timpani_rotation_2020.pdf | |
File Size: | 1259 kb |
File Type: |
Extra things to know for your timpani test!
1. The first record of the use of kettledrums goes back to ancient Hebrew times where they were used for ceremonies
2. The word "tympanum" means, "to strike"
3. Two types of mallets include the "cartwheel" and "ball" shapes
How to tune:
1. Sing or hum the pitch
2. Push the pedal to the lowest note
3. Slowly raise the pedal to raise the pitch to the desired note
4. Re-sing the note to see if you are right or not (you might feel a vibration in your face)
5. Never tune the timpani from top pitch to bottom pitch. If you miss the note, you must restart at the bottom!
Intervals and songs associated with them (you wrote this down in class)
We use the FRENCH grip when playing. Thumbs are pointed upwards!
We only use SINGLE STROKE rolls on timpani
1. The first record of the use of kettledrums goes back to ancient Hebrew times where they were used for ceremonies
2. The word "tympanum" means, "to strike"
3. Two types of mallets include the "cartwheel" and "ball" shapes
How to tune:
1. Sing or hum the pitch
2. Push the pedal to the lowest note
3. Slowly raise the pedal to raise the pitch to the desired note
4. Re-sing the note to see if you are right or not (you might feel a vibration in your face)
5. Never tune the timpani from top pitch to bottom pitch. If you miss the note, you must restart at the bottom!
Intervals and songs associated with them (you wrote this down in class)
We use the FRENCH grip when playing. Thumbs are pointed upwards!
We only use SINGLE STROKE rolls on timpani
Rhythm Worksheets
rhythm_worksheets.pdf | |
File Size: | 152 kb |
File Type: |
DOUBLE CHECK YOUR TIMELINE!
1. The first evidence of the xylophone was found in South-east Asia
1. Hemispherical, pear shaped bells were widespread among occidental monks (glockenspiel)
2. The marimba originated in Mali
2. There were 2 types of glockenspiels - big and small
3. Metallophones were first mentioned in Europe
3. Central and South American slaves continued to make developments to the native instrument, the marimba.
4. The keyboard glockenspiel was invented in Paris by Aguste Musde
4. Camille Saint-Saens was the first to use xylophones in orchestral pieces.
5. US enterprises like Degan and Leedy began producing Latin American marimbas, and adapting them for use in European and American symphony orchestras
5. The marimba burst into scene as a serious instrument
5. The vibraphone developed
5. Herman Winterhoff began working on vibrato using motor driven mechanisms
5. Chicago firm of Degan made its own version of the vibraphone called the Vibraharp
5. The vibraphone was first scored in orchestras
6. Ensembles and full orchestras expanded
1. The first evidence of the xylophone was found in South-east Asia
1. Hemispherical, pear shaped bells were widespread among occidental monks (glockenspiel)
2. The marimba originated in Mali
2. There were 2 types of glockenspiels - big and small
3. Metallophones were first mentioned in Europe
3. Central and South American slaves continued to make developments to the native instrument, the marimba.
4. The keyboard glockenspiel was invented in Paris by Aguste Musde
4. Camille Saint-Saens was the first to use xylophones in orchestral pieces.
5. US enterprises like Degan and Leedy began producing Latin American marimbas, and adapting them for use in European and American symphony orchestras
5. The marimba burst into scene as a serious instrument
5. The vibraphone developed
5. Herman Winterhoff began working on vibrato using motor driven mechanisms
5. Chicago firm of Degan made its own version of the vibraphone called the Vibraharp
5. The vibraphone was first scored in orchestras
6. Ensembles and full orchestras expanded
10-7-19 History of Mallet Instruments
Marimba - History
The origin of the nameLike the instrument itself the name ”marimba” originated in Africa; the words rimba (= xylophone with a single bar) and ma (= a great number of objects) are Bantu (spoken in Malawi and Mozambique). In many African languages the term ma-rimba is therefore used to describe instruments with several bars. In a broader sense the name is also applied to another type of instrument typical of Africa, the lamellophones (= instruments with metal prongs fixed on the outside of a soundbox and plucked by the fingers). The name marimba accompanied the instrument from Africa via Latin America to Europe, where in many countries the suffix -phone (Greek for ”sound”) has been added.
Technically the marimba could also be described as a low-pitched xylophone, which simply means ”wood sounder”. But the cultural backgrounds of the two instruments are vastly different; the marimba originated in central Africa but developed independently, gaining its own identity and significance, as the following paragraphs show.
Origins in AfricaXylophones are not found everywhere in Africa. Various types can be found from central Africa down to South Africa, and the instrument is particularly common on both the west and east coasts (Angola, Mozambique). The first evidence of historical xylophones in Africa seems to show that they originated in what is now Mali in about the 13th century.
It is generally accepted that xylophones with calabashes as resonators, which became the model for Latin American marimbas and gave them the name, were first widespread in central Africa (Tanzania, Congo). In Africa, calabashes are still made out of the dried gourds of the calabash tree; they are the same size as a pumpkin. Suitable calabashes are rare and consequently valuable. The pitch of the calabash must correspond exactly with that of the bar. Such xylophones feature a special means of amplification, a membrane called a “mirliton”. A hole is drilled in each gourd which is then covered by a mirliton (of paper or from a spider’s nest). This membrane vibrates in sympathy when the corresponding bar is struck and produces a buzzing noise which has the effect of amplifying the sound.
Independent development in Latin AmericaAfricans sold as slaves to Central and South America in the 16th and 17th centuries continued to make their native instruments there. The xylophones known as marimbas underwent further development on the American continent, especially in Mexico, Guatemala and Brazil. In these countries the calabashes were replaced by precisely tuned wood resonator chambers. Mirlitons were still fitted to the resonators which gave these Central American marimbas their distinctive character.
In Latin America the name “marimba” refers to every kind of large xylophone with calabashes as resonators of the type originally introduced from Africa.
ChiapasIn Mexico the marimba is still a very common folk instrument and a wide variety of different versions of it are made. Chromatic instruments with 6½ octaves (C3–F8) and an astonishing 79 bars are the largest in the world and are found in Chiapas (Mexico), Guatemala and Costa Rica where they are called the marimba grande. The Chiapas marimba has the form of a table. There are two kinds: the diatonic marimba sencilla and the chromatic marimba doble. Such large instruments are usually played by several marimbists, each player responsible for a particular register, within the confines of which he is obliged to stay. In addition, instruments with three or four octaves are also used. The resonators are often made of bamboo. Marimba ensembles with several instruments are a notable tradition which is still followed today, especially in Mexico City and Chiapas; a group of musicians plays on one marimba or several. In Europe, Japan and the USA marimbas are played almost exclusively by soloists.
Adaptation for the symphony orchestraThe name marimba was eventually applied to the concert and orchestra instrument that had been inspired by the Latin American model. In 1910 the U.S. enterprises Deagan and Leedy began producing Latin American marimbas and adapting them for use in European and American symphony orchestras. Tuned metal tubes replaced the wood resonators, those for the lowest notes being bent into a U shape. The resonators were tuned by rotating metal discs at the bottom end of the tube, mirlitons were abandoned. These new marimbas were first used to accompany Vaudeville theater and comedy shows.
Although the marimba was in constant use in dance bands and light music, it was some time before it was given important parts to play in the orchestra. It was not until 1947 that the marimba suddenly burst on the scene as a serious instrument in the Concerto for Marimba and Vibraphone by the French composer Darius Milhaud. A new playing technique had been introduced, namely the use of four mallets, which made it possible to play chords, and this innovation received a correspondingly enthusiastic reception. In the second half of the 20th century the marimba’s range of tasks in ensembles and the full orchestra was expanded more and more. Composers such as Leoš Janáček (Jenufa), Carl Orff (Antigonae), Karl Amadeus Hartmann in his symphonies, Hans Werner Henze (Elegie) and Pierre Boulez (Le marteau sans maître) entrusted the marimba with new and extremely challenging tasks. At the same time the instrument’s solo repertoire was growing, too.
Xylophone - History – The world of wooden mallet instruments
Asia
HistoryThe origins of the xylophone lie in the far distant past and are difficult to trace. Most historians believe that the first xylophones appeared in eastern Asia, whence they are thought to have spread to Africa. The first evidence of the instruments is found in 9th century south-east Asia. In around 2000 BC a kind of wood-harmonicon with 16 suspended wood bars is said to have existed in China. At the same time a xylophone-like instrument called the ranat is reputed to have existed in Hindu regions. Proof that xylophones were widespread in south-east Asia is provided by numerous temple reliefs depicting people playing such instruments.
Present dayThe various types of xylophone with bars made of hardwood or bamboo are still an integral part of today’s various gamelan orchestras. One single gamelan orchestra can include as many as three gambangs (trough xylophones with bars made of bamboo or hardwood). Technically, most Asian xylophones are trough xylophones, i.e. the instrument has one single hollow body which acts as a resonator for all the bars. The 14 to 20 – and sometimes more – bars are fixed with metal pins on strips of material which are attached to the edges of the wood resonator box. The bars are tuned to scales of five or seven notes. Xylophones are played together with other instruments at court, as solo instruments at various fertility rituals and at festivals for the purposes of entertainment.
