Characteristic Sounds
for
Concert Percussion
Presented by
University of Nebraska – Lincoln
Nebraska State Bandmasters Association Convention
University of Nebraska – Lincoln
Westbrook Music Building, Room 119
Characteristic Sounds for Concert
Percussion
Clinic Outline
I. Foster an Awareness of
Tone Quality in Your Students
A.
Percussion is an area where you can sound like the professionals with relative
ease
B.
Include issues of timbre in your instructions – ÒHow does that sound?Ó
C.
Use representative recordings as examples
D.
Percussion instruments are important for their color – encourage your
students to play out
II. The Four Factors of
Tone Production on Percussion Instruments
A.
Properties of the instrument
1.
Use the best quality instrument you can afford
2.
Keep instrument in repair (and teach your students to do so)
a)
Keep instruments covered – they are not tables
b)
Be careful when moving large instruments
3.
Keep instrument properly tuned and/or adjusted (and teach your students to do
so)
B.
Properties of the beater
1.
Use beaters of appropriate density ( = Mass * Volume)
a)
Must be dense enough to get full tone
b)
If the density of the beater is greater than the density of the instrumentÉ
2.
Think of mallet ÔhardnessÕ primarily as a timbral consideration
C.
Where the instrument is struck
1.
Be diligent with
playing spots – this is the factor most significantly influenced by the
player
2.
The center of just about anything is either a primary or secondary nodal point
3.
Think of playing spot primarily as a timbral consideration
D.
How the instrument is struck
1.
Emphasize proper grip (embouchure)
2.
Emphasize proper stroke (breath support) – use natural rebound of
instrument
3.
Direction of energy in stroke
4.
Velocity of stroke (as a function of stick height)
5.
Think of velocity/stick height as a dynamic consideration
III. The Snare Drum
A.
Properties of the instrument
1.
Use drum of appropriate size – 6 1/2 x 14Ó is ideal
2.
Tune top head (batter) to ÔfeelÕ
3.
Bottom (snare) to ÔpitchÕ
4.
Use little to no external muffling (make a custom head with a built-in muffle
ring)
5.
Change heads at regular intervals, or when worn out or damaged (mark with
Sharpie)
6.
Cable or a combination of cable and wire snares are preferable
B.
Properties of the beater
1.
Use a concert snare drum stick (not drum set or marching) should have a rounded
bead
2.
Make sure sticks are in good condition
C.
Where the instrument is struck
1.
Use just off center as general playing spot – try to hit same spot with
both sticks
2.
Use edge for thinner tone (See II. C. 3) – NOT automatically for soft
dynamics
D.
How the instrument is struck
1.
(See II. D. 1 & 2)
E. Other Drums
1. Field Drum (12 x 14 or 15Ó)
a) Old marching drum tuned down
b) Use a bigger stick
2.
Tenor Drum (like field drum without snares)
3.
Concert Toms (set of four: 10Ó – 12Ó – 13Ó – 14Ó)
a)
Use hard felt sticks
b) Can use marching or drum set toms re-tuned
IV. The Bass Drum
A.
Properties of the instrument
1.
Use drum of appropriate size – 36Ó is ideal
2.
Tune playing side (batter) as low as it will go without ÔflapÕ
3.
Tune other side to ÔpitchÕ – go for a low, resonant ÔboomÕ
4.
Change heads at regular intervals, or when worn out or damaged (mark with
Sharpie)
5.
Do not muffle internally, use external device only when necessary
6.
A suspended stand is nice
B.
Properties of the beater
1.
Use a dense enough mallet
2.
Use a smaller pair for rolls
C.
Where the instrument is struck
1.
General – just off center
2.
Thin sound – near edge
3.
ÔCannon shotÕ – center (more contact sound, less resonance)
D.
How the instrument is struck (See II. D. 1 & 2)
1.
Use direct stroke
2.
Use single stroke rolls – listen to natural sustain of the instrument to
gauge roll speed
3.
Check score, use ears for durations
V. Crash Cymbals
A.
Properties of the instrument
1.
Have a variety of sizes and weights
a)
18Ó medium (Viennese) for general use
b)
16Ó dark (German) for marches
2.
Use quality leather straps only – learn (and teach your students) to tie
a cymbal knot
3.
Pads are unnecessary and they dampen high frequency overtones
B.
How the instrument is struck
1.
Check score, use ears for durations
2.
Use a full crash at all dynamic levels (no ÔtappingÕ for soft crashes)
3.
Use a full crash even when ÔchokeÕ is indicated (no Ôhi-hattingÕ unless
indicated)
4.
ODAFE (all factors increase as crashes get louder, and decrease as they get
softer):
Off-Center
Distance
Angle
Flam
Energy
VI. Suspended Cymbals
A.
