1.
Bombo criollo
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The bombo criollo, or simply bombo, is a family of Latin American drums derived from the European bass drum. These drums are of smaller dimensions than the bass drum. They can be vertically or diagonally on the body or a stand. The specific make of the instrument depends on the regional tradition, in Argentina, the bombo criollo is called bombo legüero. In Cuba, it is known as bombo de comparsa due to its use in comparsas, in other countries, the term tambora is commonly used. The bombo should not be confused with the Puerto Rican bomba, a genre of music played with hand drums called barriles de bomba, the bombo legüero is a common instrument in Argentine folk traditions such as zamba and chacarera. The body of the drum is made out of a tree trunk. The bombo de comparsa is the lowest drum used in conga santiaguera and they are tuneable, two-headed military drums introduced in the island by the Spanish settlers. In tumba francesa and tahona, two styles imported into Oriente by Afro-Haitian slaves after the Haitian Revolution, the drum is called tambora. In some Latin American countries the term tambora is used to refer to bombos criollos, nonetheless, tamboras are generally wider than other bombos criollos, possibly being an adaptation of both European bass drums and side drums. In Colombia and Panama, tamboras are used to play cumbia, traditionally, this kind of tambora is played with sticks and fixed on a stand. In the Dominican Republic, tamboras are two-headed drums used in merengue music and they were traditionally made from salvaged rum barrels. Mexican tamboras have a diameter of 20 to 26 inches, a felt mallet is used to beat the drum. The Venezuelan tambora is played in gaita zuliana and it is a one-headed drum played with sticks. The player can sit on it or put it between his or her legs to perform rhythms on the instrument, strucking the head, the rim or the body of the drum, colombian tambora Bombo in Cuban music Tambora in Mexican music
2.
Percussion instrument
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A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater, struck, scraped or rubbed by hand, or struck against another similar instrument. The percussion family is believed to include the oldest musical instruments, the percussion section of an orchestra most commonly contains instruments such as timpani, snare drum, bass drum, cymbals, triangle and tambourine. However, the section can also contain non-percussive instruments, such as whistles and sirens, percussive techniques can also be applied to the human body, as in body percussion. On the other hand, keyboard instruments, such as the celesta, are not normally part of the percussion section, Percussion instruments may play not only rhythm, but also melody and harmony. Percussion is commonly referred to as the backbone or the heartbeat of an ensemble, often working in close collaboration with bass instruments. In jazz and other popular ensembles, the pianist, bassist, drummer. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, however, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed, in the 18th and 19th centuries, other percussion instruments have been used, again generally sparingly. The use of percussion instruments became more frequent in the 20th century classical music, in almost every style of music, percussion plays a pivotal role. In classic jazz, one almost immediately thinks of the rhythm of the hi-hats or the ride cymbal when the word swing is spoken. Because of the diversity of instruments, it is not uncommon to find large musical ensembles composed entirely of percussion. Rhythm, melody, and harmony are all represented in these ensembles, music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a pitch can be notated with a specialist rhythm or percussion-clef. The word percussion has evolved from Latin terms, percussio, as a noun in contemporary English it is described in Wiktionary as the collision of two bodies to produce a sound. Hornbostel–Sachs has no high-level section for percussion, Most percussion instruments are classified as idiophones and membranophones.1 Concussion idiophones or clappers, played in pairs and beaten against each other, such as zills and clapsticks. 111.2 Percussion idiophones, includes many percussion instruments played with the hand or by a mallet, such as the hang, gongs and the xylophone. 21 Struck drums, includes most types of drum, such as the timpani, snare drum, (Included in most drum sets or 412. Stringed instruments played with such as the hammered dulcimer
3.
Musical instrument classification
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Throughout history, various methods of musical instrument classification have been used. The most commonly used system divides instruments into string instruments, woodwind instruments, brass instruments and percussion instruments, the oldest known scheme of classifying instruments is Chinese and dates from the 3rd millennium BC. It grouped instruments according to the materials they are made of. However, the Chou-Li, an anonymous treatise compiled from sources in about the 2nd century BC, had the following order, metal, stone, clay, leather, silk, wood, gourd. The same order was presented in the Tso Chuan, attributed to Tso Chiu-Ming, more usually, instruments are classified according to how the sound is initially produced. The modern system divides instruments into wind, strings and percussion, the scheme was later expanded by Martin Agricola, who distinguished plucked string instruments, such as guitars, from bowed string instruments, such as violins. Classical musicians today do not always maintain this division, but distinguish between wind instruments with a reed and those where the air is set in motion directly by the lips, many instruments do not fit very neatly into this scheme. The serpent, for example, ought to be classified as a brass instrument, however, it looks more like a woodwind instrument, and is closer to one in many ways, having finger-holes to control pitch, rather than valves. Keyboard instruments do not fit easily into this scheme, for example, the piano has strings, but they are struck by hammers, so it is not clear whether it should be classified as a string instrument or a percussion instrument. Ottoman encyclopedist Hadji Khalifa also recognized the three classes in his Kashf al-Zunun an Asami al-Kutub wa al-Funun, a treatise on the origin. The division pervades Tboli thought about cosmology, social characters of men and women, victor-Charles Mahillon later adopted a system very similar to this. This scheme was taken up by Erich von Hornbostel and Curt Sachs who published an extensive new scheme for classication in Zeitschrift für Ethnologie in 1914. Their scheme is used today, and is most often known as the Hornbostel-Sachs system. Electrophones, such as the guitar or electric bass, which produce sound through electricity and is required to be plugged in to an amplifier. Later Sachs added a category, electrophones, such as theremins. Modern synthesizers and electronic instruments fall in this category, within each category are many subgroups. The system has been criticised and revised over the years, in 1932, comparative musicologist André Schaeffner developed a new classification scheme that was exhaustive, potentially covering all real and conceivable instruments. The Kpelle of West Africa also use this system and they distinguish the struck, including both beaten and plucked, and the blown
4.
Drum kit
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A drum kit consists of a mix of drums and idiophones most significantly cymbals but also including the woodblock and cowbell. In the 2000s, some also include electronic instruments and both hybrid and entirely electronic kits are used. If some or all of them are replaced by electronic drums, the drum kit is usually played while seated on a drum stool or throne. The drum kit differs from instruments that can be used to produce pitched melodies or chords, even though drums are often placed musically alongside others that do, such as the piano or guitar. The drum kit is part of the rhythm section used in many types of popular and traditional music styles ranging from rock and pop to blues. Other standard instruments used in the section include the electric bass, electric guitar. Many drummers extend their kits from this pattern, adding more drums, more cymbals. Some performers, such as some rockabilly drummers, use small kits that omit elements from the basic setup, some drum kit players may have other roles in the band, such as providing backup vocals, or less commonly, lead vocals. Thus, in an early 1800s orchestra piece, if the called for bass drum, triangle and cymbals. In the 1840s, percussionists began to experiment with foot pedals as a way to them to play more than one instrument. In the 1860s, percussionists started combining multiple drums into a set, the bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Double-drumming was developed to one person to play the bass and snare with sticks. With this approach, the drum was usually played on beats one. This resulted in a swing and dance feel. The drum set was referred to as a trap set. By the 1870s, drummers were using an overhang pedal, most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05, liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist. The bass drum became the central piece around which every other percussion instrument would later revolve and it was the golden age of drum building for many famous drum companies, with Ludwig introducing
5.