Africa
HistoryExactly when the first xylophones reached Africa is unknown. The only thing that can be said with certainty is that it was long before the 14th century. Historical sources from the middle of the 14th century mention xylophones in what is now Mali, on the Niger. In the 16th century Portuguese missionaries in Ethiopia reported sophisticated xylophones with a resonator made of a calabash and a type of kazoo (mirliton) which produced resonant buzzing noises. A xylophone with the same properties, known as the ambira, was also reported by the Portuguese missionary Dos Santos in the region of Mozambique.
Present dayXylophones are widespread in Africa, although they are not common in every region. High concentrations can be found on the west and east coasts (Angola, Mozambique). The xylophone is regarded as the quintessential African instrument, probably because it is ideally suited to expressing the innate African sense of rhythm.
The important role that this instrument has always played on the African continent is underlined by the wide variety of different types of xylophone found there. There are two main categories: xylophones with separate bars which are arranged independently of one another, and xylophones with fixed bars which are tied firmly together.
The simplest forms are the leg xylophone and the pit xylophone. Leg xylophones consist of several bars which are laid across the lap and played. The space under the legs acts as the resonator. Pit xylophones are made by placing the bars on rolled-up banana leaves over a pit which serves as the resonator.
One type of xylophone which is very important is the log xylophone, which consists of bars resting on two beams. The bars are between 12 and 22 cm long and are usually fixed by long wood pins to stop them shifting position when they are struck. In Uganda instruments of this type, called the amadinda, are widespread. Larger versions, which used to be played at the court of the king, were also known as the akadinda.
A more complex form is the so-called gourd-resonated xylophone, on which each bar has its own resonator. The resonators are usually dried and hollowed-out gourds. The gourds are chosen with great care, because their pitch must correspond exactly to that of the bar. Musicians often travel long distances to find suitable specimens. Sometimes bamboo canes, canisters or metal casings are used as resonators. These xylophones feature a special means of amplification, the mirlitons. A hole is drilled in each gourd which is then covered by a membrane (of paper or from a spider’s nest). This paper-thin covering vibrates in sympathy when the corresponding bar is struck and produces a buzzing noise.
Buzzing noises were also produced on European frame harps in the late Middle Ages by contriving to make the vibrating strings touch the hooks provided for this purpose.
The European folk instrumentIt is probable that the xylophone arrived in Europe during the Crusades. In 1511 the German organist Arnold Schlick mentions it in his work Spiegel der Orgelmacher und Organisten, calling it “hültze glechter” (“wooden laughter”). It was this name by which the instrument was known in German-speaking regions. In the following years the xylophone is mentioned by many influential theoreticians of the age, including Martin Agricola and Michael Praetorius in his Theatrum instrumentorum. The name “straw fiddle” was also commonly used and referred to the fact that the bars were laid on skeins of straw. In the Middle Ages xylophones were very simple instruments without any kind of resonator. Straw fiddles were popular as virtuoso instruments in the circus and were also played by wandering minstrels. This situation remained unchanged until the 19th century.
In his famous painting Dance of Death from 1523 Hans Holbein the Younger imbues the xylophone with death imagery; a skeleton in the procession plays a portable xylophone, the sound of which thus comes to symbolize the rattling of bones. This is the first known portrayal of a xylophone in Europe.
On older xylophones – also on those from the Alpine region – the bars were arranged in four rows. The two middle rows corresponded more or less to the white keys of the piano, the two outside rows to the black keys. The bars did not lie lengthwise in front of the musician, as on the modern orchestra xylophone and African and Asian instruments, but crossways, the longest bar nearest to the player, the shortest furthest from him. There were no resonators, and the bars were struck with hammers as on the dulcimer. The advantage of this bar arrangement was that certain note sequences that occurred frequently, such as broken chords, could be played at very high speed. Traveling virtuosos excited the interest of composers such as Felix Mendelssohn Bartholdy (1809–1847) and Frédéric Chopin (1810–1849) in the instrument.
The xylophone is discovered as an orchestra instrumentIt was not until the 19th century that the xylophone was discovered as an orchestra instrument. Michael Josef Guzikov, a Pole, was one of the best known traveling virtuosos. The first compositions for the xylophone were probably presented in 1803 by Ignaz Schweigl and in 1810 by Ferdinand Kauer (Sei Variazioni). The French composer Camille Saint-Saëns was one of the first to use the xylophone in orchestral pieces, in his programmatic works La Danse Macabre (1875) and Le Carnaval des Animaux (1886). The instrument used was still the four-rowed version.
In 1886 Albert Roth published a xylophone tutor for the four-rowed instrument in which he also introduced a two-row chromatic arrangement of the bars following the pattern of piano keys. This led to the development of the modern orchestra xylophone with its two-row chromatic bar arrangement and resonators. From 1903, the American John Calhoun Deagan became one of the first major manufacturers of the modern orchestra xylophone, which soon established itself as the standard instrument in theater and symphony orchestras as well as in dance bands. The fact that the xylophone sounded particularly good on early records may also have contributed to its popularity. The parts entrusted to the xylophone and the growing percussion section by composers during the 20th century became ever larger and more important. Composers such as Béla Bartók, Igor Stravinsky, Edgard Varèse, Olivier Messiaen, Pierre Boulez and Karheinz Stockhausen are just a few of those who placed percussion instruments at the forefront of musical performance. The century of percussion had begun.
Vibraphone - History
Vox humana: human vibrationsThis young instrument developed entirely in the USA at the time of the First World War. In 1916 the instrument maker Hermann Winterhoff began working on the production of vibrato effects with the aid of a motor-driven mechanism for the firm of Leedy in Indianapolis. The aim was to create a vox humana sound, a kind of artificial human voice. He carried out his first experiments on a three-octave marimba with steel bars, a new instrument at the time that was being used in variety theaters. He installed a motor that was connected to the cover disks at the upper end of the resonators by means of a spindle. In this way he achieved the typical pulsing sound, the vibrato effect, which gave the instrument its (original) name: vibraphone. The sound was introduced to the general public via radio recordings in 1924, and musicians began to take an interest in the new instrument.
Vibraphone, vibraharp and vibesIn 1922 the Chicago firm of Deagan began marketing its own version of the vibraphone under the name vibraharp, which boasted several innovative features. Deagan had been making mallet instruments and organs with percussion for half a century, and had been responsible for the production of Leedy’s modified steel marimba. The so-called “Model 145” already possessed all the properties of a fully developed vibraphone: its 1.2 cm thick aluminum bars were held in place by a thread, tuned to equal temperament and had a range of F3–F6; it had a damper pedal and adjustable vibration speed. This model served as the blueprint for all subsequent instruments. The basic features of the vibraphone have remained unchanged since about 1927; any modifications have been principally of the size and weight. Different sized instruments were constructed, for example smaller models which were easier to transport. The new instrument rapidly gained popularity; band leaders and percussionists used it increasingly as the lead voice in their ensembles.
While Leedy continued to make vibraphones, other firms began producing instruments which were virtually identical but marketed under different names: vibraphone and vibraharp. This caused some confusion, until the terms vibes for the instrument and vibist for the player became common among professional musicians. To ensure that the instruments could perform a variety of different tasks, all sorts of models were produced, with ranges of three, three and a half or four octaves. At the same time luxury models and portable versions were also made. This variety was also reflected in the choice of alloy for the bars: aluminum, brass, lacquer and gold were all available. Whether this variety was the result of the search for a better sound or a more attractive appearance is hard to say; it is probable that both considerations played a role.
Electronic vibrationsIn the sixties experiments with electronic amplification systems were carried out with the double aim of improving the resonators’ function and replacing the vibration mechanism. A microphone was installed inside each resonator, which was later joined by a magnetic strip. The difficulty was achieving a pure sound that could be amplified with no restrictions. Today the situation has been improved by means of a purely electronic system that uses a piezoelectric chip attached to the underside of each bar and connected to a control and amplification unit. Whenever pressure is exerted on a bar an electronic signal is sent to the control unit, enabling the musician to regulate the volume and speed of the vibrato.
JazzLionel Hampton (1909–2002) began playing the vibraharp in a band in California at an early age, and was soon heard by the great Louis Armstrong (1898–1971), who was impressed by the instrument’s sound. This enthusiasm led to a joint recording session in 1931, which was probably the first recording session to feature the vibraphone genius Lionel Hampton. The vibraphone’s sweeping success in jazz circles next reached the band leader Benny Goodman (1909–1986), who immediately added its vibrato sounds to his orchestra. Orchestras, big bands, jazz sextets and jazz quartets in every conceivable constellation were being enriched by the new instrument’s sensitive melody lines and resonant harmonies. The vibraphone is hugely important in jazz not only as a solo instrument (Lionel Hampton, Garry Burton) but also as an integral part of band and big band music.
In the orchestraThe vibraphone was first scored for the orchestra from about 1933, albeit rarely. It began to be used more often from 1945, especially by composers of film and theater music, who were therefore the first to include the new sound in the orchestra. The vibraphone became part of the essential equipment of the recording studio. In modern ensemble and orchestra music it became more and more important, although it never achieved the status of other mallet instruments such as the xylophone, glockenspiel or marimba. Since the sixties it has been scored more often in ensembles than in the orchestra.
Glockenspiel - History
The instrument now known as the glockenspiel is a hybrid, resulting from the fusion of two different types of instrument, the "genuine" glockenspiel with real bells, and the metallophone .