Properties of the instrument
1.
Have a wide variety of sizes and weights
a)
18Ó medium-thin for general playing
b)
Special effects
i.
Hi-Hat
ii.
Splash
iii.
China
iv.
Sizzle
2.
Make sure stands are in good repair
a)
Metal washer
b)
Two felt washers
c)
Post insulator
d)
Wing nut
3.
Use goose-neck stands (a boom or mini-boom stand will work)
a)
Allows more vibration
b)
Widens your cymbal selection to include crash cymbals
B.
Properties of the beater
1.
Use a medium yarn-wrapped mallet for general playing (rolls and crashes)
2. DonÕt use timpani mallets (even if the music asks
for them)
3.
Use a snare stick only when specifically called for
4.
Use an orchestral brush when brushes are called for
C.
Where the instrument is struck
1.
The further out on the cymbal, the more overtones; closer to center, more
fundamental
2.
Roll (and crash) near the edge at three and nine oÕclock
D.
How the instrument is struck
1.
Warm it up
2.
For crashes and notes on the dome using a stick, hit with its shoulder
3.
Use single stroke rolls – listen to natural sustain of the instrument to
gauge roll speed
4.
Check score, use ears for durations – learn how to control decay
VII. Tam-Tams and Gongs
A.
Properties of the instrument
1.
Tam-Tam usually called a Gong (technically, a gong has definite pitch)
2.
29Ó is a good size, plus a bigger one (34Ó) if you can
3.
Chinese made, hand-hammered bronze instruments are very nice
B.
Properties of the beater
1.
Use a dense enough mallet
2.
Use a smaller pair for rolls
C.
Where the instrument is struck
1.
General – just off center
2.
Thin sound – near edge
D.
How the instrument is struck
1.
Warm it up
2.
Use direct stroke
3.
Use single stroke rolls – listen to natural sustain of the instrument to
gauge roll speed
4.
Check score, use ears for durations – learn how to control decay
VIII. The Triangle
A.
Properties of the instrument
1.
6Ó or larger
2.
Should have a wealth of overtones, and long natural sustain/decay
3.
Use an appropriate clip – string should not interfere with vibrations
B.
Properties of the beater
1.
ÒSpeak softly, but carry a big stickÓ – beater should be dense enough to
get a full tone
2.
Have a variety of sizes in pairs
C.
Where the instrument is struck
1.
Hit on bottom side at 45¡ angle to the plane of the instrument (brings out
overtones)
2.
Roll in top corner, alternating from side to side
D.
How the instrument is struck
1.
Hold instrument up for projection, and sight line
2.
Do not overplay – this is a very loud instrument (See VIII. B. 1)
3.
Check score, use ears for durations – learn how to control decay
4.
Suspend from stand, and use two beaters for rapid rhythms
IX. The Tambourine
A.
Properties of the instrument
1.
Must have a head – plastic is OK, skin is better
2.
10Ó diameter
3.
Two rows of real metal jingles
4.
Wood shell
B.
Where the instrument is struck
1.
Near the edge
2.
Strive for a balance between sound of head and sound of jingles
C.
How the instrument is struck
1.
Hold instrument up for projection, and sight line
2.
Take gravity into consideration
a) Sound quality
b) Transport instrument quietly
c) Preparation for changing techniques
2.
Performance chart:
pp p P F f ff
One hand rhythms: one
finger add
fingers all
fingers flatten
hand knuckles fist
Two hand rhythms: two
fingers add
fingers all
fingers fist/knee
3.
Sustains
a) Shake roll – longer durations, louder
dynamics
b) Thumb roll – shorter durations, softer
dynamics
X. Castanets
A.
Properties of the instrument
1. Wood is preferable to plastic
2. Paddle mounted
3. Stick mounted
4. Machine mounted
B.
How the instrument is struck
1.
Characteristic sound is a flam – double when you can
2.
Play stick mounted castanets on your knee
3.
Use fingers on both machine mounted castanets
XI. Wood Blocks and
Temple Blocks
A.
Properties of the instrument
1.
Have a wide variety of sizes
2.
In general, wood blocks should sound higher than temple blocks
3.
Use wood blocks made from a single piece of wood
4.
Temple blocks should be tuned (relatively) to a pentatonic scale
B.
Properties of the beater
1.
Use a hard rubber mallet
2.
If the density of the beater is greater than the density of the instrumentÉ
C.
Where the instrument is struck
1. Play on Ôsweet-spotÕ – edge over
opening
D.
How the instrument is struck
1.
Hold instrument up for projection, and sight line – aim Ôsweet-spotÕ at
audience
2.
