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Orchestral percussion refers to the various percussion instruments used in an orchestral setting. It may also refer to the act of playing such instruments in an orchestral style. Many music schools and conservatories offer training for musicians interested in developing their skills as orchestral percussionists. Typically, an orchestral percussionist does not specialize in one particular instrument. Although there is no exhaustive list of all instruments that an orchestral percussionist must be able to play, there are particular instruments that are frequently used in the orchestral repertoire. This includes timpani, snare drum, bass drum, xylophone, glockenspiel, triangle, and tambourine. [1]
Mallet percussion (also known as a keyboard or tuned percussion) is the general name given to the pitched percussion family. The name is a slight misnomer, in that almost every percussion instrument is played with some type of mallet or stick. With the exception of the marimba, almost every other keyboard instrument has been used widely in an orchestral setting.
There are many extremely common and well-known excerpts for most of the mallet instruments. Gershwin's Porgy and Bess remains the most requested xylophone excerpt at auditions, with Copland's Appalachian Spring , Kodály's Háry János Suite , and Kabalevsky's Colas Breugnon being other common choices, although the list is practically endless.
The glockenspiel has become a staple of the orchestra as well, and, as such, has had many important and difficult parts written for it. Dukas's The Sorcerer's Apprentice as well as Respighi's Pini di Roma are both extremely common excerpts on audition lists.
Another keyboard instrument used in the orchestra, as well as jazz, is the vibraphone. The most commonly requested excerpt for vibraphone at orchestral auditions is from Leonard Bernstein's "West Side Story." The "Little Blue Devil" movement from "Seven Studies on Themes of Paul Klee" by Gunther Schuller is also frequently requested.
In an orchestral setting, the concert bass drum plays an integral role in the overall feel of a piece of music. In orchestral literature, the bass drum usually deals more with coloring and shading the sounds of the orchestra as opposed to providing a solid, rhythmic foundation like in marching band drumset. The bass drum is usually used to accent strong points in the music and is often combined with a cymbal crash to further accentuate the moment. In fact, the two instruments are used in conjunction so often that many parts simply contain one rhythm and the composer then indicates which instruments are to play at which points.
Though the bass drum is possibly the least frequently requested instrument at auditions, it actually takes a fair amount of skill to play correctly. Given the number of variables that can change when playing the bass drum (beater, beating location, amount/type of muffling, stroke, etc.), a well-versed percussionist is usually required to obtain all the possible sounds from the instrument.
Some important excerpts for the bass drum in orchestral literature include Stravinsky's The Rite of Spring, Tchaikovsky's Symphony No. 4, Romeo and Juliet, and 1812 Overture, many of the Mahler symphonies (most notably his third), and Symphonie Fantastique by Hector Berlioz.
The snare drum is one of the most easily recognizable instruments in the entire percussion section. Also called the side drum, the snare drum is often used as a means of accenting rhythms from other families of instruments within the orchestra or as a soloistic type, particularly in pieces that may have a "military" type theme or sound to them.
The snare drum works extremely well as an accentuating instrument. Tuned and played correctly, it can produce sounds ranging from quick, short, and snappy to thick, warm, whip-crack-like accents. There are numerous examples in music of the snare drum being used in this fashion. One such example would be the fourth movement of Nikolai Rimsky-Korsakov's symphonic suite Scheherazade. In this particular example, the snare drum is used to accentuate the various crescendos and "hits" played by the rest of the orchestra. It is also used to reinforce the rhythms played by the trumpets throughout the movement.
As a soloistic instrument, the snare drum has certainly found its place in classical music. A fantastic example of this use of the snare drum would be the opening of Sergei Prokofiev's Lieutenant Kijé suite. After an opening trumpet solo, the snare drum plays a rather short, military-style solo at a pianissimo dynamic marking, designed to create a march-like feel. This particular part presents a number of problems for the orchestral percussionist, but its main difficulty lies in keeping the various rudiments (flams, four-stroke ruffs, etc.) consistent at such a soft dynamic level.
Another difficult Snare Drum piece in classical music is:
Bolero (somewhat demanding due to the exposed nature, the same two measures repeated for about 15 minutes, driving the entire orchestra to the end).
