All percussion instruments. Types of percussion musical instruments. Percussion musical instruments of different nations
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State autonomous professional educational institution Moscow city
"College of Entrepreneurship No. 11"
COURSE WORK
On the topic: Percussion instruments
Specialty: "Musical literature"
Performed:
Student Safronova Kristina Kirillovna
Supervisor:
Department teacher
Audiovisual technology
Bocharova Tatiana Alexandrovna
Moscow 2015
1. PERCUSSION INSTRUMENTS
Percussion musical instruments - a group of musical instruments, the sound of which is produced by a blow or shaking (swinging) [hammers, mallets, sticks, etc.] over the sounding body (membrane, metal, wood, etc.). The largest family among all musical instruments.
Percussion musical instruments appeared before all other musical instruments. In ancient times, percussion instruments were used by the peoples of the African continent and the Middle East to accompany religious and warlike dances and dances.
Percussion instruments are very common these days, as no ensemble can do without them.
Percussion instruments include instruments in which the sound is produced by means of a strike. According to their musical qualities, that is, the possibility of obtaining sounds of a certain pitch, all percussion instruments are divided into two types: with a certain pitch (timpani, xylophone) and with an indefinite pitch (drums, cymbals, etc.).
Depending on the type of sounding body (vibrator), percussion instruments are divided into membranous (timpani, drums, tambourine, etc.), plate (xylophones, vibrophones, bells, etc.), self-sounding (cymbals, triangles, castanets, etc.).
The loudness of the sound of a percussion instrument is determined by the size of the sounding body and the amplitude of its vibrations, that is, by the force of the impact. In some instruments, the sound is amplified by adding resonators. The timbre of the sound of percussion instruments depends on many factors, the main of which are the shape of the sounding body, the material from which the instrument is made, and the method of impact.
1.1 Webbed Percussion Instruments
In webbed percussion instruments, the sounding body is a stretched membrane or membrane. These include timpani, drums, tambourine, etc. percussion bell sound drum
Timpani is an instrument with a certain pitch, having a metal body in the form of a cauldron, in the upper part of which a membrane of well-made leather is stretched. Currently, a special membrane made of polymeric materials of increased strength is used as a membrane.
The diaphragm is attached to the body with a hoop and tensioning screws. These screws, located around the circumference, tighten or release the diaphragm. This is how the timpani is tuned: if the membrane is pulled, the tuning will be higher, and, conversely, if the membrane is released, the tuning will be lower. In order not to interfere with the free vibration of the membrane in the center of the boiler, there is an opening for air movement at the bottom.
The timpani body is made of copper, brass or aluminum, they are installed on a tripod stand.
In the orchestra, timpani are used in a set of two, three, four or more cauldrons of various sizes. The diameter of modern timpani is from 550 to 700 mm.
Distinguish between screw, mechanical and pedal timpani. The most common are pedals, since with one press of the pedal, you can, without interrupting the game, re-tune the instrument to the desired key.
The sound volume of the timpani is about a fifth. The Great Timpani is tuned below all others. The range of sounding of the instrument is from large octave fa to small octave. The middle timpani has a sounding range from B of a large octave to F of a small octave. Minor timpani - from re small octave to la minor octave.
Drums are instruments with an indeterminate pitch. Distinguish between small and large orchestral drums, small and large pop, tom-tenor, tom-bass, bongos.
A large orchestral drum is a cylindrical body covered on both sides with leather or plastic. The bass drum has a powerful, low and hollow sound, which is produced by a wooden ball-tipped mallet made of felt or felt. Nowadays, instead of expensive parchment leather, a polymer film has been used for drum membranes, which has higher strength indicators and better musical and acoustic properties.
The diaphragms at the drums are secured by two rims and tensioning screws located around the circumference of the tool body. The drum body is made of sheet steel or plywood, lined with artistic celluloid. Dimensions 680x365 mm.
The big variety drum has a shape and construction similar to an orchestral drum. Its dimensions are 580x350 mm.
The small orchestral drum looks like a low cylinder covered with leather or plastic on both sides. The membranes (membranes) are attached to the body with two rims and tie screws.
To give the drum a specific sound, special strings or spirals (snare) are pulled over the lower membrane, which are driven by a release mechanism.
The use of synthetic membranes in drums has significantly improved their musical and acoustic capabilities, operational reliability, durability and presentation. Orchestral snare drum dimensions 340x170 mm.
Small orchestral drums are included in military brass bands, and they are also used in symphony orchestras.
The small variety drum has the same structure as the orchestral drum. Its dimensions are 356x118 mm.
Drum tom-tom-tenor and drum tom-tom-bass do not differ in structure and are used in pop drum sets. The tom-tenor drum is attached with a bracket to the big drum, the tom-tom-bass drum is installed on the floor on a special stand.
Bongs are small drums with leather or plastic stretched on one side. They are part of the pop drum kit. Bongs are interconnected with adapters.
