Hey, guys! I'm new here and have been recently writing an indoor percussion piece (I've only written front ensemble) and I need someone to write battery for it. I need a snare, 5 drum tenor/quintet quads, and 5 bass drums. Whoever is willing to do it must be able to stick to a schedule. I will credit you and allow you to post, but if you claim you wrote everything yourself, I WILL report you.
My email is
The first preview release of MDL is now available for download.
Download the file mdl_0_2_5.zip and follow the instructions outlined in the enclosed readme.txt file.
This is an ALPHA release, so you will likely experience some minor bugs and the installation and configuration process is currently a manual process.
Included you will also find a rough draft of the notation reference for:
If you are a VDL user or used to reading notation created in VDL, the notation reference should be somewhat familiar, though there are some clear differences.
Currently in progress, but not yet included are:
- Solo Snare
- Solo Tenors
- Cymbal line
PLEASE DO feel free to offer feedback or suggestions on how we can improve any aspect of the sound playback, particularly:
- Instrument sound
- Balance across instrument
- Articulation quality
- Articulation accuracy
- Ensemble blend
Very specific and concrete suggestions can more easily help us to improve the quality and make a finished version freely available to the community as quickly as possible.
I broke my laptop n I haven’t wrote music in soooo long, it deadass feel like i’m dying 😩😩
Hey! I'm newer to percussion and writing for percussion (I play glockenspiel and handbells), and I'm looking to expand my composition repertoire to include percussion ensemble pieces. I was wondering if anybody has any tips on composing for percussion. If so, that would be very much appreciated.
Thank you! :)
Put simply, I'm kinda bored, and I want to write out some percussion parts. However, I have no shows to write for! So, does anybody have a show that they'd like me to help arrange percussion parts (both pit and battery) for?
One of the main problems every saxophone player faces at some point is: “what and how to practise”. I just wanted to share some experience and knowledge on the topic - I’ve been a practising saxophone player for about 18 years already. This is not a complete guide or an instruction, but a note containing some suggestions. Though I am more into practising improvisation now, I’ve tried to mention some more general practise activities here .
So let’s just go through an example of daily practice schedule:
Whenever I have time I get back to some breathing exercises (see my article on breathing) - 3-5 minutes or so - as breathing is one of the most important things for producing great sound, and cool sound is what we are constantly aiming for.
- Long tones
- indispensable both for embouchure and for breathing skills. Moreover, different dynamics, cresc, dim, steady tone, etc. - at least 15 minutes. Be aware of your intonation and timbre during this exercise! You may want to use some tuner. Also read the article about embouchure posted in this group, I find it important. One of saxophone myths is that “only beginners should practise long tones”. I like to compare that with sports: every sportsman warms up before actually starting doing sports; long tones - is a warm-up for professional wind player, we need that to be in good shape, that’s of vital importance!
- practising overtones and matching them to standard fingerings. Try to match the “full” timbre and pitch of overtone when playing tones using “normal” fingerings. There are several books on the topic, a good place to start is the corresponding section of David Liebman’s “Developing a personal saxophone sound”
- Techniques you need:
tonguing exercises for “junior” saxophonists , different articulations - for all sax players (it’s extremely helpful to start with simulating articulation of your favourite saxophonists, especially for jazz-oriented musician) for more advanced players the list might look like this: flutter tonguing, split tones (multiphonics), altissimo, growl, circular breathing, etc.
- Scales and arpeggios.
All kinds of scales and arpeggios you need; a plenty of things for jazz players: all modes of major/minor scale, diminished and augmented scale, melodic minor scale (actually there are tons of scales, see the fundamental work of “Yusef Lateef “Repository of Scales and Melodic Patterns”) , triads and 7th/9th chords (including augmented ones) arpeggios, studying chord/scale theory (check Mark Levine’s “Jazz Theory Book”). David Baker’s “Creative.Approach To Practicing Jazz” is a good source of ideas. “ I am not too familiar with classical stuff, so feel free to post your thoughts and share your experience in comments.
