Percussion

Percussion

James Holland
Foreword by Pierre Boulez
Preface by Yehudi Menuhin
£16.95

This book provides comprehensive, albeit not exhaustive, coverage on the percussion section, including both tuned and untuned, with diagrams as well as descriptions of a large range of instruments, arranged alphabetically. It also discusses the evolving role of the section and the practicalities of writing and typesetting parts for percussion. As a composer writing seriously for percussion for the first time, I found this book extremely helpful.
Dr Sasha Millwood

This lively and highly informative contribution to the Menuhin Music Guides covers all aspects of percussion – the instruments, the percussion section within the orchestra and the use of percussion in chamber music and as a solo instrument. James Holland is not afraid to attack composers, conductors and music publishers as he puts the percussionist’s point of view. Among his comments on how to interpret a percussion score and lay out and play a vast array of complex instruments are detailed analyses of Walton’s Façade and works by Gerhard and Stockhausen.

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Description

A lively and highly informative contribution to a distinguished series, which covers timpani, general percussion instruments, keyboard percussion, stands and accessories, as well as the percussion section within the orchestra, and the use of percussion instruments in chamber music and as a solo instrument. An immensely comprehensive central section, which is copiously illustrated, lists, describes and discusses the uses of dozens of instruments from Anvils to Waterphones. The sheer wealth of useful information it contains will be of value to the experienced musician as well as the general reader. James Holland is not afraid to attack composers, conductors and music publishers as he puts the percussionist’s point of view. Among his comments on how to interpret a percussion score and lay out and play a vast array of complex instruments are detailed analyses of Walton’s Façade and works by Gerhard and Stockhausen.

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About the Author

James Holland was born in London and studied at Trinity College of Music. After National Service in the RAF Central Band he joined the London Symphony Orchestra from 1962 until 1971 as principal percussionist before moving to the same position with the BBC Symphony Orchestra. In addition, he was also percussionist with the London Sinfonietta for many years and has worked with such eminent composers as Karlheinz Stockhausen, Pierre Boulez, Oliver Knussen, Krysztof Penderecki and Hans Werner Henze to name just a few. His extensive recording library includes Messaien: Des Canyons aux Etoiles, Shostakovich: Piano Concerto No. 2 and Bartok: Concerto No. 3, Le Boeuf Sur Le Toit with the LSO, Eine Art Chansons by Friedrich Cerha and Bartok: Music for Strings, Percussion and Celesta with the Academy of St. Martin in the Fields.

Contents

Foreword by Pierre Boulez
Preface by Yehudi Menuhin
Author’s Introduction
Part One – The Timpani or Kettledrums
1. A Little History
2. Timpani Construction
3. The Student Timpanist
Part Two – The Percussion Instruments
4. General Percussion Instruments
5. Keyboard Percussion
6. Stands and Accessories
Part Three – In Performance
7. The Percussion Section
8. The use of Percussionin Chamber Music and as a Solo Instrument
Appendices:
Percussion Pleas
Percussion Addresses
Acknowledgements
Book List
Discography
Index

Reviews

This book provides comprehensive, albeit not exhaustive, coverage on the percussion section, including both tuned and untuned, with diagrams as well as descriptions of a large range of instruments, arranged alphabetically. It also discusses the evolving role of the section and the practicalities of writing and typesetting parts for percussion. As a composer writing seriously for percussion for the first time, I found this book extremely helpful.
Dr Sasha Millwood

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