A tambourine is a hoop (shell) with leather or plastic stretched on one side. In the body of the hoop, special slots are made, in which brass plates are fixed, which look like small orchestral plates. Sometimes, even inside the hoop, small bells, rings are strung on stretched strings or spirals. All this tinkles from the slightest touch of the instrument, creating a peculiar sound. The membrane is struck with the tips of the fingers or the base of the palm of the right hand.
Tambourines are used for rhythmic accompaniment of dances and songs. In the East, where the art of playing the tambourine has reached virtuoso mastery, solo playing on this instrument is widespread. The Azerbaijani tambourine is called def, daf or gaval, Armenian - daf or hawal, Georgian - daira, Uzbek and Tajik - doira.
1.2 Plate percussion instruments
Plate percussion instruments with a certain pitch include xylophone, metallophone, marim-bafon (marimba), vibraphone, bells, bells.
Xylophone - is a set wooden blocks different sizes corresponding to different pitches. Bars are made from rosewood, maple, walnut, spruce. They are arranged in parallel in four rows in the order of the chromatic scale. The bars are fastened on strong laces and separated by springs. The cord goes through the holes in the blocks. For the game, the xylophone is laid out on a small table on the share rubber pads located along the cords of the instrument.
The xylophone is played with two wooden sticks with a thickening at the end. The xylophone is used both for solo playing and in the orchestra.
The range of the xylophone is from low octave B to the fourth octave.
Metallophones are similar to xylophones, only sound plates are made of metal (brass or bronze).
Marimbafons (marimba) are a percussion musical instrument, the sounding elements of which are wooden plates, and tubular metal resonators are installed on it to enhance the sound.
Marimba has a soft, rich timbre, has a sounding range of four octaves: from a note to a small octave to a note to a fourth octave.
The playing plates are made of rosewood wood, which ensures high musical and acoustic properties of the instrument. The plates are arranged in two rows on the frame. The first row contains pitch plates, the second row contains halftone plates. The resonators (metal tubes with plugs) installed on the frame in two rows are tuned to the sound frequency of the corresponding plates.
The main assemblies of the marimba are fixed on a support cart with wheels, the frame of which is made of aluminum, which ensures minimum weight and sufficient strength.
Marimba can be used by both professional musicians and educational purposes.
The vibraphone is a set of chromatically tuned aluminum plates arranged in two rows similar to a piano keyboard. The plates are installed on a high bed (table) and fastened with laces. Cylindrical resonators of the corresponding size are located in the center under each plate. Through all the resonators in the upper part there are axes on which fan impellers - fans are mounted.
A portable silent electric motor is mounted on the side of the bed, which evenly rotates the impellers throughout the entire game on the instrument. In this way, vibration is achieved. The instrument has a damper device connected to a pedal under the bed to dampen the sound with the foot. They play the vibraphone with two, three, four sometimes longer sticks with rubber balls at the ends.
The vibraphone range is from small octave fa to third octave fa or from first octave to third octave A.
Vibraphone is used in symphony orchestra, but more often in a pop orchestra or as a solo instrument.
Bells are a set of percussion instruments that are used in opera and symphony orchestras to imitate bell ringing. The bell consists of a set of 12 to 18 cylindrical pipes, chromatically tuned.
The pipes are usually nickel-plated brass or chrome-plated steel with a diameter of 25-38 mm. They are suspended in a rack frame about 2 m high. The sound is produced by hitting a wooden hammer on the pipes. The bells are equipped with a pedal damper for sound damping. Bells range from 1 to 11/2 octaves, usually from large octave F.
Bells are a percussion musical instrument, which consists of 23-25 chromatically tuned metal plates, placed in a flat box in two rows in steps. The top row is black and the bottom row is white piano keys.
The range of sounding of bells is equal to two octaves: from a note to the first octave to a note to the third octave and depends on the number of records.
1.3 Self-sounding percussion instruments
Self-sounding percussion instruments include: cymbals, triangles, tam-tams, castanets, maracas, rattles, etc.
The cymbals are metal discs made of brass or nickel silver. The cymbals are slightly spherical, with leather straps attached to the center.
When the cymbals hit each other, a continuous ringing sound is produced. Sometimes a single cymbal is used and the sound is produced by hitting a stick or metal brush. Orchestral cymbals, Charleston cymbals, and gong cymbals are produced. Cymbals sound sharply, ringing.
The orchestral triangle is a steel bar, which has been given an open triangular shape. When playing, the triangle is freely suspended and struck with a metal stick, performing various rhythmic patterns.
The sound of the triangle is bright, ringing. The triangle is used in various orchestras and ensembles. Orchestral triangles with two steel sticks are produced.
There-there or gong - a bronze disc with curved edges, in the center of which is struck with a felt-tipped mallet, the sound of the gong is deep, thick and gloomy, reaching full strength not immediately after the strike, but gradually.
Castanets are a folk instrument in Spain. Castanets are in the form of shells, facing one 1C with the other concave (spherical) side and connected with a cord. They are made from hardwood and plastic. They produce double and single castanets.
Maracas are balls of wood or plastic filled with small amount small pieces of metal (shot), outside the maracas are colorfully decorated. For ease of holding while playing, they are equipped with a handle.