Traditional rudimental solos that show a snare drummers technique include:
The Connecticut Halftime, The Three Camps, and 'The Downfall of Paris
There has been a marked deviation from high-sticking, traditional drumming to a forced low-stick style. Various techniques of the snare drum include the Moller method, the Gladstone method, and other lesser methods.
Much like the bass drum, the concert toms are meant to add color and shading to orchestral music. However, it can also be used much like the snare drum. In fact, the snare drum can have the snare off, producing a high tom sound. Depending on the composer and/or music, the concert tom can be used as both. It gives a warm but sharper tone due to its size, being between 8 and 16 inches in diameter, whereas the concert bass is 30 to 45 inches. Factors such as the feel of the piece and the time period in which it was written are taken into account when using the concert tom.
Auxiliary percussion (also known as battery percussion or accessory percussion) include instruments like the triangle, castanets, and tambourine. These instruments are often overlooked and treated as trivial or unimportant simply because, to the untrained eye (or ear), they seem easy to play. The truth is, however, that auxiliary percussion often requires the most use of extended techniques and that the parts for these instruments are frequently the most difficult. Other auxiliary percussion instruments include:
Crash cymbals have been used in an orchestral setting since the time of Mozart when he adopted their sound from traditional Turkish bands to be used in his opera Abduction from the Seraglio. Since then, crash cymbals have become one of the most written for percussion instruments in classical music and they are easily one of the most recognized sounds within the orchestra.
Gongs and tam-tams are easily confused with one another. A gong, generally, is a large hung cymbal with a nipple. As such, they are usually known as nipple gongs. This nipple is a small dome in the centre of the cymbal that produces a single note when struck with a soft beater. Conversely, a tam-tam has no nipple and a flat central area. When this cymbal is struck with a beater (most usually a soft beater), it produces a myriad of sounds with no single overruling note.
One can distinguish the two by ear by following a simple method. A gong sounds like a slightly muffled church bell, producing a soft but clear note, whereas the tam-tam sounds much more like a large metal object being struck by a hard material.
Associated Board of the Royal Schools of Music, Trinity College London and London College of Music provide examination for orchestral percussion player. Candidates perform a balanced programme of three pieces, one chosen from mallet percussion song list, one from snare drum song list and one from timpani song list.
A cymbal is a common percussion instrument. Often used in pairs, cymbals consist of thin, normally round plates of various alloys. The majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a definite note. Cymbals are used in many ensembles ranging from the orchestra, percussion ensembles, jazz bands, heavy metal bands, and marching groups. Drum kits usually incorporate at least a crash, ride, or crash/ride, and a pair of hi-hat cymbals. A player of cymbals is known as a cymbalist.
A drum kit is a collection of drums, cymbals, and sometimes other auxiliary percussion instruments set up to be played by one person. The drummer typically holds a pair of matching drumsticks or special wire or nylon brushes; and uses their feet to operate hi-hat and bass drum pedals.
A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater including attached or enclosed beaters or rattles struck, scraped or rubbed by hand or struck against another similar instrument. Excluding zoomusicological instruments and the human voice, the percussion family is believed to include the oldest musical instruments. In spite of being a very common term to designate instruments, and to relate them to their players, the percussionists, percussion is not a systematic classificatory category of instruments, as described by the scientific field of organology. It is shown below that percussion instruments may belong to the organological classes of idiophone, membranophone, aerophone and chordophone.
The bass drum is a large drum that produces a note of low definite or indefinite pitch. The instrument is typically cylindrical, with the drum's diameter much greater than the drum's depth, with a struck head at both ends of the cylinder. The heads may be made of calfskin or plastic and there is normally a means of adjusting the tension either by threaded taps or by strings. Bass drums are built in a variety of sizes, but size does not dictate the volume produced by the drum. The pitch and the sound can vary much with different sizes, but the size is also chosen based on convenience and aesthetics. Bass drums are percussion instruments and vary in size and are used in several musical genres. Three major types of bass drums can be distinguished.
A gong is a percussion instrument originating in East Asia and Southeast Asia. A gong is a flat, circular metal disc that is typically struck with a mallet. They can be small or large in size, and tuned or can require tuning.
