Reckless. Eight Percussionists. Dave Hollinden

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1 Score Reckless Eight Percussionists Dave Hollinden Commissioned by Philli J. Mikula and the Victoria Memorial H.S. Percussion Ensemble or remier erormance at P.A.S.I.C. 00 Aroximate duration: minutes

2 Instrumentation med. tom very dry log drum low Chinese toms med. sm. Chinese toms lg. sm. wood block lg. log drum high ractice ad ractice ad sot rubber grad. wood blocks lo/med. sm. temle blocks ic. metal guiro shaker loud rain stick Tibetan rayer cymbal susended triangle med./lg., on oam triangle lg., on oam Chinese cymbals med. lg. Chinese cymbals slash sm. oera gong sm. oera gong med. low tom labby timbales cowbell/ snare, almglocken iccolo very lg. lg. grad. cow bells sm. wood guiro stones Tibetan rayer cymbal on oam ride cymbals lg. med. wind gong small bass drum, marching low tenor drum tambourines without heads lg. sm. ield drum grad. brake drums auche sla stick sm. high hat high crash cymbals med. slash sizzle sm./thin bass drum, concert med./sm. concert tom bell lates very large snare, concert lg. grad. bell lates sm. vibrasla lexatone high hat low ride cymbals lg. med. tam tam very sm. loor tom very dry congas snare, toy grad. bongos cricket caller ratchet sm. glass jar sm. trash cymbals med. slash wind gong med. bass drum, marching high tom low tambourines with heads lg. sm. snare, hi marching grad. marching toms sand aer ratchet lg. ceramic late sm. trash cymbals lg. sm. tam tam sm. gong drum tom toms or rototoms, graduated snare (or scraing) tom toms or rototoms, graduated shaker sla stick lg. gong sm., on oam crash cymbals lg. sm. sizzle lg./thick

3 Notation Guiro, snare scraes strike rim rim shot dead stroke short strokes long scraes Cymbals, gongs, tam tams High-hats dome ord. (edge) gradual change grab quickly with hand grab with hand on seciic beat ord./closed hal oen oen Perormance Notes The iece should be erormed at the designated temo or somewhat aster. The stylistic elements will suer i the temo is too slow. The erormance should always be ushing orward and on to o the beat. This is esecially true o trilets and subdivisions such as : and :, which should be ushed orward with a eeling o rushing. While accuracy is necessary, there should be no eeling that the iece is being erormed careully. The indications at letter E (Pull back briely), letter I (Lose momentum), and letter J (Pause briely) reer to slight relaxations o the eeling o ushing orward. There should be no change in the temo. All lams are tight or oed, and all grace notes, ru s, etc. are as ast as ossible. General Notes on the Instruments I think o each layer as having an extended drum set, with the notation based on drum set notation. Each layer has a snare drum o some sort on the third sace o the sta, a bass drum instrument o some tye on the irst sace, and a set o instruments that are notated as a large set o tom toms. In some cases these instruments are actually tom toms or other drums, while in other cases they are wood blocks, brake drums, etc. augmented with various drums and tambourines. Each layer also has either an actual high hat or an instrument that unctions as a quasi high-hat notated on the to line o the sta. Instructions are given or daming the quasi high hat instruments so that their decay is similar to a closed high hat. Each layer also has two cymbals along with a gong, tam tam, or sizzle cymbal notated above the sta. All cymbals, gongs and tam tams should be susended unless stated otherwise. Each set-u then is rounded out with two accessory instruments, including shakers, sla-sticks, guiros, etc. Some sections o Reckless are overtly in the style o Electronica seciically, drum n bass. Please kee the sound and style o this music in mind, esecially it s electronic/synthesized nature, when choosing timbres and instruments that lay key roles in these sections, articularly the snare and bass drums or Players, and, all o the quasi high-hat instruments, and Player s snare or scraing.