Shaking the maracas, they reproduce various rhythmic patterns.
Maracas are used in orchestras, but more often in pop ensembles.
Rattles are sets of small plates mounted on a wooden plate.
1.4 Drum set of a pop ensemble
For a complete study of a group of percussion musical instruments, a specialist engaged in their implementation needs to know the composition of percussion sets (sets). The most common drum set is as follows: big drum, snare drum, twin Charleston cymbal (hey-hat), single large cymbal, single small cymbal, bongos, tom-tom bass, tom-tom tenor, tom-tom alto.
A large drum is installed directly in front of the performer on the floor; it has support legs for stability. On top of the drum, with the help of brackets, the drums tom-tom tenor and tom-tom alto can be fixed; additionally, a stand for an orchestral cymbal is provided on the big drum. The brackets for the tenor tom-tom and alto tom-tom on the big drum adjust their height.
An integral part of the kick drum is a mechanical pedal, with which the performer extracts sound from the drum.
The drum kit necessarily includes a small pop drum, which is mounted on a special stand with three clamps: two folding and one retractable. The stand is installed on the floor; it is a stand equipped with a locking device for fixing in a given position and adjusting the tilt of the snare drum.
The snare drum has a dumping device as well as a muffler, which are used to adjust the tone of the sound.
A drum kit can include several drum tom-tom, alto tom-tom and tenor tom-tom at the same time. Tom-tom bass set with right side from the performer and has legs with which you can adjust the height of the instrument.
The drums bongos included in the drum kit are placed on a separate stand.
The drum kit also includes orchestral cymbals with a stand, a mechanical cymbal stand "Charleston", a chair.
The accompanying drum kit instruments are maracas, castanets, triangles, and other noise instruments.
Spare parts and accessories for impact tools
Percussion instrument parts and accessories include: snare drum stands, orchestral cymbal stands, Charleston mechanical orchestral cymbal pedal stand, mechanical bass drum beater, timpani sticks, snare drum sticks, pop drumsticks, orchestral brushes, bass drum beaters, bass drum leather, belts, cases.
In percussion musical instruments, the sound is produced by hitting some device or separate parts of the instrument against each other.
Percussion instruments are subdivided into membranous, lamellar, and self-sounding.
Membrane instruments include instruments in which the sound source is a stretched membrane (timpani, drums), the sound is produced by hitting the membrane with some device (for example, a mallet). In plate instruments (xylophones, etc.), wooden or metal plates and bars are used as a sounding body.
In self-sounding instruments (cymbals, castanets, etc.), the sound source is the instrument itself or its body.
Percussion musical instruments are instruments whose sounding bodies are energized by beating or shaking.
According to the sound source, percussion instruments are divided into:
* lamellar - in them the sound source is wooden and metal plates, bars or tubes on which the musician strikes with sticks (xylophone, metallophone, bells);
* membranous - a stretched membrane sounds in them - a membrane (timpani, drum, tambourine, etc.). Timpani are a set of several metal cauldrons of different sizes, covered on top with a skin membrane. The tension of the membrane can be changed with a special device, while the height of the sounds produced by the beater changes;
* self-sounding - in these instruments the sound source is the body itself (cymbals, triangles, castanets, maracas)
2. THE ROLE OF DRUM INSTRUMENTS IN THE MODERN ORCHESTRA
The fourth amalgamation of a modern symphony orchestra is percussion. They have no resemblance to the human voice and do not say anything to his inner feeling in a language that he understands. Their measured and more or less definite sounds, their tinkling and crackling have a rather “rhythmic” meaning.
Their melodic duties are extremely limited, and their whole being is deeply rooted in the nature of dancing in the broadest sense of this concept. It is as such that some of the percussion instruments were used even in ancient times and were widely used not only by the peoples of the Mediterranean and Asian East, but also acted, invisibly, among all the so-called “primitive peoples” in general.
Some jingling and clinking percussion instruments were used in Ancient Greece and Ancient rome as instruments accompanying dances and dances, but not a single percussion instrument from the drum family was admitted by them to the field of military music. These instruments had a particularly wide application in the life of the ancient Jews and Arabs, where they performed not only civilian duties, but also military ones.
On the contrary, the peoples of modern Europe adopted percussion instruments in military music. different types where they are very important. However, the melodic poverty of percussion instruments did not prevent them, nevertheless, from penetrating the opera, ballet and symphony orchestra, where they occupy far from the last place.
However, in the artistic music of European peoples there was a time when access to these instruments was almost closed to the orchestra and, with the exception of the timpani, they made their way into symphonic music through the orchestra of opera and ballet, or, as they would say now, through the orchestra of “dramatic music ".
In history " cultural life Percussion instruments of mankind appeared earlier than all other musical instruments in general. Nevertheless, this did not prevent the percussion instruments from relegating to the background of the orchestra at the time of its emergence and the first steps of its development. And this is all the more surprising since it is still impossible to deny the enormous "aesthetic" significance of percussion instruments in artistic music.
