Percussion instrument

History of Percussion Instruments There are few certainties about the percussion family. No one can say how many instruments it contains; few have agreed on playing techniques; and few could name one orchestral piece specifically written with percussion in mind. However, one thing is certain, percussion has been shown over time that it is not merely a matter of beating out rhythm (“ History of Percussion” 1). The family of percussion instruments is the first musical instrumentation

and a percussion instrument creates confusion among those that don't know the intricacies of both instrument categories. While both instruments share similar characteristics, a drum consists of a very specific type of percussion instrument. Percussionists and drummers learn very early on to distinguish the difference by identifying the specific characteristics of each instrument. Main Differences Drums fall under the category of percussion instruments. However, not all percussion instruments can

can be the thing that makes or breaks someone. In sixth grade, I nearly decided to go with my gut instinct and try out for a percussion instrument for our school band. If I had gone through with this decision, it would have aimless. With the help of my former director, Mr. Davis, I was able to realize that I had made a bad decision, and decided to choose another instrument: flute. This was the beginning of my musical journey. I am now a flutist and a piccolo player who has joyfully played for

This study examines the impact of the high school percussion curricula on college students pursuing percussion performance degrees. Percussion in general is utilized in elementary school for pedagogical purposes and is often situated within a concert or marching setting for middle and high schools. Marimba is a type of a percussion instrument consisting of a set of bars struck with mallets. As illustrated by Eyler (1985), the development of the marimba ensemble within university programs reflects

The interpretation of Tempo, Dynamics and Expression through Instrumentation in three recordings of Vittorio Monti’s ‘Czardas’ Vittorio Monti’s famous virtuosic piece Czardas has been arranged for many instruments over the years. Being a percussionist and having played this piece I was interested in how this piece would vary in terms of tempo, dynamics and expression due to instrumentation. I chose to compare three recordings: one by violinist Frank Kim accompanied by piano as this represents the

Turandot is one of the longest of Puccini’s works, a grand opera in the truest sense: an enormous, late-Romantic orchestra with large percussion forces and on-stage band to support the story and its setting in China. The Chinese folk-songs Puccini used in Turandot were used these tunes to give authentic sound in his opera. In addition, Puccini set exotic percussions, Gong and Cymbalum, to establish Asian atmosphere and color. Puccini borrowed the Chinese tunes in his last masterpiece, Turandot. The

usually a male, female, painted-face male, and a clown. Females were not usually used in the performances so males would play their roles. The instruments used in these plays were a small, two-string fiddle with a piercing timbre called the jinghu as well as another chordophone instrument called the pipa. Other instruments are including in the percussion section like the gongs, cymbals, and wooden clappers. The leaders of the performance use a drum called the a danpi gu. Another type of music in

musician, in particular a percussionist, the sound of a drum set would be their favorite sound in the world. Today I am going to briefly talk about the origin of the drum, the components of the modern drum set, and the benefits of drumming. I) Percussion instruments have been used since prehistoric times. A) Drums are found in nearly every culture in the world and have existed since before 6000 B.C. (“drum.”). 1) The first drumming in drums history was a series clapping of hands and

the very beginning of the piece. Mr. Villafranca stands up and starts uttering the hypnotic calling ‘Maluagda’ while playing a percussion instrument. The rhythm was gradually installed, and the sound, swinging between invigorating and lamenting, opens space to the improvisations that intertwine with the consistent rhythmic basis formed by the dreamy piano, bass, and percussion. Mr. Villafranca, always communicative, asks the audience: ‘are we doing ok so far?’. The answer was affirmative, and with no

strategies. For example in a music class, one of my strategies of keeping students engaged is to use simple percussion instruments for developing rhythmic proficiency. The differentiated instruction is provided by taking individual needs into consideration. For example, a student who is easily aurally overloaded, I would hand that student a quieter instrument and/or suggest he/she use body percussion or ask them to sit where they feel comfortable in class relative to the sound being produced. For younger