Place on a padded stand and use two mallets for rapid rhythms
3. If you must use a stick, hit gently with the
shoulder across the Ôsweet-spotÕ
XII.
Orchestra Bells/Glockenspiel
A.
Properties of the instrument
1.
Steel bars are preferable to aluminum
2.
Professional quality instruments are not that big an investment – and it
pays off!
3.
Mind the transposition – sounds two octaves higher than written
4.
Overtones are non-harmonic
B.
Properties of the beater
1.
General – hard plastic mallets, have a variety of densities
2.
Marches, or when a particularly brilliant sound is desired – brass
3.
Special effects – hard rubber
4.
Mallets with a flexible handle (rattan or fiberglass) will give less contact
sound
C.
Where the instrument is struck
1.
Just off center
a)
In front on naturals
b)
Behind on accidentals
2.
Targets are too small to use the end of the bar
D.
How the instrument is struck
1.
Do not overplay – this is a very loud instrument
2.
Choke-up on mallets for control in soft passages
3.
Let it ring – rolls are seldom necessary, sometimes even if notated
4.
Added octaves are often effective
XIII. Chimes
A.
Properties of the instrument
1.
1 1/2Ó tubes are preferable to 1 1/4Ó
2.
Check range – is top note an F or a G?
3.
Overtones are non-harmonic
B.
Properties of the beater
1.
Use a rawhide or plastic hammer from hardware store, or one commercially
available
2.
Pad one side for softer attack
C.
Where the instrument is struck
1.
Play on lip at top of tube
2.
Playing in the middle doesnÕt give characteristic sound, and may damage tube
D.
How the instrument is struck
1.
Use a stroke angled to activate the entire tube
2.
Let it Ring – use pedal for sustain/clarity of line
3.
Lock pedal open, and hand dampen when possible
XIV. The Xylophone
A.
Properties of the instrument
1.
Use an instrument with full size bars
2.
Bars are made either of wood or a synthetic material (fiberglass derivative)
a)
Wood bars give more professional sound
b)
Synthetic bars are more durable
3.
Mind the transposition – sounds one octave higher than written
4.
Principal overtone sounds one-twelfth above fundamental
B.
Properties of the beater
1.
General – plastic, or very hard rubber mallets – sound should be
brilliant and loud
2.
Special effects – hard rubber
3.
If the density of the beater is greater than the density of the instrumentÉ
C.
Where the instrument is struck
1.
Just in front of center on naturals
2.
On the very edge (closest to player) on accidentals
D.
How the instrument is struck (See II. D. 1 & 2)
1.
Use single stroke rolls – roll speed will need to be rapid due to limited
bar ring
"The possibilities of percussion sounds, I
believe, have never been fully realized"
~ Charles Ives~
Memos
XV. The Marimba
A.
Properties of the instrument
1.
Use an instrument with full size bars – try to get a 4 1/3 octave
instrument (low A)
2.
Bars are made either of wood or a synthetic material (fiberglass derivative)
a)
Wood bars give more professional sound
b)
Synthetic bars are more durable
3.
Principal overtone sounds two octaves above fundamental
B.
Properties of the beater
1.
Wide variety of tone colors possible
a) Medium to hard rubber mallets in pairs
or sets of four
b) Soft to hard yarn-wrapped mallets in
pairs or sets of four
2.
Heavier mallets are more effective in ensemble settings
3.
If the density of the beater is greater than the density of the instrumentÉ
4.
Non-flexible handles (birch) make mallets easier to control
C.
Where the instrument is struck
1.
Just in front of center on naturals
2.
On the very edge (closest to player) on accidentals
D.
How the instrument is struck (See III. D. 1 & 2)
1.
Use single stroke rolls – listen to natural sustain of the instrument to
gauge roll speed
2.
Basic four-mallet technique is within the grasp of most high school and some
middle
school
students
a)
Burton technique
b)
Stevens technique
XVI. The Vibraphone
A.
Properties of the instrument
1.
Use an instrument with full size bars
2.
Bars are made of aluminum
3.
Principal overtone sounds two octaves above fundamental
4.
Make sure motor and pedal are in good working order
5.
When not using motor, make sure resonators are in open position
B.
Properties of the beater
1.
Medium to hard chord wrapped mallets in pairs or sets of four
2.
Mallets with a flexible handle (rattan or fiberglass) will give less contact
sound
C.
Where the instrument is struck
1.
Just off center
a)
In front on naturals
b)
Behind on accidentals
2.
Use of the edge of the bar is made difficult because all the bars are on the
same level
D.
How the instrument is struck (See III. D. 1 & 2)
1.
Learn to use pedaling and mallet dampening for clarity of line
2.
Instrument has natural sustain – rolls are seldom necessary, sometimes
even if notated
3.