The history of the emergence of percussion instruments is not very exciting. All those "instruments for producing measured noise" that were used by all primitive peoples to accompany their warlike and religious dances, in the beginning did not go further than simple tablets and wretched drums. And only much later in many tribes of Central Africa and some peoples Of the Far East instruments appeared that served as worthy examples for the creation of more modern European percussion instruments, already accepted everywhere.
In terms of musical quality, all percussion instruments are very simply and naturally divided into two types or genders. Some emit a sound of a certain pitch and therefore quite naturally enter the harmonic and melodic basis of the work, while others, capable of producing more or less pleasant or characteristic noise, perform purely rhythmic duties and decorate in the broadest sense of the word. In addition, various materials take part in the device of percussion instruments and, in accordance with this feature, they can be divided into instruments "with skin" or "webbed", and "self-sounding", in the device of which various types and varieties of metal, wood and for recent times- glass. Kurt Sachs, assigning them a not very successful and extremely ugly by ear definition - idiophones, obviously loses sight of what it is. the concept in the meaning of "peculiar-sounding" can be, in essence, on an equal basis: applied to any musical instrument or their kind.
In an orchestral score, the community of percussion instruments is usually placed in the very middle of it, between the brass and bowed ones. Featuring harp, piano, celesta and all other plucked string or keyboard instruments, the percussion always retains its place and is then located immediately after the brass ones, giving way after them to all the "decorating" or "random" voices of the orchestra.
The ridiculous way of writing percussion instruments below the bowed quintet should be strongly condemned as very inconvenient, unjustified and extremely ugly. It originally appeared in old scores, then acquired a more isolated position in the bowels of a brass band and, having an insignificant justification, now, however, broken and completely overcome, was perceived by some composers who wished to draw attention to themselves at least with something and in whatever no matter what.
But the worst thing is that this strange innovation turned out to be all the stronger and more dangerous because some publishing houses went to meet such composers and printed their scores according to a "new model". Fortunately, there were not so many such "publishing pearls" and they, as works, mostly weak in their artistic merit, were drowned in an abundance of truly excellent samples of diverse creative heritage of all nations.
The only place where the specified way of presentation reigns now percussion instruments-in at the very bottom of the score, there is a pop ensemble. But there it is generally accepted to arrange all the instruments differently, guided only by the altitude feature of the instruments involved. In those distant times, when only one timpani still operated in the orchestra, it was customary to place them above all other instruments, apparently considering such a presentation to be more convenient. But in those years, the score was generally composed in a somewhat unusual way, which now there is no longer any need to remember. We must agree that the modern way of presenting the score is sufficiently simple and convenient, and therefore there is no point in engaging in all kinds of fabrications, which have just been discussed in detail.
As already mentioned, all percussion instruments are divided into instruments with a certain pitch and instruments without a certain pitch. At present, such a distinction is sometimes disputed, although all proposals made in this direction are rather reduced to confusion and deliberate emphasis on the essence of this extremely clear and simple position, in which there is not even a direct need to remember the self-evident concept of pitch every time.
In an orchestra, instruments "with a certain sound" mean, first of all, a five-line staff or staff, and instruments "with an indefinite sound" - the conventional way of notation - "hook" or "string", that is, - one single ruler on which note heads represent only the required rhythmic pattern. This transformation, done very conveniently, was intended to gain space, and, with a significant number of percussion instruments, to simplify their presentation.
However, not so long ago, for all percussion instruments "without a certain sound", ordinary staffs with keys Sol and Fa, and with the conditional placement of note heads between the spacing, were adopted. The inconvenience of such a recording was not slow to show itself, as soon as the number of percussion-noise instruments increased to "astronomical limits", and the composers themselves, who used this method of presentation, got lost in the insufficiently developed order of their outline.
But what caused the combination of keys and threads to come to life is very difficult to say. Most likely, the case began with a typo, which then attracted some composers, who began to set the treble clef on a string intended for relatively high percussion instruments, and the Fa clef for relatively low percussion instruments.
Is it necessary to speak here about the absurdity and complete inconsistency of such an exposition? As far as we know, keys on a string were first encountered in the scores of Anton Rubinstein, printed in Germany, and represented undoubted typos, and much later were revived in the scores of the Flemish composer Arthur Meulemans (1884-?), Who made it a rule to supply the middle string with the Sol key, and the most low - using the Fa key. This presentation looks especially wild in those cases when one thread with the key Fa appears between two unmarked threads. In this sense, the Belgian composer Francis de Bourguignon (1890-?) Proved to be more consistent, supplying a key to every string involved in the score.
French publishers have adopted a special "key" for percussion instruments in the form of two vertical fat bars, reminiscent Latin letter"H" and crossing the thread at the very accolade. There is nothing to object to such an event, as long as it ultimately leads to “some external completeness of the orchestral score in general.