4 Seciic Notes on the instruments: Player : The medium tom tom is intended to serve as a mini-bass drum with a very dry, dead sound. Use a double-headed drum with double oil heads tuned very low and heavily damed. The ractice ad should have a cris, high-itched, well-deined sound and should be very loud. Another object with a dry, shallow sound could be substituted, but I want the timbre to be unusual rather than sounding like a drum. The wood blocks should be graduated in size rom very large to iccolo. In some assages it will be necessary to hold a air o very hard mallets seciically or the iccolo wood block in addition to any other mallets or sticks being used. The guiro should be mounted or laced in such a way that that it can be layed quickly, without needing to be icked u. The triangle unctions as a high-hat. It should lie on material that dams it such that its decay is similar to a closed high-hat. It should sound somewhat higher than Player s triangle. The oera gong should be smaller than Player s oera gong (aroximately 0 inches) and have an ascending itch. It should be susended. Long and loosely bundled rute is called or when laying the ractice ad. The sticks I used or exerimenting with this sound are made rom a iece o bamboo one inch in diameter and inches long, with aroximately two thirds o the length cut into thin stris. Player : The ractice ad should have a sot rubber or other dead sounding surace such that it does not roduce much sound when layed orceully. It can be laced on a drum to give it a bit o resonance. Another object could be substituted, with the idea is that the layer will be wailing on the instrument but not roducing much sound. The shaker should be very loud and noisy, such as a large metal can containing coins or bottle cas. The Tibetan rayer cymbal is a very heavy, thick inger cymbal, aroximately inches in diameter. It should be susended. The triangle unctions as a high-hat. It should lie on material that dams it such that its decay is similar to a closed high-hat. The oera gong should be larger than Player s oera gong (aroximately inches) and have a descending itch. It should be susended. Player : The low tom tom should be tuned very low, and sound labby. The ive graduated cowbells should san the tyical large to small size range. The very large cowbell or almglocken should be signiicantly larger than a tyical large cowbell. The guiro should be mounted or laced in such a way that it can be layed quickly, without needing to be icked u. The stones should roduce a high-itched, resonant click when struck together. The Tibetan rayer cymbal is a very heavy, thick inger cymbal, aroximately inches in diameter. It unctions here as a high-hat. It should lie on material that dams it such that its decay is similar to a closed high-hat. Player : The marching bass drum should have a very dry sound and be larger and tuned signiicantly lower than layer s marching bass drum. The high-hat should have a higher itch than layer s high-hat. The brake drums should lie on oam so as to have a medium-length decay and a loud sound. The sizzle cymbal should reerably have rivets, with a very long decay to the sizzle. Player : The ive graduated bell lates should range rom a large late aroximately inches square to a small late aroximately inches square. The two very large bell lates should be quite large, in the

5 range o to 0 inches er side. All o the bell lates should lie on oam so as to have a mediumlength decay and a loud sound. Use less hard mallets than those seciied i your instruments are articularly loud. The vibra-sla should be mounted so that it can be easily struck with a mallet or the hand. When the lexatone is marked with tremolo bars, it should be shaken. One other occasions, a single stroke with a brass beater is indicated. The high-hat should have a lower itch than layer s high-hat. Player : The loor tom is intended to serve as a very dry, dead bass drum. Use a double-headed drum with double oil heads tuned very low and heavily damed. The cricket caller is a high-itched shaken instrument with a small, hard resonator that swings between two ixed beaters. The glass jar unctions as a high-hat. It can be any glass jar, cu, bottle, etc. that roduces a highitched, cris, clear glass sound when struck with or other beaters as used in the iece. I necessary, it should lie on material that dams it such that its decay is similar to a closed high-hat. Player : The marching bass drum should have a very dry sound and be smaller and tuned signiicantly higher than layer s marching bass drum. The low tom tom can be any tye o concert or marching tom tom tuned low. The our graduated marching toms can be a set o marching quads. The small ceramic late unctions as a high-hat. It should have a very dry, dense sound when struck with or other beaters as used in the iece, with a quality to the sound that is clearly ceramic as oosed to metal or wood. Long and loosely bundled rute is called or when laying the tambourines. The sticks I used or exerimenting with this sound are made rom a iece o bamboo one inch in diameter and inches long, with aroximately two thirds o the length cut into thin stris. Player : The gong drum available or the commission is a six-oot diameter, three inch dee instrument with a very low itch and a very long, gong-like decay. Striking the drum in the center with the ist gives an esecially low, dee sound with less volume and a long decay. I a gong drum is not available, substitute a large concert bass drum and a large gong struck together, or a large single-headed bass drum susended and tuned such that it rings like a gong. When the instructions call or striking with the ist, use a sot beater to minimize the attack sound, and strike the drum so as to obtain a low, dee sound with a long decay. When using a gong and bass drum together, it s not necessary to strike the gong on each note. Play the gong rimarily on isolated notes, or on the irst and last notes o a rhythmic igure, so as to add the gong s metallic timbre and long decay to the overall sound. The tom toms or roto toms should be a graduated set o seven drums that are resonant and somewhat timani-like in character, esecially in the low range. They should rovide a contrasting sound to the drums used by Players and. Snare scraes: Turn the snare drum over, or have a second snare drum that is turned over, so that the snares ace u. Use metal snares and a small drum or a loud, higher-itched sound. Exeriment with various scraers such as credit cards, etc., and use two scraers or the ast rhythms i desired. The eect should be similar to scratching with a turntable, or an electronically distorted instrument. Snare lucks: With the snare drum turned over, luck or strum the snares. Use your ingers or a lastic ick, etc. The eect should be very loud, like a loud, noisy sna izzicato. The shaker should be loud, bright and cris, such as a metal or lastic shaker illed with shot. The small gong on oam unctions as a high-hat. It should lie on material such that it is damed considerably, yet with still some ring to its overtones. The layer should be able to use dead strokes to damen it urther when called or in the art. The sizzle cymbal should reerably have rivets, with a very long decay to the sizzle.

8 0 A hard acrylic mallets hard mallets light

9 sot yarn mallets light metal beaters m sim. 0 medium rubber mallets light

10 guiro, metal scraer hard yarn mallets cricket caller hard mallets B 0 hard acrylic mallets hard acrylic mallets hard mallets sim.

