Scoring for Percussion

1) Notation principles of the percussion section

● The percussion section is placed between the brass and strings, with the timpani

appearing first. The non-pitched instruments are laid out either in order of pitch,

or of instrument material. Then the mallet instruments are placed below the

non-pitched percussion, followed by keyboard instruments.

● Most often percussionists can divide parts among themselves, and the

orchestrator should assign players if the position of instruments on stage is

predetermined or if two instruments must be played at the same time.

● All instruments must be diligently labeled at the beginning of the score and in all

percussion parts. Be sure that there is enough time for a player to switch

instruments.

● Instruments with a single pitch can be notated with a one-line staff or a five-line

staff. If one player is playing multiple instruments at the same time, each

instrument can be labeled with a one-line staff or five-line staff, or they can all be

placed on a single five-line staff.

● For instruments with pitch variation, either a one-line, two-line, or five-line staff

can be used. Make sure to use the staff that is most easily understood.

● When switching instruments you can keep a part on the same staff and label the

switch as “to instrument.”

 ● When switching from a pitched instrument to a non-pitched instrument or vice

versa, you can change the amount of lines on the staff as well as the clef to

indicate the change.

● Unless a particle special setup is needed, leave the placement of instruments to

the players.

2) Uses of percussion within an orchestra (effects) and how to accomplish them

● To simulate march music or give an ethnic flavor.

● To emphasize accents and general rhythmic activity and better define pulse,

tempo, and meter.

● To build or cap to a climax.

● To create a dramatic beginning to a work.

● To color certain pitches or entire passages be doubling other instruments in the

orchestra.

● To function as an independent and contrasting choir.

● To reinforce extreme registers in the orchestra through pitched as well as

non-pitched percussion.

Listening:

1) Listen to at least 2 excerpts within the chapter, send me your comments

● W. Benson, Symphony for Drums and Wind Orchestra, third movement: This is

the kind of percussion music I really like to write. I think that it’s easy for a
 percussion section to drown out the rest of an orchestra, but when done right you

can have many percussionists that add a lot to a climax or powerful moment,

especially if they haven’t played very much before that moment. I think this

excerpt exemplifies a use of the percussion section not mentioned in the

textbook; creating a groove.

● Stravinsky, Le Sacre du printemps, Part I, “Cortège du sage,”: I can’t believe I

never noticed there’s a guiro in this excerpt! I’ve listened to the Rite of Spring a

lot, and so I’ve always appreciated the buildup here in the percussion section

with interesting hemiolas and polyrhythms.