The "genuine" glockenspiel consists of a set of bells of various sizes. One or more musicians play several overlaid melodic phrases. Exactly how many musicians are required depends on the size of the instrument. This style is known as carillon playing. Strict regulations and local tradition govern the order in which the notes are played. In Germany the playing of fixed bells in church or town hall belfries is known as Beiern. In many places the sequence of notes is played by an automatic mechanism which is operated by a clockwork motor. This type of music is still very much a vital part of local tradition in many areas and a great tourist attraction.
Smaller glockenspiels worked on the same principle.
Metallophones have been played in eastern Asia for more than 1,000 years; the saron and the gendèr, for instance, still perform a crucial role as melody instruments today. Metallophones were first mentioned in Europe in the middle of the 18th century. These instruments had a compass of more than three octaves, the bars were made either of the same metal as bells, or of silver, and were already arranged in the manner of a piano keyboard. The mallets had heads made of wood.
From bells to barsIn China, bells were already part of the orchestra 4,000 years ago. In the 9th century hemispherical, pear-shaped bells were widespread among occidental monks. These instruments, known as cymbala, featured small, round bells made of bronze which were suspended from a rail and struck by one or two musicians.
In the 14th century there were two types of glockenspiel: large instruments in church towers and smaller ones for playing at home. In the 17th century smaller glockenspiels began to be fitted with a keyboard which made it possible to perform more demanding parts.
The first step toward the glockenspiel used in the modern orchestra was taken by the Dutch in the 17th century. They replaced the unwieldy bells with a row of bars after the fashion of the metallophone from eastern Asia.
The glockenspiel becomes an orchestra instrument
The first composer to write for the glockenspiel in the orchestra was Georg Friedrich Handel, who included it in his oratorio Saul (1739). The instrument he used was called a carillon and had a range of two and a half octaves. It had metal bells (or bars) which were played via a chromatic keyboard. The sound was purportedly like that of metal hammers beating on anvils. Handel wrote parts for the instrument in several of his operas.
For The Magic Flute (1791) Wolfgang Amadeus Mozart had a glockenspiel which was largely the same as the one Handel had known. He used it to characterize Papageno, the birdcatcher (magic bells).
Because it was more practical, the Dutch idea of replacing the sophisticated construction of bells with simple bars was widely adopted in the first half of the 19th century. The result was the keyboard glockenspiel; the bars were struck by small hammers operated by keys. This instrument made it possible to perform parts which had hitherto been written in keyboard style.
Shortly afterward the mallet-played instrument was developed to improve the tone, the bars of this instrument being struck by hand-held mallets (beaters). The tone of the mallet-played glockenspiel is superior to that of the keyboard instrument.
From the mid 19th century both types were found in the orchestra, but 20th century composers increasingly preferred the mallet-played instrument because of its superior tone. Nowadays the keyboard glockenspiel, or the celesta which was invented in Paris in 1886 by Auguste Mustel, is used to perform older parts containing chords and particularly demanding glockenspiel parts.
In wind bands the bell lyre is used. This portable version of the glockenspiel was developed for marching bands and was already widespread in Germany in the 19th century. Today the instrument is used in many countries, especially the USA. The instrument is so called because its frame is shaped like a lyre, a stringed instrument of antiquity.
Marimba - History
The origin of the nameLike the instrument itself the name ”marimba” originated in Africa; the words rimba (= xylophone with a single bar) and ma (= a great number of objects) are Bantu (spoken in Malawi and Mozambique). In many African languages the term ma-rimba is therefore used to describe instruments with several bars. In a broader sense the name is also applied to another type of instrument typical of Africa, the lamellophones (= instruments with metal prongs fixed on the outside of a soundbox and plucked by the fingers). The name marimba accompanied the instrument from Africa via Latin America to Europe, where in many countries the suffix -phone (Greek for ”sound”) has been added.
Technically the marimba could also be described as a low-pitched xylophone, which simply means ”wood sounder”. But the cultural backgrounds of the two instruments are vastly different; the marimba originated in central Africa but developed independently, gaining its own identity and significance, as the following paragraphs show.
Origins in AfricaXylophones are not found everywhere in Africa. Various types can be found from central Africa down to South Africa, and the instrument is particularly common on both the west and east coasts (Angola, Mozambique). The first evidence of historical xylophones in Africa seems to show that they originated in what is now Mali in about the 13th century.
It is generally accepted that xylophones with calabashes as resonators, which became the model for Latin American marimbas and gave them the name, were first widespread in central Africa (Tanzania, Congo). In Africa, calabashes are still made out of the dried gourds of the calabash tree; they are the same size as a pumpkin. Suitable calabashes are rare and consequently valuable. The pitch of the calabash must correspond exactly with that of the bar. Such xylophones feature a special means of amplification, a membrane called a “mirliton”. A hole is drilled in each gourd which is then covered by a mirliton (of paper or from a spider’s nest). This membrane vibrates in sympathy when the corresponding bar is struck and produces a buzzing noise which has the effect of amplifying the sound.
Independent development in Latin AmericaAfricans sold as slaves to Central and South America in the 16th and 17th centuries continued to make their native instruments there. The xylophones known as marimbas underwent further development on the American continent, especially in Mexico, Guatemala and Brazil. In these countries the calabashes were replaced by precisely tuned wood resonator chambers. Mirlitons were still fitted to the resonators which gave these Central American marimbas their distinctive character.
In Latin America the name “marimba” refers to every kind of large xylophone with calabashes as resonators of the type originally introduced from Africa.
ChiapasIn Mexico the marimba is still a very common folk instrument and a wide variety of different versions of it are made. Chromatic instruments with 6½ octaves (C3–F8) and an astonishing 79 bars are the largest in the world and are found in Chiapas (Mexico), Guatemala and Costa Rica where they are called the marimba grande. The Chiapas marimba has the form of a table. There are two kinds: the diatonic marimba sencilla and the chromatic marimba doble. Such large instruments are usually played by several marimbists, each player responsible for a particular register, within the confines of which he is obliged to stay. In addition, instruments with three or four octaves are also used. The resonators are often made of bamboo. Marimba ensembles with several instruments are a notable tradition which is still followed today, especially in Mexico City and Chiapas; a group of musicians plays on one marimba or several. In Europe, Japan and the USA marimbas are played almost exclusively by soloists.
Adaptation for the symphony orchestraThe name marimba was eventually applied to the concert and orchestra instrument that had been inspired by the Latin American model. In 1910 the U.S. enterprises Deagan and Leedy began producing Latin American marimbas and adapting them for use in European and American symphony orchestras. Tuned metal tubes replaced the wood resonators, those for the lowest notes being bent into a U shape. The resonators were tuned by rotating metal discs at the bottom end of the tube, mirlitons were abandoned. These new marimbas were first used to accompany Vaudeville theater and comedy shows.
Although the marimba was in constant use in dance bands and light music, it was some time before it was given important parts to play in the orchestra. It was not until 1947 that the marimba suddenly burst on the scene as a serious instrument in the Concerto for Marimba and Vibraphone by the French composer Darius Milhaud. A new playing technique had been introduced, namely the use of four mallets, which made it possible to play chords, and this innovation received a correspondingly enthusiastic reception. In the second half of the 20th century the marimba’s range of tasks in ensembles and the full orchestra was expanded more and more. Composers such as Leoš Janáček (Jenufa), Carl Orff (Antigonae), Karl Amadeus Hartmann in his symphonies, Hans Werner Henze (Elegie) and Pierre Boulez (Le marteau sans maître) entrusted the marimba with new and extremely challenging tasks. At the same time the instrument’s solo repertoire was growing, too.
Xylophone - History – The world of wooden mallet instruments
Asia
HistoryThe origins of the xylophone lie in the far distant past and are difficult to trace. Most historians believe that the first xylophones appeared in eastern Asia, whence they are thought to have spread to Africa. The first evidence of the instruments is found in 9th century south-east Asia. In around 2000 BC a kind of wood-harmonicon with 16 suspended wood bars is said to have existed in China. At the same time a xylophone-like instrument called the ranat is reputed to have existed in Hindu regions. Proof that xylophones were widespread in south-east Asia is provided by numerous temple reliefs depicting people playing such instruments.
Present dayThe various types of xylophone with bars made of hardwood or bamboo are still an integral part of today’s various gamelan orchestras. One single gamelan orchestra can include as many as three gambangs (trough xylophones with bars made of bamboo or hardwood). Technically, most Asian xylophones are trough xylophones, i.e. the instrument has one single hollow body which acts as a resonator for all the bars. The 14 to 20 – and sometimes more – bars are fixed with metal pins on strips of material which are attached to the edges of the wood resonator box. The bars are tuned to scales of five or seven notes. Xylophones are played together with other instruments at court, as solo instruments at various fertility rituals and at festivals for the purposes of entertainment.
Africa
HistoryExactly when the first xylophones reached Africa is unknown. The only thing that can be said with certainty is that it was long before the 14th century. Historical sources from the middle of the 14th century mention xylophones in what is now Mali, on the Niger. In the 16th century Portuguese missionaries in Ethiopia reported sophisticated xylophones with a resonator made of a calabash and a type of kazoo (mirliton) which produced resonant buzzing noises. A xylophone with the same properties, known as the ambira, was also reported by the Portuguese missionary Dos Santos in the region of Mozambique.
