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.
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 Four
Bounce Roll
Double Stroke Roll
Flam
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
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.
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
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.
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
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.
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.
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
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.
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
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)
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)
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
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.
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
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:
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.
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)
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
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
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.
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.
1. The range =
C3-C6
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
