George Frederick McKay · section 28 of 111

Percussion Instruments

Although they are immediately exciting when they first enter, the idiophonic (percussive) instruments become somewhat wearing if overused. Like seasoning, they must be used sparingly and in just the right amount. When they enter briefly for sudden emphasis or punctuation, there is a keenness of impact and a sense of happy surprise. The rhythmic excitement of percussion adds a mysterious substance and glamor to orchestration, but only when the percussive timbres chosen have a fitness for the music being played. Avoid routine use of the noisy military instruments and experiment with the more subtle and delicate percussive sounds.

Some percussion instruments, like the snare drum, bass drum, and cymbals, are naturally loud, and must be given dynamic markings that will moderate their intensity.

The timpani can be played in various pitches (see the example on page 5), but these pitches must be set in advance on two or three drums; if new pitches are needed the player must be given enough time to effect mechanical changes. This is particularly true if timpani are adjusted by hand. The pedal timpani can be adjusted more quickly by improved mechanical means but the player must still be given enough time to adjust the pedal. Timpani can effect dynamics ranging from an utter pp to a thunderous ff.

Drums and cymbals can be struck with "hard sticks" or "soft sticks," depending upon the degree of harshness or gentleness of effect needed.

Two works which may be studied for illustration of imaginative use of ordinary percussion instruments are Music for Strings, Percussion and Celesta by Bartók and Toccata for Percussion by Chávez.

There are certain orchestral works which intentionally illustrate the individual characteristics of the various instruments of the orchestra; these can be valuable for further experience in analyzing the characteristics of timbre and motion. Scores especially recommended for further listening are The Young Person's Guide to the Orchestra by Britten, Concerto for Orchestra by Bartók, and Peter and the Wolf by Prokofiev.