Night Music For Percussion
The Exciting Percussion World Of Saul Goodman
Cover Photo: Columbia Records Photo Studio - Henry Parker
Columbia CL1533
1961
From the back cover: Very few men know more about percussive music than Saul Goodman. Solo tympanist and head of the percussion section of the New York Philharmonic, Mr. Goodman is a pioneer in many fields of percussion, and the organizer of the world's first percussion ensemble. When he assembled his first group – his Juilliard School of Music pupils – Mr. Goodman found that there was little or no music designed especially for percussion. He encouraged the students to write pieces using as many instruments as possible, and from their efforts grew the sizable body of percussion music available today.
To demonstrate the range, rhythm and amusement that a fine percussion ensemble possesses, Mr. Goodman has selected the numbers in this collection, each of them a vivid illustration of superb sound.
The Saul Goodman Percussion Ensemble, in addition to Mr. Goodman, includes Walter Rosenberger, Elden (Buster) Bailey and Morris Lang. In this recording, Ronald Gould and Herbert Harris assisted as guest members. Mr. Goodman, who composed many of the works in this collection, is the author of A Modern Method for Tympani, and his pioneering work in percussive music has included the invention of a tuning device which is now used extensively used around the world.
Night Music is scored for four tympani, small and large snare drums, xylophone, bells, chimes, celeste, triangle, gong and bass drum. The tympani introduces the quiet melody here, ending with a soft glissando. Unlike most percussion pieces, Night Music has no smashing climaxes; instead it makes its delicate effect through the contrasting sounds of bells, chimes and celeste.
Timpiana. This jazzy, swing-like number is based on a four-note theme played by the tympani and accompanied by the usual drum set played by Joe Jones. This is the first time that tympani have been used as a solo jazz instrument.
Re: Percussion is scored for xylophone, marimba, vibraphone, bells, chimes, snare drums, tom-toms, bass drum, tambourine, castanets, triangle and tympani. In this selection, the spirited hammer-like theme is first heard played by all the mallet instruments, followed by the tympani. A quick development leads into the rousing coda. Ballad for the Dance is scored for four tympani and cymbal only. This piece begins with a four-note melody which is worked up into a violent, scherzo-like middle section. It quickly subsides into a soft purr reminiscent of the opening, and fades away. The work was originally written for a modern dancer.
Music for Percussion is scored for four tympani, bass drum, snare drum, castanets, tom-toms, xylophone, marimba, vibraphone, bells and chimes. The piece opens with the theme played by the bells accompanied by the tympani. The rest of the percussion quickly joins in, led by the marimba playing a variation. A fast development follows, leading to a closing section in which the tympani repeats the accompanying phrase heard in the opening, but this time with the tinkling sounds of the chimes replacing the bells.
The Worried Drummer is an old German polka originally scored for one player on two tympani, snare drum, bass drum, cymbals, xylophone, bells, triangles, castanets, tambourine, whip, sleigh bells and spurs! The idea of the piece was to have the player racing from one instrument to another with barely enough time to pick up the instruments. At one point in the playing of this piece, the player has a tympani stick in one hand, a castanet in another and the sleigh bells between his teeth.
Canon for Percussion is scored for four tympani, three snare drums (small, medium and large), tom-toms, bongos, xylophone, marimba, bells, vibraphone, chimes, bass drum and gong. This work is a paraphrase on percussion playing of Bach. The themes heard at the beginning are reminiscent of the great composer. Each instrument is given a statement of at least one of the themes, and at the end a tremendous crescendo is achieved.
Parade is scored for two snare drums (small and large, one with snares on and one with snares off), two bass drums (small and large), one pair of cymbals and one marching machine-a device for simulating the sound of marching feet. This composition represents the sounds of two drum corps approaching each other from a distance. The approach of marching feet is heard, as the corps get closer and louder until they meet. Then they move away from each other until there is only a faint sound of the marching and, finally, the distant boom of the bass drum and the gentle echo of a snare drum tap.
Percussional Melee is scored for three tympani, snare drum, bass drum, cymbals, triangle, tambourine, castanets, lion's roar, wind whistle, large gong, rattle, xylophone, bells and celeste. Herein the percussion section goes berserk. The tympanist starts warming up and is joined by the xylophone, competing in the practice of a scale. Later, other instruments join in, each trying to out-do the other. At last, in desperation, one player rips out the lion's roar, and thereafter it is every man for himself.
Hora Staccato is scored for xylophone, marimba, bells, vibraphone, snare drum and four tympani. – Saul Goodman
Scherzo For Percussion
Theme And Variations
Night Music For Percussion
Timpiana
Re: Percussion
Ballet For The Dance
Music For Percussion
The Worried Drummer
Canon For Percussion
Parade
Percussion Melee
Hora Staccato
Columbia CL1533
1961
From the back cover: Very few men know more about percussive music than Saul Goodman. Solo tympanist and head of the percussion section of the New York Philharmonic, Mr. Goodman is a pioneer in many fields of percussion, and the organizer of the world's first percussion ensemble. When he assembled his first group – his Juilliard School of Music pupils – Mr. Goodman found that there was little or no music designed especially for percussion. He encouraged the students to write pieces using as many instruments as possible, and from their efforts grew the sizable body of percussion music available today.
