perform

on a multitude
of different
instruments,
is imperative
in a symphony
orchestra,
not including
theittimpanist
and that
keyers
is board
even
aplayer,
"cop-out"
school
that
says,
"Place
the
instruments
any
the composer
or
orchestrator
arrange
the
percussion
section
of
the
and since these few percussion players are askedold
to
way
and
let
the
players
figure
it
out
for
themselves."
This
is
certainly
score
very
carefully
and
that
the
notation
be
instantly
legible.
perform on a multitude of different instruments, it is imperative that
not
way
solve
the problem.
Letconcerning
us find
anscore
approach
is
There
aretomany
schools
of thought
setup. that
There
thethe
composer
or
orchestrator
arrange
the
percussion
section
of the
is even
a "cop-out"
school
"Place
instruments
any old
clear
and
logical:
score
very
carefully and
thatthat
thesays,
notation
bethe
instantly
legible.
way
andare
let many
the players
figure
it out for concerning
themselves."score
This setup.
is certainly
There
schools
of instruments
thought
There
1.
Order
in which
keyboard
appear
inapproach
the score:that
highnot
the
way
to
solve
the
problem.
Let
us
find
an
is
evenatathe
"cop-out"
school
that says, order:
"Place the instruments any old
estisclear
one
top,
then
in
descending
andletlogical:
way and
the players
figure it out for themselves." This is certainly
Glockenspiel
not1.the
wayintowhich
solve
the problem.
Let us appear
find anin approach
Order
keyboard
instruments
the score: that
high-is
Xylophone
clear
andatlogical:
est one
the top, Vibraphone
then in descending order:

Glockenspiel
Xylophone
Chimes
est one at the top, then
in descending order:
Vibraphone
(Celesta
Glockenspiel
Marimba
I Piano
Xylophone
Chimes
Harpsichord
Vibraphone
(Celesta
Organ
IMarimba
Piano

Chimes
Harpsichord
Of course, not all of these instruments are used in every score, but
+++++
Organ
when any of them (Celesta
do
appear. they should be arranged in this
I
Piano
sequence
in the
All these
instruments
usually
Rtaced
Of course,
notscore.
all of these
instruments
are usedare
in every
score,
but
Harpsichord
below..
Jimp?ni
anddotheIi-onp!teneawhentheany
of them
appear. they should be arranged in thisIf
OrganAll these instruments areallusually
harps
are called
theysnou1a"f)"e-plilceirabove
the keyboard
sequence
in the score.
Rtaced
instruments.
Let
that
the percussion
section
at a particular
below..
the Jimp?ni
and
theIi-onp!teneaIf
Of course,
notus
all say
of
these
instruments
are used
in every
score, but
harps
are
called
theysnou1a"f)"e-plilceirabove
the keyboard
when
ofwork
themconsists
do
appear.
shouldinstruments:
be all
arranged
in this
spot
in aany
large
of thethey
following
timpani.
instruments.
Let
us
say
that
the
percussion
section
at
a
particular
sequence
in theand
score.
All the
these
instruments
harp,
xylophone,
celesta;
setup
would be:are usually Rtaced
spot
in
a
large
work
consists
of
the
following
instruments: timpani.If
below.. the Jimp?niTimpani
and theIi-onp!teneaharp, are
xylophone,
celesta; the setup would be: all the keyboard
harps
called and
theysnou1a"f)"e-plilceirabove
Harp
Timpani
instruments. Let us
say that the percussion section at a particular
Xylophone
Harp
spot in a large work
consists of the following instruments: timpani.
Celesta
Xylophone
harp, xylophone, and celesta; the setup would be:
Celesta
Timpani
2. Order of nonpitched
percussion:

Harp
a.2. The
high to low principle should be observed.
Order of nonpitched percussion:

Xylophone
Another
principle
of organization of this group is by mateb. a. The high
to low principle should be observed.
Celesta
++++++ rials:
of organization of this group is by mateb. Another principle
rials:
2. Order of nonpitched percussion:
a. The high to low principle should be observed.
b. Another principle of organization of this group is by mate42'1
rials:Scoring for Percussion with Keyboard

Marimba
1. Order in which
keyboard instruments appear in the score: high-

for:'

for:'

for:'

I. Metal
II. \Nood
III. Membrane

+++++
Since there are
so many nonpitched instruments, let us take only
a few of the most common and set them up in suitable score sequence,
NOTAO
remembering that as a group they are placed immediately below the
timpani. We will rearrange the following instruments: snare drum,
bass drum, triangle, tambourine, sleigh bells, wood blocks, tenor
drum, temple blocks, cymbals, and a tam-tam. According to our
guidelines above, here is the order in which they would appear in
the score:
t:',\
,
,
.
-Triangle j
I
I.:' Sleigh Bells'
-1 Cymbals
'i'T
.
: I am-tam

,
II

II

,
II
!

