Good info again. I thank you. Yeah, I suffer from the premise that
the composer has to micromanage too many times. I found that to be
true of a lot of string writing also... mostly they just want the
notes and they take care of the rest.
Dean
On Nov 6, 2006, at 9:16 AM, Chuck May wrote:
Why do you need to be that specific, down to mallet choices? Is
your horse
on grass, hard dirt, pavement, or rock? The choices are almost
endless. Why
not let the percussionist decide what sounds best with the instruments
he/she has available? One brand of temple blocks may sound correct
with
rubber mallets while another might be correct with hard yarn
mallets. On the
other hand Tocca blocks (often used in place of the more expensive
and less
versatile temple blocks) may sound better with felt mallets.
Instinctively I think I would lean toward a medium-hard rubber
xylophone
mallet, so as to not get too much articulation (more of a clop-clop
than a
clip-clip), but the choice would vary considerably depending on the
specific
block(s), the ensemble, the acoustics of the venue, etc.
Chuck May
Percussionist
Gettysburg PA
[EMAIL PROTECTED]
717-339-0209
717-512-7979 (cell)
-----Original Message-----
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On
Behalf Of
Dean M. Estabrook
Sent: Sunday, November 05, 2006 11:24 PM
To: [email protected]
Subject: Re: [Finale] Perc. Sounds (OT)
Hey folks .... thanks for all the good info. I think I've decided to
go with four multi-pitched temple blocks using a dotted eighth/16
pattern on every beat ... kind of that "Happy Trails" sound, if you
know what I mean.
Now, any suggestions as to which sort of mallets would be best? The
tempo and feel is marked, "Languidly." The quarter note is getting
about 54.
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Dean M. Estabrook
[EMAIL PROTECTED]
Have you ever heard of an eleven or thirteen step program?
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