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10. Indicating the wrong mallets for an instrument. Brass mallets on vibes? Try a hammer on a violin!
9. Writing the glockenspiel part as heard. You shouldn't have to climb a ladder of leger lines to read a glock part. Keep it in the staff.
8. When in doubt, adding more suspended cymbal. This is a huge mistake made by arrangers. Yep, cymbals add automatic intensity to a piece, but so can a bass drum roll, a rousing hand drum part, exciting mallet licks, or a hundred other combinations. Well-written percussion parts stand out in the band and church repertoire.
7. Better means more complicated, right? This is my main mistake. A percussion part can be simple enough for a middle school, but it is the ability to use the different tone colors of the percussion palette properly that indicates a maturity in writing, not that impossible part for the timpanist that has them playing timpani, gong, crash cymbals, and triangle in the span of two beats.
NMR Artist Spotlight Exclusive: Greek Classical Film Composer George KalyvasWhat is your story? I was born and grew up in Athens Greece and musically I started with piano lessons at the age of 9 which lasted for four years as I didn’t like the environment where I had to study just for the annual exams. I thought at the time that music was more of a discovery from inside out rather than learning how to place your fingers at the keyboard and play what you see. Of course when I grew up and at the age of 19 I understood what is the meaning of a composition and I was intrigued, as I started guitar, music theory and music harmony lessons where I obtained my first degree in music, by the story of each composition and about the mechanics of it.
I later decided to study on my own counterpoint, fugue and to start analysing scores from quartets to symphonies of the great classical composers. Now I am living in the UK and I am pursuing a career in the music industry. I already have scored 3 short f…