HMU 397A Orchestration


Class Notes 13

The Percussion Ensemble

Please note: All references to "Adler Movie" and "Adler Audio" can be found on
Six Enhanced Multimedia Compact Discs for The Study of Orchestration
A copy will of this CD set will be available for checkout at the multimedia lab.

All other items can be found in zip file on index page

So here we arrive at our last scheduled class.  By the end of today you will have a better understanding of the mechanics of the orchestra than most professional musicians.  Congrats!  Its been a great journey.


The Exam will consist of  everything we have covered this semester.  I anticipate it lasting at least 3 hours and will be in the same format as the quizes and exam you have seen so far this semester.   You will be allowed one hand written notecard front and back.  String finger charts will be provided.  The percussion section of the final exam will count as a separate quiz within the final and be of approximately the same breadth as the Brass quiz.  That quiz will be graded independently of the final and will not count in the final exam grade


Homework: Workbook pgs 115,116,117 and 124 (first 12 bars only)

The Percussion Ensemble

Eastman Percussion Ensemble: Fandango 13

Percussion instruments are some of the oldest instruments known to man.  The rhythmic foundation of these instruments provides a core ingredient to the humanity of music.  As with such instruments as the Trombone, percussion was introduced to the operatic ensembles in the 17th century.  The 18th century, percussion had been introduced into the classical symphony as a means of evoking militaristic imagery.   Its not until the 19th century that the percussion section shed its militaristic function and developed an independent role with unique colors and textures. 

The number and variety of percussion instruments is endless and the way one deals with music written for percussion is less standardized than that of the wind, brass and string ensembles.  For our purposes, therefore, we will concentrate our discussion to those percussion instruments most common to the symphony orchestra.
For a list of Percussion instruments not included in our discussion but occassionally appearing in the symphony orchestra see the bottom of these notes.

For the most part, percussion instruments (including the piano) are instruments of very little sustain.  To be sure certain instruments like the piano, the vibraphone or chimes (tubular bells) do have a significant sustain but that sustain is not readily manipulated by the player.  As well, most percussion instruments can "roll" or simulate a sustain by an extremely fast repeated attack but this again is not a true sustain.  As such, percussion instruments tend to be more staccato in nature and less legato.  Marking a slur or staccato on a snare drum is fairly ineffective as the instrument has an almost immediate decay and will therefore sound staccato.  The aforementioned sustaining percussion instruments can contain slurs for legato passages but it must be remembered that such markings will have a much more limited interpretation than non-percussion sustaining instruments.
https://www.youtube.com/watch?v=UCfmJpVUxpo

Number & Distribution of Players

Although Adler dedicates just 1/2 page to this subject, it should be noted with great importance.  Ergonomic problems inherant in the percussion section plague inexperienced orchestrators.  One must consider carefully:

1.  Can a single player switch from one instrument to another or from one type of beater to another in sufficient time
2.  How many percussion instruments can a single person play simultaneously
3.  Are certain players specializing in pitched vs. Indefinite pitch instruments?

In a typical orchestra of 2's it would be common to have 2 percussionists and a Timpanist.  In an orchestra of 3's it would similarly be common to have 3 percussionists and a Timpanist. 

Notation

Despite many attempts to standardize symbols for the various instruments and their respective beaters, such symbols are not always universally recognized.  It is still best to simply write the instrument and beater name in the score. 

Percussion is often classified into those instruments that are pitched (xylophone, vibes, timpani etc..) and those without pitch (snare, triangle etc).  However, the distinction between what is pitched and what is not is very vague.  For our purposes we will refer to percussion as instruments with definite or indefinite pitch. 

To this extent, Adlers presentation of the notation systems for these groupings is dubious and you should note the exceptions I set forth below:

1.  Instruments of definite pitch will appear on a staff of 5 ledger lines (or a grand staff) in a clef most appropriate to the instruments range.
2.   Instruments of indefinite pitch should appear on a staff with an appropriate number of ledger lines depending on the number of pitches available to that instrument and the classification of the type of percussion contained in the instrument:  Both lines and spaces may be used.  For example, a standard drum set (like the kind you would see in a rock band) or a standard auxilliary percussion set most likely contains only drums, cymbals and other percussion of indefinite pitch.  However, it should appear on a staff with 5 ledger lines where spaces are allocated to the drums and lines are allocated to the cymbals and other instruments.  A set of three congas may appear on a staff of two ledger lines where only the spaces are used to represent high-mid-low drums.  A triangle most likely will appear on the line of a single ledger line staff but a piece that calls for a high triangle and a low triangle will often have the notes appear above and below the single line to distinguish the high triangle from the low one respectively.