However, it would be quite fair to recognize all these eccentricities as equal to zero in the face of the "disorder" that still exists - * to this day in the presentation of percussion instruments. Rimsky-Korsakov also expressed the idea that all self-sounding instruments, or, as he calls them, “percussion and ringing without a certain sound,” can be regarded as high - a triangle, castanets, bells, medium ones - a tambourine, rods, a snare drum, cymbals, and as low-bass drum and there-there, "meaning by this their ability to combine with the corresponding areas of the orchestral scale in instruments with sounds of a certain pitch." Leaving aside some of the details, due to which the “rods” should be excluded from the percussion composition, as “belonging to percussion instruments”, but not a percussion instrument in its own sense, Rimsky-Korsakov's observation remains in full force to this day.
Based on this assumption and supplementing it with all the latest percussion instruments, it would be most reasonable to place all percussion instruments in the order of their height and write "high" above "medium", and "medium" above "low". However, there is no consensus among composers and the presentation of percussion instruments is more than arbitrary.
This situation can be explained to a lesser extent only by the accidental participation of percussion instruments, and to a greater extent - by the complete disregard of the composers themselves and the bad habits or erroneous premises they have learned. The only justification for such an “instrumental mess” may be the desire to present the entire composition of percussion instruments operating in this case, in the order of parties, when strictly definite instruments are assigned to each performer. Finding fault with the words, such a presentation makes more sense in the parts of the drummers themselves, and in the score it is useful only if it is sustained with "pedantic precision."
Returning to the question of exposing percussion instruments, it is undoubtedly unsuccessful to admit the aspiration of many composers, including quite noticeable ones, to place cymbals and a bass drum immediately after the timpani, and the triangle, bells and xylophone - below these latter. There are, of course, no sufficient grounds for such a solution to the problem, and all this can be attributed to an unjustified desire to be “original”. The simplest and most natural, and in the light of the exorbitant number of percussion instruments operating in a modern orchestra, the most justified is the placement of all percussion instruments using a staff, higher than those using a string.
In each individual association, it would, of course, be desirable to adhere to the views of Rimsky-Korsakov and place the votes in accordance with their relative height. For these reasons, after the timpani, which retain their primacy according to the "primordial tradition," it would be possible to place the bells, vibraphone and tubaphone above the xylophone and marimba. In instruments without a specific sound, this distribution will be somewhat more difficult due to a large number participants, but even in this case, nothing will prevent the composer from adhering to the well-known rules, about which a lot has already been said above.
One must think that the determination of the relative altitude of a self-sounding instrument, in general, does not cause misinterpretations, and if this is so, then it does not cause any; difficulties and for its implementation. Only the bells are usually placed below all percussion instruments, since their part is most often satisfied with the conventional outline of the notes and their rhythmic duration, and not with the full "ringing", as is usually done in the corresponding recordings. The part of "Italian" or "Japanese" bells, which look like long metal pipes, requires the usual five-line staff, placed below all other instruments "with a certain sound". Consequently, the bells here, too, serve as a frame for the staff, united by one common feature"Certainty" and "uncertainty", sound. Otherwise, there are no peculiarities in the recording of percussion instruments, and if for some reason they turn out to be, then they will be said about them in the proper place.
In a modern symphony orchestra, percussion instruments serve only two purposes - rhythmic to maintain clarity and sharpness of movement, and decorating in the broadest sense, when the author, with the help of percussion instruments, contributes to the creation of enchanting sound pictures or "mood" filled with excitement, fervor or impetuosity.
From what has been said, of course, it is clear that percussion instruments have to be used with great care, taste and moderation. The varied sonority of percussion instruments can quickly tire the attention of listeners, and therefore the author must always remember what the drums are doing with him. Timpani alone enjoy the known advantages, but they can also be negated by excessive excesses.
The classics paid a lot of attention to percussion instruments, but never raised them to the level of the only members of the orchestra. If something similar happened, then the percussion performance was most often limited to only a few beats of a measure or was content with an extremely short duration of the entire formation.
Of the Russian musicians, Rimsky-Korsakov used some percussion instruments as an introduction to very rich and expressive music in the Spanish Capriccio, but most often solo percussion instruments are found in “dramatic music” or in ballet, when the author wants to create a particularly poignant, extraordinary or “ an unprecedented sensation. "
This is exactly what Sergei Prokofiev did in musical performance Egyptian nights. Here the sonority of percussion instruments accompanies the scene of commotion in the house of Cleopatra's father, to which the author prefaces the title "Anxiety". Victor Oransky (1899-1953) did not refuse the services of percussion instruments. He had a chance to apply this amazing sonority in the ballet Three Fat Men, where he entrusted the accompaniment of the sharp rhythmic canvas of "eccentric dance" with one percussion.
Finally, more recently, the services of some percussion instruments used in an intricate sequence of "dynamic<оттенков», воспользовался также и Глиер в одном небольшом отрывке новой постановки балета Красный мак. Но как уже ясно из всего сказанного такое толкование ударных явилось уже в полном смысле слова достоянием современности, когда композиторы, руководимые какими-нибудь «особыми» соображениями, заставляли оркестр умолкнуть, чтобы дать полный простор «ударному царству».