A percussion mallet or beater is an object used to strike or beat a percussion instrument to produce its sound.
The Universe Symphony is an unfinished work by American classical music composer Charles Ives.
Clash cymbals are cymbals played in matched pairs by holding one cymbal in each hand and striking the two together.
A suspended cymbal is any single cymbal played with a stick or beater rather than struck against another cymbal. Common abbreviations used are "sus. cym.," or "sus. cymb.".
Marching percussion instruments are percussion instruments specially designed to be played while moving. This is achieved by attaching the drum(s) to a special harness worn by the drummer, although not all marching bands use such harnesses and instead use traditional baldrics to sling their drums.
The term Chinese orchestra is most commonly used to refer to the modern Chinese orchestra that is found in China and various overseas Chinese communities. This modern Chinese orchestra first developed out of Jiangnan sizhu ensemble in the 1920s into a form that is based on the structure and principles of a Western symphony orchestra but using Chinese instruments. The orchestra is divided into four sections – wind, plucked strings, bowed strings, and percussion, and usually performs modernized traditional music called guoyue. The orchestra may be referred to as Minzu Yuetuan or Minyuetuan in mainland China, Chung Ngok Tuen in Hong Kong, Huayuetuan in Southeast Asia, or Guoyuetuan in Taiwan.
The Sonata for Two Pianos and Percussion, Sz. 110, BB 115, is a musical piece written by Hungarian composer Béla Bartók in 1937. The sonata was premiered by Bartók and his second wife, Ditta Pásztory-Bartók, with the percussionists Fritz Schiesser and Philipp Rühlig at the International Society for Contemporary Music (ISCM) anniversary concert of 16 January 1938 in Basel, Switzerland, where it received enthusiastic reviews. Bartók and his wife also played the piano parts for the American premiere which took place in New York City's Town Hall in 1940, with the percussionists Saul Goodman and Henry Deneke. It has since become one of Bartók's most performed works.
A drum stick is a type of percussion mallet used particularly for playing snare drum, drum kit, and some other percussion instruments, and particularly for playing unpitched percussion.
Ḥalil is a work for flute and chamber orchestra composed by Leonard Bernstein in 1981. The work is named after the halil, an ancient Jewish wind instrument. The work is sixteen minutes in length. Bernstein composed Ḥalil in honor of a young Israeli flutist Yadin Tanenbaum who was killed at the Suez Canal during the 1973 Yom Kippur war. The work was premiered at the Sultan's Pool in Jerusalem on May 27, 1981 with Jean-Pierre Rampal as the soloist and Bernstein conducting the Israel Philharmonic. The American premiere took place at Tanglewood on July 4, 1981 with Doriot Anthony Dwyer as the soloist and members of the Boston Symphony Orchestra.
The percussion section is one of the main divisions of the orchestra and the concert band. It includes most percussion instruments and all unpitched instruments.
In percussion, grip refers to the manner in which the player holds the sticks or mallets, whether drum sticks or other mallets.
This is a partitioned list of percussion instruments showing their usage as tuned or untuned. See pitched percussion instrument for discussion of the differences between tuned and untuned percussion. The term pitched percussion is now preferred to the traditional term tuned percussion:
There are several overlapping schemes for the classification of percussion instruments.
The Percussion Concerto No. 2 is a concerto for solo percussion and orchestra by the Scottish composer James MacMillan. The work was jointly commissioned by the Netherlands Radio Philharmonic, the Philharmonia Orchestra, the Orchestre national du Capitole de Toulouse, the Cabrillo Festival of Contemporary Music, the Baltimore Symphony Orchestra, and the São Paulo State Symphony. It was first performed on November 7, 2014 at TivoliVredenburg in Utrecht, the Netherlands, by percussionist Colin Currie and the Netherlands Radio Philharmonic under conductor James Gaffigan. The composition is MacMillan's second percussion concerto after 1992's Veni, Veni, Emmanuel.
The Mallet Concerto is a concerto for mallet percussion instruments and chamber orchestra by the American composer Ned Rorem. It was first performed by the percussionist Evelyn Glennie and the Madison Symphony Orchestra under the conductor John DeMain in Madison, Wisconsin, on March 27, 2004.