Here is where notation is very important. We need not discuss the

1. Nonpitched percussion with no variation in sound [i.e., mara-

cas, claves) may be notated on a single line, which may be either a

I
j

Example XIV-l
Scoring for Percussion with Keyt... d
423
"------or
2. Nonpitched percussion with pitch variations:
When three wood blocks, five temple blocks, three timbales, or
Sn.Dr.
four cymbals off different sizes are used, there are again three accepted
423
Scoringthe
foronePercussion
withstaff
Keyt...
d
methods of notating clearly. Either
or two-line
or "
the
------Notice
"percussion
clef" II manner:
is used on the single line or
staff that
may the
be used,
in the
following
five-line
for Percussion
with Keyt... d
423
2. centered
Nonpitched
percussion
with
variations:
on the
third line
ofScoring
apitch
five-line
staff.
"------When three
wood blocks, five temple blocks, three timbales, or
Example
XIV-3
us suppose
we havewith
onepitch
player
playing snare, tenor, and bass
2. Let
Nonpitched
percussion
variations:
four cymbals of different
sizes are used,
there
are again three accepted
drums.
We may
useblocks,
either five
of two methods:
one
linetimbales,
for each instruWhenofthree
wood
three
4 Cymb.
methods
notating
clearly.
Either temple
the one-blocks,
or two-line
staff or theor
four
cymbals
of five-line
different staff,
sizes are
used, there are again three accepted
the
as
follows:
ment,
or
five-line staff
mf may be used, in the following manner:
Sn. Dr.

fFi:ijJ

methods of notating clearly. Either the one- or two-line staff or the

Example
XIV-3
Sn. Dr. Ht-I
__

4 Cymb.

mf

or

4 Cymb.

Player I
Ten. Dr. Ht-----"I---------'f--------'f-3 W. Bls.

...4 Cymb.

or
....

mf

Sf

or

...- or
...4 Cymb.

fJ-L-<t-

4 Cymb.
5 T. Bls

mf

,...-,
,...-,

f,...-t::::=:=='

===f
.-

LT --

...

:> -

=r-1

,...--

--j

3 W. HIs.

Sn. Dr.

-+-"f---+-t,.......-iJ--t--1c--#--J:f-t-.......--,f--+-

,...--

-+-----..------j-

3 W. Bls.
Bass Dr.
5 T. Bls.
5 T. Bls.

,...-,

mf

f
===
There
composer wishes to have a player
.... are many instances where a===
t::::=:=='
perform
in very close proximity, and often this
.... on two instruments

Player [

Ten. Dr -H--1-

3 W. HIs.

mf

r------,..---

:> :> -

3 W. HIs.

..5 T. Bls
f
The
stems
of
the
tenor
drum
may
go up or down, but either way,
Example XIV-4
f concise
theseare
would
clearaand
ways to
of have
notating
the three
There
manycertainly
instancesbewhere
composer
wishes
a player
instruments.
Both
methods
of
notation
are
equally
valid
if
three
perform
onare
two
instruments
verya close
proximity,
often
this difThere
many
instances in
where
composer
wishes and
to have
a player
+++++++++
performing
the three
parts.
ferent on
players
are
is notated
perform
on one
twoline.
instruments
in very
close different
proximity,
and often this
Bass Dr

is notated on one line.

5 T. Bls

t::::=:=='

----

is notated
on one line.
This
is certainly
Example
XIV-4 a space-saving solution, especially if there is only
oneExample
percussion
player or if there is very little written for the percusXIV-4
sion section in the work. But one further refinement would make this
notation even clearer: the bass-drum stems should go down instead
of up to differentiate further between the two instruments.
This is certainly a space-saving solution, especially if there is only
Example
XIV-5
This is
certainly
solution,
there
is only
one
percussion
playera space-saving
or if there is very
littleespecially
written forif the
percusone
percussion
player
or
if
there
is
very
little
written
for
the
percusto
Bass
Dr.
B.
Dr.
sion section in the work. But one further refinement would make this
Triangle
sion section
in the work.
But one further
thisI
notation
even clearer:
the bass-drum
stemsrefinement
should gowould
downmake
instead
(B. Dr)
notation
even
clearer:
the
bass-drum
stems
should
go
down
instead
of up to differentiate further between the two instruments.
Sf
sf
sf
of up to differentiate further between the two instruments.
Example
XIV-5 important fact must be kept in mind whenever one
One crucially
Example
XIV-5
Dr.
B. Dr.
player is called
upon to switch from oneto Bass
instrument
to another: one
to Bass Dr.
B. Dr.
Triangle
must
allow enough time for the player to change sticks. It is not so I
(B. Dr)
Triangle
bad(B. between
triangle and bass drum, for example,
for the
player
can I
Dr)
Sf
sf
sf
Sf
sf
hold a triangle beater in one hand and a bass drumstick
in thesfother.

""-

snare drumsticks in order to play on the latter instrument.

5 T. Bls.

Xyl.

B_d

II

Notice again that some time has to be allotted for the player to
switch from mallets to sticks, unless the composer wishes both
instruments to be performed with xylophone mallets. Certainly this
is possible, and less time will elapse between the performances of
the two instruments, for the player will position them in such a manner that he is able to play them both at the same time.
Here are some percussion placements on scores from orchestral
works using large percussion sections:
Example XIV-7. Mozart, Overture to Die Entfiihrung aus dem
Serail, mm. 1-9
.JA

Presto

Plauto piccolo
20boi

-IJ

it.

Clarinetti in C

-tT

I a.17

2 PI4fOUl
2 Coni' l.a C
2 Trombe lnC

Tlmpa.ni in C-G

"

.-LJ.

r-r
I"

a2L1

I,
r

Tamburo rude
'J J I J

Triuplo

"V

Piatti

"
Violino I
Viollno II

...

.........

I!

,-,..

" .. 'I

If

etc.