The French, laughing at such an "artistic revelation", rather venomously ask whether the new French word bruisme originated from here, as a derivative of brui- "noise". In the Russian language there is no equivalent concept, but the Orchestra members themselves have already taken care of a new name for such music, which they rather evilly dubbed the definition of "percussion thresher". In one of his early symphonic works, Alexander Cherepnin dedicated an entire part to such an "ensemble". There was already a chance to talk about this work a little about the connection with the use of the bowed quintet as percussion instruments, and therefore there is no urgent need to return to it a second time. Shostakovich paid tribute to the annoying "shock" delusion in those days when his creative outlook was not yet sufficiently stable and mature.
The “onomatopoeic” side of the matter is completely aside, when the author, with the smallest number of percussion instruments actually employed, arises a desire or, more precisely, an artistic need to create only a “feeling of percussion” for all music intended mainly for strings and woodwind instruments.
One such example, extremely witty, funny and excellently sounding "in the orchestra", if the composition of the instruments participating in it can generally be defined by this very concept, is found in Oransky's ballet Three Fat Men and is called "Patrol".
But the most outrageous example of musical formalism remains a piece written by Edgar Varez (1885-?). It is designed for thirteen performers, is intended for two combinations of percussion instruments and is named by the author lonisation, which means "Saturation". Only sharp-sounding percussion instruments with a piano are involved in this “piece”.
However, this latter is also used as a “percussion instrument” and the performer acts on it according to the newest “American method” of Henry Cowell (1897–?), Who, as you know, proposed to play with only one elbows extended across the entire width of the keyboard.
According to the reviews of the press of that time, - and the matter took place in the thirties of the current century, - the Parisian listeners, driven by this work to a state of wild frenzy, insistently demanded its repetition, which was immediately carried out. Without saying a bad word, the history of the modern orchestra does not yet know the second such out of the series "case".
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manual, added 01/31/2009
Criteria and signs of rational classification of musical instruments, methods of playing them. Systematization of performing and musical-historical classes of instruments; types of vibrators according to Hornbostel-Sachs. Classifications of P. Zimin and A. Modra.
- musical instruments, the sound of which is produced by a blow (with hands, sticks, hammers, etc.) on the body, becomes its source. The largest and most ancient family of all musical instruments. Sometimes percussion musical instruments are called by the word percussion(from the English. percussion ).
A musician who plays percussion is called drummer or percussionist, in rock and jazz groups - also drummer.
1. Classification
Depending on the sound source, percussion instruments can be:
An exotic percussion instrument came from the western regions of Ukraine to other regions of the republic, for a specific color of sound it is called a bull. In a small cone-shaped shell, the upper opening is covered with leather. A bundle of horsehair is attached to it in the center. The musician pulls his hair with his hands moistened with kvass and produces persistent chord sounds.
4. Multimedia
Sources of
- Concise Dictionary of Music, Moscow, 1966
- Anthem to the art of drumming (Rus.)
- Percussion musical instruments (Rus.)
Literature
- A. Andreeva. Percussion instruments of a modern symphony orchestra. - К .: "Musical Ukraine", 1985
- A. Panaiotov. Percussion instruments in a modern orchestra. M, 1973
- E. Denisov. Percussion instruments in a modern orchestra. M, 1982
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Percussion folk instruments. Video tutorial
Russian folk percussion instruments are the first of three groups of folk instruments.A characteristic feature of Russian folk percussion instruments is that some of them were household items.Perhaps one of the most common Russian folk instruments are spoons. Spoons used to be wooden, and people began to use these wooden spoons as a percussion instrument. They usually played on three spoons, of which two were held in one hand, and the third in the other. Children often play on two spoons, fastened together The spoon performers are called spoons ... There are very skilful spoons who play on more spoons, which are stuck in both boots and in the belt.
The next percussion instrument, which was also a household item, is ruble ... It is a wooden block with jagged edges on one side. It was used to wash and iron the laundry. If we hold it with a wooden stick, then we will hear a whole cascade of loud, crackling sounds.
Our next tool that we will get acquainted with will be ratchet ... There are two varieties of this tool. A ratchet, which is a set of wooden plates tied together with a rope and a circular ratchet, inside which is a toothed drum, during the rotation of which a wooden plate hits it.
No less popular percussion folk instrument is tambourine , which is a wooden hoop with small metal plates, on one side of which leather is stretched.
The next Russian folk percussion instrument is box ... It is a block of wood, usually made of hardwood, with a small cavity under the top of the body that amplifies the sound produced by drumsticks or xylophone sticks. The sound of this instrument conveys well the clatter of hooves or the clatter of heels in the dance.
Russia with its vast expanses cannot be imagined no triplets horses, no coachmen. In the evening, on a snowy perga, when visibility was very poor, it was necessary for people to hear the approaching three. For this purpose, bells and bells were hung from the horse under an arc. Bell is a metal cup open to the bottom with a drummer (tongue) suspended inside. It sounds only in limbo. Bell the same is a hollow ball in which a metal ball (or several balls) rolls freely, when shaken hitting the walls, as a result of which a sound is produced, but dimmer than a bell.
