REFLEX

Brett William Dietz

15 Studies for the Intermediate Multi-Percussionist

Brett William Dietz (b. 1972) currently teaches at the Louisiana State
University School of Music. He is the music director of Hamiruge (the
LSU Percussion Group). He earned the Bachelor of Music in Percus-
sion and the Master of Music in Composition/Theory from the Mary
Pappert School of Music at Duquesne University. In 2004, Dietz earned
his Doctorate of Music from Northwestern University. He studied per-
cussion with Jack DiIanni, Andrew Reamer, Stanley Leonard, and Mi-
chael Burritt while his principal composition teachers include Joseph
Willcox Jenkins, David Stock, and Jay Alan Yim.

Dietz is in demand as a clinician and soloist throughout the United

States. He performed at several Percussive Arts Society International
Conventions and is a founding member of the Tempus Fugit Percus-
sion Ensemble. TFPE performed throughout the United States and
Europe and released two compact discs (Tempus Fugit and Push Button,
Turn Crank) that have received great critical acclaim. Dietz’s compact
disc, Seven Ghosts was released in 2006. He performs with and conducts
Hamiruge on Stanley Leonard’s new recording Collage and also per-
forms on Michael Burritt’s newest release, Waking Dreams.

An avid composer, Dietz’s music has been performed throughout the United States, Europe, East Asia, and Australia by
numerous ensembles including the Detroit Symphony Orchestra, National Wind Ensemble, Pittsburgh New Music En-
semble, River City Brass Band, Northwestern University Wind Symphony, Louisiana State University Wind Ensemble,
Duquesne University Symphonic Wind Ensemble, the University of Scranton Wind Symphony, the Northwestern Uni-
versity Percussion Ensemble, Ju Percussion Ensemble, Malmo Percussion Group, and the University of Kentucky Percus-
sion Ensemble. His compositions have been featured at the 1998 College Band Directors National Association Eastern
Division Conference, and the 2004, 2005, 2006 Percussive Arts Society International Convention. Dietz’s composition,
Pandora’s Box received its New York Premiere at Carnegie Hall by the National Wind Ensemble conducted by H. Robert
Reynolds. His opera Headcase was premiered in Pittsburgh, Pennsylvania. Called “haunting and powerful – a remarkably
sophisticated score that blends words, music and visual displays to touch the heart and mind” by the Pittsburgh Tribune
Review, the opera relives the story of the stroke Dietz suffered in 2002.

He was a recipient of the 2005 Merrill Jones Young Composers Band Composition Contest, the 2002 H. Robert Reynolds
Composition Contest, 3rd Place Winner of the 2002 Percussive Arts Society Composition Contest, and the 2001 Pitts-
burgh Foundation Award for Outstanding Achievement in the Arts. His composition five-0 for brass quintet received an
award from WFMT (Chicago Classical Radio) and was premiered live on the air in 2001 as part of the station’s 50th an-
niversary.

For live recordings of each study in this book, visit:

www.c-alanpublications.com/reflex.html

ISBN #978-0-9723391-9-3 CAP 16560

Cover Layout by Ed Morgan of navyblue design

Copyright © 2009 C. Alan Publications

ALL RIGHTS RESERVED
Unauthorized duplication of this document is illegal.
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TABLE OF CONTENTS

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Reflex Studies

1. Flexion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

2. Gliding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

3. Extension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

4. Circumduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

5. Abduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

6. Angular. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

7. Supination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

8. Inversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

9. Elevation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

10. Hyperextension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

11. Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

12. Opposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

13. Retraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

14. Eversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

15. Protraction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Select Repertoire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

For live recordings of each study in this book, visit:

www.c-alanpublications.com/reflex.html

REFLEX
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INTRODUCTION

Reflex – A quick, automatic or habitual response; the ability to react quickly and effectively.

History
Composers throughout the 20th century demanded more from percussionists. Pieces such as Igor Stravinsky’s
L’Histoire du Soldat (1918) and Darius Milhaud’s La Création du Monde (1922-1923) require skill on a wide array
of instruments and the ability to move seamlessly from one instrument to the next. These compositions, along
with many others, created a new repertoire for percussionists. Solo multi-percussion pieces, such as William
Kraft’s French Suite (1962) and Rick Tagawa’s Inspirations Diabolique (1964), quickly became well-known solo
works for percussionists. Today, composers write percussion parts and solos that are increasingly challenging.

