an annotated bibliography of percussion works by stanley

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An Annotated Bibliography of Percussion Worksby Stanley LeonardKyle Douglas CherwinskiLouisiana State University and Agricultural and Mechanical College, [email protected]

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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).

101

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.

112

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.

113

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.

114

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.

115

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.

116

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.

117

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.

an annotated bibliography of percussion works by stanley

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