About 20 years ago I wrote a piece called _Two of a Kind_ (now published) for voice, piano, and traps, with the following traps arrangement on the lines (only) of two staves:I always notate the hi-hat on two lines: notes on the bottom line are played with the cymbals closed, and if such a note is preceded by a slur, it's a stomp. Very readily understood and easily read, in my experience.I can see how that would work well for a piece where the percussionist is *only* playing the hihat, but I'm not so sure it's feasible in a drum kit situation. For starters, hihat stomps are incredibly common in jazz and pop (in jazz, they are normally on beats 2 & 4 of practically every bar), so the slurs would create a lot of clutter, especially when there's a lot of activity in the rest of the kit. Also, the slur is, I think, visually a little misleading when representing the very crisp, quick stomp characteristic of jazz/pop. ...
- Darcy
crash
ride
snare
tom
floor tom
hi-hat open
hi-hat closed
unused
unused
bdr.
This has worked very well in every performance so far. The piece is full of pop gestures, and the kind of repeated stomps you mention are notated like an l.v. in reverse: there's a stub of slur in front of the note, looks classy, easily read, no clutter. I used full slurs when the sound of the music wd. suggest such a link, as when alternating with the bdr., for example.
If it's essential to put the traps on a single staff, I can think of all manner of ways the above could be collapsed onto a single set of lines and spaces, frinstance:
hi-hat open
unused
hi-hat closed
crash
ride
snare
tom
floor tom
bdr.
All that said, I freely admit the value of tradition, and that many players would be more comfortable w. the sort of setup you advocate.
--
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com
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