Credo in US for Percussion Quartet (Including Piano and Radio or Phonograph) (Score): John Cage

This is Cage at his most adventurous, combining percussion with piano and recorded sound (radio or phonograph) to create a genuinely novel sonic world. The inclusion of found sound sources pushes players and audiences beyond conventional concert expectations, making this piece a gateway into experimental music practice that remains urgent and relevant decades later.

The piece unfolds as a meditation on sound itself, blending the precise striking of percussion with the unpredictability of broadcast radio or recorded material. It creates a sonic collage where traditional instrumental music coexists with chance sounds, inviting listeners to find structure and meaning in an unconventional landscape.

This work is designed for advanced percussion ensembles and university-level percussion studios willing to engage with twentieth-century experimental composition. Performers need strong sight-reading skills, comfort with unconventional notation, and an open-minded approach to what percussion music can express.

• Secure a reliable radio or phonograph setup well before rehearsal begins; the integration of this sound source is integral to the work, not supplementary.
• Study Cage's notation system carefully with your ensemble; his graphic and unconventional score requires a different visual literacy than traditional staff notation.
• Coordinate precise timing between the four percussionists and pianist, as the work's texture depends on clear rhythmic relationships despite its experimental aesthetic.
• Discuss the role of chance and indeterminacy in this work; some elements may be fixed while others allow for performer choice, and clarity on which is which prevents rehearsal confusion.

Program this as part of a twentieth-century or experimental music concert where it can be contextualized alongside other Cage works or modern percussion repertoire. Its novelty and conceptual depth make it an ideal centerpiece for an educational concert exploring how composers extend the boundaries of their medium.

• Reading unconventional notation systems and graphic scores
• Ensemble coordination across percussion, keyboard, and electronic/recorded sound sources
• Interpretation of indeterminate elements and performer choice within a composed framework
• Critical listening and sound awareness beyond traditional melodic and harmonic structures