Bass drum
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A bass drum, or kick drum, is a large drum that produces a note of low definite or indefinite pitch. Bass drums are percussion instruments and vary in size and are used in musical genres. Three major types of bass drums can be distinguished, the type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum. It is the largest drum of the orchestra, the kick drum, a term for a bass drum associated with a drum kit. It is struck with an attached to a pedal, usually seen on drum kits. The pitched bass drum, generally used in marching bands and drum corps and this is tuned to a specific pitch and is usually played in a set of three to six drums. A bass drum is cylindrical with the drums diameter much greater than the drums depth. There is normally a head at both ends of the cylinder. The heads may be made of skin or plastic. There is normally a means of adjusting the tension either by threaded taps or by strings, Bass drums are built in a variety of sizes, but size has little to do with the volume produced by the drum. The size chosen being based on convenience and aesthetics, music Bass drums have many synonyms and translations, such as Gran Cassa, Grosse caisse, Grosse Trommel, and Bombo. Bass drums are too large to be held and are always mounted in some way. The usual ways of mounting a bass drum are, Using a shoulder harness so that the heads are vertical, on a floor stand as part of a drum kit. The heads are always vertical when mounted in this way, in this situation, the heads may be adjusted to any position between vertical and horizontal. It is possible for the drum to have a single cymbal mounted on it. Bass drums can have a variety of strikers depending on the music, when the drum is mounted vertically, the mallet above may be held in one hand and a rute held in the other. 2 matching bass drum mallets or a double headed mallet are used for playing drum rolls, when used as part of a drum kit, a variation of the mallet described above is mounted on a pedal and called a beater. The earliest known predecessor to the drum was the Turkish davul
6.
China cymbal
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In western music, China-type cymbals are a distinct type of crash cymbals designed to produce a bright, crisp, and explosive tone. It is for this reason that they have been nicknamed trash cymbals, the name China cymbal is derived from its similarity in sound and shape to Chinese gongs. They are most frequently mounted upside down on cymbal stands, allowing for them to be more easily struck, China-type cymbals are mostly commonplace in various interpretations of rock music, particularly heavy metal and thrash metal. It is also used for jazz fusion and Latin, especially those with elaborate drum solos. In Latin and several music, China cymbals are usually played in conjunction with other percussions instead of a drum kit, such as timbales. However, many china type cymbals have only several or in some cases none of these distinguishing characteristics, the distinguishing feature of a china type cymbal is the one that is hardest to define, its sound. China cymbals are those sounds are derived from the Chinese, rather than the Turkish. The best Turkish cymbals have a rich, swelling tone that some describe as sweet, to western ears, the best china types have an abrasive, cutting sound that is described by western drummers as trashy. The families do to some extent overlap, notably, pang and swish cymbals have some characteristics of china types, and some characteristics of traditional Turkish cymbals. Cymbal making in China is claimed to predate the development of the art anywhere else in the world, the most universally acclaimed cymbal alloy, bell bronze, appears to have been independently developed in China. Today in China a wide range of cymbals are manufactured of both traditional and imported patterns, traditional Chinese types with distinctive names and sounds include chung, jing, and water cymbals, as well as many other types. In Western music these are all referred to as china type cymbals, China type cymbals are available in a wide range of sizes from 27 inches down to 0.4 inches, most types singly but some in pairs. Those of 12 inches or smaller are normally referred to in Western music as china splash cymbals, when used in a drum kit, they are regarded as effects cymbals and are used to give colour and variety. In a drum kit, china-type cymbals can be mounted either with the bell facing upward as well as with the bell facing downward, when mounted bell-down, the upturned rim becomes a downturned rim, allowing a normal stick technique to be used for both ride and crash patterns. Conical bell rough finished on the inside, reversed edge, the bell may be or may not be reversed. The swish and pang are specific sounds within the range of china cymbals, developed as exotic ride cymbals. A China splash cymbal is typically 12 inches or smaller, Sabian refers to both their 12-and-14-inch nova Chinese models as mini Chinese. The Rocktagon, a Sabian exclusive, is a cymbal with a sound midway between a crash and a china
7.
Snare drum
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The snare drum or side drum is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick. Snare drums are used in orchestras, concert bands, marching bands, parades, drumlines, drum corps. It is one of the pieces in a drum set, a collection of percussion instruments designed to be played by a seated drummer. Snare drums are played with drum sticks, but the use of other beaters such as the brush or the rute can be used to achieve very different sounds. The snare drum is a versatile and expressive percussion instrument due its sensitivity, the snare drum originates from the tabor, a drum first used to accompany the flute. The tabor evolved into more modern versions, such as the kit snare, marching snare, tarol snare, each type presents a different style of percussion and size. The snare drum that one might see in a music concert is usually used in a backbeat style to create rhythm. In marching bands, it can do the same but is used mostly for a front beat, in comparison with the marching snare, the kit snare is generally smaller in length between the two heads, while the piccolo is the smallest of the three. The snare drum is easily recognizable by its loud cracking sound when struck firmly with a stick or mallet. The depth of the sound varies from snare to snare because of the different techniques, some of these qualities are head material and tension, dimensions, and rim and drum shell materials and construction. The snare drum is constructed of two heads—both usually made of plastic—along with a rattle of metal wires on the head called the snares. The wires can also be placed on the top, as in the tarol snare, the top head is typically called the batter head because that is where the drummer strikes it, while the bottom head is called the snare head because that is where the snares are located. The tension of each head is constant by tension rods. Tension rod adjustment allows the pitch and tonal character of the drum to be customized by the player, the strainer is a lever that engages or disengages contact between the snares and the head, and allows snare tension adjustment. If the strainer is disengaged, the sound of the drum resembles a tom because the snares are inactive. The rim is the ring around the batter head, which can be used for a variety of things. The drum can be played by striking it with a stick or any other form of beater, including brushes, rute and hands. When using a stick, the drummer may strike the head of the drum, when the top head is struck, the bottom head vibrates in tandem, which in turn stimulates the snares and produces a cracking sound
8.
Floor tom
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A floor tom or low tom is a double-headed tom-tom drum which usually stands on the floor on three legs. However, they can also be attached to a stand with a drum clamp. The floor toms are the lowest tuned drums played with sticks in the regular 5 piece drum set, common sizes are 16x16, that is,16 inches in both depth and diameter. This was the size and is still most common. 14 inches x14 for jazz and fusion kits, and very occasionally with a 16x16 as well, 18x16, that is,18 inches in diameter and 16 in depth, the most common size for a second floor tom, used with a 16x16. 16x18, a rarer size sometimes used for a floor tom. Floor toms can be mounted, In the traditional manner, with three adjustable legs, on three legs but connected to them by means of a rim mount on the lower rim, the original floor tom rim mounting. Attached to a rack or a cymbal stand by means of a rim mount on the top or bottom rim. Attached to a rack or a cymbal stand by means of a standard hanging tom mount on the drum shell. This method is generally restricted to the smaller, 14x14 floor toms, the floor tom was popularized by Gene Krupa in the 1950s, using a 16x16. At first he placed it between his two bass drums, on the far side of his drum, but quickly moved it to its now traditional position to the right of his right leg. The floor tom is used as a small bass drum by some drummers. In that case it is mounted horizontally on a specially designed rack system, more recently, companies such as Pearl have come out with floor tom to bass drum conversion sets. These commonly consist of strategically shaped rods that one can put in place of the floor tom legs in order to stand it up horizontally, under this method, it is fairly common that a drummer get appropriately sized bass drum hoops to complete the conversion process
9.
