Question For Percussion Mallet Instrument Players

Can tremolo roll be played well by glockspel, croteles and xylophone? I want smooth roll on 1-2 notes from quiet to loud over many seconds. Percussion friend said is "annoying" but that not answer question.

On xylophone or glockenspiel it isn't a problem. Not sure about crotales though but I would imagine it's fine.

If you want to hear a real life example, I had the percussionist do a similar thing on this piece with both xylophone and glockenspiel and she didn't have a problem with it or say it was annoying http://www.youngcomposers.com/music/1490/music-for-violin-bass-clarinet-and-percussion/

My guess is that it might be annoying to play for too long - but it's possible that a different percussionist could find no problem about it.

Depends on the type of effect you want, Xylophone, Glockenspiel and crotales these 3 have a clear attack sound, it means every single note of the tremolo will be noticed, it won't merge smoothly as perhaps you expect, for instance Vibraphone would much better for this, you can use the same vibraphone soft mallets on xylophone and would sound smooth just not loud, in glockenspiel you perhaps could find some of the hardest mallets of timpani those with small head and use it in glockenspiel that would do a nice effect but again, will be mich reduced in volume, for crotales you would special mallets I don't know how to call them but it would require a very small head like 7mm and made of a sort of not too hard plastic like the rubber in bicycle breaks, so the Xylo+glocken+crotales can work fine with some modifications, but insist vibraphone would be much better and perhaps celesta, you also bow the crotales but will sound like 5 seconds only.

Depends on the type of effect you want, Xylophone, Glockenspiel and crotales these 3 have a clear attack sound, it means every single note of the tremolo will be noticed, it won't merge smoothly as perhaps you expect, for instance Vibraphone would much better for this, ...

My guess exactly. And I think that is why the percussionist thinks it is annoying.

I am hoping the composer is aware of this, and calls for this odd effect for a reason. I think it is not the most idiomatic/effective writing for the instrument though.

If you want the crescendo effect you could also call for a bowed note. I know it is possible on Vibes, Glockenspiel and crotales. The bow makes you loose the bright crisp attack (obviously), but the cresc. sounds it really cool. And bowing can give you that. The note rings very nicely.

The problem with bowing is that it's very hit and miss, even for the best percussionists. Sometimes you'll get that cool ringing sound, but other times you'll just get an inaudible wisp sound. Which one you get is almost completely out of the performer's control.

I'm guessing that some crappy performer convinced you of this so you wouldn't think he sucked for not being able to be consistent. Because this is utter bullocks and just not true.

Percussionist of the Liverpool Philharmonic Orchestra

Glock rolls are pretty terrible to listen to, and especially difficult to play with any decent sound. Crotales are a bit weird to play anyway, and are generally under the same effect as the glock. I would be wary of even including crotales, as many percussionists will not have crotales and simply play the parts on the glock anyway.

Xylo rolls actually can work quite well. Not for a ballad sound, but think Copland. They're not incredibly easy to do well, but entirely within the realm of possible. Just make sure you want an "Americana" type of sound.

Also, vibraphones are not actually supposed to roll notes. It is possible, but most conductors will repeatedly rant at us vibraphonists who feel the urge to roll a long note, even if it has a crescendo.

This also varies with instruments. Vibraphone is incredibly bowable, while Marimba is incredibly difficult to bow.

There also is the possibility that he just didn't care enough to learn your piece and was making up excuses to get out of it ;)

It wasn't anything to do with my piece, she was asked by someone in a percussion workshop about bowing various instruments and gave that explanation. She then proceeded to bow a suspended cymbal several times of which roughly 60% worked and 40% were inaudible, thus illustrating her point. I'm not saying that is definitely always the case, I'm sure the percussionists with the LSO or the Chicago symphony orchestra would have a higher success rate than her but I also doubt that the OP is writing with such skilled percussionists in mind!

And yes, for the record, she did sightread my piece!

Well I am not an instrumentalist by any means but after a couple minutes of practice I have been able to achieve proper tone out of the vibraphone at my school every time. As for suspended cymbals, I have spent a little bit of time trying to bow these as well and while it is difficult it is most definitely not simply out of the performers control, it is a matter of attacking at the right angle at the right speed on the right part of the cymbal. IE, it is a matter of knowing your instrument and knowing the technique.

So, I would have asked this professional musician what he was doing wasting time giving a masterclass when he obviously needed to go practice instead.

Maybe you should aim for a career as a percussionist, you seem to have a flair for it!

Also, vibraphone may well be very bowable. There was no vibraphone at the workshop.

Hmm....many different answer. Piece is for small ensemble so loudness it not problem. Hearing each attack is okay, I just worry about having consistent roll since each hit being heard.