Adler also points out that the marking L.V. (let vibrate) is commonly used to indicate that a note on the instrument should sustain for the full course of its vibration.

Mallets Beaters and Sticks

The designation of the type of device used to strike the instrument can often be vague.  In general, Adlers definitions are good.

1.  Mallets = Keyboard style instruments
2. Sticks & Brushes = Drum style instruments
3.  Beaters = Other Percussion

As with our exploration of extended techniques on the other instruments of the orchestra, one should not feel constrained by these designations.  It is very common to use mallets on cymbals, beaters on drums and sticks on keyboard instruments (xylo etc.)  What is important to remember is that you should specify the type of device you would like the percussionist to use to strike the instrument and that you can use anything available as long as it does not cause harm to the instrument.   The tip of any striking device is called the "head"  The hardness of the head will determine how brittle the resulting sound will be.  Mallets and Beaters usually have Yarn (soft), Rubber (medium) and Plastic (hard) heads.  Sticks usually have wood (soft) or plastic (hard) heads.  Bushes are usually made of plastic or wire.  Like the percussion instruments themselves, there are new and interesting mallets, beaters and sticks being devised all the time so one may simply state the desired type as "Hard Mallet" or "Soft Beater".  It is unusual to request hard or soft sticks but you may request plastic or wood stick heads.    As previously stated, we will disregard the symbolic representation for these various types of strikers and call for them by name. To see other types of specialty strikers go here

The Rudiments
All percussionists go through extensive training for stick and mallet control. There are many types of variations and combinations of these rudiments and Adler presents just four of the basic ones in his discussion of the snare drum.  To be sure, these are the essential four but There are many more that can be applied to almost all of the percussion instruments.  The Orchestration student should pay a visit to:
http://www.vicfirth.com/education/rudiments.html and become familiar with the videos and notation for  all the rudiments including but not limited to:

Single Stroke Roll

single stroke rollnotated
Single Stroke Four
single stroke 4
Bounce Roll

notated
Double Stroke Roll

notated
Flam

flam
Ruff

ruff

Categories of Percussion Instruments

1.    Pitched vs. Indefinite Pitch

a. Idiophones = Vibration of the entire instrument (or section of instrument)
b. Membranophone = Vibration of a skin or membrane stretched and fastened over a resonating shell.
c. Chordophones= Vibration of a piece of string
d.  Aerophones. =  produces sound primarily by causing a body of air to vibrate, without the use of strings or membranes, and without the vibration of the instrument itself adding considerably to the sound.

Idiophones: PITCHED

Please note that pitched idiophones often come in a variety of sizes and ranges for each instrument designation.  The range in Parenthesis is the modern lower range of the instrument.  The lower range not in parenthesis is the given range in Adler. It is safe to use the extended modern range.  All ranges use C3 = Middle C

1.     Xylophone (CD 5 Xylophone) (CD 4-61)

Intro to Xylophone to 3:30


http://andrewhugill.com/manuals/percussion/movies/pitchedwood/xylophone/xylopan.mov
a. The soprano instrument of the mallet-keyboard family consisting of a row of chromatically tuned wooden bars, arranged in the manner of a piano keyboard. The bars are supported by a wooden frame over resonator tubes and they are sounded by being struck with mallets
b. Has a characteristiclly brittle sound that cuts through the orchestra very effectively.

c. Written Range of the most common Xylophone is (F2)C3-C6 (top note of piano).  It Sounds an octave higher than written.

xylo range

d. Xylophone has very little sustain so staccato is the normal articulation
e. all trills and tremolos of any interval are quite effective. 
f. "Rolls" or Extremely fast unison repeated notes similar to bowed tremolos are quite effective
g. Although 2 mallets are most common, 4 mallets can be requested for multiple notes and chords

2.     Marimba (CD 5 Marimba) (CD 4-62)

Intro to Marimba
Bach's Violin Concerto in A Minor on Marimba 1st movement

https://www.youtube.com/watch?v=tvK-i4j8hro

https://www.youtube.com/watch?v=zmGYOtxsxag


a. The bass instrument of the mallet-keyboard family The modern marimba is a mellower version of the xylophone. Versions of the marimba can have a range of up to seven octaves, but the modern standard is four octaves
b. Has a characteristiclly mellower sound that cuts less through the orchestra than the Xylophone. .