Splash cymbal
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In a drum kit, splash cymbals are the smallest accent cymbals. Splash cymbals and china cymbals are the types of effects cymbals. The most common sized splash has a diameter of 10, followed by 8, most splash cymbals are in the size range of 6 to 13, but some splash cymbals are as small as 4. Some makers have produced cymbals described as splash up to 22, Splash cymbals include, Traditional splash cymbals, medium in weight with little or no taper. Rock splash cymbals, heavy but often with a slight taper, the original and traditional splash, like many of the cymbal types in a drum kit, was invented and named by Gene Krupa in collaboration with the Avedis Zildjian Company. Heavier splash cymbals, more suited to this style of drumming, were soon available, a third phase in the development of splash cymbals occurred when china splash cymbals became popular. These added a new dimension to drumming in their own right, today much of the color of an extended drum kit is provided by the wide variety of splash cymbals available. Traditional splash cymbals, as first popularized by Gene Krupa, are 8-12 in size and medium in weight with little or no taper, the name splash gives quite an idea as to how this cymbal sounds, the word rhyming with crash but a literal splash being very small. The normal function of a cymbal is to provide a short. For their size, they are hit relatively hard to produce a quick attack and they tend to have little taper in order to provide the necessary strength for this, the bell being approximately the same thickness as the rim, resulting in limited richness of tone. Rock musicians favor a heavier splash cymbal often with a taper, 6-12. China type cymbals of less than 14 are generally referred to as china splash cymbals when used in a drum kit and this terminology is not entirely consistent. The 8 and 10 Sabian Rocktagon splash cymbals, smaller versions of their octagonal 16 and 18 Rocktagon crashes, are described as china splashes and have an intermediate tone. China splashes were used in Mike Portnoys original cymbal stacks, use of a cymbal or cowbell is a fundamental part of many styles of timbale playing. Example, Sabian El Sabor Salsa Splash 13 Thin splash cymbals are made in sizes 8-12 with a pronounced taper and a sound more akin to a crash than to traditional splashes. At the thinnest and most fragile end of the scale, a splash is identical to, and interchangeable with. And in either case, a single stroke with a drumstick will split the cymbal. Bell cymbals, 4-8 or occasionally bigger, are extremely thick cymbals giving a bell-like tone, the earliest bell cymbals were made by cutting down a larger cymbal, particularly to salvage something from one that was badly split at the edge
10.
Ride cymbal
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The ride cymbal is a standard cymbal in most drum kits. It maintains a steady rhythmic pattern, sometimes called a ride pattern and it is normally placed on the extreme right of a drum set, above the floor tom. The ride can fulfill any function or rhythm the hi-hat does, with the exception of an open, the ride is played with a drumstick. The term ride means to ride with the music, describing the cymbals sustain after it is struck, the term may depict either the function or characteristic of the instrument. Most cymbal makers manufacture specific cymbals for the purpose, some drummers use a china cymbal, a sizzle cymbal or a specialized tone such as a swish or pang cymbal as a ride cymbal. When playing extremely softly, when using brushes, and when recording, on the other extreme, when playing extremely loudly a cymbal designed as a ride may serve well as a very loud, long crash. Cymbals designated crash/ride or more rarely ride/crash serve as either a large slow crash or secondary ride, bell-less ride cymbals, known as flat rides, have a dry crash and clear stick definition. Quieter, they are popular in jazz drumming, developed by Paiste in the 1960s, flat rides are used by notable drummers Roy Haynes, Jack DeJohnette, Paul Wertico, Carter Beauford, Jo Jones and Charlie Watts. The highly regarded Paiste 602 Flat Ride was reissued in 2010, swish and pang cymbals are exotic ride and crash/ride cymbals similar to china cymbals in tone. A sizzle cymbal, thinner and one larger than the main ride, was common in some styles of early rock music as a secondary ride cymbal. Modern use of the cymbal was inspired by Baby Doddss press roll rhythms. The most basic pattern in rock and other styles is, In jazz. When struck, a ride cymbal makes a sustained, shimmering sound rather than the shorter, the most common diameter for a ride cymbal is about 20 inches, but anything from 18 inches to 22 inches is standard. Smaller and thinner cymbals tend to be darker with more shimmer, while larger and thicker cymbals tend to better in louder volume situations. Rides of up to 26 inches and down to 16 inches are readily available, the very thickest and loudest tend to be about 22 inches, with larger rides restricted to medium and medium thin thicknesses. In rock or jazz, the cymbal is most often struck regularly in a rhythmic pattern as part of the accompaniment to the song. Often the drummer will vary between the pattern either on the hi-hat cymbal or the ride cymbal, playing for example the hi-hat in the verses. The sound of a ride cymbal also varies depending on what kind of mallet is used to hit it, in rock and metal, wood and nylon-tipped drum sticks are common, wood creates a smoother, quieter sound, whereas nylon tips create more of a ping
11.
Tom-tom drum
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A tom-tom drum is a cylindrical drum with no snares. The name came originally from the Anglo-Indian and Sinhala, the tom-tom drum was added to the drum kit in the early part of the 20th century. Most toms range in size between 6 and 20 inches in diameter, though floor toms can go as large as 24 inches, the first drum kit tom-toms had no rims, the heads were tacked to the shell. As major drum manufacturers began to offer tunable tom-toms with hoops and tuning lugs, later a 16 in drum mounted on three legs was added. Finally, a drum was mounted on the right of the bass drum. Together with a 14 in snare drum and a drum of varying size. Later, the mounted tom-toms, known as hanging toms or rack toms, were deepened by one inch each, extra-deep hanging toms, known as cannon depth, never achieved popularity. A wide variety of configurations are available and in use at all levels from advanced student kits upwards. Most toms range in size between 6 and 20 inches in diameter, though floor toms can go as large as 24 inches. Note that these terms do not imply drum depths, so for example and these terms fusion and rock are really marketing terms invented by drum manufacturing companies, and there is not an absolute definition for them, more a case of an accepted norm. In the 50s and early 60s, it was common to have only a single hanging tom, Standard tom-tom depths The standard depth rack toms popular in the 1950-1980s were 12×8 and 13×9. This classic configuration is popular among many players. FAST sizes are 10×8, 12×9, 13×10, etc, DW use the marketing term FAST for these sizes, but they are not unique to DW, and are widely popular sizes with all drum manufacturers. New Standard - 10×9, 12×10, 13×11, etc. i. e, the New standard sizes are 2 deeper than what was considered standard in the 50s. However, despite the term, these are becoming standard in favour of FAST sizes. Power toms are one inch deeper than standard, so standard sizes are 10×9 or 10×10, 12×11 and this depth overtook the classic setup in popularity during the 1980s. Square - 10×10, 12×12, 13×13, etc, popular in the 80s and 90s but no longer popular. Hyperdrive - Shallow depths made popular initially by Tama, 10×6.5, 12×7, 13×7.5, single-headed tom-toms have also been used in drumkits, though their use has fallen off in popularity since the 1970s
12.
