Sticks of Eloquence: Percussion Book

Burritt writes for multiple percussion in a way that demands real musicianship rather than just technical facility. The improvisational character keeps performers engaged in genuine problem-solving about phrasing and control, and the strategic use of silence gives students a chance to think about space and tension in performance.

Sticks of Eloquence lives in the space between structure and freedom. Rhythmic patterns erupt and fade, punctuated by moments of silence that feel almost intentional, like the percussionist is choosing when to speak and when to listen. The piece has the energy of spontaneous speech but the craft of careful composition.

Advanced Grade 4 percussionists ready to tackle contemporary compositional language and the interpretive choices it demands. This solo works well for students who have solid technique and are beginning to think about performance as musical decision-making rather than execution.

• Map out the implied pulse beneath the rhythmic bursts so you can maintain musical coherence even when the notation feels unpredictable.
• Treat the silences as actively as you treat the sounds; prepare your next entrance by listening through the rests rather than waiting passively.
• Experiment with dynamic shaping within each rhythmic gesture to find the internal shape Burritt is after rather than playing every burst at the same intensity.
• Let the improvisational quality emerge from disciplined preparation; nail the technical demands so you can focus on musical storytelling.

This piece works as a contemporary solo on a percussion recital or as a striking closer to a mixed solo/ensemble concert. It also serves well as a bridge piece between traditional rudimental studies and modern percussion literature, showing students how classical technique connects to new compositional approaches.

• Reading and interpreting contemporary notation conventions
• Balancing technical precision with interpretive flexibility in improvisational-style writing
• Managing rhythmic complexity and syncopation across multiple percussion instruments
• Shaping musical phrases through dynamics and articulation choices
• Using silence and negative space as musical elements