Hello together,
how can I change the moment of instrument change within a range of percussion instruments?
In this example I would like to have the change one bar later, because the pedal of the glockenspiel is still holding on, and for me it would make more sense to have the change to the snare drum afterwards.
I’d add a tied-to note in the succeeding measure to show the sustain. Surely a Glock. player will know he or she can leave the Glock. to sustain while moving to a new instrument.
I’ve never seen a glockenspiel with a pedal…
Not uncommon.
Jesper
Create a Chord Symbol region that “extends” the Glockenspiel part by a bar. (Note that this workaround works in this particular case, where only one “extra” bar is needed; if more bars would be under the CS region, it would override the multirests in parts)
End result in part:
Great solution, @ViliRobert! (And note his use of the l.v. ties, @amayerlindenberg.)
I have to confess, from a purely “notation-psychological” stance I’m more inclined to @Derrek’s idea of extending the written duration in the Glock part. Depending on the tempo, four bars would presumably be (sufficient? plenty?) of time to make the switch, and somehow the “longness” of a 2.67-beat note would jibe better with the sound you’re after, at least for my brain.
What do others think?
I have no clue if the time to change to the S.D. would be 4 bars at any tempo. For all I know, it could be 1 bar and the physical action required from the player would literally be to already change the mallets to sticks while holding down the Glock pedal and then jump to the snare drum playing position during the following bar.
On the other hand it wasn’t what was asked either. “how can I change the moment of instrument change”
I default to writing full durations of mallet percussion (the sustained types at least) in most of the situations, FWIW.
I was reacting to @amayerlindenberg’ original choice of a short written duration, not your (faithful) reproduction of it, @ViliRobert, and of course my tempo question was directed to the composer as well.
Me too. Thanks for sharing, as I’m genuinely interested in others’ thoughts.
I hadn’t either! Thanks for the link, Derrek. That would certainly help with the infamous passage in “L’Apprenti sorcier”! (reh. 22–24)
Here are some different ones.
Jesper
because it’s a relatively recent feature addition for the instrument.
I wouldn’t count on musicians having them, quite yet.
They’re rare and very expensive.
Its the same type of mechanism as on a vibraphone, and more commonly seen on very large glocks (3 octave range instruments.)
Didn’t Mozart write for the keyboard glockenspiel?
Yes, he did.
However, the history of the instrument is rather complicated.
I’m not sure how much of this I believe, but according to Yamaha’s website the only two manufacturers of keyboard glocks in the 20th century ceased fabricating them.
While there’s a difference in sound, the Mozart example is often played on a celesta.
Since so little is actually known about the construction of the instrument in the very first productions of Magic Flute, I suspect we’ll never really have closure as to what the instrument really sounded like.
that worked, thanks a lot! 
I see points in both notations, for me it depends on the context