Hi-hat
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A hi-hat, also spelled hihat or high-hat, is a combination of two cymbals, a foot-operated pedal which moves a rod which in turn moves one of the cymbals, all mounted on a metal stand. Hihats are a part of the standard drum kit used by drummers in many popular music. It consists of a pair of small to medium-sized cymbals mounted on a stand. The bottom cymbal is fixed and the top is mounted on a rod which moves the top cymbal towards the one when a foot pedal is depressed. The hi-hat evolved from a cymbal, a pair of similar cymbals mounted at ground level on a hinged, spring-loaded foot apparatus. Drummers invented the first sock cymbals to enable one drummer to play percussion instruments at the same time. Over time these became mounted on short stands - also known as low-boys -, when extended upwards roughly 3 they were originally known as high sock cymbals, which evolved over time to the familiar high-hat term. While the term normally refers to the entire setup, in some cases. Initial versions of the hi-hat were called clangers, which were small cymbals mounted onto a drum rim. Then came shoes, which were two hinged boards with cymbals on the ends that were clashed together, next was the low-sock, low-boy or low-hat, pedal-activated cymbals employing an ankle-high apparatus similar to a modern hi-hat stand. A standard size was 10, some with heavy bells up to 5 wide, hi-hats that were raised and could be played by hand as well as foot may have been developed around 1926 by Barney Walberg of the drum accessory company Walberg and Auge. In the early 1970s, hard rock drummers began to use 15-inch hi-hats, in the early to mid-1990s, Paiste offered 8 inches mini hi-hats as part of its Visions series, these were among the worlds smallest hi-hats. Starting in the 1980s, a number of manufacturers also experimented with rivets in the lower cymbal, but by the end of the 1990s, the standard size was again 14 inches, with 13 inches a less-common alternative, and smaller hats mainly used for special sounds. Rivets in hi-hats failed to catch on, modern hi-hat cymbals are much heavier than modern crash cymbals, reflecting the trend to lighter and thinner crash cymbals as well as to heavier hi-hats. Another evolution is that a pair of cymbals may not be identical, with the bottom often heavier than the top. Some examples are Sabians Fusion Hats with holes in the cymbal, and the Sabian X-cellerator, Zildjian Master Sound and Zildjian Quick Beats, Paiste Sound Edge. Some drummers even use completely mismatched hi-hats from different cymbal ranges, of different manufacturers, max Roach was particularly known for using a 15-inch top with a 14-inch bottom. Other recent developments include the X-hat and cable-controlled or remote hi-hats, Sabian introduced the Triple Hi-Hat, designed by Peter Kuppers
13.
Crash cymbal
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A crash cymbal is a type of cymbal that produces a loud, sharp crash and is used mainly for occasional accents, as opposed to in ostinato. They can be mounted on a stand and played with a drum stick, one or two crash cymbals are a standard part of a drum kit. Suspended crash cymbals are used in bands and orchestras, either played with a drumstick or rolled with a pair of mallets to produce a slower. Sometimes a drummer may hit two different crash cymbals in a kit at the time to produce a very loud accent. Although crash cymbals range in thickness from paper-thin to very heavy and they are typically 14 to 18 inches in diameter, but sizes down to 8 inches and up to 24 inches are manufactured. Custom crash cymbals up to 28 inches in diameter have been used by big bands, different thicknesses are used for different kinds of music, and the alloy for each manufacturers models varies. A thick cymbal is likely to be used by a metal or rock band, darker crashes are best used for jazz. The sound of a crash is changed by its luster, a cleaner cymbal creates a crisper sound, whereas a cymbal showing signs of oxidation creates a duller sound. Normally, two crashes are best for a set, a 16 and a larger one. Crash cymbals were traditionally placed on the side of the drum set, since the normally larger ride cymbal is usually on the right. Often a drummer will have multiple crashes, and so may set them up one or two on each side, or less commonly, with one mounted very closely above another. Crash cymbals are often the first ones in a set to warp and ultimately crack. Cymbal cracking is generally in the form of a fracture along the edge, or across the bow, often, lower quality sheet cymbals are more likely to crack, due to stress caused in some areas by pressing sheet metal. Thicker cymbals are more likely to crack due to their brittleness. This allows the cymbal to vibrate freely and for little stress to be caused on the edge or at the center hole, both of these methods are often ineffective at stopping cracks, but usually slow the spread of a crack down. A pair of identical crash cymbals held in hand by leather thongs passing through holes in their bells are called clash cymbals. Two tones are used by major orchestras, known as Germanic or Wagnerian and Viennese. Clash cymbals are used in stage, concert, marching
14.
Drum hardware
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Drum hardware refers to the parts of a drum or drum kit that are used to tension, position, and otherwise support the instruments themselves. Occasionally, the hardware is used percussively as well, the most common example being a rim shot, john Morrison is noted for his drum solos played entirely on a hi-hat stand. The bolts, called tension rods, are screwed into threaded lugs attached to the shell, in order to tighten. A drum key is a type of wrench used to screw the tension rods into the lugs. Snare tension is controlled with a screw on the strainer, while not required for operation, most drum manufacturers label their products by way of a drum badge. The badge is an attached to the drum shell with a grommet, which is embossed with the manufacturers name or logo. The grommet doubles as a vent hole for two-sided drums, the bass drum in a drum kit usually sit on the floor, and as such require support to prevent rolling. Two adjustable legs are attached by clamps to either side of the shell, drum mounts are fittings, normally attached to the drum shell, that enable a drum to be attached to a supporting bracket, stand or rack. Hanging tom mounts are of two patterns, The Pearl 7/8 mount accepts a 22mm steel tube perpendicular to the drum shell. The excess length of the tube intrudes through the shell. Developed by Pearl, this mount has been adopted by other manufacturers. The parallel mount accepts a bar parallel to the drum shell. There are many bar sizes and profiles, mostly either round, there is a some compatibility, but it is not universal. Some manufacturers such as Tama Drums and Gibraltar Hardware even produce a single fitting that can be used singly as a hanging tom mount. Either of these patterns can also be used with a rim mount, most fittings have provision for memory to reduce setup time. There are many patterns, including, Similar mounts to the 7/8. Mostly used on toy and entry level kits, spade mounts on older kits and, traditionally, on timbales. Mounts that accept a solid bar similar to the parallel mount, common on older kits, and on some high-level handmade kits from smaller makers
15.
Sizzle cymbal
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Both effects have musical uses, and can also be used to mask unwanted overtones in cymbals of lesser quality. However the best results are generally obtained with high quality cymbals. The most common form of sizzle cymbal used in a kit is a large ride cymbal with a number of rivets loosely fitted. This might be called the traditional pattern sizzle cymbal, the loose fit allows the rivets to rattle in the holes. Many early rock music drummers, such as Ringo Starr, used a secondary ride cymbal with rivets, normally a ride cymbal thinner than the main ride and ideally one size larger. This was used for variety, to back a break or to give extra tone colour to the whole of faster songs such as Roll Over Beethoven. Many other rivet patterns have been tried, but the one to have gained much following is a single cluster of two or three rivets close together in an arc close and parallel to the rim. This gained popularity in some genres during the late 1980s and early 1990s and was predicted to replace the traditional pattern, bottom hi-hats, crash cymbals, splash cymbals and even bell splashes have been fitted with rivets. The swish cymbal originally shipped with rivets, and is most commonly used them to this day. If the rivets are removed from a sizzle cymbal its previous tone will be restored, large or numerous holes drilled in a cymbal will make the sound dryer, but ordinary rivet holes make an inaudible difference. Rivet holes may slightly decrease the value of a cymbal. In order to produce a sound without the need to bore holes in the cymbal. There are two patterns, Rivet sizzlers suspend rivets above the rim of the cymbal, normally in two groups 180 degrees apart. Chain sizzlers suspend several short lengths of chain on the surface of the cymbal. These chains may be fixed, adjustable in length, or completely removable, sometimes a single chain of balls from a cabasa is used. Cymb-Siz is a chain sizzler with an adjustment knob which allows the sound of the sizzler to be easily adjusted, when a sizzle cymbal is required in an orchestra, most often a chain sizzler is used. The positions of the chains can be adjusted allowing finest control and this also allows any cymbal to be used without any permanent effect on its tone
16.
