleyS.Leonard.2009.Leonard,Stanley.LoveDivineAllLovesExcelling(w/organ).Naples,FL:StanleyS.
Leonard.2001.Leonard,Stanley.MorningHasBroken.Naples,FL:StanleyS.Leonard.2003.Leonard,Stanley.MountainBallad.NaplesFL:StanleyS.Leonard.2009.Leonard,Stanley.MyCountryTisofThee.Naples,FL:StanleyS.Leonard.2014.Leonard,Stanley.MyFaithLooksUptoThee.Naples,FL:StanleyS.Leonard.2015.Leonard,Stanley.OComeEmmanuel.Milwaukee,WI:JensonPublications.1985.Leonard,Stanley.OGodOurHelpinAgesPast.Naples,FL:StanleyS.Leonard.2012.Leonard,Stanley.OLittleTownofBethlehem.Pittsburgh,PA:StanleyS.Leonard.
1981.Leonard,Stanley.OMasterLetMeWalkWithThee.Naples,FL:StanleyS.Leonard.
2010.Leonard,Stanley.OMasterLetMeWalkWithThee(w/organ).Naples,FL:StanleyS.
Leonard.2012.Leonard,Stanley.Pastoral.Pittsburgh,PA:StanleyS.Leonard.1976.Leonard,Stanley.PraiseRing.Naples,FL:StanleyS.Leonard.2011.Leonard,Stanley.PraisetotheLord.Pittsburgh,PA:StanleyS.Leonard.1979.Leonard,Stanley.Preludium.Naples,FL:StanleyS.Leonard.1998.Leonard,Stanley.Procession.Pittsburgh,PA:StanleyS.Leonard.1980.
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Leonard,Stanley.Processional.Pittsburgh,PA:StanleyS.Leonard.1980.Leonard,Stanley.Psalm98.Naples,FL:StanleyS.Leonard.2003.Leonard,Stanley.Rejoice.Dayton,OH:TheAmericanGuildofEnglishHandbell
Ringers,Inc.1984.Leonard,Stanley.RingHosannas.Milwaukee,WI:JensonPublications.1985.Leonard,Stanley.SpiritofGodDescendUponMyHeart.Naples,FL:StanleyS.
Leonard.2015.Leonard,Stanley.SuiteofPsalms.Pittsburgh,PA:VolkweinBros.,Inc.1976.Leonard,Stanley.TheMusicBox.Milwaukee,WI:JensonPublications.1984.Leonard,Stanley.TwoCarols.NaplesFL:StanleyS.Leonard.2014.Leonard,Stanley.Triptych.Pittsburgh,PA:StanleyS.Leonard.1980.Leonard,Stanley.WaterMusic.Pittsburgh,PA:StanleyS.Leonard.1977.Leonard,Stanley.Windsong.Naples,FL:StanleyS.Leonard.2000.Leonard,Stanley.“WhenJesusWept.”PraiseRingCollection.Nashville,TN:
BroadmanPress.1983.Leonard,Stanley.YeWatchersandYeHolyOnes.Naples,FL:StanleyS.Leonard.
2011.Leonard,Stanley.ValleyForge.Pittsburgh,PA:StanleyS.Leonard.1979.VOCALLeonard,Stanley.ALittleChildShallLeadThem.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.BeholdMyBelovedSon-HearYeHim.Pittsburgh,PA:StanleyS.
Leonard.Leonard,Stanley.ChildoftheUniverse.Naples,FL:StanleyS.Leonard.2002.Leonard,Stanley.Der103Psalm.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.FourAmens.Naples,FL:StanleyS.Leonard.1998.Leonard,Stanley.GodSoLovedtheWorld.Pittsburgh,PA:StanleyS.Leonard.
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Leonard,Stanley.HopeandJoy.Naples,FL:StanleyS.Leonard.2006.Leonard,Stanley.InRemembranceofMe.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.InThyNameOLordAssembling.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.Lord,WhoHoldsEarthinHolyEmbrace.Naples,FL:StanleyS.
Leonard.2006.Leonard,Stanley.OtherSheepIHave.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.Psalm100.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.PrepareYe.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.Rejoice.Naples,FL:StanleyS.Leonard.2008.Leonard,Stanley.SevenWordsofCristfromtheCross.Pittsburgh,PA:StanleyS.
Leonard.Leonard,Stanley.SoShallMyWordBe.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.TheLordSpeaks.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.ThisisMySong.Naples,FL:StanleyS.Leonard.2011.Leonard,Stanley.ThouArtMyGod.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.Transformed.Independence,MO:WhiteHarvestMusic
Corporation.1977.Leonard,Stanley.WeShallSeeGod.Pittsburgh,PA:StanleyS.Leonard.Leonard,Stanley.WhenJesusWept.Pittsburgh,PA:StanleyS.Leonard.1976.CHOIRANDWINDSYMPHONYLeonard,Stanley.SoundSpirit.Pittsburgh,PA:StanleyS.Leonard.1968.PIANOLeonard,Stanley.Lullaby.Pittsburgh,PA:StanleyS.Leonard.1985.Leonard,Stanley.Prelude.Pittsburgh,PA:StanleyS.Leonard.1964.
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Leonard,Stanley.Reverie.Pittsburgh,PA:StanleyS.Leonard.1985.Leonard,Stanley.Serenade.Pittsburgh,PA:StanleyS.Leonard.1985.VIOLINANDPIANOLeonard,Stanley.Ballade.Naples,FL:StanleyS.Leonard.2001.Leonard,Stanley.Poem.Naples,FL:StanleyS.Leonard.2003.Leonard,Stanley.TwoPiecesforViolinandPiano.Pittsburgh,PA:StanleyS.Leonard.
1985.TRUMPETANDPIANOLeonard,Stanley.RhapsodyforTrumpetandPiano.NaplesFL:StanleyS.Leonard.
2016.FLUGELHORNANDORGANLeonard,Stanley.PreludeonanAncientHymn.NaplesFL:StanleyS.Leonard.2015.
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VITA
OriginallyfromMontrose,Michigan,KyleD.Cherwinski,receivedhis
undergraduatedegreefromCentralMichiganUniversityinMountPleasant,
Michigan.HeearnedhisMaster’sdegreefromtheUniversityofNorthernColorado
inGreeley,ColoradoandispursuinghisDoctorateofMusicalArtsdegreein
percussionperformancewithaminorinmusictheoryatLouisianaStateUniversity
inBatonRouge,Louisiana.CherwinskihasbeenapupilofJamesCoviak,JohnHill,
DaveHall,AndrewSpencer,GrayBarrier,JimWhite,andBrettDietz.
Asaperformer,KylehasworkedwiththeDenverYoungArtistsOrchestra,
theGreeleyChoraleofGreeley,Colorado,theLarimerChoraleofFortCollins,
Colorado,theBatonRougeSymphonyOrchestra,andOperaLouisianeofBaton
Rouge,Louisiana.In2017,heperformedatCarnegieHallinNewYorkwith
Hamiruge,theLouisianaStateUniversityPercussionGroupinarecitalofworksby
DinosConstantinides.HehasalsobeenrecordedwithHamirugeonthealbumToxic
Rainbows.
Kylehasdirectedseveralpercussionensembleperformancesthroughouthis
yearsofgraduatestudy.Thishasincludedworkingwiththepercussionensembles
oftheUniversityofNorthernColorado,theLouisianaYouthOrchestra,andthe
studentsofEastAscensionHighSchoolinGonzales,Louisiana.Heintendsto
continuepromotingpercussionensemblerepertoireinthecomingyears.