c. Written Range of the most common Marimba is (A1) C2-C6 .  Sounds as written. The lower register is very beautiful and resonant and the higher register resembles a mellow xylophone.
marimba
d. Marimba has very little sustain so staccato is the normal articulation
e. all trills and tremolos of any interval are quite effective. 
f. "Rolls" or Extremely fast unison repeated notes similar to bowed tremolos are quite effective
g. Although 4 mallets are common, 6 mallets can be requested for larger multiple notes and chords

3.     Vibraphone Vibraphone (CD 5 Vibraphone) (CD 4-63)

Intro to Vibraphone 0-2:26
Bach Sonata 1 g minor - Mike Engle
Vibes Pan
Construction
http://andrewhugill.com/manuals/percussion/movies/pitchedmetal/vibraphone/pedal.mov
http://andrewhugill.com/manuals/percussion/movies/pitchedmetal/vibraphone/motorspeed.mov
a. The middle instrument of the mallet-keyboard family The modern vibraphone has the distinction of being the only standard orchestral instrument that utilizes electricity.  Although it looks much like the xylophone and marimba,the bars of the vibraphone are made of metal and therefore contain much more sustaining power.  As well, the instrument conains a motor which regulates the vibrato and a pedal simliar to that of a piano which regulates the sustain time.  The same pedal indications as those use for the piano can be employed. 
b. Has a characteristically Jazz sound but can be used for very magical, eerie and smooth yet somewhat thick sound.

c. Range of the most common Vibraphone is (F2)C3-F5 Sounds as written.

vibe range

d. Vibraphone has very good sustain so a legato similar to that of the piano is possible.
e. all trills and tremolos of any interval are quite effective. 
f. "Rolls" or Extremely fast unison repeated notes similar to bowed tremolos are quite effective
g. Although 4 mallets are common, 6 mallets can be requested for larger multiple notes and chords

Extended Mallet Techniques:
1. Glissandi are effective and executed as "white note" or "black note" glissandi.  Oddly, even though Adler does not consider a french horn glissandi a real glissandi since it does not play the infinite series of pitches like a string player would, he does give credit to mallet glissandi. 
2. "Dead Stroking" is a manner of muting the instrument by striking the bars of the instrument then leaving the mallet pressed against the bar.
3. Bowing the bars with a cello or bass bow creates a very eerie, almost flutey sound. 
http://andrewhugill.com/manuals/percussion/movies/pitchedmetal/vibraphone/bowed.mov
4. Microtonal bends can be achieved by moving the one mallet from the node wile striking that bar with another mallet,

http://andrewhugill.com/manuals/percussion/movies/pitchedmetal/vibraphone/bent.mov
5. Harmonics are most effective on the vibraphone  by touching the "node" of the bar while striking with the other hand.

Note: 3,4 & 5 are most often called for on Vibraphone because of the resonating nature of the instrument.

4.     Glcokenspiel (Orchestra Bells) (Adler CD 5 Glockenspiel)(CD 5 Marimba) (CD 4-64)

Intro to Gockenspiel
Musicas Glockenspiel

  Note:  Be careful of the video links, the Glockenspiel shown in these videos is not standard. Notice how it is on a stand and not in a self contained case.  Although this is common with established orchestras, it is wrong to assume that a glockenspiel will have a stand and a pedal.  As with the entire discussion of the percussion, we will concentrate more on the Adler Videos and assume the pedal is the exception to the rule.
Glockenspiel.jpg
Pedal Glockenspiel
Construction
http://andrewhugill.com/manuals/percussion/movies/pitchedmetal/glockenspiel/character.mov
http://andrewhugill.com/manuals/percussion/movies/pitchedmetal/glockenspiel/glockpan.mov

a. Orchestra Bells are made of two rows of steel bars in a keyboard layout mounted in a portable case.  Its the only mallet instruments to utilize brass heads although plastic and wood are possible.
b. Characteristically ringing sound that can be very penetrating.

c. Written range is G2-C5 sounding two octaves higher

glock range

d. Much more sustain than wooden bars and some Glockenspiels have sustain pedals although this is not the norm.
e. all trills and tremolos of any interval are quite effective. 
f. "Rolls" or Extremely fast unison repeated notes similar to bowed tremolos are quite effective
g. Although 2 mallets are common, 4 mallets can be requested for larger multiple notes and chords
h. Colorisitc effects include waving the hand across the bars to enhance vibrato and shorten the sustain.