Swish cymbal
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The swish cymbal and the pang cymbal are exotic ride cymbals originally developed and named as part of the collaboration between Gene Krupa and the Avedis Zildjian Company. The current Zildjian Swish Knocker is a redesign of their original swish, with more rivets, deeper bow and shallower bell, based on a cymbal made famous by Mel Lewis, who coined the name knocker. Originally a Zildjian exclusive, both swish and pang cymbals disappeared from their catalog for a time but have reappeared, other makers have also offered explicit swish and pang designs from time to time. Typical sizes are 16 to 22 for the swish, and 16 to 20 for the pang. Both swish and pang have the upturned and flanged edge of a cymbal, with a very small bell, a thin profile overall with little taper. Although principally ride cymbals, they can serve as exotic crash cymbals, particularly in the smaller sizes. However some drummers remove the rivets from a swish, or add them to a pang, ufip produces a swish china in 16,18,20 and 22 models. Ufip 18 Extstatic Swish China Dream 20 Pang Paiste 242002 Swish Ride Zildjian 16 A Custom Rezo Pang Zildjian 22 A Swish Knocker
17.
Crash/ride cymbal
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A crash/ride cymbal is a medium weight, slightly tapered cymbal, normally in the 18–22-inch range, designed to serve in a drum kit as both a crash and a ride cymbal. A ride/crash cymbal is similar in design and function to a crash/ride and it is far less common than the crash/ride. Crash/ride and ride/crash cymbals have several uses, In a very small kit, one may be the only suspended cymbal, some beginners cymbal packs have only three cymbals, A pair of hi-hats, and a crash/ride. However most cymbal packs even at entry level have separate ride and crash cymbals, many early drum kits had only one tom and one cymbal, both mounted on the bass drum. This cymbal would nowadays be called a crash/ride, At the time it would simply have been called a medium, in a large kit, they bridge the gap between the largest crash cymbal and the smallest ride. At very soft volumes, one will provide a more conventional ride tone than a full-sized ride cymbal, at very loud volumes, they provide fuller and longer crashes than conventional crash cymbals, which may sound for too short a time
18.
Cowbell (instrument)
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The cowbell is an idiophone hand percussion instrument used in various styles of music including salsa and infrequently in popular music. It is named after the similar bell historically used by herdsmen to keep track of the whereabouts of cows, while the cowbell is commonly found in musical contexts, its origin can be traced to freely roaming animals. In order to identify the herd to which these animals belonged. As the animals moved about the bell would ring, thus making it easier to know of the animals whereabouts, though the bells were used on various types of animals, they are typically referred to as cowbells due to their extensive use with cattle. Since they are tuned differently, in order to distinguish individual animals, they can be collected from the pasture in random tunings, the metal clapper is retained, and they sound much more noisy than handbells, which are otherwise used similarly in ensembles. Composers who included Almglocken among their musical palette include Tōru Takemitsu, Jo Kondo, Gustav Mahler, Richard Strauss, Roy Harter, John Adams, Joseph Schwantner, and Karlheinz Stockhausen. Olivier Messiaen used multiple chromatic sets of cowbells in several of his compositions, notably Et expecto resurrectionem mortuorum. Clapperless cowbells made of metal are an important element in Latin-American and these cowbells are struck with a stick – the tone being modulated by striking different parts of the bell and by damping with the hand holding the bell. In several parts of the pairs or trios of clapperless bells are joined in such a way that they can be struck separately or clashed together. The Brazilian name for these is agogo bells, cylindrical wood blocks played in the same way are also called Agogô. In Cuban music the cowbell is called cencerro and often played by the player as the bongos. In Caribbean music two or three are mounted together with a pair of timbales. This type of cowbell can also be played with the using a modified bass drum pedal or bowed with a double bass bow. Although cowbells first appeared in American hillbilly music in the 1920s, they have also been used as an instrument in more recent popular music. The intro and ending to the 1958 track Heartbeat by the American artist Buddy Holly, the Roland TR-808 drum machine was noted for its distinctive cowbell sound, which sounded almost nothing like an actual cowbell, the sound was highly electronic with a sharp, short decay. DFA Records are noted for using a lot of cowbell in their remixes, the cowbell gained popular attention as the subject of an April 8,2000 Saturday Night Live sketch popularly known as More Cowbell. The sketch--considered one of the best SNL sketches of all time--parodied Blue Öyster Cults The Reaper, the guitar riffs and cowbell drew from Born on the Bayou, by Creedence Clearwater Revival. Though Queens of the Stone Age have also used the cowbell in many songs, but when they performed it on Saturday Night Live, Will Ferrell, dressed like Gene Frenkle from the More Cowbell sketch, got up on stage and played the jam block part on the cowbell
19.
Wood block
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A wood block is a small slit drum made from a single piece of wood and used as a percussion instrument. Alternative names sometimes used in ragtime and jazz are clog box, in orchestral music scores, wood blocks may be indicated by the French bloc de bois or tambour de bois, German Holzblock or Holzblocktrommel, or Italian cassa di legno. The orchestral wood-block instrument of the West is generally made from teak or another hardwood, the dimensions of this instrument vary, although it is either a rectangular or cylindrical block of wood with one or sometimes two longitudinal cavities. It is played by striking it with a stick, which produces a sharp crack, alternatively, a rounder mallet, soft or hard, may be used, which produces a deeper-pitched and fuller knocking sound. In a drum kit, a woodblock was traditionally mounted on a clamp fixed to the top of the rim of the bass drum. Log drums made from hollowed logs, and slit drums made from bamboo, are used in Africa, the muyu is a rounded woodblock carved in the shape of a fish and struck with a wooden stick. It is made in sizes and is often used in Buddhist chanting, in China as well as in other Asian nations including Japan, Korea. Also, in China, a small, rectangular, high-pitched wood block called bangzi is used and this instrument is called a temple block in a Western orchestral context. Typically used in sets of four different pitches, they are sometimes called skulls by jazz players because of their globular shape, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. Temple blocks, The Oxford Companion to Music, edited by Alison Latham, Oxford and New York, Oxford University Press. Woodblock, The Oxford Companion to Music, edited by Alison Latham, Oxford and New York, Oxford University Press
20.
Tambourine
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The tambourine is a musical instrument in the percussion family consisting of a frame, often of wood or plastic, with pairs of small metal jingles, called zils. Classically the term denotes an instrument with a drumhead, though some variants may not have a head at all. Tambourines are often used with regular percussion sets and they can be mounted, for example on a stand as part of a drum kit, or they can be held in the hands and played by tapping or hitting the instrument. Tambourines come in shapes with the most common being circular. It is found in forms of music, Turkish folk music, Greek folk music, Italian folk music, classical music, Persian music, samba, gospel music, pop music. Tambourines originated in Egypt, where they were known as the kof to the Hebrews, from the Middle Persian word tambūr lute, drum. There are several ways to achieve a tambourine roll, the easiest method is to rapidly rotate the hand holding the tambourine back and forth, pivoting at the wrist. An advanced playing technique is known as the thumb roll, the finger or thumb is moved over the skin or rim of the tambourine, producing a fast roll from the jingles on the instrument. This takes more skill and experience to master, the thumb or middle finger of the hand not holding the tambourine is run around the head of the instrument approximately one centimeter from the rim with some pressure applied. If performed correctly, the thumb should bounce along the head rapidly, usually, the end of the roll is articulated using the heel of the hand or another finger. In the 2000s, the roll may be performed with the use of wax or resin applied to the outside of the drum head. This resin allows the thumb or finger to bounce more rapidly and forcefully across the head producing an even sound, a continuous roll can be achieved by moving the thumb in a figure of 8 pattern around the head. By drummers – Drummers such as Larry Mullen, Jr. of U2 mount a tambourine above the cymbals of their hi-hat stand, tambourines in rock music are most often headless, a ring with jangles but no drum skin. The Rhythm Tech crescent-shaped tambourine and its derivatives are popular, the original Rhythm Tech tambourine is displayed in the Museum of Modern Art. Jack Ashfords distinctive tambourine playing was a dominant part of the section on Motown records. The tambourine was featured in Green Tambourine, a song with which The Lemon Pipers. Wolfgang Amadeus Mozart was among the earliest western composers to include the tambourine in his compositions, gustav Holsts seven-movement orchestral suite The Planets also features the tambourine in several places throughout the suite, especially in the Jupiter movement. Originated in Galicia or Portugal, the pandeiro was brought to Brazil by the Portuguese settlers and it is a hand percussion instrument consisting of a single tension-headed drum with jingles in the frame
21.
