highlandsilkie

I've encountered lots of double stops but never triple or quadruple. Those would require using a marimba grip on the timpani. The one handed tremolo technique though is uncommon. If you don't mind it sounding a little gapped or losing the ensemble spectacle, I think dropping the third beat A is the closest you can get to what you're after without being impractical. That will allow tuning in an ascending order. The ties can be dropped as well. The benefit of the tuning is that two of the notes will be closer to the sweet spot of their drums (G to F#, A) and should therefore sound and play better. The accidental or key should be there if you want B flat.

You can find some on Youtube in an annotated scrolling score format. But there aren't many of them due to copyright issues and the effort required to put them together. https://www.youtube.com/watch?v=CJ8SrVJfZE8

One handed alternating tremolo as shown in the clip is technically unorthodox. If you're going to use that a special instruction will be required. Percussionists don't distinguish between multiple stop tremolo and split voice tremolo. Shadowwolf3689's solution if written with G-A, G-B as stacked minims with strokes on top will be read the same way and considered better writing. Quiet playing on the timpani is pretty comfortable. You can find examples of that in Holst's Mars and the opening theme of Richard Strauss's Burleske.

That tuning is suitable for solo playing, by the way. The low D or bottom drum tuned to A is compromised slightly but still within the range of a fifth. Specify soft mallets especially if you need it loud to smooth the transition from double to single handed roll on the A if required.

I think they're called genres. Forms and genres are styles. Style is anything a piece can identify with. Style of a period, style of an individual, style of a form, style of a genre. Forms are stripped of meanings that don't pertain to structure. Such as binary, arch, fugue. Genres generally carry emotional/functional/rhythmic/poetic connotations. But they can be structural at times owing to traditional associations. Some terms are purely configurational.

It could work. For playing on a standard set you should write in the tunings A, G, Bb, - and div a 3 (D, F, Bb). Though I think the players would much prefer it separate and you can do much more with individual drums separately.

I think the writer is demonstrating the influence a melodic movement can have on the perception of a root. Regardless of the close relationship between the bass note and other notes and the features of an extended chord, if I'm understanding correctly, she's suggesting that with the fifth and fifth element eliminated by swapping the G the bass gets "absorbed" instead.

D has as much chance as C to be heard as the prevailing chord. If not for the linear fifth to vertical fifth effect, so she claims, one would reject C as the basic harmony, especially considering how often the dominant of D is reiterated compared to the one G. Once the effect is perceived and the root is registered convincingly there's no benefit in being two sided. The sus and add are probably omitted due to non-jazz conventions the writer chooses to adopt.

Put a brace on the grand staff instruments. Use A minor. Harp: Split the quavers into tied semiquavers, then beam four semiquavers on each beat. Piano: Indicate tempo rubato and write in straight rhythm. Use an acciaccatura for the first E and subsequent short ornamental notes. The arpeggio should be written before the affected notes instead of after. If needed, provide a literal interpretation in one bar for clarification.