As the multi-percussion repertoire increases, it becomes necessary for modern students to increase their skills in
this genre. Reflex is a collection of 15 studies for the multi-percussionist. The pieces are short and designed to
improve percussionists’ ability to move fluently among different playing surfaces. The studies are written at the in-
termediate level and require a small number of instruments. They become more difficult as the book progresses and
can be used for both study and performance. A picture of each study’s set-up and an instrument key are provided
to help the performer. The pieces are named after skeletal-muscular motions of the human body.

Instruments
Kick Drum
Snare Drum – Concert or drum-set style.
Tom-toms (3) – Concert or drum-set style.
Suspended Cymbals (3) – 16” 18” 20”
Hi-hat – 13” or 14”
Tambourine – Suspended on a cymbal stand.
Cowbell – Suspended on a cymbal stand.
Woodblock – Placed on a music stand with a towel underneath.

Instrument Position
One of the most important issues when performing multi-percussion pieces is the position of the instruments.
All of the instruments need to be at the proper height. The height of the hi-hat, cymbals, cowbell, and woodblock
can become problematic since the player may wish to use both the bead and shoulder of the stick. Try to keep
the instruments as close as possible to one another; this eliminates large motions from the arms and helps the
performer attain speed. In general, all of the instruments need to be in a position that is comfortable for the player
while promoting ease of motion throughout each piece.

Brett William Dietz

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Body Position
It is necessary for the multi-percussionist to be balanced and relaxed. Be sure that the relationship of your body
and the instrument is neither too close nor too far away. Balancing the body becomes complicated when using the
kick drum. Since one foot is on the pedal, the other foot must be in a place that will give proper balance.
Experiment with the placement of the kick drum when it is used.

Set-ups
The set-ups provided are for a right-handed person. While composing the etudes, I gave many considerations to
the placement of the instruments and tried to compose in an idiomatic fashion. However, you may discover a bet-
ter position more suitable for you.

Sticking
Sticking guides provided in the studies are intended for a right-handed person. I encourage you to experiment
with different sticking patterns if the one provided does not work.

Select Repertoire
The list at the end of the text contains solo works for multi-percussionists. While not a complete list of available
repertoire, it is a guide for the performer seeking additional multi-percusison literature.

Recommended Study
While these studies are written at the intermediate level, I suggest that the performer first gain a solid snare drum
technique. Consult your teacher about appropriate preparatory snare drum literature.

Thanks
I would like to thank my teachers Jack DiIanni, Andy Reamer, Stanley Leonard, and Michael Burritt for passing
down their wonderful knowledge. Thank you to my favorite editors, Jennifer Shirley and Griffin Campbell. Also,
I would like to thank my students at Louisiana State University who performed these pieces for the first time.
Enjoy!

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1. FLEXION

Flexion requires the player to achieve an even dynamic range between the low tom-tom and
woodblock. The performer must be aware of the many sudden dynamic changes throughout the
piece and should be able to execute them perfectly. The hi-hat should be closed as tightly as pos-
sible. The player will not need to rest his/her foot on the pedal. Experiment with a shoulder stroke
of the stick for the accented notes on the hi-hat and woodblock. Although Flexion is not a rhyth-
mically difficult piece, its biggest challenges are to create a quality sound on every instrument and
keep a steady groove.

Brett William Dietz

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1. FLEXION LIVE RECORDING

ONLINE *

REFLEX
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* For live recordings of each study in this book, visit:

www.c-alanpublications.com/reflex.html

Brett William Dietz

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2. GLIDING

Gliding challenges the performer to control a piano dynamic on three very different surfaces. The
nature of the piece is very gentle and care must be given to the small dynamic changes that occur.
Be sure to use the bead of the snare drum stick throughout the piece, allowing the dynamic range
to be kept at a soft level. The sixteenth notes may require double strokes, so test several differ-
ent sticking patterns during practice. The rolls on the snare drum should be concert style/buzzed
rather than rudimental.

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2. GLIDING LIVE RECORDING

ONLINE

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3. EXTENSION

The tom-toms required for Extension must be graduated in pitch. Experiment with different sizes
until you find a suitable combination. At measure 5, the tenuto markings represent the musical
line. These notes should be heard at a dynamic level higher than the low tom-tom. Measure 21
requires the performer to use two different dynamic levels simultaneously. One hand should play
the piano triplets while the other plays the mezzo forte melody. The 3:2 polyrhythm can pose some
difficulty. Start by playing this rhythm slowly and correctly before playing the study.

