THE ROLE OF TURKISH PERCUSSION IN THE HISTORY AND ...

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CHAPTER 4 SUBSEQUENT HISTORY AND USE OF TURKISH PERCUSSION INSTRUMENTS IN THE ORCHESTRA The positive result of the Turkish influence on the orchestras of the nineteenth century was that percussion instruments as an entire section were then accorded a place in instrumental music ensembles. Not only the timpani, but now a variety of percussion instruments of numerous timbres were available for composers to use in various ways. 1 The nineteenth century and the first quarter of the twentieth century represent a segment of time necessary for the maturation of the Turkish percussion instruments accepted into the orchestra. It was during this period that each of the standard instruments of the percussion section was gradually weaned from its past standard usage and introduced to a variable degree of independence. With the exception of the Turkish crescent, every member of the Turkish percussion section included in the orchestra was to undergo changes during this period of time that led composers to see the bass drum, cymbals, triangle, and tambourine more autonomously. These instruments were given solos of different types, and were accorded some individuality, functioning not only as a homogeneous group, but also in combination with other orchestral instruments. 2 The bass drum, seen in Figure 21, gradually began to assume a more modern appearance by the beginning of the nineteenth century. Berlioz refers to two forms of the bass drum: a deep, two-headed instrument known as the long drum in which the depth of the shell was greater than the diameter of the heads, and a shallow Turkish drum of larger diameter, also with two playable heads. 1 Gangware, The History and Use of Percussion Instruments in Orchestration, 206. 2 Ibid., 256-57. 44
Figure 21. Modern orchestral bass drum. Reprinted from Karl Peinkofer and Fritz Tannigel, Handbook of Percussion Instruments, Translated by Kurt and Else Stone. (New York: Schott Press of Belwin-Mills Publishing Corp., 1976) 95 Even after its inclusion into the orchestra, the latter form was known as the Turkish bass drum until the beginning of the nineteenth century. The orchestral model ranged in diameter from approximately 30 inches to 40 inches; the depth of the shell around 20 inches. Later in the century a tensioning screw mechanism was added, enabling finer tuning of the drum and a more sonorous, full sound with good carrying power. The bass drum is almost always double-headed. The “stick and switch” style incorporating the playing of both a beater and a ruthe was ultimately replaced by the use of two identical beaters. The most common beaters remained wooden, covered with felt. Also called mallets, these beaters produced a deep, rich tone from the drum. When only one beater was needed, the open hand could control the length of a note’s resonance by muffling the head with the hand or forearm. Positioning of the drum 45
Page 1 and 2: THE ROLE OF TURKISH PERCUSSION IN T
Page 3 and 4: TABLE OF CONTENTS ACKNOWLEDGMENTS .
Page 5 and 6: LIST OF FIGURES 1. Turkish bass dru
Page 7 and 8: ABSTRACT The fascination of eightee
Page 9 and 10: CHAPTER 1 DESCRIPTION AND INTRODUCT
Page 11 and 12: not addressed in the monograph beca
Page 13 and 14: Before the influence of Turkish ins
Page 15 and 16: The trend to incorporate percussion
Page 17 and 18: Figure 1. Turkish bass drum. Reprin
Page 19 and 20: that was often doubled on the trian
Page 21 and 22: the Turkish word for “cymbalsmith
Page 23 and 24: opinion will be further discussed i
Page 25 and 26: Figure 5. Triangle similar to one u
Page 27 and 28: and as seen in Figure 6. The novel,
Page 29 and 30: Figure 7. The tambourine. Reprinted
Page 31 and 32: to the pianoforte as an optional at
Page 33 and 34: Figure 8. La Scala seating arrangem
Page 35 and 36: Early works that precede the use of
Page 37 and 38: Gluck’s use of cymbals for specia
Page 39 and 40: “stick and switch” passages of
Page 41 and 42: Figure 14. “Military” Symphony
Page 43 and 44: Figure 16. Die Ruinen von Athens by
Page 45 and 46: Figure 17. Symphony No. 9 (movement
Page 47 and 48: As seen in Figure 18 from Rossini
Page 49 and 50: the beater and the ruthe as the tim
Page 51: Figure 20. Overture to Preciosa by
Page 55 and 56: situations in the life of a young m
Page 57 and 58: Figure 23. Grande Messe des Morts b
Page 59 and 60: Figure 24. L’Apprenti-Sorcier by
Page 61 and 62: Figure 26. Le sacre du printemps by
Page 63 and 64: it was through the abundant and inn
Page 65 and 66: color of his composition. He calls
Page 67 and 68: Smaller triangles were used to achi
Page 69 and 70: Nikolai Rimsky-Korsakov in his Capr
Page 71 and 72: Figure 33. Symphony No. 4 (movement
Page 73 and 74: Figure 34. Scheherazade by Rimsky-K
Page 75 and 76: The Turkish crescent is only briefl
Page 77 and 78: the opposite head with a switch mos
Page 79 and 80: 2. With rare exception, percussioni
Page 81 and 82: Rossini, Gioacchino. Il barbiere di
Page 83 and 84: Duckles, Vincent H., and Michael A.
Page 85 and 86: Corkhill, David. “The Unique Func
Page 87 and 88: APPENDIX CHRONOLOGICAL LISTING OF M
Page 89 and 90: 1911 Stravinsky Petrouchka xylo., b

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