5.     Chimes (Tubular Bells, Campane) (Adler CD 5 Chimes)(CD 4-65)  
http://www.mikeoldfield.no/oldfield/tubular_bell.jpg

a. Chimes are made of two rows brass tubes hung on a rack.  The instrument has a sustain pedal which is notated like the piano and is struck with a mallet often called a hammer.  The head of the hammer may be made of yarn (soft) or rawhide (hard).  The hammer is significantly larger and heavier than the other mallets.
b. Characteristically Church Bell sound that has that quircky "out of tune" quality, it can be very penetrating.

c. Written range is G3-F4 sounding as written
Chimes range

d. Significant sustain with a pedal that dampens the sustain.
e. all trills and tremolos of any interval are possible but the heavy mallets make them risky and difficult.
f. "Rolls" or Extremely fast unison repeated notes are possible but more difficult due to the heavier beater.
g. 2 mallets only.  Occassionally two players will play the instrument simultaneously for a total of 4 mallets
h. Colorisitc effects include playing sets of notes as fast as possible.

6.     Crotales (Antique Cymbals) (Adler CD 5 Bowed Crotales)(CD 4-66)  

http://www.woodbrass.com/images/woodbrass/JEU+DE+CROTALES+ZILDJIAN.JPG

a. Croatales are a set of small metal discs mounted on a wooden board and setup in a keyboard layout.  Similar in sound to the glock but with a slightly errie edge. 

c. Written range is C3-C5 sounding two octaves higher (C5-C7)

croatale range


d. Much more sustain than wooden bars and a eerier sound than a glock.
e. all trills and tremolos of any interval are possible but less idiomatic.
f. "Rolls" or Extremely fast unison repeated notes are possible but less idiomatic.
g. 2 mallets only. 
h. Colorisitc effects include bowing the discs.  This is fairly common but requries ample time for the player to set the bow.

Imprtant word of caution:  The terminology for many percussion instruments can be confusing.  The word "Glock" is a common abbreviation used for Glockenspeil.  However the word "Glocken" is the german term for bell.  It is safe to use the english names for the percussion instruments.  When using the italian or german names you are well advised to always use the full name without abbreviations.


Idiophones: INDEFINITE PITCH

Idiophones: Indefinite Pitch: Metal

1.     Crash Cymbals (Piatti) (CD 5 Pair of Cymbals) (CD 4-75)
a. The cymbal consists of a curved metal plate with a raised bell in the center.  It consists of the bell, the bow and the rim and comes in many sizes ranging from the 10 inch "Splash" cymbal to the large 24-30 inch orchestral Piatti.
b. The Crash cymbal (Piatti) is a pair of these metal plates that contain handstraps on the bell. The player clashes them together and lets the plates vibrate or dampen the vibration by retracting the plates into the body.  This can be executed at both very loud and very soft dynamics.
c. A swish effect can be achieved by rubbing one plate against the other
http://andrewhugill.com/manuals/percussion/movies/unpitchedmetal/clashcymbals.mov

1.     Suspended Cymbals (Piatti Sospeso) (CD 5 Suspended Cymbals) (CD 4-75)
a. The cymbal consists of a curved metal plate with a raised bell in the center.  It consists of the bell, the bow and the rim and comes in many sizes ranging from the 10 inch "Splash" cymbal to the large 24-30 inch orchestral Piatti.
b. The Suspended cymbal (Piatti Sospeso) is a single of these metal plates either mounted on or suspended from a stand.  The player then uses a beater to strike the cymbal in various ways.    Softer beaters yield a smoother sound like a metalic wave of the ocean.  Harder beaters pronounce the strike. 
c. A scraping effect can be achieved by dragging a triangle beater across the bow of the cymbal
d. A very interesting and eerie sound can be achieved by drawing a cello bow across the rim.
e. Note that the suspended/mallet technique is too often employed as just cresc or dim.  It is also very effective at a single dynamic sustain.
http://andrewhugill.com/manuals/percussion/movies/unpitchedmetal/suspcymsizes.mov
http://andrewhugill.com/manuals/percussion/movies/unpitchedmetal/cymbaltypes.mov
http://andrewhugill.com/manuals/percussion/movies/unpitchedmetal/cymballongnotes.mov
http://andrewhugill.com/manuals/percussion/movies/unpitchedmetal/cymbalsimprov.mov

Note: Never use the term "Cymbal" without specifying "Crash" or "Suspended"  (Piatti or Piatti Sospeso) In many cases, if there is a doubt the player will strike a suspended cymbal with a mallet as a compromise.  This is usually an unsatisfactory solution. 

