Write parts by player
Organize the score and parts by player, not by instrument. List every instrument each player needs at the top of the part, and include a setup diagram for multiple percussion.
Writing for Percussion
For composers writing for the ASU Percussion Ensemble and studio: what is on hand, how the instruments sound, and notation that percussionists can read at the first rehearsal.
Instruments at ASU
The main percussion room holds the 5.0-octave Yamaha YM-5100 marimba, a Musser vibraphone, four Ludwig timpani, the snare drum collection, and drum sets.
Practice rooms hold a 4.3-octave Musser kelon marimba, a 4.0-octave Musser rosewood marimba, and a xylophone.
If your piece calls for something not listed here, from crotales to a specific Latin or world instrument, ask before you finish the score.
Ranges and transpositions
Ranges are written pitch, with middle C as C4. Instruments vary, so check with the players for anything near the edges.
| Instrument | Written range | Sounds |
|---|---|---|
| Marimba, 5.0 octave | C2–C7 | As written |
| Marimba, 4.3 octave | A2–C7 | As written |
| Marimba, 4.0 octave | C3–C7 | As written |
| Vibraphone | F3–F6 | As written |
| Xylophone, 3.5 octave | F3–C7 | One octave higher |
| Glockenspiel | G3–C6 | Two octaves higher |
| Crotales, two octaves | C4–C6 | Two octaves higher |
| Chimes | C4–F5 | As written |
Timpani
| Drum | Range | Typical notes |
|---|---|---|
| 32″ | D–A (low C on some drums) | D, E, F, G |
| 29″ | F–C | A, B, C |
| 26″ | B♭–F | D, E, F |
| 23″ | D–A | F, G, A |
| 20″ | F–C | A, B, C |
From the studio handbook's Basics of Timpani Technique. Accidentals are available throughout each range.
Notation that reads at sight
Clear parts mean rehearsal time goes to your music instead of decoding the page.
Include a legend
When one staff carries several instruments, give a notation key at the start of the score and of every part: which line or space, which notehead, for each sound. Keep it the same for the whole piece.
Name the mallets
Say what to play with (yarn, rubber, brass, sticks, brushes, fingers) and how hard. Leave time for every change, and warn the player with “to vibraphone” or “to hard mallets” before it happens.
Plan the timpani
Give the starting pitches for every drum, mark each retune (“change E to F”) with enough rests to do it quietly, and mark any pedal glissandi or pitch changes while playing.
Be specific about rolls
Three slashes mean an unmeasured roll. If you want a measured rhythm, write the rhythm. Show whether a roll ties into the next note or releases.
Vibraphone pedal and motor
Mark pedaling and dampening where they matter, and say whether the motor is on or off, and at what speed.
Four mallets
Each hand spans about an octave comfortably. Fast leaps between widely spaced chords and constant interval changes in both hands at speed are the hardest things to play cleanly.
Dynamics per instrument
A mf on bass drum and a mf on glockenspiel are different worlds. Mark dynamics for each instrument, and expect the players to balance from there.
Give them time to move
Walking from marimba to timpani takes longer than it looks on the page. Count the rests a player needs to move, pick up mallets, and settle.
Send a score
Composers are welcome to send questions, drafts, and finished scores. Include the instrumentation, number of players, duration, and a PDF, plus a recording or MIDI mockup if you have one.
Recent collaborations
- Shuey Brew, Coffee Stains, an Office, and the SpineWilliam Kang, premiered by William Kang and Trent Shuey, 2020
- Three world premieres on Dr. Shuey's doctoral recitalUniversity of Illinois