Present dayXylophones are widespread in Africa, although they are not common in every region. High concentrations can be found on the west and east coasts (Angola, Mozambique). The xylophone is regarded as the quintessential African instrument, probably because it is ideally suited to expressing the innate African sense of rhythm.
The important role that this instrument has always played on the African continent is underlined by the wide variety of different types of xylophone found there. There are two main categories: xylophones with separate bars which are arranged independently of one another, and xylophones with fixed bars which are tied firmly together.
The simplest forms are the leg xylophone and the pit xylophone. Leg xylophones consist of several bars which are laid across the lap and played. The space under the legs acts as the resonator. Pit xylophones are made by placing the bars on rolled-up banana leaves over a pit which serves as the resonator.
One type of xylophone which is very important is the log xylophone, which consists of bars resting on two beams. The bars are between 12 and 22 cm long and are usually fixed by long wood pins to stop them shifting position when they are struck. In Uganda instruments of this type, called the amadinda, are widespread. Larger versions, which used to be played at the court of the king, were also known as the akadinda.
A more complex form is the so-called gourd-resonated xylophone, on which each bar has its own resonator. The resonators are usually dried and hollowed-out gourds. The gourds are chosen with great care, because their pitch must correspond exactly to that of the bar. Musicians often travel long distances to find suitable specimens. Sometimes bamboo canes, canisters or metal casings are used as resonators. These xylophones feature a special means of amplification, the mirlitons. A hole is drilled in each gourd which is then covered by a membrane (of paper or from a spider’s nest). This paper-thin covering vibrates in sympathy when the corresponding bar is struck and produces a buzzing noise.
Buzzing noises were also produced on European frame harps in the late Middle Ages by contriving to make the vibrating strings touch the hooks provided for this purpose.
The European folk instrumentIt is probable that the xylophone arrived in Europe during the Crusades. In 1511 the German organist Arnold Schlick mentions it in his work Spiegel der Orgelmacher und Organisten, calling it “hültze glechter” (“wooden laughter”). It was this name by which the instrument was known in German-speaking regions. In the following years the xylophone is mentioned by many influential theoreticians of the age, including Martin Agricola and Michael Praetorius in his Theatrum instrumentorum. The name “straw fiddle” was also commonly used and referred to the fact that the bars were laid on skeins of straw. In the Middle Ages xylophones were very simple instruments without any kind of resonator. Straw fiddles were popular as virtuoso instruments in the circus and were also played by wandering minstrels. This situation remained unchanged until the 19th century.
In his famous painting Dance of Death from 1523 Hans Holbein the Younger imbues the xylophone with death imagery; a skeleton in the procession plays a portable xylophone, the sound of which thus comes to symbolize the rattling of bones. This is the first known portrayal of a xylophone in Europe.
On older xylophones – also on those from the Alpine region – the bars were arranged in four rows. The two middle rows corresponded more or less to the white keys of the piano, the two outside rows to the black keys. The bars did not lie lengthwise in front of the musician, as on the modern orchestra xylophone and African and Asian instruments, but crossways, the longest bar nearest to the player, the shortest furthest from him. There were no resonators, and the bars were struck with hammers as on the dulcimer. The advantage of this bar arrangement was that certain note sequences that occurred frequently, such as broken chords, could be played at very high speed. Traveling virtuosos excited the interest of composers such as Felix Mendelssohn Bartholdy (1809–1847) and Frédéric Chopin (1810–1849) in the instrument.
The xylophone is discovered as an orchestra instrumentIt was not until the 19th century that the xylophone was discovered as an orchestra instrument. Michael Josef Guzikov, a Pole, was one of the best known traveling virtuosos. The first compositions for the xylophone were probably presented in 1803 by Ignaz Schweigl and in 1810 by Ferdinand Kauer (Sei Variazioni). The French composer Camille Saint-Saëns was one of the first to use the xylophone in orchestral pieces, in his programmatic works La Danse Macabre (1875) and Le Carnaval des Animaux (1886). The instrument used was still the four-rowed version.
In 1886 Albert Roth published a xylophone tutor for the four-rowed instrument in which he also introduced a two-row chromatic arrangement of the bars following the pattern of piano keys. This led to the development of the modern orchestra xylophone with its two-row chromatic bar arrangement and resonators. From 1903, the American John Calhoun Deagan became one of the first major manufacturers of the modern orchestra xylophone, which soon established itself as the standard instrument in theater and symphony orchestras as well as in dance bands. The fact that the xylophone sounded particularly good on early records may also have contributed to its popularity. The parts entrusted to the xylophone and the growing percussion section by composers during the 20th century became ever larger and more important. Composers such as Béla Bartók, Igor Stravinsky, Edgard Varèse, Olivier Messiaen, Pierre Boulez and Karheinz Stockhausen are just a few of those who placed percussion instruments at the forefront of musical performance. The century of percussion had begun.
Vibraphone - History
Vox humana: human vibrationsThis young instrument developed entirely in the USA at the time of the First World War. In 1916 the instrument maker Hermann Winterhoff began working on the production of vibrato effects with the aid of a motor-driven mechanism for the firm of Leedy in Indianapolis. The aim was to create a vox humana sound, a kind of artificial human voice. He carried out his first experiments on a three-octave marimba with steel bars, a new instrument at the time that was being used in variety theaters. He installed a motor that was connected to the cover disks at the upper end of the resonators by means of a spindle. In this way he achieved the typical pulsing sound, the vibrato effect, which gave the instrument its (original) name: vibraphone. The sound was introduced to the general public via radio recordings in 1924, and musicians began to take an interest in the new instrument.
Vibraphone, vibraharp and vibesIn 1922 the Chicago firm of Deagan began marketing its own version of the vibraphone under the name vibraharp, which boasted several innovative features. Deagan had been making mallet instruments and organs with percussion for half a century, and had been responsible for the production of Leedy’s modified steel marimba. The so-called “Model 145” already possessed all the properties of a fully developed vibraphone: its 1.2 cm thick aluminum bars were held in place by a thread, tuned to equal temperament and had a range of F3–F6; it had a damper pedal and adjustable vibration speed. This model served as the blueprint for all subsequent instruments. The basic features of the vibraphone have remained unchanged since about 1927; any modifications have been principally of the size and weight. Different sized instruments were constructed, for example smaller models which were easier to transport. The new instrument rapidly gained popularity; band leaders and percussionists used it increasingly as the lead voice in their ensembles.
While Leedy continued to make vibraphones, other firms began producing instruments which were virtually identical but marketed under different names: vibraphone and vibraharp. This caused some confusion, until the terms vibes for the instrument and vibist for the player became common among professional musicians. To ensure that the instruments could perform a variety of different tasks, all sorts of models were produced, with ranges of three, three and a half or four octaves. At the same time luxury models and portable versions were also made. This variety was also reflected in the choice of alloy for the bars: aluminum, brass, lacquer and gold were all available. Whether this variety was the result of the search for a better sound or a more attractive appearance is hard to say; it is probable that both considerations played a role.
Electronic vibrationsIn the sixties experiments with electronic amplification systems were carried out with the double aim of improving the resonators’ function and replacing the vibration mechanism. A microphone was installed inside each resonator, which was later joined by a magnetic strip. The difficulty was achieving a pure sound that could be amplified with no restrictions. Today the situation has been improved by means of a purely electronic system that uses a piezoelectric chip attached to the underside of each bar and connected to a control and amplification unit. Whenever pressure is exerted on a bar an electronic signal is sent to the control unit, enabling the musician to regulate the volume and speed of the vibrato.
JazzLionel Hampton (1909–2002) began playing the vibraharp in a band in California at an early age, and was soon heard by the great Louis Armstrong (1898–1971), who was impressed by the instrument’s sound. This enthusiasm led to a joint recording session in 1931, which was probably the first recording session to feature the vibraphone genius Lionel Hampton. The vibraphone’s sweeping success in jazz circles next reached the band leader Benny Goodman (1909–1986), who immediately added its vibrato sounds to his orchestra. Orchestras, big bands, jazz sextets and jazz quartets in every conceivable constellation were being enriched by the new instrument’s sensitive melody lines and resonant harmonies. The vibraphone is hugely important in jazz not only as a solo instrument (Lionel Hampton, Garry Burton) but also as an integral part of band and big band music.
In the orchestraThe vibraphone was first scored for the orchestra from about 1933, albeit rarely. It began to be used more often from 1945, especially by composers of film and theater music, who were therefore the first to include the new sound in the orchestra. The vibraphone became part of the essential equipment of the recording studio. In modern ensemble and orchestra music it became more and more important, although it never achieved the status of other mallet instruments such as the xylophone, glockenspiel or marimba. Since the sixties it has been scored more often in ensembles than in the orchestra.
Glockenspiel - History
The instrument now known as the glockenspiel is a hybrid, resulting from the fusion of two different types of instrument, the "genuine" glockenspiel with real bells, and the metallophone .
The "genuine" glockenspiel consists of a set of bells of various sizes. One or more musicians play several overlaid melodic phrases. Exactly how many musicians are required depends on the size of the instrument. This style is known as carillon playing. Strict regulations and local tradition govern the order in which the notes are played. In Germany the playing of fixed bells in church or town hall belfries is known as Beiern. In many places the sequence of notes is played by an automatic mechanism which is operated by a clockwork motor. This type of music is still very much a vital part of local tradition in many areas and a great tourist attraction.