3.     Triangle (Triangolo) (CD 5 Triangle) (CD 4-77)

a. One of the oldest indefinite pitch percussion instruments in the orchestra.  It is a round metal rod bent into the shape of a triangle. Sizes generally range from 6 (highest pitched) to 10 (lowest pitch)
b. Has a characteristically crystalline, pure sound that adds luminescence to the orchestra.
c. Played with small metal beater.
d. Triangle has very good sustain and like the timpani, one should be very aware of the length of a given note.
e. rolls are quite effective. 
f.  The instrument can be very effectively dampened by lightly holding the struck bar.  The player can quickly alternate different patters of open and dampened triangle.  The orchestrator can notate a dampened triangle with the + sign and an open triangle with the  o sign.
g. Although 1 beater is most common, 2 can be used when the triangle is mounted on a stand.

http://andrewhugill.com/manuals/percussion/movies/unpitchedmetal/triangle.mov
http://andrewhugill.com/manuals/percussion/movies/unpitchedmetal/trianglesizes.mov


4.     Tam-Tam (Gong -indefinite pitch) (Adler CD 5 Tam Tam)(CD 5 Marimba) (CD 4-79)
The standard Suspended Orchestral Gong is called a Tam-Tam and should be referred to as such.  "gongs" come in many varieties and pitches, sizes and shapes and only the Tam Tam is the one commonly associated with the orchestra and seen in the video below.
http://andrewhugill.com/manuals/percussion/movies/unpitchedmetal/tamtam.mov  
http://andrewhugill.com/manuals/percussion/movies/unpitchedmetal/tamtamduration.mov

a. The standard tam-tam hit has a 'blossom' on the sound depending on the size of the instrument, the beater used and the strength of the hit. Non-standard techniques include rubbing and bowing the instrument.

5.     Wind Chimes (Mark Tree) (Adler CD 5  Wind Chimes)(CD 4-65)  http://andrewhugill.com/manuals/percussion/movies/effects/windchimes.mov
Wind chimes can be categorized into two types: Those that actually resemble the chimes you find in a garden and Marc Trees that create a more sonorous emulation of that effect. 
http://www.sunlitedrum.com/drums/products/MarkTree.jpg
a.  Wind Chimes are simply bamboo sticks, , glass, metal, wood or shell pieces suspended from some object and either stroked or jangled with the hand. 
b. The Mark Tree is very often used when the score calls for "wind chimes"  It is a series of 20 to 40 metal tubes (brass, aluminium, or glass) hung from a long wooden bar by thin nylon cords. The tubes are arranged from shortest to longest or highest pitch to lowest pitch in a single or in double rows. The instrument is played by brushing the hand (or a stick) across the bars either from higher to lower or lower to higher causing the free-hanging tubes to randomly strike the adjacent tubes and produce pitches from their vibrations. Occasionally, the instrument is outfitted with a damper bar that can reliably stop the sound quickly. Without the damper, it is very difficult to stop the tubes from hitting each other.

It should be noted that the orchestrator should be very clear whether they prefer the Marc Tree or standard wind chimes.

Idiophones: Indefinite Pitch: Wood

1.     Wood Blocks (Holzblocke) (CD 5 Wood Blocks) (CD 4-83)
http://andrewhugill.com/manuals/percussion/movies/unpitchedwood/woodblocks.mov
a. Wood blocks are rectangular piees of wood or plastic usually found in sets of 3 to 5 blocks.  They are either mounted on a stand or lay on a table.  The largest of the set produces the lowest pitch and the smallest produces the highest pitch. 
b. Characteristically "horse hoof" sound.  incisive, penetrating and dry. 
c. Any mallet or stick can be used to achieve various timbres.
d. Rolls are very effective.

3.     Temple Blocks (CD 5 Temple Blocks) (CD 4-83)
a. Similar to woodblocks, these instruments of asian origin are a graduated series of clamshell shaped wooden blocks mounted on a stand. They are typically red and the method of playing them is similar to the woodblocks.
b. Since they tend to be fragile, hard sticks or mallets should be avoided. 
c. rolls are quite effective. 