Rototom
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Rototoms are a drum developed by Al Payson and Michael Colgrass, that have no shell and are tuned by rotating. They consist of a head in a die-cast zinc or aluminum frame. Unlike most other drums, they have a definite pitch. Composers are known to write for them as tuned instruments, demanding specific pitches, rototoms are often used to extend the tom range of a standard drum kit. They were commercialized by the drumhead company Remo, rototoms can be tuned quickly by rotating the head, which sits in a threaded metal ring. Rotation raises or lowers the tension hoop relative to the rim, master James Holland, former percussionist of the London Philharmonic Orchestra, highly recommends them in his book Percussion, which is part of the Yehudi Menuhin Music Guides series. Rototoms are often used as a substitute for timpani students, as they have a very similar sound, are not as loud and expensive as timpani. Drummers who used rototoms include Bill Bruford and Terry Bozzio, roger Taylor of Duran Duran used rototoms extensively on their self-titled debut album Duran Duran of 1981. Roger Taylor of Queen has used rototoms since the early 1970s, bev Bevan of Electric Light Orchestra used rototom, most notably on the albums Discovery and Secret Messages. Nick Mason of Pink Floyd used rototoms to record the introduction to Time. The intro to Curtis Mayfields Pusherman, heard on the Superfly soundtrack, phil Collins used rototoms early in his career. Taylor Hawkins of the Foo Fighters includes several rototoms in his drum kit, alex Van Halen of Van Halen used rototoms extensively on the album 1984
22.
Octoban
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Octobans, also known as tube toms, are deep, small diameter, single-head tom-toms. Octobans were originally grouped in melodically-tuned sets of eight, hence the name, in reference to octave, part sets of two or four drums or an individual drum or octo are common additions to a drum kit. Complete and half sets of octobans are commonly mounted in clusters of four, mounts for four drums in a straight line, dual mounts for two drums, and individual mounts are all also reasonably common. In a drum kit, octobans are most commonly placed to the left of a right-handed drummer, Octobans were introduced by Tama drums in 1978, and endorsed by Billy Cobham, at that time one of the most popular drummers who had switched to Tama drums. Tama octobans were made with fiberglass using a patented moulding process, the naked shell were then painted in black lacquer visible inside the shell where not completely painted. Since they were designed as rack small toms the attachment was different from the tom toms. The rims were conveniently shaped in order to offer the area available for the stick. The lugs were the model used for the Swingstar series drum kits of the same period. The shell was a 6 diameter, thickness was 5 mm despite the very first series may have been 4 mm as advertised, a variation was produced in late 70 using plexiglas instead of fiberglass for the shell construction. This material was more fragile than fiberglass. The most famous drummers used the low set, such as Stewart Copeland for the whole Police period. The dimensions of the low set of shells were the following,810,733,667,607. The high pitch set was instead dimensioned as follows,552,498,455,411 mm, the lengths available from then on and even today are the following,600,536,472,443,390,343,301,280. The only difference with the model is the lug and the batter skin is still clear. The different lengths of the cylinders give each drum its distinct tone, the term octoban has since become a generic trademark used to refer to such sets of smaller diameter tube drums. 6 diameter, Pearl Quarter Tom, Cannon Tom, rocket Tom Drum Workshop Rata Tom. Other diameters, Meinl Percussion Attack Timbales,8 diameter, octoban drum shells from other manufacturers are of varying lengths, and made from materials like fiberglass, acrylic, aluminum, and wood. Some people build their own out of PVC or similar commercial tubing
23.
Temple block
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The temple block is a percussion instrument originating in eastern Asia, where it is used in religious ceremonies. It is a hollow wooden instrument with a large slit. In its traditional form, the fish, the shape is somewhat bulbous. Several blocks of varying sizes are used together to give a variety of pitches. In Western music, their use can be traced back to jazz drummers, and they are also used in modern orchestral music. The sound of temple blocks is similar to that of wood blocks, although temple blocks have a darker, temple blocks can be heard in Leroy Andersons The Syncopated Clock. Olivier Messiaen used them in his symphony, Turangalîla, and his only opera. Harrison Birtwistle calls for four blocks in his 2008 opera The Minotaur, Magnus Lindberg calls for five in Seht die Sonne. Leonard Bernstein, George Benjamin and David Horne also used it in their compositions, the rock band Rush featured temple blocks in their songs Xanadu and The Trees, played by drummer Neil Peart. An updated version of traditional wooden blocks are so-called granite blocks. Despite the name, they not made of stone, but of waterproof plastic
24.
Gong
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A gong is an East and South East Asian musical percussion instrument that takes the form of a flat, circular metal disc which is hit with a mallet. It originated in China and later spread to Southeast Asia, Gongs are broadly of three types. Suspended gongs are more or less flat, circular discs of metal suspended vertically by means of a cord passed through holes near to the top rim, bossed or nipple gongs have a raised centre boss and are often suspended and played horizontally. Bowl gongs are bowl-shaped, and rest on cushions and belong more to bells than gongs, Gongs are made mainly from bronze or brass but there are many other alloys in use. Gongs produce two types of sound. A gong with a flat surface vibrates in multiple modes. This category of gong is called a tam-tam to distinguish it from the bossed gongs that give a tuned note. In Indonesian gamelan ensembles, some bossed gongs are made to generate in addition a beat note in the range from about 1 to 5 Hz. The use of the gong for both these types of instrument is common. Suspended gongs are played with hammers and are of two types, flat faced discs either with or without a turned edge, and gongs with a raised centre boss. In general, the larger the gong, the larger and softer the hammer, in Western symphonic music the flat faced gongs are generally referred to as tam-tams to distinguish them from their bossed counterparts, and the term gong is reserved to the bossed type only. The gong has been a Chinese instrument for millennia and their first use may have been to signal peasant workers in from the fields as some gongs are loud enough to be heard from up to five miles away. In Japan, they are used to start the beginning of sumo wrestling contests. Large flat gongs may be primed by lightly hitting them before the stroke, greatly enhancing the sound and causing the instrument to speak sooner. Keeping this priming stroke inaudible calls for a deal of skill. The smallest suspended gongs are played with sticks, or even western-style drumsticks. Contemporary and avant-garde music, where different sounds are sought, will often use friction mallets, bass bows, rock gongs are large stones struck with smaller stones to create a metallic resonating sound. By far the most familiar to most Westerners is the chau gong or bullseye gong, large chau gongs, called tam-tams have become part of the symphony orchestra
25.
