Music 251A: Seminar in Orchestration, Spring 2003

Specific use of percussion in scores of Ravel and Stravinsky

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1. Percussion as a rhythmic clarifier:

Ravel, Vales Nobles, PP. 61-73.

Rapsodie Espagnole, II Malaguena, PP. 12-23 (Durand Score handout).

Stravinsky, Petrouchka, First Tableau, PP. 29-33.

Rite of Spring, Procession of the Oldest and Wisest One, PP. 69-70.

2. Percussion as rhythmic counterpoint:

Stravinsky, Petrouchka, Second Tableau, PP. 63-65. Section anticipates PP. 75-77.

Third Tableau, PP. 79-82.

Rite of Spring, Procession, PP. 71-73

Dancing out ofthe Earth, PP. 74-85.

3. Percussion as solo or primary accompaniment:

Stravinsky, Petrouchka, Dance of the Ballerina, P. 83.

Rite of Spring, Ritual of the Two Tribes, P. 54.

Ritual of the Ancestors, PP. 119-120.

4. Percussion as macro punctuation:

Stravinsky, Rite of Spring, PP. 48-53, 115-118.

Ravel, Alborada del Gracioso, Opening, PP. 1-7 (Eulenberg handout).

Las Valse, PP. 85-89.

5.A percussion chord:

Stravinsky, Rite of Spring, P. 101 (all timpani).

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Important percussion pieces (for student reference):

Anteil, Ballet Mecanique

Varese, Ionisation.

Cage, Three Constructions

Wuorinen, Percussion Symphony

Stockhausen, Zyklus (solo percussionist), Mikrophonie (two players on tam tam).