4.     Claves (Adler CD 5 Claves) (CD 4-84)
Originally a Latin American instrument, the claves are cylindrical pieces of hard wood about an inch in diameeter and six inches long.  When struck together, they produce a sound like that of the highest wood block struck very hard.  Of the many latin percussion instruments this is one of the most frequently used in the symphony orchestra.

Membranophones:  PITCHED

1.     Timpani (CD 5 Timpani, Tuning of Timpani, Timpani Chords) (CD 4-70-71)
Please take equal note of the videos presented here and in Adler:

timp





http://andrewhugill.com/manuals/percussion/movies/pitchedskins/timpani/timpspan.mov
http://andrewhugill.com/manuals/percussion/movies/pitchedskins/timpani/timpsizes.mov
http://andrewhugill.com/manuals/percussion/movies/pitchedskins/timpani/timpdesigns.mov


a. The oldest and one of the most called for orchestral percussion instruments is the timpani.  Although the videos on this page show 5 drums, 4 drums are the norm and some smaller orchestras may have only 3. Until the early 20th century, the drums were tuned by a system of lugs that could be tightened or loosened altering the pitch of the membrane much like a violins string would be altered by turning a peg. Retuning a timpani was a time consuming event until the advent of the pedal and gauge system allowed for almost instantaneous tuning.

http://andrewhugill.com/manuals/percussion/movies/pitchedskins/timpani/pedalgauge.mov
http://andrewhugill.com/manuals/percussion/movies/pitchedskins/timpani/gaugeaction.mov
http://andrewhugill.com/manuals/percussion/movies/pitchedskins/timpani/tipregauges.mov



b. The range of each drum in the set will vary with manufacturer and player.  As always, we will use the Adler definition of ranges as our guide.  Note the slight differences presented by the online videos and go with the Adler.

I.    Large Drum: 32 Inches- C1-A1 (Bb1)
II.  Mid Drum(low): 28 Inches F1-C2 (D2)
III. Mid Drum (high) 25 Inches (Bb1-F2) (Gb2)
IV. High Drum 23 Inches (D2-A2) (Bb2)
V.  Less common: Piccolo Timpani 21 Inch F2-C3 (D3)

Timpani range

    
http://andrewhugill.com/manuals/percussion/movies/pitchedskins/timpani/sticks.mov

The first thing you should note is that the ranges of the various drums overlap.  That is, certain notes like F2 exist on multiple drums.  Although it is common for the Timpanist to decide which drum is best for any given pitch, a particularly pitched passage may force the player to execute a given note on a given drum.  As such, the orchestrator should be aware of the most likely drums on which any note will be executed.  As well the quality of a given note will vary based on the drum.  The larger the drum head the more the the drum will ring.  If  the drum is played at a very high pitch with the pedal down and the skin drawn tightly, the drum will produce a more staccato and defined sound.  With the pedal up and a looser skin, the drum will have a less defined sound.  In our example of the pitch F2, the note on the 25 inch drum will require a very tight head on a mid size drum.  This will produce a fairly articulate and resonant sound.  On the 27 inch piccolo timpani it will be a less resonant and less defined.

With such a large head, the timpani can ring out for some time. As such, the orchestrator must be careful to write durations exactly as long as intended even if the note is not rolled.  Upon the completion of a notes written duration, the timpanist will lightly touch the head of the drum to dampen any remaining vibrations. 

Since the drums can be tuned relatively quickly, orchestrators should not be too shy about writing melodically for the drums.  The modern timpanists abilities are often underestimated.  Just as we saw some amazing pedal work in the harp, so too can the timpanist manipulate the pedals.  To this extent, be sure to visualize the ergonomics of very pitched timpani passages.  As well, like the harp, pedal changes should be notated in the score and in the parts.  Since no standard pedal diagram exists for the timapni,  Use letter names of the prior and next pitch to indicate a change.  For example, to retune from an F1 to G1 you could write:  (F-G).  If you wanted to specify that this retuning should be executed on the low 32 inch drum you could write (   F-G (32")   )

e. all trills are possible but very limited since the would require two drums to be tuned a step apart.  Also the quality of the pitches would be much less uniform than other instruments capable of trilling.   Tremolos of many more interval are quite effective and much more common.
f. "Rolls" or Extremely fast unison repeated notes similar to bowed tremolos are quite effective
g. Although 2 mallets are most common, 4 mallets can be requested for multiple notes and chords   Note that the player will always have to execute the two mallets on adjacent drums. 
h. Glissandi are quite effective and should be contained to nothing larger than a 6th
i. Placing various objects on the drum head is a common contemporary technique:
http://andrewhugill.com/manuals/percussion/movies/pitchedskins/timpani/fxcymbal.mov


