Instrument List
A complete list of instruments employed should always be included at the begin-ning of the score and the percussion part (see figure 3.1). This list should be complete for the entire piece, not just for an individual movement. Lists for movements are also useful, but only when they are in addition to a complete list. An instrument list makes it much easier for the percussionist to gather and set up the needed instruments and beaters. If the player must go through the percussion part to identify all the necessary instruments, there is a much greater chance one will be overlooked. An instrument list can also help clarify any ambiguous instrument indications in the score.
If the piece requires multiple percussionists and the parts are divided, then the instrument list should be divided by player. Any instrument shared by two or more players should appear in each player’s lists, with an indication that it is to be shared and with whom it is to be shared. This information allows the percussionists to set up so the shared instrument is within reach of both players.
Ranges of keyboard instruments should be included if a nonstandard range is required. It is advisable to always include the ranges of marimbas, as a different size of marimba can mean a different instrument setup; a 5- octave marimba takes up much more space than a 4.3- octave instrument.
If instruments with only a small number of defined pitches are used (like nipple gongs, roto- toms, and tubular bells or crotales taken out of the set), then the instru-ment list should indicate the pitches. Need for the vibraphone motor should be listed so the players can obtain extension power cables. Any specified beater, especially bows, should also be included in the instrument list.
The composer should check the instrument list in the final copies of the score and parts, as instrumentation may change over the course of composition and prepara-tion of the piece.
Instrument Key
An instrument key indicates where and how the instruments are notated on the staff (figure 3.2). (Details on how to make an instrument key are found later in this chapter.)
An instrument key is usually unnecessary, used most often for complicated setups in solo and chamber works. If a piece uses multiple percussionists with complicated setups, multiple instrument keys are then appropriate.
Even with an instrument key, whenever possible and practical, the composer should write the name of the instrument above each of its entrances; it is best to not require the performer to memorize an instrument key (figure 3.3). If a group of Figure 3.1
Example instrument list
Figure 3.2 Example instrument key
instruments is used as one instrument (e.g., a snare drum, three tom- toms, and a bass drum are always played together), instead of writing each instrument as it enters, the composer may indicate entrance of that group (e.g., “drums”).
It is especially important in a conductor’s score to write the instrument name. If the conductor wishes to look down and see what instrument is being played, he or she should not have to refer back a few pages or look at an instrument key at the begin-ning of the score. (Details on percussion notation in conductors’ scores are found later in this chapter.)
The composer should be sure to proof the instrument key in the final copies of the score and percussion parts, as instrumentation and notation may change over the course of the composition and preparation of the piece.
Setup Diagram
A setup diagram is a pictorial representation of the instrument setup for perfor-mance and may be included in the beginning of the percussion part. A setup dia-gram is usually unnecessary, most often used only for complicated setups in solo and chamber works. It is best to consult with a percussionist or even wait until the piece has been performed to settle on a diagram, as the setup may change during the performer’s preparation of the piece. For example, figure 3.4 shows a diagram for a setup that includes:
2 cowbells 2 bongos 3 tom- toms
2 suspended cymbals china cymbal pedal bass drum tam- tam
Figure 3.3 Notated
instrument names Source: From Elliott Carter’s Tintinnabulation.
Language
Instrument names and performance instructions should be written in one lan-guage, preferably English. English- speaking composers sometimes use foreign terms for instruments (e.g., gran cassa instead of bass drum); this is not recommended except in the case of instruments that are commonly called by foreign names, like timpani or glockenspiel. Composers writing in other languages may want to include an English translation of any text in the percussion part.
The names of standard instruments written in other languages will usually not give performers some trouble (although an English translation, if only in the opening instrument list, is still much welcomed). Language can be a real barrier with more complex performance instructions and unusual beater or instrument specifications.
In these cases, it is best to keep the vocabulary as clear and nonspecialized as possible so that Internet translating software can do an effective job.
Abbreviations
Poor use of abbreviations can make indications unclear. When abbreviating, the composer must include the entire unabbreviated name of the instrument earlier in the piece or in the instrument list. Ambiguous abbreviations like “T. Bls.” (could be either templeblocks, tubular bells, or temple bowls) or “Mar.” (could be marimba or maracas) should be avoided; the abbreviation used should apply to one instrument and one instrument only. It is also helpful to put the abbreviation in parentheses next to the full instrument name in the instrument list; this will leave little chance of con-fusion. For example:
cowbells (CB.) woodblock (WB.) triangle (Tri.)
Standard abbreviations do not exist.
Parts
Parts for an ensemble piece with multiple percussionists can be designed one of three ways: as separate parts, as a divided score part, or as an undivided score part.