Laurello - Spine 5.2 - Percussion 4 (Piano)

SPINE
for percussion quartet

2015
Percussion 4 (Piano)
MICHAEL LAURELLO
Things Grow Like Trees Music (ASCAP)

523 N. Enterprise St.
Bowling Green, OH 43402
SPINE
for percussion quartet
Duration: ca. 8 min.

Commissioner: Yale Percussion Group
Premiere: January 25, 2015, Carnegie Hall, New York, by the Yale Percussion Group (Yifei Fu, Matthew Keown, Jeff
Stern, Georgi Videnov)
PROGRAM NOTE
A single line runs through most of the piece, and virtually all of the musical material is derived from it. This meta-line,
performed by Percussion 1, serves as the “spine” of the music, both in structural terms (backbone), but also with respect
to the line’s perceived control over the direction and progression of the music (central nervous system). The material
played by the supporting members of the quartet colors and punctuates this main line. Over the course of the work,
players drift in and out of agreement with one another, and occasionally the primary line loses its unique identity within
the texture of the ensemble. I tried to impart an almost biological sense to the way motives grow, attempting to balance
intuitive, almost improvisatory, types of development with more structured patterns and processes. Spine is dedicated to
the players of the Yale Percussion Group for their unwavering support.
INSTRUMENTATION
Percussion 1
• crotales: approximately 2 octaves (see notation key), struck and bowed
• almglocken: sounding pitches = G4, Ab4, Bb4 (for reference, C4 = middle C); substitutions are acceptable (for
example, nipple gongs)
• small opera gong, placed face down (not suspended) and struck
• metal, un-pitched (Earth Plate suggested; substitutions are encouraged)
• 1 medium polyblock/woodblock
• 4 drums (skin): approximate low-to-high gradient = low tom to high bongo
• concert bass drum
Percussion 2
• glockenspiel
• trashy cymbal; riveted cymbal preferred (different from Percussion 3’s cymbal)
• cowbell, un-pitched (struck only)
• 2 drums (skin): approximate low-to-high gradient = tom to conga
• kick drum
• piano/keyboard (shares instrument and music with Percussion 4)
Percussion 3
• glockenspiel
• trashy cymbal; riveted cymbal preferred (different from Percussion 2’s cymbal)
• cowbell, un-pitched (struck and bowed)
• 2 drums (skin): approximate low-to-high gradient = tom to conga
• kick drum
Percussion 4 (Piano or Keyboard/MIDI Controller)

• Amplified grand piano, or keyboard with piano patch. If performing on an acoustic piano, three pitches—G4,
Ab4, Bb4, and B4 (for reference, C4 = middle C)—should be prepared with mutes mid-performance (at m.
234). The recommended material to use for the mutes is Blu-Tack, a brand of adhesive putty. The mutes
should be pressed down on the piano strings where they meet the pinblock (on the opposite end of the strings
from the hammers). Muting at this location will dampen most harmonics and produce a deadened pizzicato-
type sound. The fundamental pitches should always be strongly discernable through the mutes. (Please see
note regarding piano amplification on next page.)
A M P L I F I E D A C O U S T I C P I A N O vs. K E Y B O A R D (Percussion 4)
Because the volume of the drums/percussion will always outmatch that of an acoustic piano, especially in the first half of
the piece, sound amplification/reinforcement must be used to balance the ensemble. There are three suggested
methods for approaching this.
1) Acoustic piano amplified with microphones. Two microphones are recommended—one for the low register and one
for the high register—with a full-range PA system. Close-miking the piano strings near the hammers will produce an
aggressive, rock tone, which is desirable for this piece. The piano lid may need to be closed to reduce feedback; in this
case, see approach #3 below. The piano may be mixed in mono or stereo. Overall, this approach is challenging to
implement effectively. Depending on the acoustics of the hall, feedback may be difficult to control amidst such a loud
percussion texture. This method should only be executed with the help of a sound engineer.
2) Keyboard or MIDI controller triggering a piano patch. This approach is the easiest to implement, and, with a decent
sounding piano patch, will produce a more balanced piano texture than approach #1. With this approach, there will be
no concerns about feedback, and no issues with the close-miked piano sounding too bright and harsh. For the muted
piano sounds in the second half of the piece, please contact the composer to acquire a muted-piano sample instrument
(michaellaurello@gmail.com). An additional benefit of this approach is that the piece becomes more portable. A full-
range PA system should be used, but a large keyboard amp may suffice, depending on the size and acoustics of the
venue.
3) Combination. If an amplified acoustic piano is being used, but the lid must be closed for sound isolation purposes or
to reduce feedback, use a small MIDI controller to trigger a software instrument of muted piano sounds. Please contact
the composer to acquire this muted-piano sample instrument.
In general, the piano should be balanced within the ensemble. In certain sections, the piano may become more
prominent, and in other sections it may recede into the texture.
PERCUSSION NOTATION
Percussion 1
Percussion 2 and 3
STAGE ARRANGEMENT
The arrangement below is only a suggestion. Stage arrangement is totally at the discretion of the ensemble.
Percussion 4
Percussion 1
(facing audience)
Percussion 3 Percussion 2
(facing Perc. 1 or 2) (facing Perc 1 or 3)
Audience

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SPINE

for percussion quartet

Things Grow Like Trees Music (ASCAP)

Duration: ca. 8 min.

Percussion 4 (Piano or Keyboard/MIDI Controller)

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