Membranophones:  INDEFINITE PITCH

1.     Snare Drum (Tamburo Piccolo) (CD 5 Snare Drum) (CD 4-89)
Picture of a Snare Drum Notice the shallower shell than the tenor drum and the attachment of a "throw" mounted on the side of the drum
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/snaredrum.mov

a. Like the Timpani, the snare is a staple of the orchestral percussion section.  The basic rudiments of playing the snare are carried over to almost all of the percussion instruments so be familiar with those rudiments presented below.  The instrument is a drum with a membrane (called a "head") that is stretched over each end.  On the side of the drum is a mechanism called a "Throw"  that, when activated, pulls a band of wire or nylon (called the "Strainer") taught across the bottom head.  When the Throw is activated and the Strainer is active, the drum produces a crisp sharp sound.  It is the exact sound you hear as the back beat of traditional rock and roll music. 
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/snaresonoff.mov

b. Like most percussion instruments, the snare player learns a full set of sticking rudiments.  The four most commonly implemented are the: Flam, Drag, Ruff and Roll.  The notation and audio for these is presented in Adler pg 461and CD 4-89.  Please note that the use of the Trill sign for a roll is antiquated and will lead to confusion.  Under no circumstances should you ever use a trill sign to indicate a roll.  Instead use the same three cross lines we have seen in Fluttertongue and unmeasured tremolos. 
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/snarehits.mov
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/snarerolls.mov

c. With the Throw on it produces a Characteristically military sound.  Sharp and incisive.  
d. Sticks are most common but one can also ask for mallets for a more muted sound or wire brushes for a very soft tapping sound. 
e. Rolls are very effective and extremely idiomatic to the instrument.
f  A special type of accent called a "rim shot" can be produced when the player simultaneously hits the drum and the rim.
g.  With brushes, an effect called a "stir" can be produced by the player continually rubbing the wire brush across the drum head.

3.     Tenor Drum (CD 5 Tenor Drum) (CD 4-90)
Picture of Tenor Drum Notice a deeper shell than the snare drum and the metal attachement along the rim for a marching band harness.
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/tenordrum.mov
a. Similar to the snare, the tenor drum is too often thought of as a big deep snare drum.  Do not make this mistake.  The tenor drum has a deeper shell than the orchestral snare and no snares.  It is played as frequently with sticks as mallets.  It sustains for a much longer time than a snare and is significantly less articulate.  It often comes in sets of three or more.  These are the drums you see percussionists carrying in sets of 3 in marching bands.  (Please note that the tenor drum is very closely related to the field snare used in marching bands)

4.     Bass Drum (Gran Cassa:  G.C.) (CD 5 Bass Drum) ( (CD 4-92)
Picture of Gran Cassa
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/bassdrum.mov

a. The biggest of the drums, the Gran Cassa is mounted on a very large stand and is capable of extreme dynamics.  The drum has two heads and on the smaller bass drums, both sides can be struck by a single player.  The instrument can create extreme percussive accents as well as simulate distant thunder
b. Rolls can be produced with one big softer mallet but often done with two
d. Sticks and other mallets are less common but perfectly acceptable.
e. The large head results in less articulate notes.
f.  All sorts of extended techniques have been developed for the instrument including rubbing the head of the instrument with a slightly wet rubber ball which produces a rather scary yet ominous rumble.
g. Special beaters called Routers have been used on the GC
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/bassdrumrute.mov

5.     Tambourine (Tamburo)(Adler CD 5  Tambourine)(CD 4-97)
Click here for a picture of a Tambourine

Start Video at 23m23s

a.  The tambourine is a shallow drum with a single head fastened over a wooden shell (hoop).  Around the shell are several slots with pairs of small disc cymbals that jingle when the instrument is truck or shaken.  The tambourine comes in many sizes so you can specify Large, Medium or Small. 
b. The most basic method of playing is to strike the instrument with the fingers, palm or knuckles
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/tambhits.mov
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/tambwetdry.mov
c. Rolls can be produced by shaking the instrument or rubbing the thumb across the head to produce a "thumb roll"
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/tambroll.mov
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/tambcrescroll.mov
d. A left hand-right hand technique can be employed for quick rhythmic passages
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/rocktamb.mov
e. Quick notes can be played by resting the instrument on the lap and tapping it with two hands
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/tambfastsit.mov
f.  Quick notes can be played loudly by putting the foot on a chair and using a hand-knee technique
http://andrewhugill.com/manuals/percussion/movies/unpitchedskins/tambfastloud.mov
g. By mounting the tambourine on a stand either head up or down, the player can implement any sticking or mallet techniques

