Music 251A Chamber Music Profile No. 6: Percussion

Each profile will highlight a specific problem of orchestration for chamber ensemble. The area of percussion has specific problems associated with integration with the other instruments. Perception of properties can be divided into effects of rhythm, timbre, and register. In the area of rhythm, the most important consideration is the rhythm of a given line or percussion instrument, versus the composite rhythms of two or more layers. Often the perception of foreground is a function of fixed-decay properties of an individual instrument, or the control of fixed decay by damping. In the area of timbre there are many illusory features: instruments, like the tam tam or suspended cymbal, contain the entire spectrum of sound, yet they give the illusion of rounding off to the upper register. Instruments like bass drum give the illusion of a thinning of the sound on decay. The area of register may be controlled by delineating the actual register with a specific, pitch percussion instrument, or creating the illusion with a non-pitched layer (such as covering a horn line with suspended cymbal or a brass chorale with snare drum).

When percussion is used alone, then the foreground must be created with the combination of effects described above. When it is combined with wind or string instruments, percussion can lend dimension to the primary instrumental sound, or modify the perception of that sound in combination.

  • 1. Stravinsky, L'Histoire du Soldat, "Triumphal March of the Devil."
    Bass drum/Cymbal combination underscores composite rhythm of opening. It becomes a kind of ritornello.
    Later in the piece (from Reh. 8), the percussion exposes the eighth-note tactus, which eventually becomes the signature drum motif.
    Notice the metric variations from 5 to 6, to 3, to 7 eighths.
  • 2. Varese, Ionisation, opening thru Reh. 8.
    Introduction (meas. 1-8): bongos and drums form rhythmic foreground, while cymbals and gongs provide background.
    Theme 1 (from meas. 9): side drum provides foreground in complex with high bongo.
    Transition, meas. 23- 1 before Reh. 6: multiple layers of rhythmic counterpoint. Chinese blocks figure at 1 before Reh. 6 anticipates second subject. Transition before Reh. 8 features tarole (snare drum) in rhythmic diminution with castagnets.
    Second subject (at Reh. 8) is a tutti, unisonal quintuplets of sixteenth notes, uniting chinese blocks, tarole, and bongos.

    • Updated, November 12, 2003.