Vibists will learn alternate stickings to compensate for keyboard arrangement
(i.e.
Eb Major Scale = LRRLLRRL)
4.
Basic four-mallet technique is within the grasp of most high school and some
middle
school
students
a)
Burton technique
XVII. Timpani
A.
Properties of the instrument
1.
Make sure drums are tuned to proper fundamental pitch
a)
32Ó – D
b)
29Ó – F
c)
26Ó – A or Bb
d)
23Ó – D
e)
20Ó – F or G
2.
Make sure heads are ÒclearedÓ
a) Bowl and counterhoop must be perfectly round
b) Tension (and therefore pitch) must be the same at
each point
3.
Change heads at regular intervals, or when worn out or damaged (mark with Sharpie)
4.
Keep main spring in adjustment (See XVII. A. 1)
a)
Turn counterclockwise, half turns at a time if pedal tends to stay toe down
b)
Turn clockwise, half turns at a time if pedal tends to stay heel down
c)
Use pedal tension adjustment to set resistance
5.
Never move by grabbing counterhoop
B.
Properties of the beater
1.
Have a variety of mallets for a variety of tone colors
a) Very soft (Cartwheel)
b) General
c) Hard
d) Very hard
e) Wood (use sparingly if at all)
2.
Replace or re-cover when worn out
3.
Mark seams
C.
Where the instrument is struck (See III. D. 1 & 2)
1.
General playing – 2-3Ó from edge, over pedal
2. Spread playing spots when rolling
D.
How the instrument is struck
1.
Use single stroke rolls – listen to natural sustain of the instrument to
gauge roll speed
2.
Check score, use ears for durations
3. Use dampening for clarity of
line
Percussionists are endlessly patient, because they donÕt get to play much. Pages and pages of music go by where the violins are sawing away and the winds are tooting and the brass is blasting but the percussionist sits and counts the bars, like a hunter waiting for the quail to appear. A percussionist may have to wait for twenty minutes just to play a few beats, but those beats have to be exact and they have to be passionate and climactic. All that the epistles of Paul say a Christian should be—faithful, waiting, trusting, filled with fervor—are the qualities of the percussionist.
~ Garrison Keillor~
The Young LutheranÕs Guide to the
Orchestra
We Are Still Married
Resources
(616) 738-3190
(Professional quality timpani and snare drums)
(800) 321-0556
(Professional quality castanets and accessories)
www.members.aol.com/franksperc/
(Professional quality keyboard
percussion instruments)
(585) 554-4011
(Sticks and mallets)
(781) 326-3455
(Professional quality snare drums, mallets,
and accessory instruments)
(781) 935-6200
www.groverpro.com/defaulttext.htm
(Sticks and mallets)
(615) 333-9388
(973) 478-6903
(732) 774-0011
(661) 294-5600
Bibliography
Cook, Gary D. Teaching Percussion. Second Edition, New York, NY: Schirmer Books, 1997.
Cirone, Anthony and Garwood Whaley. The Art of Bass Drum and Cymbal Playing. Ft. Lauderdale, FL: Meredith Music Publications, 1998.
Cirone, Anthony and Garwood Whaley. The Art of Percussion Accessory Playing. Ft. Lauderdale, FL: Meredith Music Publications, 1999.
Denov, Sam. The Art of Playing Cymbals. New York, NY: Henry Adler, 1963.
Friedman, David. Vibraphone Technique, Dampening and Pedaling. Boston, MA: Berklee Press Publications, 1973.
Grover, Neil and Garwood Whaley. The Art of Tambourine and Triangle Playing. Ft. Lauderdale, FL: Meredith Music Publications, 1997.
Grover, Neil. ÒCreative Tambourine Technique,Ó Percussive Notes, August 1992.
Marrs, Stuart. ÒTriangle — The Good Sound,Ó Percussive Notes, April 1991.
Payson, Al. Techniques of Playing Bass Drum, Cymbals, and Accessories. Northbrook, IL: Payson Percussion Products, 1971.
Peters, Mitchell, and Dave Black. Cymbals: A Crash Course. Van Nuys, CA: Alfred Publishing Co., Inc., 1989.
Peters, Mitchell. Fundamental Method for Timpani. Van Nuys, CA: Alfred Publishing Co., Inc., 1993.
Pinksterboer, Hugo, Ed. Rick Mattingly. The Cymbal Book. Milwaukee, WI: Hal Leonard Publishing Corporation, 1992.
Price, Paul. Techniques and Exercises for Playing Triangle, Tambourine, & Castanets. New York, NY: Music for Percussion, Inc., 1955 and 1967.
Soroka, John. ÒJohn Soroka on the Cymbals: Part 1,Ó Percussive Notes, Winter 1990.
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