My only objection to the percussion-on-top model is it looked, well... odd to me. Short of scores for percussion only, or just strings and percussion, I don't think I've ever seen a score with percussion as the top three staves.
My example from Carmina Burana is one.
If I were conducting it (and lord knows I'm not an experienced or even remotely qualified choral conductor, which is why I appreciate everyone's input on this), I think I would like the boy soprano and SATB on top. Also, it is the convention for jazz (which is what I'm most familiar with) to put the solo vocal line at the top of the score,
Actually, this is a departure from the traditional norm (derived from show scores), which is to put the vocal line directly above the piano in the score, so that a pianist can rehearse the voices easily by reading the score. This seems to be the idea in Carmina Burana #22, whereas he reverts to orchestral order in the very next movement, #23.
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