11 sub. scrae sub. sub. sub. sub. hard yarn mallets C 0 sub. sub. sub. sub. sub. sub. sub. sub. sub. sub. sub. sub. sub. sub. sub. sub.

12 sand aer m brass mallets 0 sla stick hard mallets

13 hard mallets D wood sticks stones hard mallet very hard acrylic mallets

14 0 sim. sim. sim. shaker sim.

15 E 0 Pull back briely (scrae) m guiro, wood scraer (dull, slow scrae) auche m lexatone, single stroke, brass mallet m m guiro, wood scraer (dull, slow scrae) m sand aer m Push orward light sla stick hard mallets, articulate sound 9

16 0 0 sla stick guiro, metal scraer (loud, metallic) shaker shake lexatone ratchet ratchet sla stick F hard mallet sot rubber mallets hard acrylic mallets hard acrylic mallets wood sticks

17 90 very light metal beaters vibra-sla shaker light metal beaters hard acrylic mallets sot mallets medium rubber mallets

18 9 hard mallets sub. sub. sub. sub. sub. sub. sub. 00 G very light metal beaters scrae snares light or mallet shats () rute, long and loosely bundled

19 0 scrae (vary timbre/itch as desired) light metal beaters very light metal beaters 0 sim. luck snares

20 H (ord.) metal beaters lick (end scraing) sand aer

21 0 long, loosely bundled rute sot, oversized mallet thin wooden dowels, lay near edge sim. light metal beaters light metal beaters

22 ord. 0 I, ti, near edge sim., shat sim. sim. ord.

23 0 light wood stick Lose momentum stones sla stick m hard acrylic mallets light lick light metal beaters m sot mallet m medium mallets m wire brush, ti heavy mallet thin wooden dowels lick medium mallet m m

24 rain stick, turn over slowly l.v. m J Pause briely 0 Gain momentum guiro, metal scraer m hard yarn mallets light m m rayer cymbal, light metal beater m medium mallets m light m light light metal beaters lexatone, single stroke, brass mallet m m m m shaker m m

25 K Push orward 0 heavy heavy 9 heavy cricket caller heavy heavy butt end

26 0 hard mallets 0 butt end o sticks L medium rubber mallets guiro, metal scraer shaker vibra-sla heavy

27 auche stones metal beater 0 hard acrylic mallets hard mallet medium rubber mallet medium yarn mallets sla stick m m m m m m m

28 rayer cymbal, metal beater 90 heavy M wood stick heavy large, heavy beater

29 9 guiro, metal scraer medium rubber mallets ratchet 00 hard mallets hard acrylic mallets light metal beaters hard yarn mallets

30 0 vibra-sla N light metal beaters acrylic mallet ratchet light 0 sot mallets

31 knitting needles, scrae sot mallets sot mallets bow bow 0 very light metal beaters

32 bow light bow bow bow scrae with coin bow bow light metal beaters (Match volume o Player 's high hat.)

33 0, shat sim. very sot mallets (dull, muled sound) O shaker scrae snares light metal beaters luck mallet shats light metal beaters

34 0 medium rubber mallets hard mallets vibra-sla small tam tam beater shaker auche, match volume o Player hard beater

35 0 P long, loosely bundled rute wire brushes (tight), or very light metal beaters scrae with wire brush (The scraes lead into Player 's strokes on beats and.) hard bass drum mallet l.v. strike with ist in center, dee sound with long decay (use leshy edge o ist near little inger, as i ounding on a door) sim. 9

36 0 0 ord. light metal beaters ant. cym., light metal beater light metal beater scrae large, sot mallet (dull, muled sound) ord. scrae

37 Q light metal beaters stones sim. light medium mallet (rute) 0 medium yarn mallets hard mallets

38 sot rubber mallets guiro, metal scraer shaker guiro, metal scraer sla stick vibra-sla cricket caller hard mallets 0 hard yarn mallets hard yarn mallets

39 R 90 ratchet hard acrylic mallets

40 9 sot rubber mallets hard acrylic mallets hard mallets hard mallets 00 light metal beater wood sticks sla stick lexatone, shake cricket caller

41 brass beater hard acrylic mallet 0 rayer cymbal S medium yarn mallets m m 0 medium rubber mallets m light m wood stick m lick hard yarn mallets m m shaker m

42 guiro, metal scraer auche m m metal beaters thin wooden dowels m m m medium mallets m hard yarn mallets m shaker m light m 0 m

43 T medium rubber mallets brass beater light (lus hard mallets or iccolo wood block)

44 0 very hard acrylic mallets very hard acrylic mallets

45 0 9 U

46 0 0

47 V sim. sim. 0 ord. ord.

48 0 hard beater very hard acrylic mallets hard mallet l.v.

SCORE. Nicholas DEYOE. wir aber sind schon anders. percussion quartet

SCORE. Nicholas DEYOE. wir aber sind schon anders. percussion quartet SCORE Nicholas DEYOE wir aber sind schon anders ercussion quartet 2009 commande du estival USNESONORE our Julien Annoni Nicholas Deyoe all rights reserved www.nicholasdeyoe.com nicholasdeyoe@gmail.com