Triangle (musical instrument)
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The triangle is an idiophone type of musical instrument in the percussion family. It is a bar of metal, usually steel but sometimes other metals like beryllium copper, the instrument is usually held by a loop of some form of thread or wire at the top curve. It was first made around the 16th century in England, on a triangle instrument, one of the angles is left open, with the ends of the bar not quite touching. This causes the instrument to be of indeterminate or not settled or decided pitch and it is either suspended from one of the other corners by a piece of, most commonly, fishing line, leaving it free to vibrate, or hooked over the hand. It is usually struck with a beater, giving a high-pitched. Although the shape is generally in the form of an equilateral triangle. In the early days the triangles did not have an opening and had jingling rings along the lower side, the triangle is often the subject of jokes and one liners in Europe and North America as an archetypal instrument that requires no skill to play. However, triangle parts in music can be very demanding. In the hands of an expert it can be a subtle, a triangle roll, similar to a snare roll, is notated with three lines through the stem of the note. It requires the player to move the wand back and forth in the upper corner. In European classical music, the triangle has been used in the classical orchestra since around the middle of the 18th century. Wolfgang Amadeus Mozart, Joseph Haydn and Ludwig van Beethoven all used it, the first piece to make the triangle really prominent was Franz Liszts Piano Concerto No. 1, where it is used as an instrument in the third movement. In the 19th century, the triangle was used in music by Richard Wagner. Johannes Brahms uses the triangle to particular effect in the movement of his Fourth Symphony. The triangle is used extensively in Hans Rotts Symphony in E major, particularly in the BIS recording, in later recordings, the conductor has reduced its role. Most difficulties in playing the triangle come from the rhythms which are sometimes written for it. Very quiet notes can be obtained by using a much lighter beater — knitting needles are used for the quietest notes
26.
Drum stick
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A drumstick is a type of percussion mallet used particularly for playing snare drum, drum kit and some other percussion instruments, and particularly for playing unpitched percussion. Drumsticks generally have all of the characteristics, They are normally supplied and used in pairs. They are held in the hands, most often one in each hand and they may be used to play at least some sort of drum. They are normally used only for untuned percussion, the archetypical drumstick is turned from a single piece of wood, most commonly of hickory, less commonly of maple, and least commonly but still in significant numbers, of oak. Drumsticks of the form are also made from metal, carbon fibre. The tip or bead is the part most often used to strike the instrument, in the 1970s, an acetal tip was introduced, designed by Ken Drinan and Paul Kiersted. Tips of whatever material are of shapes, including acorn, barrel, oval, teardrop, pointed. The shoulder of the stick is the part that tapers towards the tip and it is often used for playing the bell of a cymbal. It can also be used to produce a cymbal crash when applied with a motion to the bow or edge of a cymbal. The shaft is the body of the stick, and is cylindrical for most applications including drum kit and it is used for playing cross stick and applied in a glancing motion to the rim of a cymbal for the loudest cymbal crashes. The butt is the end of the stick to the tip. Some rock and metal musicians use it rather than the tip, plain wooden drumsticks are most commonly described using a number to describe the weight and diameter of the stick followed by one or more letters to describe the tip. A 5A is a common wood tipped rock stick, heavier than a 7A, the numbers are most commonly odd but even numbers are used occasionally, in the range 2 to 9. The most general purpose stick is a 5A, however, there is no one stick for any particular style of music. There are two ways of holding drumsticks, Traditional grip, in which right and left hands use different grips. Matched grip, in which the two hand grips are mirror-image, Traditional grip was developed to conveniently play a snare drum while riding a horse, and was documented and popularised by Sanford A. Moeller in The Art of Snare Drumming. It was the grip for kit drummers in the first half of the twentieth century and remains popular. However the traditional grip has since made a comeback, and both types of grip are used and promoted by leading kit drummers and teachers
27.
Traps case
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In music, a traps case is a piece of luggage used by drummers and other percussionists to transport miscellaneous instruments, stands and accessories. Miscellaneous small instruments such as a wood block, drumsticks, if not carried in a separate bag
28.
Electronic drum
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An electronic drum consists of an electronic or digital sound module which produces the synthesized or sampled percussion sounds and one or more electric sensors to trigger the sounds. Like regular drums, the sensors are struck by drum sticks or by the hands, the drum pads themselves are either discs or shallow drum shells made of various materials, often with a rubber/silicone or cloth-like coated playing surface. Each pad has a sensor that generates a signal when struck. The sound signal from the module can be plugged into a keyboard amp or PA system for use in a live band performance or listened to with headphones for silent practice. Since digital drums have more popular, companies have started selling digital electronic drum files. The Acetone rhythm box was designed by Ikutaro Kakehashi, who later founded Roland Corporation Japan, as with all rhythm boxes and later drum computers, before a human feel was developed by introducing subtle variation and swing, the Acetone rhythm boxes had a metronomic, machine-like sound. In Vissers modification, the Acetone box was extended with a flat board holding 12 printed circuit boards of approximately 4 ×4 inches. The copper traces formed the touch surfaces for the sounds generated by the Acetone box, each touch pad was sensed by an electronic circuit driving high-speed Siemens computer relays he found in surplus shops. These were connected to the drum and percussion sounds of the rhythm box, although it was a crude way of playing electronic drum sounds by hand, it worked and added a human feel. Vissers approach enabled drummers to have new type of virtuosity, the unit was used in Frans Peters studio in radio city Hilversum, Netherlands. The system was over-sensitive to humidity, The circuits would be triggered by the touch pads, just breathing over them would do the job. After all wed just left the dark ages of electronic music, the first electronic drum was created in the early 1970s by Graeme Edge, drummer of The Moody Blues, in collaboration with Sussex University Professor Brian Groves. The device was used in the song Procession from the 1971 album Every Good Boy Deserves Favour, question - One of the strangest pieces was Procession, which featured the pioneering work of Graeme Edges electronic drum kit. Graeme - Id got in touch with the professor of electronics at Sussex University and we worked up an electronic drum kit, a marvellous idea. I had the panel in front of me, its old hat now. There were pieces of rubber with silver paper on the back with a coil that moved up and down inside a magnet that produced a signal. I had 5 snares across the top and then ten tom-toms and then a whole octave of bass drums underneath my feet and then four lots of 16 sequencers, there was a gap — to play a space — a tambourine, ebony stick, snare and three tom-toms. This was pre-chip days, back then you did it all with transistors, so it had something like 500 transistors
29.
Drum machine
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A drum machine is an electronic musical instrument designed to imitate the sound of drums, cymbals, other percussion instruments, and often basslines. Drum machines are most commonly associated with electronic music such as house music. They are usually used when session drummers are not available or if the production cannot afford the cost of a drummer. Also, many modern drum machines can also produce sounds, as well as allowing the user to compose unique drum beats. In the 2010s, most modern machines are sequencers with a sample playback or synthesizer component that specializes in the reproduction of drum timbres. The invention could produce sixteen different rhythms, each associated with a pitch, either individually or in any combination, including en masse. Received with considerable interest when it was introduced in 1932. The next generation of rhythm machines played only pre-programmed rhythms such as mambo, tango, Chamberlin Rhythmate In 1957 Californian Harry Chamberlin constructed a tape loop-based drum machine called the Chamberlin Rhythmate. It had 14 tape loops with a head that allowed playback of different tracks on each piece of tape. It contained a volume and a control and also had a separate amplifier with bass, treble, and volume controls. The tape loops were of real acoustic jazz drum kits playing different style beats, with additions to tracks such as bongos, clave, castanets. First commercial product – Wurlitzer Side Man In 1959 Wurlitzer released a drum machine called the Side Man. The Side Man was intended as an accompaniment for the Wurlitzer organ range. The Side Man offered a choice of 12 electronically generated, predefined rhythm patterns with variable tempos, the sound source was a series of vacuum tubes which created 10 preset electronic drum sounds. Combinations of these different sets of rhythms and drum sounds created popular rhythmic patterns of the day, e. g. waltzes and these combinations were selected by a rotary knob on the top of the Side Man box. The tempo of the patterns was controlled by a slider that increased the speed of rotation of the wiper arm, the Side Man had a panel of 10 buttons for manually triggering drum sounds, and a remote player to control the machine while playing from an organ keyboard. The Side Man was housed in a cabinet that contained the sound-generating circuitry. Raymond Scott In 1960, Raymond Scott constructed the Rhythm Synthesizer and, in 1963, scotts machines were used for recording his album Soothing Sounds for Baby series
30.