Smaller glockenspiels worked on the same principle.
Metallophones have been played in eastern Asia for more than 1,000 years; the saron and the gendèr, for instance, still perform a crucial role as melody instruments today. Metallophones were first mentioned in Europe in the middle of the 18th century. These instruments had a compass of more than three octaves, the bars were made either of the same metal as bells, or of silver, and were already arranged in the manner of a piano keyboard. The mallets had heads made of wood.
From bells to barsIn China, bells were already part of the orchestra 4,000 years ago. In the 9th century hemispherical, pear-shaped bells were widespread among occidental monks. These instruments, known as cymbala, featured small, round bells made of bronze which were suspended from a rail and struck by one or two musicians.
In the 14th century there were two types of glockenspiel: large instruments in church towers and smaller ones for playing at home. In the 17th century smaller glockenspiels began to be fitted with a keyboard which made it possible to perform more demanding parts.
The first step toward the glockenspiel used in the modern orchestra was taken by the Dutch in the 17th century. They replaced the unwieldy bells with a row of bars after the fashion of the metallophone from eastern Asia.
The glockenspiel becomes an orchestra instrument
The first composer to write for the glockenspiel in the orchestra was Georg Friedrich Handel, who included it in his oratorio Saul (1739). The instrument he used was called a carillon and had a range of two and a half octaves. It had metal bells (or bars) which were played via a chromatic keyboard. The sound was purportedly like that of metal hammers beating on anvils. Handel wrote parts for the instrument in several of his operas.
For The Magic Flute (1791) Wolfgang Amadeus Mozart had a glockenspiel which was largely the same as the one Handel had known. He used it to characterize Papageno, the birdcatcher (magic bells).
Because it was more practical, the Dutch idea of replacing the sophisticated construction of bells with simple bars was widely adopted in the first half of the 19th century. The result was the keyboard glockenspiel; the bars were struck by small hammers operated by keys. This instrument made it possible to perform parts which had hitherto been written in keyboard style.
Shortly afterward the mallet-played instrument was developed to improve the tone, the bars of this instrument being struck by hand-held mallets (beaters). The tone of the mallet-played glockenspiel is superior to that of the keyboard instrument.
From the mid 19th century both types were found in the orchestra, but 20th century composers increasingly preferred the mallet-played instrument because of its superior tone. Nowadays the keyboard glockenspiel, or the celesta which was invented in Paris in 1886 by Auguste Mustel, is used to perform older parts containing chords and particularly demanding glockenspiel parts.
In wind bands the bell lyre is used. This portable version of the glockenspiel was developed for marching bands and was already widespread in Germany in the 19th century. Today the instrument is used in many countries, especially the USA. The instrument is so called because its frame is shaped like a lyre, a stringed instrument of antiquity.
9-12-19 History of the Snare Drum
Drums evolved over the years into more advanced designs. Tribal people discovered that they could use animal hide (usually calf skin) that stretched over the drum, called the drumhead, to create more noise. The first drum related to the snare drum was created in Medieval Europe around 1300. This was called the Tabor. The Tabor was a double-headed drum that only had one snare drum strand across the bottom of the instrument.
The Tabor started to become much more popular in the 1400s. This was mainly because they were used for military purposes, mainly in the Swiss or Ottoman armies. The drum had evolved into a larger drum that could be carried by a shoulder strap. It was called a "field drum". By the 1500s, the English had also begun to use a form of the field drum, although it was called a drome (similar to the drum's modern name).
In the 1500's, the snare drum still had a rattling sound when struck. This began to change in the 1600s, as screws were attached to the drum that could hold the snares down. This created a higher pitched sound and is similar to the tight "snap" produced from modern snare drum. Additionally, in the 1800s, the snare drum became smaller and began to be made out of brass. This gave the drum an even crisper sound.
The snare drum started to be used in classical music and military corps. This cemented its place as a popular percussion instrument. The last major changes to the snare drum were the use of coiled wire (metal) for the snares, and the addition of the throw off strainer, which can change the sound of a snare drum to one of a tom-tom.
In the 1900s, the snare drum entered the trap set, more commonly known as the drum kit. The snare drum began to be used in a large variety of music, including anything from rock and roll to jazz. The modern snare drum is now produced by a huge number of companies, and found in almost every type of music.
Drums evolved over the years into more advanced designs. Tribal people discovered that they could use animal hide (usually calf skin) that stretched over the drum, called the drumhead, to create more noise. The first drum related to the snare drum was created in Medieval Europe around 1300. This was called the Tabor. The Tabor was a double-headed drum that only had one snare drum strand across the bottom of the instrument.
The Tabor started to become much more popular in the 1400s. This was mainly because they were used for military purposes, mainly in the Swiss or Ottoman armies. The drum had evolved into a larger drum that could be carried by a shoulder strap. It was called a "field drum". By the 1500s, the English had also begun to use a form of the field drum, although it was called a drome (similar to the drum's modern name).
In the 1500's, the snare drum still had a rattling sound when struck. This began to change in the 1600s, as screws were attached to the drum that could hold the snares down. This created a higher pitched sound and is similar to the tight "snap" produced from modern snare drum. Additionally, in the 1800s, the snare drum became smaller and began to be made out of brass. This gave the drum an even crisper sound.
The snare drum started to be used in classical music and military corps. This cemented its place as a popular percussion instrument. The last major changes to the snare drum were the use of coiled wire (metal) for the snares, and the addition of the throw off strainer, which can change the sound of a snare drum to one of a tom-tom.
In the 1900s, the snare drum entered the trap set, more commonly known as the drum kit. The snare drum began to be used in a large variety of music, including anything from rock and roll to jazz. The modern snare drum is now produced by a huge number of companies, and found in almost every type of music.
ACSM PERCUSSION HANDBOOK 2019-2020
Your student will bring home a "Statement of Responsibility" form that (the last page of the below document) on 8-28-19. Please read the document thoroughly with your student, and return the signed form by Friday 8-30-19
2019-2020_percussion_syllabus_handbook.pdf | |
File Size: | 296 kb |
File Type: |
Allegro Percussion Classes
Suspended Cymbal
SUSPENDED CYMBAL
VIDEO 1 QUESTIONS
1. What should you look for when selecting a good suspended cymbal?
2. What types of cymbals should you generally avoid? Why?
3. Why is a timpani mallet not usually a good choice for playing the suspended cymbal?
4. What types of mallet produces a dark sound on the suspended cymbal?
5. Describe the general technique to use for playing suspended cymbal crashes.
6. Describe what type of beater and beating area to use for a bright sounding crash.
7. Describe the techniques/beating areas necessary for producing a cymbal roll.
8. How should you muffle a suspended cymbal?
VIDEO 2 QUESTIONS
1. How often should you polish a suspended cymbal? What should you use for polish?
2. What are important parts of a suspended cymbal stand?
3. Describe how best to produce alternative cymbal sounds (brushes, scraping and bowing).
SUSPENDED CYMBAL
VIDEO 1 QUESTIONS
1. What should you look for when selecting a good suspended cymbal?
2. What types of cymbals should you generally avoid? Why?
3. Why is a timpani mallet not usually a good choice for playing the suspended cymbal?
4. What types of mallet produces a dark sound on the suspended cymbal?
5. Describe the general technique to use for playing suspended cymbal crashes.
6. Describe what type of beater and beating area to use for a bright sounding crash.
7. Describe the techniques/beating areas necessary for producing a cymbal roll.
8. How should you muffle a suspended cymbal?
VIDEO 2 QUESTIONS
1. How often should you polish a suspended cymbal? What should you use for polish?
2. What are important parts of a suspended cymbal stand?
3. Describe how best to produce alternative cymbal sounds (brushes, scraping and bowing).
Gong/Tam-Tam
VIDEO 1 QUESTIONS
1.Technically, what is the difference between a gong and a tam tam?
2. When selecting a tam tam, what should you look for?
3. Describe the type of stand and mounting cable that you should use for a tam tam.
4. Describe the best general position for the instrument and performer.
VIDEO 2 QUESTION
1. Which are appropriate mallet choices for the tam tam? What should be avoided?
VIDEO 3 QUESTIONS
1. Describe the appropriate beating area on the tam tam
2. What should you do immediately before striking a note on the tam tam?
3. Describe the proper way to roll on the tam tam.
4. Why should you practice playing the tam tam when it’s so easy to play?
VIDEO 4 QUESTIONS
1. Describe one of the various types of effects that can be created on the tam tam.
VIDEO 1 QUESTIONS
1.Technically, what is the difference between a gong and a tam tam?
2. When selecting a tam tam, what should you look for?
3. Describe the type of stand and mounting cable that you should use for a tam tam.
4. Describe the best general position for the instrument and performer.
VIDEO 2 QUESTION
1. Which are appropriate mallet choices for the tam tam? What should be avoided?
VIDEO 3 QUESTIONS
1. Describe the appropriate beating area on the tam tam
2. What should you do immediately before striking a note on the tam tam?
3. Describe the proper way to roll on the tam tam.
4. Why should you practice playing the tam tam when it’s so easy to play?
VIDEO 4 QUESTIONS
1. Describe one of the various types of effects that can be created on the tam tam.
Bass Drum Reading and Questions
The Turkish drum
The modern bass drum as played today in every military band, in the orchestra and in jazz, rock and pop, was imported from the Middle East, and did not, as may be assumed, evolve from the various drums that were widespread in the whole of Europe from the Middle Ages. It is a direct descendant of the davul, also known as the tabl turki (Turkish drum), which is known to have existed in Mediterranean regions from the 14th century. This was a large, cylindrical drum with a narrow shell and two thong-braced heads which was played without snares.