Both classical (for developing your overall playing technique, like “Daily exercises for saxophone” by H.Klose) and jazz (elements you need for improvisation - enclosure, 3 to b9, licks and patterns:II-V7, all kinds of cadences, cycle of fifths, etc.. Just remember to practice things in all 12 keys whenever it is possible. Here are the authors of literature on the topic: Jerry Coker (co-writer of “Patterns for jazz” and the author of a bunch of other books), David Baker (“How To Play Bebop” in 3 parts, etc.), and, of course, the educational books with playalongs by Jamey Aebersold.
- Practising improvisation.
That is: studying transcribed solos (and the process of solo transcription itself, of course) - remember analysing not only the notes played in different harmonic situations, but also the master’s articulation and time feeling (is he behind, before or on the beat?; learning tunes with chord progressions, applying patterns, licks and everything you’ve learnt in steps 5 and 6 and, finally, several minutes of “just improvising” to track your progress and just for pleasure. There is a really cool book called “Elements Of The Jazz Language For The Developing Improvisor” by Jerry Coker, I highly recommend it. The same author has an article entitled “How to practice improvisation” in his “Complete Method for Improvisation” book (part of this article was included in Jamey Aebersold’s “Jazz Handbook”)
If you have any questions or if you have something to add to this article - please don’t hesitate to do it in comments!
Hey, this a solo for 4.3 octave Marimba I made, any comments/feedback is appreciated!
Home(Solo Marimba): https://musescore.com/user/27604158/scores/5119996
Sorry I have to do a direct post like this but there's a glitch with my account that wont let me add scores to groups but if you guys could check out (leave comments/critiques) of Lucid Dreams I arranged it with Musicman-8 (he did percussion) thanks so much!
I thought I would share the progress with the new percussion soundfont. Here is a demo of marching snare.
A couple of points to mention - each sound has 4 samples with random alternations between each sample to make it sound much more realistic.
The soundfont is fully compatible with VDL, so has all the same articulations and capabilities (except mallet changes).
There will be 6 tenors and 2 bassline options - 6 basses and 10 basses.
I hope to be able to get this to the community to be testing within the next couple of weeks. :-)
pines of rome would love to see a score with full percussion and Drume core. i wann aplay it ont he tuba.
I'm in eigth grade and I have learned control of the lower register and I am trying to learn altissimo notes. I made the all state band and the highest band at my high school.
Hey! I just joined this group because I hoped I could find people who loved mallet percussion as much as I do. I just added six of my pieces I've made to the group and hoped I could get some feedback on them. Thank you and I hope to be able to help future composers and mallet percussionists! :D
Only just joined this - looking really for some direction. Have been learning for 1 month so know my notes, practice every day . . . . what should I be ding? What should I be expecting?????
I am looking for a better soundfont for marching percussion is there any with flams and tenor shots? any kind of info would help
Hello! I composed a high school indoor percussion show that is still untitled. I am very new to writing for battery so I am asking someone to do it for me. I will credit you! More than one person can do it. Do not steal my composition and claim it as your own.
There are some parts that I would like for battery parts to not be written:
1. During the preshow, before keyboards enter for the first time.
2. During the transition to Part 2.
3. During the beginning of Part 2, with the eerie celesta phrases. After the marimba enters with the swelling eighth notes, it is fine, and so on.
Here are some parts where I'd like a specific thing to happen:
1. A tenor "Feature" that includes syncopated rims.
2. A cymbal feature where the keyboards decrescendo to mp before the final impact to the end.
Beyond that, you can do whatever you please!
LINK : https://musescore.com/user/226816/scores/5019991
Contact me as soon as you finish! Comment if you are interested!
Additionally, I compose for winds, so if you would like to collab in the future, my email is : email@example.com
Hello, I just wrote my first piece entitled "A Rainy Day" for a sax quartet and I would LOVE any feedback. Please listen to it and help me. It would be greatly appreciated. (Just listen to it on my profile)
I have almost a whole show written with no percussion. My background is in mostly wind arranging so a percussion arranger would be amazing! Thanks!
Anyone in this group headed to WGI this weekend?