So many songs and instrumental compositions are dedicated to the Russian troika and the coachmen that it became necessary to introduce a special musical instrument into the orchestra of folk instruments, imitating the sound of coachman bells and bells. This tool was named so - bells ... A strap is sewn onto a small piece of leather the size of a palm to help hold the tool in the palm of your hand. On the other hand, as many bells themselves are sewn on. Shaking the bells or striking them on the knee, the player produces sounds reminiscent of the ringing of the bells of the Russian troika.
Now we will talk about an instrument called kokoshnik .
In the old days, village watchmen were armed with so-called mallets. The watchman walked
at night in the village and knocked on it, letting the villagers understand that he was not sleeping, but working, and at the same time scaring off the thieves.
The percussion folk instrument kokoshnik is based on the principle of this guard beater. It is based on a small wooden frame covered with leather or plastic, which is struck by a ball suspended from the upper part. The player makes frequent oscillatory movements with his hand, forcing the tied ball to dangle from side to side and alternately hit the walls of the kokoshnik.
The next musical instrument is called firewood ... It consists of logs tied with a rope of different lengths. Not all firewood will sound good. It is better to take hardwood firewood. Logs are taken of different lengths, but approximately the same thickness. After the tool is made, it is tuned.
We got acquainted with the main Russian folk instruments, and in conclusion I would like to introduce you to some of the most famous percussion instruments of other nations.
A very common Latin American instrument is maracas.
Maracas or maraca is the oldest percussion and noise instrument of the indigenous inhabitants of the Antilles - the Taino Indians, a type of rattle that emits a characteristic rustling sound when shaken. Currently, maraki are popular throughout Latin America and are one of the symbols of Latin American music. Typically, a musician playing marakas uses a pair of rattles, one in each hand.
In Russian, the name of the instrument is often used in a not quite correct form "maracas". The more correct form of the name is "maraka".
Originally, the dried fruit of the gourd tree, known in Cuba as guira, and in Puerto Rico as iguero, was used to make marakas. The gourd tree is a small evergreen that is widespread in the West Indies (Antilles), Mexico, and Panama. Large iguero fruits, covered with a very hard green shell and reaching 35 cm in diameter, were used by the Indians to make both musical instruments and dishes.
For the manufacture of marak, small fruits of the correct round shape were used. After removing the pulp through two holes drilled in the body and drying the fruit, small pebbles or plant seeds were poured inside, the number of which in any pair of marakas is different, which provides each instrument with a uniquely individual sound. At the last stage, a handle was attached to the resulting spherical rattle, after which the instrument was ready
Now let's get to know the very famous Spanish percussion instrument - castanets.
Castagnets are a percussion musical instrument, which is in the form of two concave shell-plates, connected in the upper parts by a cord. Castanets are most widespread in Spain, southern Italy and Latin America.
Similar simple musical instruments, suitable for rhythmic accompaniment to dance and singing, were used in Ancient Egypt and Ancient Greece.
The name of the castanets in Russian is borrowed from Spanish, where they are called castañuelas ("chestnuts") because of their resemblance to chestnut fruits. In Andalusia they are more often called palillos ("sticks").
Plates have traditionally been made from hardwood, although more and more metal or fiberglass is used for this. In a symphony orchestra, for the convenience of performers, castanets fixed on a special stand (the so-called "castanet machine") are most often used.
The castanets used by Spanish dancers and female dancers have traditionally been made in two sizes. Large castanets held on with their left hand and beat off the main movement of the dance. Small castanets were in the right hand and played a variety of musical patterns, which accompanied the performance of dances and songs. Accompanied by songs, the castanets acted only as a role-playing - during a break in the voice part.
In world culture, castanets are most strongly associated with the image of Spanish music, especially with the music of Spanish gypsies. Therefore, this instrument is often used in classical music to create a "Spanish flavor"; for example, in such works as J. Bizet's opera Carmen, in Glinka's Spanish overtures “Jota Aragonese” and “Night in Madrid”, in Rimsky-Korsakov's Spanish Capriccio, in Spanish dances from Tchaikovsky's ballets.
Although percussion instruments are not assigned the main role in music, percussion instruments often give music a unique flavor.
Music has surrounded us since childhood. And then we have the first musical instruments. Remember your first drum or tambourine? And the shiny metallophone, on the records of which you had to knock with a wooden stick? And the pipes with holes on the side? With a certain skill, it was even possible to play simple melodies on them.
Toy instruments are the first step into the world of real music. Now you can buy a variety of musical toys: from simple drums and harmonicas to almost real pianos and synthesizers. Do you think these are just toys? Not at all: in the preparatory classes of music schools, whole noise bands are made from such toys, in which kids selflessly blow pipes, beat drums and tambourines, whip up the rhythm with maracas and play the first songs on a xylophone ... And this is their first real step into the world music.
