composerorganist Posted February 26, 2009 Posted February 26, 2009 It doesn't go into specifics about HOW to write for all percussion instruments - rather the article focuses on successful strategies for writing for pitched and non pitched percussion and common faults made by composers writing for percussion. My favorite part is how the percussionist describes composers who solely concentrate on percussion timbre and the battery of sound to the exclusion (and detriment) of all other parameters. The result is as if the composer created only a cheap postcard of a beautiful or distinctive place or landmark with not even handwritten note on the back of the postcard. Enjoy! NewMusicBox Quote
Marius Posted February 26, 2009 Posted February 26, 2009 This is a really good article, I approve. :P Quote
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