Performance Issues Regarding Percussion and Strings - Part 3

The development of percussion as a major musical instrument is one of the most revolutionary and game changing events to happen in the history of concert music.  This development has had implications far beyond the percussion instruments themselves.  In this series, I am focusing on performance issues facing the combination of percussion and string instruments.

In Part 2, we focused on the issues of volume and historical rhythmic starting points

Now for Part 3...

4. Multi Vs. Mono Instrumentalists

Most percussionists are multi-instrumentalists.  Many string players are mono instrumentalists.  In some cases string players play more than one string instrument but generally speaking a violin player remains with the violin. On the other hand, percussionists are required to fill multiple roles as a fundamental part of learning their instrument.  The percussion repertoire is so varied and diverse and instrumentation makes each work a completely different experience.  A work scored for mallet keyboard percussion is not the same as a work scored for drums, cymbals, and metals.  Going a step further, in the mallet keyboard family, a work scored for marimba is not even the same as a work scored for vibraphone.  Different listening and playing is required for each situation and every single instrument we play has different qualities and colors.  

As a result of this the roles of the modern percussionist are equally as diverse.  As percussionists we can play nearly every musical role from soloist to accompanist. Percussion can also be used to create seemingly random sounds and background noise. While there is often no right or wrong way to use percussion instruments, a thorough knowledge of playing with the many instrument combinations in the percussion family must be acquired.

Ironically, the challenge of the string player and percussionist is actually the same.  When playing with each other, both must learn how to listen differently in every situation.  The combinations when playing with percussion and strings are endless.  It takes years to garner performance experience with different instrument combinations.  Here are a few possible instrument combinations from a few well known works.  The sonic characteristics and listening challenges in each are completely different.  

Violin and Marimba, Legal Highs by David P. Jones

Cello and Drums, Grand Union by Charles Wuorinen

Viola and Djembe, Djembach by Christian Woehr

Remember that instrumentation is only a function of the music being played.  Although instrumentation can and often inspires musical ideas, the ideas themselves ultimately become the driving force that define questions of balance and color.  

5. Body Language is Often Dramatic and More Diverse

While most string players are used to communicating with their body language while playing through bow motion, sways, and eye contact, playing alongside a percussionist expands this concept. Percussion is a full body contact art form.  We often use our entire bodies to create sound. The way in which we strike instruments is interlinked with how we communicate with each other when we play. Cuing and entrances become just as much a part of the music as the music itself.  

Playing among percussionists is truly a dance between instrumentalists. String players must understand this and realize that simple bow motions, sways, and eye contact alone may not be enough when playing with a percussionist.  Body language is often dramatic and more diverse.  It has created a whole new paradigm in chamber music.  My suggestion to string players who are new to playing with percussion is to take the common body language you use when playing and be open minded to expanding it.  This can mean larger more exaggerated motions and more dramatic gestures.  Remember, you are now a part of something more dynamic than traditional chamber music.  You must become a part of this new paradigm.  When a string player plays with percussionists they must almost become a percussionist themselves.  

While it goes without saying that the context of the music should always come first in determining your motions, a new repertoire of physical expressions should be added when playing with percussionists.

Closing and Repertoire Suggestions

In closing, both string players and percussionists must work together and expand their knowledge bases. Playing with each other will change things in immensely imaginative ways.  If you don't work to acquire the experience it will seem avant-garde and foreign

Percussionists can learn a great deal from playing with established traditional string instruments. This experience will raise the standards of the modern percussionist and dramatically improve their musicianship. String players must add a new set of skills into their playing to play with the modern percussionist.  This doesn't mean to give up the excellent qualities unique to the 500+ years of string playing tradition.  It means expanding what is possible and adjusting to the times.  

I have included some repertoire suggestions below that I believe are challenging and fun to play. They will also serve as useful teaching tools regarding what we have discussed.  I hope this series has been helpful.  Good luck!  

Repertoire Suggestions

"21" for Pan or Marimba and Cello by Andy Akiho

"Lingneous" for Marimba and String Quartet by Andy Akiho

"Legal Highs" for Violin and Marimba by David P. Jones

"Moon's Ending" for Cello and Marimba by Andrew Thomas

"Djembach" for Viola and Djembe by Christian Woehr

"Mariel" for Cello and Marimba by Osvaldo Golijov

"Grand Union" for Cello and Marimba by Charles Wuorinen

"Paraphrasesology" for Violin and Marimba by Kenji Bunch

"Violin Sonata" for Violin and Marimba by Peter Klatzow

"Hop" for Violin and Marimba by Paul Lansky