Brett William Dietz

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3. EXTENSION LIVE RECORDING

ONLINE

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4. CIRCUMDUCTION

Circumduction calls for the performer to use three different sticks on the suspended cymbals. Since
composers often notate three or more suspended cymbals in a percussion part, this etude can help
prepare for other pieces. Use the rattan from the soft mallets in the right hand at measure 3. The
left hand should pick up a soft mallet at measure 15 while the right hand should switch on the
last note of measure 16. Another stick switch happens at measure 27 as the left hand moves back
to the brush. The right hand then switches the soft mallet back to rattan at measure 29. Be careful
not to over-exaggerate the hairpin “swells” beginning at measure 17.

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4. CIRCUMDUCTION LIVE RECORDING

ONLINE

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5. ABDUCTION

Abduction employs the use of multiple simple meters: 4/4, 3/4, 2/4, and 1/4. The performer must
match the dynamic consistency of the three instruments throughout the piece. Proper instrument
height will be essential in gaining this result. Be sure to use the shoulder of the stick for the ac-
cented notes on the cowbell. At measure 5, the term “buzz stroke” refers to a single stick crush
roll used throughout the study. While these rolls are short, try to achieve at least four rebounds in
these strokes.

Brett William Dietz

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5. ABDUCTION LIVE RECORDING

ONLINE

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6. ANGULAR

Angular is written in a minimalist style and is inspired by David Lang’s The Anvil Chorus (1990).
When performing the ostinato passage with the right hand, be sure to diminuendo after the ac-
cented note. Be aware that the ostinato changes with each new passage. Try to keep your right
hand relaxed and flexible throughout the piece. Play the snare drum and kick drum at the same
forte dynamic level. A plastic woodblock may be more suitable for this etude. Most importantly,
keep a steady groove and do not rush!

Brett William Dietz

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6. ANGULAR LIVE RECORDING

ONLINE

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7. SUPINATION

The eighth note remains consistent throughout Supination. Again, the use of the stick’s bead will
be helpful in achieving dynamic consistency. In measure 16, the choked notes on the suspended
cymbal should be kept very short; however, let the instrument sound, using the shoulder of the
stick for these loud notes. Try to achieve a melody between the kick drum and cymbal beginning
at measure 24 as the cowbell and tom-tom remain underneath the overall texture.

Brett William Dietz

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7. SUPINATION LIVE RECORDING

ONLINE

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8. INVERSION

Inversion calls for a suspended tambourine on a cymbal stand. Once again, dynamic consistency
on all of the different surfaces is key to the performance of the piece. Beginning in measure 25, be
sure to bring out the mezzo forte musical line in the left hand as the right hand plays the wood-
block piano. The forte-pianos in measures 29, 37, and 45 should be quite dramatic and are essential
in driving the piece forward. Be careful not to rush the 5:4 polyrhythm in measure 54.

Brett William Dietz

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8. INVERSION LIVE RECORDING

ONLINE

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9. ELEVATION

Follow the dynamic markings very closely in Elevation. As in Flexion, the hi-hat should be closed
tightly so the foot does not have to rest on the pedal. The performer must achieve a good forte-
piano where indicated. This will really help move the piece forward in an exciting way. While
measure 38 is in 6/8, the right hand plays three quarter notes giving this section a 3:2 feel. Be sure
not to rush in these passages! The eighth note remains constant throughout this study.

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9. ELEVATION LIVE RECORDING

ONLINE

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10. HYPEREXTENSION

Hyperextension should be played at a quick tempo. If desired, the performer may take the piece
faster if he or she desires. Again, experiment with the shoulder of the stick for the accents on the
woodblock. Use the bead of the stick for the unaccented notes. In measure 4, be sure that the snare
drum does not overpower the tom-toms. Play with a strong forte-piano followed by a crescendo
when the rhythmic figures occur in measures 4, 7, 11, etc.