Types of musical instruments
The world of music has its own order and classification. Instruments are divided into large groups: strings, keyboards, percussion, wind and also reed... Which of them appeared earlier, which later, now it is difficult to say for sure. But already the ancient people who fired from a bow noticed that a stretched bowstring sounds, reed tubes, if blown into them, emit whistling sounds, and it is convenient to beat the rhythm on any surfaces by all available means. These objects became the progenitors of string, wind and percussion instruments, already known in Ancient Greece. Reed appeared a long time ago, but keyboards were invented a little later. Let's consider these main groups.
Wind instruments
In wind instruments, sound is emitted as a result of vibrations of a column of air trapped inside the tube. The larger the volume of air, the lower the sound it emits.
The wind instruments are divided into two large groups: wooden and copper. Wooden - flute, clarinet, oboe, bassoon, alpine horn ... - represent a straight tube with side holes. By closing or opening the holes with their fingers, the musician can shorten the air column and change the pitch. Modern instruments are often made not of wood, but of other materials, but traditionally they are called wood.
Copper wind instruments set the tone for any orchestra, from brass to symphonic. Trumpet, French horn, trombone, tuba, helicon, a whole family of saxhorns (baritone, tenor, alto) are typical representatives of this loudest group of instruments. Later, the saxophone appeared - the king of jazz.
The pitch of a brass instrument changes due to the force of the blown air and the position of the lips. Without additional valves, such a pipe can emit only a limited number of sounds - a natural scale. To expand the range of sound and the ability to get to all sounds, a system of valves was invented - valves that change the height of the air column (like side holes on wooden ones). Copper pipes that are too long, unlike wooden ones, can be rolled up, giving them a more compact shape. French horn, tuba, helicon are examples of rolled pipes.
Strings
The bowstring can be considered the prototype of string instruments - one of the most important groups in any orchestra. The sound here is emitted by an oscillating string. To amplify the sound, the strings were pulled over the hollow body - this is how the lute and mandolin, cymbals, gusli ... and the well-known guitar appeared to us.
The string group is divided into two main subgroups: bowed and plucked instruments. Violins of all sorts belong to bowed ones: violins, violas, cellos and huge double basses. The sound from them is extracted with a bow, which is led along the stretched strings. And for plucked bows, a bow is not needed: the musician plucks the string with his fingers, making it vibrate. Guitar, balalaika, lute - plucked instruments. Like a beautiful harp that makes such gentle cooing sounds. But is the contrabass a bowed or plucked instrument? Formally, it belongs to bowed ones, but often, especially in jazz, it is played with plucking.
Keyboards
If the fingers striking the strings are replaced with hammers, and the hammers are set in motion with the keys, you get keyboards instruments. The first keyboards - clavichord and harpsichord- appeared in the Middle Ages. They sounded rather quiet, but very gentle and romantic. And at the beginning of the 18th century they invented piano- an instrument that could be played both loudly (forte) and quietly (piano). The long name is usually shortened to the more familiar "piano". The elder brother of the piano - what a brother there is - a king! - that's what it's called: piano... This is no longer a tool for small apartments, but for concert halls.
The largest - and one of the most ancient - belongs to keyboards! - musical instruments: organ. This is no longer a percussion keyboard, like a piano and a grand piano, but keyboard-wind instrument: not the lungs of the musician, but the blower creates a stream of air into the tubing. This huge system is controlled by a complex control panel, which has everything: from a manual (i.e. manual) keyboard to pedals and register switches. And how else: organs are made up of tens of thousands of individual tubes of various sizes! But their range is huge: each pipe can sound only on one note, but when there are thousands of them ...
Drums
The oldest musical instruments were percussion. It was the percussion of rhythm that was the first prehistoric music. The sound can be emitted by a stretched membrane (drum, tambourine, eastern darbuka ...) or the body of the instrument itself: triangles, cymbals, gongs, castanets and other knocking and rattling sounds. A special group is made up of drums, emitting a sound of a certain pitch: timpani, bells, xylophones. You can already play a melody on them. Percussion ensembles consisting only of percussion instruments put on whole concerts!
Reed
Is it possible to somehow extract the sound? Can. If one end of a plate made of wood or metal is fixed, and the other is left free and made to vibrate, then we get the simplest tongue - the basis of reed instruments. If there is only one tongue, we get jew's harp... Reed include accordions, button accordions, accordions and their miniature model - harmonica.
harmonica
Keys can be seen on the button accordion and accordion, so they are considered both keyboards and reeds. Some wind instruments are also reed: for example, in the already familiar clarinet and bassoon, the reed is hidden inside the pipe. Therefore, the division of instruments into these types is conditional: there are many instruments mixed type.
In the 20th century, the friendly musical family was replenished with another large family: electronic instruments... The sound in them is created artificially using electronic circuits, and the first sample was the legendary theremin, created back in 1919. Electronic synthesizers can simulate the sound of any instrument and even ... play themselves. If, of course, someone draws up a program. :)
Dividing instruments into these groups is just one way to classify. There are many others: for example, the Chinese combined tools depending on the material from which they were made: wood, metal, silk and even stone ... Classification methods are not so important. It is much more important to be able to recognize instruments both in appearance and in sound. This is what we will learn.
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