Percussion represents a new means of expression whose exploitation testifies the will of sound liberation tirelessly defended by Varèse. Although praised unani-mously, the precursory part played by the composer in this field is only superficially studied. Dated 1977, the analysis of Ionisation by Chou Wen-Chung remains indeed a rare instance. Created in 1925, Intégrales was conceived for a percussion and wind instruments orchestra. In this article, the work is primarily examined with an approach of the relations these two parts maintain. First of all, the comparison of certain ideas gives a clear indication of the need for occasionally passing beyond such a cleavage. Some examples obviously display the variability of this relation at the scale of periods: verging sometimes on autonomy, it remains elsewhere fully interdependent. Percussion is finally considered at the highest level of the musical organization. Its position and its function together develop in a way which can prove significant at a structural level.