Keyboard Instruments

The Keyboard has been a part of the orchestra since its inception.  In the orchestral world, the keyboard player has been relegated to the piano, harpsichord and celesta.  Today, every standard orchestra employs at least one pianist who doubles not only on harpsichord and celesta but may be called to play a variety of synthesizers as well.

Piano  (CD 5-1-4)
Click here for a picture of a Grand Piano
Probably the best known of the western musical instruments the Piano has been a featured soloist more than any other orchestral instrument.  Its range makes it one the only instrument that can virtually encompass the range of the orchestra and its use as a pedagogical tool makes it widely familiar to even non-pianists.  The piano is a great doubler of other orchestral instruments, a unique orchestral color and a wonderful accompaniment.  In todays modern symphony the piano can be used to great effect to define quick articulate low string passages.  

1.  The piano serves the orchestra in 5 ways:

    a.  Soloist
    b.  Performer of obbligato
    c.  Equal orchestral instrument
    d.  Percussion instrument
    e.  Filler in non pro groups.

2.  Range A-1 to C7

Although the sound is more uniform across the range than many instruments, the low register tends to be thick and heavy.  The middle register is clear, warm and poignant and the upper registers can be crisp, slightly brittle and somewhat percussive.

3.  Pedals:  There are three pedals on the piano.  

    a.  Damper (sustain) Pedal. (right most pedal)
       When this pedal is pressed, a mechanism lifts the damper off the strings and allows them to vibrate.  
    b.  Una Corda Pedal
        The left most pedal.  It is designed to shift the hammers into a position which enables them to strike only one (or sometimes two) of the three
      strings assigned to a given note.  This therefore softens the tone not unlike a violin mute
    c.  Sostenuto Pedal

This center pedal is now common but may not be found on much older pianos, or certain simpler instruments.  When depressed, the sostenuto pedal sustains only the pitches that are played at the same time the pedal is put into action.  It is often used to created sustained notes while subsequent notes play in a non-sustained manner. The pedal only works on those notes below middle C.  Once the Sostenuto Pedal is depressed, both the Sustain pedal and the Una Corda pedal can be employed.  

4.  Coloristic Effects

    a.  Prepared Piano:
         All sorts of objects can be placed on top of or wedged between the strings

    b.  Strike strings with various percussion beaters.

    c.  Pluck the strings in a Pizzicato style

Celesta (CD 5-4-5)
Click here for a picture of the Celesta
Resembling a miniature piano, the Celesta is made of steel bars that lie across a small wooden resonator box.   These bars are struck by felt hammers.   The instrument has a sound similar to a subdued glockenspiel but due to the resonators can not be played very staccato.  In addition, the Celesta has a sustain pedal although its not as effective as that of the piano.   Its uses in the orchestra are similar to those of the piano.  

    

Not Covered:  Harpsichord, Organ, Harmonium

Scoring for Percussion with Keybd Alone and In Combos I-II
Text Ch 14 Pgs. 486-545

Like the chapter on scoring for Brass, Winds and Strings. After the first 10 pages These chapters are almost entirely listening excersizes.  Please read them on your own.  You may be responsible for the material contained therein.   As well, Adlers presentation of the layout and score order for the percussion section is a slight departure from what some consider to be normal.  We will discuss a more standardized layout in class. You can see my preferred layout here

OTHER PERCUSSION OCCASIONALLY APPEARING IN THE ORCHESTRA

Idiophones:

Steel Drums    Musical Saw    Flexatone   Crystal Glasses Roto Toms
High Hat Sizzle Cymbal, Finger Cymbal, Chinese Cymbal Anvil, Cowbells Sleigh Bells Brake Drum Thunder Sheet Claves, Castanets, Sand block, Maracas, Vibraslap, Guiro, , Slapstick-Whip, Log Drum, Hammer. Ratchet

Membranophones

Field Drum Timbales, Bongos, Conga Drums, Quica
Chordophones

Cimbalom Hammer Dulcimer

Aerophones:
Sirens, Motor Horns, Wind Machines
Whistles