Brett William Dietz

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10. HYPEREXTENSION LIVE RECORDING

ONLINE

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11. ROTATION

In Rotation, look closely at the cowbell patterns because they vary from measure to measure. In
measures 1 through 4, the suspended cymbal should ring. Try to achieve a musical line beginning
at measure 35 between the tom-toms and kick drum. The suspended cymbal should be played
with the right hand on the bell of the instrument. The grace note figures starting at measure 71
should be played in an open fashion.

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11. ROTATION LIVE RECORDING

ONLINE

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12. OPPOSITION

The 9/8 measures of Opposition are divided 2+3+2+2. Pay close attention to the forte-piano fol-
lowed by a crescendo. Beginning at measure 29, be sure to play the melody in the tom-toms, tam-
bourine, and kick drum. This requires great independence between the hands and feet. Be sure to
devote some time for slow practice when preparing these passages. The hi-hat should be tightly
closed throughout.

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12. OPPOSITION LIVE RECORDING

ONLINE

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13. RETRACTION

Retraction is fashioned after another one of my pieces for percussion ensemble called Sharpened
Stick (1998). The piece should not be performed any faster than the given tempo marking. Slower
speeds can work but I do not recommend anything slower than quarter note = 158. Accented
notes are very important to the musical drive of the piece. Be sure to follow all of the dynamic
markings and create a quick groove when performing!

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13. RETRACTION LIVE RECORDING

ONLINE

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14. EVERSION

In Eversion, the tremolo markings on the snare drum indicate a swish of the brush on the head
– not a roll. Measure 28 gives plenty of time for the left hand to put down the brush and pick up
the soft mallet. Measure 30 does the same for the right hand as it picks up the snare drum stick.
The rhythmic pattern beginning at measure 31 is very difficult but can be mastered with diligent
slow practice. Make sure the right hand remains soft since the tom-toms are the melody in this
passage.

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14. EVERSION LIVE RECORDING

ONLINE

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15. PROTRACTION

Protraction features the most instruments of all the studies. The grace notes, or flams, in the snare
drum figure starting at measure 8 can be played open - a la Keith Moon! Be careful not to rush
the 5:4 eighth note patterns when they occur. Always strive to bring out the musical line in the
left hand and foot beginning at measure 35.

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15. PROTRACTION LIVE RECORDING

ONLINE

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SELECT REPERTOIRE

COMPOSER TITLE PUBLICATION DATE

Bach, Jan Turkish Music 1967
Brün, Herbert Stalks and Trees and Drops and Clouds 1967
Burritt, Michael Sticks of Eloquence 1981
Cage, John. 27’ 10.554” 1956
Cahn, William Partita 1966
Campbell, James Garage Drummer 2005
Childs, Barney Seven Quiet Studies 1979
Colgrass, Michael Te Tuma Te Papa 1994
Crocket, Donald Afterimage 2003
DeLancey, Charles Love of L’Histoire 1973
Dietz, Brett William Firewire 2001
Dietz, Brett William Nocturne 2004
Feldman, Morton The King of Denmark 1965
Ferneyhough, Brian Bone Alphabet 1991
Glassock, Lynn Motion 1986
Gordon, Michael XY 1997
Hollinden, Dave Cold Pressed 1990
Hollinden, Dave Slender Beams of Solid Rhythm 1991
Kopetzki, Ekhard Canned Heat 2002
Kraft, William French Suite 1962
Kraft, William Morris Dance 1967
Kraft, William English Suite 1974
Kraft, William Encounters VIII 1978
Lang, David Scraping Song 1990
Lang, David The Anvil Chorus 1991
Norgard, Per I Ching 1982
Ptaszynska, Marta Spider Walk 1983
Ruders, Paul Alarm 1983
Serry, John Therapy Suite 1975
Shapey, Ralph Soli 1985
Smith, Stuart Saunders Songs I-IX 1981
Smith, Stuart Saunders “. . . and points north” 1987
Stock, David Strike, Swinging 2007
Stockhausen, Karlheinz Zyklus Nr. 9 1958
Tagawa, Rick Inspirations Diabolique 1964
Udow, Michael Fracture 1973
Volans, Kevin She Who Sleeps with a Small Blanket 1986
Volans, Kevin Asanga 1997
Wittgraf, Michael Fess, Etc. 2006
Wood, James Rogosanti 1986
Wuorinen, Charles Janissary Music 1966
Xenakis, Iannis Psappha 1975
Xenakis, Iannis Rebonds 1987

REFLEX