To demonstrate the range, rhythm and amusement that a fine percussion ensemble possesses, Mr. Goodman has selected the numbers in this collection, each of them a vivid illustration of superb sound.
The Saul Goodman Percussion Ensemble, in addition to Mr. Goodman, includes Walter Rosenberger, Elden (Buster) Bailey and Morris Lang. In this recording, Ronald Gould and Herbert Harris assisted as guest members. Mr. Goodman, who composed many of the works in this collection, is the author of A Modern Method for Tympani, and his pioneering work in percussive music has included the invention of a tuning device which is now used extensively used around the world.
Scherzo is scored for two tympani, small snare drum, large marching drum, xylophone and cymbals. This is a fast-moving, humorous tidbit.
Theme and Variations is scored for four chromatic tympani, two snare drums, bongos, timbales, maracas, claves, xylophone, vibra- phone, piano, tambourine, triangle and bass drum. Composer Harold Faberman, presently a member of the Boston Symphony, was a member of the original percussion group. The four-note theme is first played by the tympani and then repeated by the piano. The development includes a rousing coda which breaks into a samba, concluding with the original opening theme.
Theme and Variations is scored for four chromatic tympani, two snare drums, bongos, timbales, maracas, claves, xylophone, vibra- phone, piano, tambourine, triangle and bass drum. Composer Harold Faberman, presently a member of the Boston Symphony, was a member of the original percussion group. The four-note theme is first played by the tympani and then repeated by the piano. The development includes a rousing coda which breaks into a samba, concluding with the original opening theme.
Night Music is scored for four tympani, small and large snare drums, xylophone, bells, chimes, celeste, triangle, gong and bass drum. The tympani introduces the quiet melody here, ending with a soft glissando. Unlike most percussion pieces, Night Music has no smashing climaxes; instead it makes its delicate effect through the contrasting sounds of bells, chimes and celeste.
Timpiana. This jazzy, swing-like number is based on a four-note theme played by the tympani and accompanied by the usual drum set played by Joe Jones. This is the first time that tympani have been used as a solo jazz instrument.
Re: Percussion is scored for xylophone, marimba, vibraphone, bells, chimes, snare drums, tom-toms, bass drum, tambourine, castanets, triangle and tympani. In this selection, the spirited hammer-like theme is first heard played by all the mallet instruments, followed by the tympani. A quick development leads into the rousing coda. Ballad for the Dance is scored for four tympani and cymbal only. This piece begins with a four-note melody which is worked up into a violent, scherzo-like middle section. It quickly subsides into a soft purr reminiscent of the opening, and fades away. The work was originally written for a modern dancer.
Music for Percussion is scored for four tympani, bass drum, snare drum, castanets, tom-toms, xylophone, marimba, vibraphone, bells and chimes. The piece opens with the theme played by the bells accompanied by the tympani. The rest of the percussion quickly joins in, led by the marimba playing a variation. A fast development follows, leading to a closing section in which the tympani repeats the accompanying phrase heard in the opening, but this time with the tinkling sounds of the chimes replacing the bells.
The Worried Drummer is an old German polka originally scored for one player on two tympani, snare drum, bass drum, cymbals, xylophone, bells, triangles, castanets, tambourine, whip, sleigh bells and spurs! The idea of the piece was to have the player racing from one instrument to another with barely enough time to pick up the instruments. At one point in the playing of this piece, the player has a tympani stick in one hand, a castanet in another and the sleigh bells between his teeth.
Canon for Percussion is scored for four tympani, three snare drums (small, medium and large), tom-toms, bongos, xylophone, marimba, bells, vibraphone, chimes, bass drum and gong. This work is a paraphrase on percussion playing of Bach. The themes heard at the beginning are reminiscent of the great composer. Each instrument is given a statement of at least one of the themes, and at the end a tremendous crescendo is achieved.
Parade is scored for two snare drums (small and large, one with snares on and one with snares off), two bass drums (small and large), one pair of cymbals and one marching machine-a device for simulating the sound of marching feet. This composition represents the sounds of two drum corps approaching each other from a distance. The approach of marching feet is heard, as the corps get closer and louder until they meet. Then they move away from each other until there is only a faint sound of the marching and, finally, the distant boom of the bass drum and the gentle echo of a snare drum tap.
Percussional Melee is scored for three tympani, snare drum, bass drum, cymbals, triangle, tambourine, castanets, lion's roar, wind whistle, large gong, rattle, xylophone, bells and celeste. Herein the percussion section goes berserk. The tympanist starts warming up and is joined by the xylophone, competing in the practice of a scale. Later, other instruments join in, each trying to out-do the other. At last, in desperation, one player rips out the lion's roar, and thereafter it is every man for himself.
Hora Staccato is scored for xylophone, marimba, bells, vibraphone, snare drum and four tympani. – Saul Goodman
Scherzo For Percussion
Theme And Variations
Night Music For Percussion
Timpiana
Re: Percussion
Ballet For The Dance
Music For Percussion
The Worried Drummer
Canon For Percussion
Parade
Percussion Melee
Hora Staccato