In Europe a 1502 painting by the Venetian artist Vittore Carpaccio is the first portrayal of a Turkish drummer with an instrument of similar proportions to the modern military bass drum (a narrow shell with a head about 70 cm in diameter). The drum hangs at the drummer’s breast where it is beaten with two thick wood sticks. Until the middle of the 18th century such Turkish drums were a rare sight in Europe.
Large numbers of Turkish drums came to Europe in the 18th century with Turkish troops and their military bands and were enthusiastically received and immediately integrated into European military music. The initial impression to western ears of an exotic sound was due principally to the combination of Turkish drum, cymbals and triangle that was found in Janissary music.
Not only was the large size of the drum a novelty but the playing technique was new as well: the instrument was either placed vertically on a base or, for marching, hung at the breast. The head was struck from the right-hand side with a large wood stick with no padding while the left hand rested on the left-hand rim of the shell. On the left side, the drummer struck the head with a single rod held as flat as possible, which produced a snapping sound. The wooden drumstick was used on the accented beat, the rod on the unaccented one. If a drum with only one head was used, which was only rarely the case, the drummer would beat the head alternately with the stick (right hand) and the rod (left hand). (https://www.youtube.com/watch?v=-B8c3VsAR0g)
A Turkish flavor
In the second half of the 18th century Janissary bands were very popular at the courts of European princes. One consequence of this was the gradual introduction of the large Turkish drum into orchestra music, especially into the opera, usually to create an oriental atmosphere. Gluck used it as a stylistic device in his Le cadi dupé (1761), Mozart in his Entführung aus dem Serail (1782). Haydn used it in accordance with its origin in his Military Symphony (1793/94). In these early orchestra works the Turkish drum, or big drum as it was called owing to its enormous proportions, was still played in the Turkish style, i.e. with a wood drumstick and a rod, with double note stems written into the scores.
In addition to oriental-style drums with a narrow shell, other bass drums were used in military bands and the orchestra into the 19th century, the shells of which were wider than the head diameter, which was about half a meter. These long, tube-shaped drums became known as long drums.
The bass drum as an orchestra instrument
At the beginning of the 19th century Spontini, in his opera The Vestal Virgin (1807), became the first composer to require the bass drum to be struck with felt-covered mallets. By so doing he deprived the instrument of its oriental tone.
Gradually more complex playing techniques for the bass drum became widespread. In his Symphonie fantastique (1830) Berlioz scored the first roll, which he explicitly required to be performed by two timpanists with timpani mallets. The first roll to be performed by one percussionist appears in Liszt’s Ce qu’on entend sur la montagne (1849). Later, rolls were also performed with one stick, the drummer beating either with the head and the end of the handle alternately or with a two-headed stick.
In orchestras of the late Romantic period (last third of the 19th century) the bass drum became firmly established in the orchestra percussion section. It was beaten from the side, although not directly as in Janissary practice, but in a large downward arc. In addition, musicians began to position the drum differently: it was placed on a wood stand (wood block) so that the head, now lying almost horizontally, could be beaten.
Modern forms of the bass drum
From the middle of the 19th century rope tensioning was gradually replaced by screw tensioning. The shell was no longer made solely of wood but also of brass or aluminum. The skin of calves or horses, and very occasionally of donkeys (it being hard to come by) was used for the head. Nowadays the bass drum in the orchestra is usually suspended from a frame, allowing it to swing freely and to be positioned at any angle. Occasionally it is placed on a special drum stand. Today orchestra drums have a diameter of 70–100 cm and the shell is 35–55 cm deep.
In the middle of the 19th century a version of the bass drum with only one head gained popularity, particularly in England. This drum had a narrow shell, open on one side, and became known as the gong drum. It was said to have superb resonance, but tended to produce a definite pitch, a characteristic that drums were not supposed to have. Gong drums are now used only very rarely. (https://www.youtube.com/watch?v=rdyrHFZNGX0)
From the beginnings of Janissary music to the present day the bass drum has played an important role in military and wind bands. It performs the task of emphasizing the accented beat, especially in marching music. Bass drums used in military music are about 25–45 cm deep and 35–75 cm in diameter and are therefore smaller than their counterparts in the orchestra.
-QUESTIONS TO ANSWER IN YOUR GOOGLE DOCUMENT
-1 DOC PER GROUP, SHARED WITH ONE ANOTHER AND ALSO MS. CARLSON
-INCLUDE ALL GROUP MEMBERS NAMES IN THE DOC
1. What instrument did the bass drum originally get it's concept from? What country did this instrument come from?
2. In what century did the turkish drums come into Europe? How?
3. In what century did the bass drum become established in the orchestra percussion section? What was now different about the way the drum was placed?
4. Describe the changes that were made to made the bass drum "modern".
VIDEO 1: Instrument Selection and General Maintenance
1. What is a typical size for a good concert bass drum?
2. Is a marching bass drum a good substitute for a concert bass drum? Why or why not?
3. Name the regular maintenance routines that should be performed on a concert bass drum.
VIDEO 2: Replacing a Head, Tuning the Drum, Characteristics
1. What are the characteristics of a good concert bass drum sound?
VIDEO 3: Basic Playing Techniques
1. What is the PROPER playing position for a performer on the concert bass drum?
2. What type of mallets should you use for most general concert bass drum passages?
3. What is the best general beating area on the concert bass drum?
4. What is NOT a good option for muffling a concert bass drum?
5. If your bass drum stand does not have a foot rest, what’s the best way to position your leg to muffle the drum?
6. For articulate notes (such as in typical marches), how should you muffle the drum?
7. What is the best position to place your mallets on the drumhead for bass drum rolls?
8. What type of roll should you use on a concert bass drum?
The Turkish drum
The modern bass drum as played today in every military band, in the orchestra and in jazz, rock and pop, was imported from the Middle East, and did not, as may be assumed, evolve from the various drums that were widespread in the whole of Europe from the Middle Ages. It is a direct descendant of the davul, also known as the tabl turki (Turkish drum), which is known to have existed in Mediterranean regions from the 14th century. This was a large, cylindrical drum with a narrow shell and two thong-braced heads which was played without snares.
In Europe a 1502 painting by the Venetian artist Vittore Carpaccio is the first portrayal of a Turkish drummer with an instrument of similar proportions to the modern military bass drum (a narrow shell with a head about 70 cm in diameter). The drum hangs at the drummer’s breast where it is beaten with two thick wood sticks. Until the middle of the 18th century such Turkish drums were a rare sight in Europe.
Large numbers of Turkish drums came to Europe in the 18th century with Turkish troops and their military bands and were enthusiastically received and immediately integrated into European military music. The initial impression to western ears of an exotic sound was due principally to the combination of Turkish drum, cymbals and triangle that was found in Janissary music.
Not only was the large size of the drum a novelty but the playing technique was new as well: the instrument was either placed vertically on a base or, for marching, hung at the breast. The head was struck from the right-hand side with a large wood stick with no padding while the left hand rested on the left-hand rim of the shell. On the left side, the drummer struck the head with a single rod held as flat as possible, which produced a snapping sound. The wooden drumstick was used on the accented beat, the rod on the unaccented one. If a drum with only one head was used, which was only rarely the case, the drummer would beat the head alternately with the stick (right hand) and the rod (left hand). (https://www.youtube.com/watch?v=-B8c3VsAR0g)
A Turkish flavor
In the second half of the 18th century Janissary bands were very popular at the courts of European princes. One consequence of this was the gradual introduction of the large Turkish drum into orchestra music, especially into the opera, usually to create an oriental atmosphere. Gluck used it as a stylistic device in his Le cadi dupé (1761), Mozart in his Entführung aus dem Serail (1782). Haydn used it in accordance with its origin in his Military Symphony (1793/94). In these early orchestra works the Turkish drum, or big drum as it was called owing to its enormous proportions, was still played in the Turkish style, i.e. with a wood drumstick and a rod, with double note stems written into the scores.
In addition to oriental-style drums with a narrow shell, other bass drums were used in military bands and the orchestra into the 19th century, the shells of which were wider than the head diameter, which was about half a meter. These long, tube-shaped drums became known as long drums.
The bass drum as an orchestra instrument
At the beginning of the 19th century Spontini, in his opera The Vestal Virgin (1807), became the first composer to require the bass drum to be struck with felt-covered mallets. By so doing he deprived the instrument of its oriental tone.
Gradually more complex playing techniques for the bass drum became widespread. In his Symphonie fantastique (1830) Berlioz scored the first roll, which he explicitly required to be performed by two timpanists with timpani mallets. The first roll to be performed by one percussionist appears in Liszt’s Ce qu’on entend sur la montagne (1849). Later, rolls were also performed with one stick, the drummer beating either with the head and the end of the handle alternately or with a two-headed stick.
In orchestras of the late Romantic period (last third of the 19th century) the bass drum became firmly established in the orchestra percussion section. It was beaten from the side, although not directly as in Janissary practice, but in a large downward arc. In addition, musicians began to position the drum differently: it was placed on a wood stand (wood block) so that the head, now lying almost horizontally, could be beaten.
Modern forms of the bass drum
From the middle of the 19th century rope tensioning was gradually replaced by screw tensioning. The shell was no longer made solely of wood but also of brass or aluminum. The skin of calves or horses, and very occasionally of donkeys (it being hard to come by) was used for the head. Nowadays the bass drum in the orchestra is usually suspended from a frame, allowing it to swing freely and to be positioned at any angle. Occasionally it is placed on a special drum stand. Today orchestra drums have a diameter of 70–100 cm and the shell is 35–55 cm deep.
In the middle of the 19th century a version of the bass drum with only one head gained popularity, particularly in England. This drum had a narrow shell, open on one side, and became known as the gong drum. It was said to have superb resonance, but tended to produce a definite pitch, a characteristic that drums were not supposed to have. Gong drums are now used only very rarely. (https://www.youtube.com/watch?v=rdyrHFZNGX0)
From the beginnings of Janissary music to the present day the bass drum has played an important role in military and wind bands. It performs the task of emphasizing the accented beat, especially in marching music. Bass drums used in military music are about 25–45 cm deep and 35–75 cm in diameter and are therefore smaller than their counterparts in the orchestra.
-QUESTIONS TO ANSWER IN YOUR GOOGLE DOCUMENT
-1 DOC PER GROUP, SHARED WITH ONE ANOTHER AND ALSO MS. CARLSON
-INCLUDE ALL GROUP MEMBERS NAMES IN THE DOC
1. What instrument did the bass drum originally get it's concept from? What country did this instrument come from?
2. In what century did the turkish drums come into Europe? How?
3. In what century did the bass drum become established in the orchestra percussion section? What was now different about the way the drum was placed?
4. Describe the changes that were made to made the bass drum "modern".
VIDEO 1: Instrument Selection and General Maintenance
1. What is a typical size for a good concert bass drum?
2. Is a marching bass drum a good substitute for a concert bass drum? Why or why not?
3. Name the regular maintenance routines that should be performed on a concert bass drum.
VIDEO 2: Replacing a Head, Tuning the Drum, Characteristics
1. What are the characteristics of a good concert bass drum sound?
VIDEO 3: Basic Playing Techniques
1. What is the PROPER playing position for a performer on the concert bass drum?
2. What type of mallets should you use for most general concert bass drum passages?
3. What is the best general beating area on the concert bass drum?
4. What is NOT a good option for muffling a concert bass drum?
5. If your bass drum stand does not have a foot rest, what’s the best way to position your leg to muffle the drum?
6. For articulate notes (such as in typical marches), how should you muffle the drum?
7. What is the best position to place your mallets on the drumhead for bass drum rolls?
8. What type of roll should you use on a concert bass drum?
Triangle Reading and Questions
English - Triangle
German - der Triangel
Italian - il triangolo
French - le triangle
Spanish - el triangulo
History
Where did the triangle come from?
The triangle is rarely viewed as a musical instrument that requires serious practice and study. Nothing could be farther from the truth. The tonal texture of a triangle is that of a special nature which cannot be imitated. The instrument was used by Turks with their Janissary music and eventually found its way into the classical orchestra repertoire of the eighteenth, nineteenth and twentieth centuries. The triangle entered the European orchestra in the 18th century by way of the Janissary music of the Turkish soldiers.
What did the triangle look like?
Drawings of early instruments show rings loosely hung which provided additional sound when struck. Someone was once quoted, “The humble triangle can lay claim to being one of the first purely metal percussion instruments to enter the modern orchestra".
Until the end of the eighteenth century, it was used mainly to give added color. It became a permanent member of the orchestra during the early part of the following century, and in 1853 was raised to the rank of a symphonic solo instrument by Liszt in his Piano Concerto in E flat (https://www.youtube.com/watch?v=8yE3Dz0-koA @ 16:30), causing, it is said, considerable consternation (feelings of anxiety or dismay - usually at something unexpected.) Early examples of triangles include ornamental work at the open end, often in a scroll pattern. Historically, the triangle has been manufactured from a solid iron and later steel rod and bent into a triangular shape roughly equilateral. (https://www.youtube.com/watch?v=EELpRSUUjz8) In modern times, the scroll pattern has been abandoned and triangles are made from either steel or brass. Just after the turn of the century in the United States, triangles were fashioned in New England using the spindle from knitting machines (during this period, New England was the regional center for knitting mills). These spindles were fabricated from hardened steel which was turned on a metal lathe. The result was a triangle with sides of unequal diameter. Most triangles range in size from four to ten inches in diameter. The preferred size for orchestra and concert band is between six and nine inches, the larger size being more suitable for literature from the Romantic period.
Which do we use?
Since there is no “correct” triangle size, it is the responsibility of the percussionist to select an instrument of suitable sonority for each particular work. Although the triangle is of indefinite pitch, it tends to blend with the overall harmonic sound of the band and orchestra. (https://www.youtube.com/watch?v=nTgJLka5a-0)
-QUESTIONS TO ANSWER IN YOUR GOOGLE DOCUMENT
-1 DOC PER GROUP, SHARED WITH ONE ANOTHER AND ALSO MS. CARLSON
-INCLUDE ALL GROUP MEMBERS NAMES IN THE DOC
1. Before finding it's way into the orchestra, what group of musicians used the instrument first? From what country?
2. How did the triangle make its way here?
3. Which century(ies) did the triangle begin to show up in the classical repertoire in an orchestra?
4. Describe what an original triangle might have looked like?
5. Describe what changes have been made to triangles that are more modern?
6. How do we know what type of triangle to use for a piece of music?
VIDEO 1 QUESTIONS
1. What sized triangles are made? Which are typical sizes for concert playing?
2. When selecting a triangle, which characteristic is most important?
3. Describe the triangle clamp and how best to suspend the triangle.
4. Is it important to have an assortment of triangle beaters? Why or why not?
5. Describe the method of holding the triangle.
6. Where is the best beating area on the triangle?
7. Describe how to muffle the triangle. Which is the most characteristic way to muffle?
8. Is it possible to play a roll with one hand on the triangle, or must you use two beaters?
9. Describe how to play a roll on the triangle.
10. How should you suspend a triangle in order to play fast passages?
English - Triangle
German - der Triangel
Italian - il triangolo
French - le triangle
Spanish - el triangulo
History
Where did the triangle come from?
The triangle is rarely viewed as a musical instrument that requires serious practice and study. Nothing could be farther from the truth. The tonal texture of a triangle is that of a special nature which cannot be imitated. The instrument was used by Turks with their Janissary music and eventually found its way into the classical orchestra repertoire of the eighteenth, nineteenth and twentieth centuries. The triangle entered the European orchestra in the 18th century by way of the Janissary music of the Turkish soldiers.
What did the triangle look like?
Drawings of early instruments show rings loosely hung which provided additional sound when struck. Someone was once quoted, “The humble triangle can lay claim to being one of the first purely metal percussion instruments to enter the modern orchestra".
Until the end of the eighteenth century, it was used mainly to give added color. It became a permanent member of the orchestra during the early part of the following century, and in 1853 was raised to the rank of a symphonic solo instrument by Liszt in his Piano Concerto in E flat (https://www.youtube.com/watch?v=8yE3Dz0-koA @ 16:30), causing, it is said, considerable consternation (feelings of anxiety or dismay - usually at something unexpected.) Early examples of triangles include ornamental work at the open end, often in a scroll pattern. Historically, the triangle has been manufactured from a solid iron and later steel rod and bent into a triangular shape roughly equilateral. (https://www.youtube.com/watch?v=EELpRSUUjz8) In modern times, the scroll pattern has been abandoned and triangles are made from either steel or brass. Just after the turn of the century in the United States, triangles were fashioned in New England using the spindle from knitting machines (during this period, New England was the regional center for knitting mills). These spindles were fabricated from hardened steel which was turned on a metal lathe. The result was a triangle with sides of unequal diameter. Most triangles range in size from four to ten inches in diameter. The preferred size for orchestra and concert band is between six and nine inches, the larger size being more suitable for literature from the Romantic period.
Which do we use?
Since there is no “correct” triangle size, it is the responsibility of the percussionist to select an instrument of suitable sonority for each particular work. Although the triangle is of indefinite pitch, it tends to blend with the overall harmonic sound of the band and orchestra. (https://www.youtube.com/watch?v=nTgJLka5a-0)
-QUESTIONS TO ANSWER IN YOUR GOOGLE DOCUMENT
-1 DOC PER GROUP, SHARED WITH ONE ANOTHER AND ALSO MS. CARLSON
-INCLUDE ALL GROUP MEMBERS NAMES IN THE DOC
1. Before finding it's way into the orchestra, what group of musicians used the instrument first? From what country?
2. How did the triangle make its way here?
3. Which century(ies) did the triangle begin to show up in the classical repertoire in an orchestra?
4. Describe what an original triangle might have looked like?
5. Describe what changes have been made to triangles that are more modern?
6. How do we know what type of triangle to use for a piece of music?
VIDEO 1 QUESTIONS
1. What sized triangles are made? Which are typical sizes for concert playing?
2. When selecting a triangle, which characteristic is most important?
3. Describe the triangle clamp and how best to suspend the triangle.
4. Is it important to have an assortment of triangle beaters? Why or why not?
5. Describe the method of holding the triangle.
6. Where is the best beating area on the triangle?
7. Describe how to muffle the triangle. Which is the most characteristic way to muffle?
8. Is it possible to play a roll with one hand on the triangle, or must you use two beaters?
9. Describe how to play a roll on the triangle.
10. How should you suspend a triangle in order to play fast passages?
Tambourine Reading and Questions
Antiquity (The ancient past)
Tambourines originated in the Near East (Western Asia). They came into being when bells and other rattles were attached to the shell of a frame drum. The instrument was already known to the ancient Egyptians and Assyrians: in Egypt it was used in religious ceremonies by female temple dancers. Women were the principal players of tambourines in other early civilizations, too. Apart from being used to accompany dances, tambourines were also played in processions, at festivities and at funerals.
Although the size of the instrument and the shape of the jingles have undergone numerous changes over the centuries the structure has always remained the same; the tambourines used by the Greeks and Romans looked very much the same as the modern instrument.
The Instrument of Angels and Traveling Entertainers
In the Middle Ages the tambourine was already common all over Europe. In medieval Britain it was known first as the tymbre, and until the 18th century as the tabret or timbrel. In France, Spain (where it is called the pendereta) and in southern Italy its importance as a folk instrument has never diminished. But the tambourine as a part of folk entertainment is not confined to Europe; it is also found in many other cultures, for instance in China, India, Peru, Greenland, the Caucasus and central Asia.
The medieval tambourine consisted of a rectangular or round flat wood frame with a single head; the underside was open. Four or more pairs of jingles were let into the shell at regular intervals. These jingles were somewhat larger and thicker than today’s. In addition to or instead of the jingles small bells or other objects that produced a rattling noise were fixed to the frame. The tambourine was struck either with the flat of the hand or with the fingers in the same way as the older type. Medieval paintings and carvings, as well as religious manuscripts, often portray the instrument being played by angels. On the other hand, the tambourine was also a favorite instrument of entertainers and minstrels.
The Tambourine in the Orchestra
The timbrel was already being played in concert with other instruments on special occasions in the late Middle Ages. The tambourine’s admittance into the orchestra was initiated in the mid 18th century by Janissary (Turkish) music, which enjoyed huge popularity at the courts of European princes and brought the tambourine – and the cymbals, bass drum and triangle – to the attention of a wider audience. It was around this time that the instrument began to be known as the tambourine (small drum), a derivation from the French word for drum, tambour. Among the first orchestral works to feature the tambourine were Christoph Willibald Gluck’s Echo und Narziss (1779) and Wolfgang Amadeus Mozart’s Deutsche Tänze (1787).
The inconsistent spellings tamb(o)urin and tambourin(e) in scores repeatedly leads to confusion, the tambourine being mistaken for the tambourin, the Provençal tubular drum. The other is a drum played with one hand and is made of particularly light wood, is about 70 cm deep and has a single head. It is used for example in George Bizet’s Arlésienne-Suite No. 2 (and therefore also in the ballet sequence in Carmen). It is still used today in folk music in the south of France.
Carl Maria von Weber used the tambourine in his incidental music for Preziosa(1821) to represent the gypsy life. Apart from this, the tambourine stands for folk entertainment, dance and, since George Bizet’s Carmen (1875), epitomizes Spanish flair. It is for this specific function, and also to accentuate the rhythm and create a bright musical background, that the tambourine has been used in orchestra works since the mid 19th century.
-QUESTIONS TO ANSWER IN YOUR GOOGLE DOCUMENT
-1 DOC PER GROUP, SHARED WITH ONE ANOTHER AND ALSO MS. CARLSON
-INCLUDE ALL GROUP MEMBERS NAMES IN THE DOC
1. Where did the Tambourine originate?
2. Name four places that a tambourine was commonly played in ancient Egypt.
3. Describe the construction of a medieval tambourine.
4. In what century was the tambourine admitted into the orchestra? What sort of music pushed this cause?
5. What was the main purpose of the tambourines use in orchestra works in the 19th century?
VIDEO 1 QUESTIONS
1. Describe an appropriate tambourine for concert playing (size, shell construction, jingles, etc.)
2. How should the tambourine be held for general playing?
3. How should you hold the tambourine to produce a "wet" sound (where the jingles vibrate freely)?
4. Describe the various methods for striking a tambourine (soft, loud, muffled, etc).
5. Describe how to best play soft and fast on the tambourine.
6. Describe how to best play loud and fast on the tambourine.
VIDEO 2 QUESTIONS
1. Describe how to produce a shake roll.
2. What will starting and stopping a roll with a finger or fist tap help you produce?
3. Describe how to produce a thumb roll.
4. What coatings or techniques can you use to help you play a thumb roll?
Antiquity (The ancient past)
Tambourines originated in the Near East (Western Asia). They came into being when bells and other rattles were attached to the shell of a frame drum. The instrument was already known to the ancient Egyptians and Assyrians: in Egypt it was used in religious ceremonies by female temple dancers. Women were the principal players of tambourines in other early civilizations, too. Apart from being used to accompany dances, tambourines were also played in processions, at festivities and at funerals.
Although the size of the instrument and the shape of the jingles have undergone numerous changes over the centuries the structure has always remained the same; the tambourines used by the Greeks and Romans looked very much the same as the modern instrument.
The Instrument of Angels and Traveling Entertainers
In the Middle Ages the tambourine was already common all over Europe. In medieval Britain it was known first as the tymbre, and until the 18th century as the tabret or timbrel. In France, Spain (where it is called the pendereta) and in southern Italy its importance as a folk instrument has never diminished. But the tambourine as a part of folk entertainment is not confined to Europe; it is also found in many other cultures, for instance in China, India, Peru, Greenland, the Caucasus and central Asia.
The medieval tambourine consisted of a rectangular or round flat wood frame with a single head; the underside was open. Four or more pairs of jingles were let into the shell at regular intervals. These jingles were somewhat larger and thicker than today’s. In addition to or instead of the jingles small bells or other objects that produced a rattling noise were fixed to the frame. The tambourine was struck either with the flat of the hand or with the fingers in the same way as the older type. Medieval paintings and carvings, as well as religious manuscripts, often portray the instrument being played by angels. On the other hand, the tambourine was also a favorite instrument of entertainers and minstrels.
The Tambourine in the Orchestra
The timbrel was already being played in concert with other instruments on special occasions in the late Middle Ages. The tambourine’s admittance into the orchestra was initiated in the mid 18th century by Janissary (Turkish) music, which enjoyed huge popularity at the courts of European princes and brought the tambourine – and the cymbals, bass drum and triangle – to the attention of a wider audience. It was around this time that the instrument began to be known as the tambourine (small drum), a derivation from the French word for drum, tambour. Among the first orchestral works to feature the tambourine were Christoph Willibald Gluck’s Echo und Narziss (1779) and Wolfgang Amadeus Mozart’s Deutsche Tänze (1787).
The inconsistent spellings tamb(o)urin and tambourin(e) in scores repeatedly leads to confusion, the tambourine being mistaken for the tambourin, the Provençal tubular drum. The other is a drum played with one hand and is made of particularly light wood, is about 70 cm deep and has a single head. It is used for example in George Bizet’s Arlésienne-Suite No. 2 (and therefore also in the ballet sequence in Carmen). It is still used today in folk music in the south of France.
Carl Maria von Weber used the tambourine in his incidental music for Preziosa(1821) to represent the gypsy life. Apart from this, the tambourine stands for folk entertainment, dance and, since George Bizet’s Carmen (1875), epitomizes Spanish flair. It is for this specific function, and also to accentuate the rhythm and create a bright musical background, that the tambourine has been used in orchestra works since the mid 19th century.
-QUESTIONS TO ANSWER IN YOUR GOOGLE DOCUMENT
-1 DOC PER GROUP, SHARED WITH ONE ANOTHER AND ALSO MS. CARLSON
-INCLUDE ALL GROUP MEMBERS NAMES IN THE DOC
1. Where did the Tambourine originate?
2. Name four places that a tambourine was commonly played in ancient Egypt.
3. Describe the construction of a medieval tambourine.
4. In what century was the tambourine admitted into the orchestra? What sort of music pushed this cause?
5. What was the main purpose of the tambourines use in orchestra works in the 19th century?
VIDEO 1 QUESTIONS
1. Describe an appropriate tambourine for concert playing (size, shell construction, jingles, etc.)
2. How should the tambourine be held for general playing?
3. How should you hold the tambourine to produce a "wet" sound (where the jingles vibrate freely)?
4. Describe the various methods for striking a tambourine (soft, loud, muffled, etc).
5. Describe how to best play soft and fast on the tambourine.
6. Describe how to best play loud and fast on the tambourine.
VIDEO 2 QUESTIONS
1. Describe how to produce a shake roll.
2. What will starting and stopping a roll with a finger or fist tap help you produce?
3. Describe how to produce a thumb roll.
4. What coatings or techniques can you use to help you play a thumb roll?
Station Rotation #2 - Mallet percussion
MALLET ROTATION GUIDE | |
File Size: | 915 kb |
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Station rotation #1 - Snare drum
snare_drum_test_material_outline.pdf | |
File Size: | 1802 kb |
File Type: |