Four on the floor (music)
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Four-on-the-floor is a rhythm pattern used in disco and electronic dance music. It is a steady, uniformly accented beat in 4/4 time in which the drum is hit on every beat in common time. This was popularized in the music of the 1970s and the term four-on-the-floor was widely used in that era, it originated with the pedal-operated. Many styles of dance music, particularly those that are derived from house and techno. Sometimes the term is used to refer to a 4/4 uniform drumming pattern for any drum, a form of four-on-the-floor is also used in jazz drumming. Instead of hitting the drum in a pronounced and therefore easily audible fashion. Typically, this is combined with a cymbal and hi-hat in syncopation. When a string instrument makes the rhythm, all four beats of the measure are played by identical downstrokes, in reggae drumming, the bass drum usually hits on the third beat but sometimes drummers play four on the floor. Sly Dunbar from Sly & Robbie was one of the drummers who played mostly in this style. Also Carlton Barrett from Bob Marley & The Wailers played four on the floor on several hits by The Wailers like Is This Love, in reggae, four on the floor usually goes by the hand with a low end and powerful bassline. Four on the floor can be found in more modern reggae derivative styles such as dancehall, while it is less common to find it in roots reggae
31.
Drum
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The drum is a member of the percussion group of musical instruments. In the Hornbostel-Sachs classification system, it is a membranophone, Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a shell and struck, either directly with the players hands, or with a drum stick, to produce sound. There is usually a head on the underside of the drum. Other techniques have been used to cause drums to make sound, Drums are the worlds oldest and most ubiquitous musical instruments, and the basic design has remained virtually unchanged for thousands of years. Drums may be played individually, with the using a single drum. Others are normally played in a set of two or more, all played by the one player, such as drums and timpani. A number of different drums together with form the basic modern drum kit. Drums are usually played by striking with the hand, or with one or two sticks, in many traditional cultures, drums have a symbolic function and are used in religious ceremonies. Drums are often used in therapy, especially hand drums, because of their tactile nature. In popular music and jazz, drums usually refers to a kit or a set of drums. Drums acquired even divine status in places such as Burundi, where the karyenda was a symbol of the power of the king, the shell almost invariably has a circular opening over which the drumhead is stretched, but the shape of the remainder of the shell varies widely. In the western tradition, the most usual shape is a cylinder, although timpani, for example. Other shapes include a design, truncated cones, goblet shaped. Drums with cylindrical shells can be open at one end, or can have two drum heads, single-headed drums typically consist of a skin stretched over an enclosed space, or over one of the ends of a hollow vessel. Drums with two heads covering both ends of a shell often have a small hole somewhat halfway between the two heads, the shell forms a resonating chamber for the resulting sound. Exceptions include the African slit drum, also known as a log drum as it is made from a tree trunk. Drums with two heads can also have a set of wires, called snares, held across the head, top head. The heads tension can be adjusted by loosening or tightening the rods, many such drums have six to ten tension rods
32.
Pitch (music)
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Pitch can be determined only in sounds that have a frequency that is clear and stable enough to distinguish from noise. Pitch is a major attribute of musical tones, along with duration, loudness. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property, Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their perception of the frequency of vibration. Pitch is closely related to frequency, but the two are not equivalent, frequency is an objective, scientific attribute that can be measured. Pitch is each persons subjective perception of a wave, which cannot be directly measured. However, this not necessarily mean that most people wont agree on which notes are higher and lower. Sound waves themselves do not have pitch, but their oscillations can be measured to obtain a frequency and it takes a sentient mind to map the internal quality of pitch. However, pitches are usually associated with, and thus quantified as frequencies in cycles per second, or hertz, by comparing sounds with pure tones, Complex and aperiodic sound waves can often be assigned a pitch by this method. According to the American National Standards Institute, pitch is the attribute of sound according to which sounds can be ordered on a scale from low to high. That is, high pitch means very rapid oscillation, and low pitch corresponds to slower oscillation, despite that, the idiom relating vertical height to sound pitch is shared by most languages. At least in English, it is just one of many deep conceptual metaphors that involve up/down, the exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the frequency is increased or reduced. The pitch of tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, Pitch depends to a lesser degree on the sound pressure level of the tone, especially at frequencies below 1,000 Hz and above 2,000 Hz. The pitch of lower tones gets lower as sound pressure increases, for instance, a tone of 200 Hz that is very loud seems one semitone lower in pitch than if it is just barely audible. Above 2,000 Hz, the pitch gets higher as the sound gets louder, theories of pitch perception try to explain how the physical sound and specific physiology of the auditory system work together to yield the experience of pitch. In general, pitch perception theories can be divided into place coding, place theory holds that the perception of pitch is determined by the place of maximum excitation on the basilar membrane. However, a purely place-based theory cannot account for the accuracy of pitch perception in the low, temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus
33.
Trafalgar Square
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Trafalgar Square is a public square in the City of Westminster, Central London, built around the area formerly known as Charing Cross. Its name commemorates the Battle of Trafalgar, a British naval victory in the Napoleonic Wars with France and Spain that took place on 21 October 1805 off the coast of Cape Trafalgar, Spain. The site of Trafalgar Square had been a significant landmark since the 13th century, after George IV moved the mews to Buckingham Palace, the area was redeveloped by John Nash, but progress was slow after his death, and the square did not open until 1844. The 169-foot Nelsons Column at its centre is guarded by four lion statues, a number of commemorative statues and sculptures occupy the square, but the Fourth Plinth, left empty since 1840, has been host to contemporary art since 1999. The square has been used for community gatherings and political demonstrations, including Bloody Sunday, the first Aldermaston March, anti-war protests, a Christmas tree has been donated to the square by Norway since 1947 and is erected for twelve days before and after Christmas Day. The square is a centre of celebrations on New Years Eve. It was well known for its feral pigeons until their removal in the early 21st century, the square contains a large central area with roadways on three sides and a terrace to the north, in front of the National Gallery. The roads around the square part of the A4, a major road running west of the City of London. The square was surrounded by a one-way traffic system, but works completed in 2003 reduced the width of the roads. At the top of the column is a statue of Horatio Nelson who commanded the British Navy at the Battle of Trafalgar, surrounding the square are the National Gallery on the north side and St Martin-in-the-Fields Church to the east. To the south west is The Mall leading towards Buckingham Palace via Admiralty Arch, while Whitehall is to the south, Charing Cross Road passes between the National Gallery and the church. London Undergrounds Charing Cross tube station on the Northern and Bakerloo lines has an exit in the square, other nearby tube stations are Embankment connecting the District, Circle, Northern and Bakerloo lines, and Leicester Square on the Northern and Piccadilly lines. London bus routes 3,6,9,11,12,13,15,23,24,29,53,87,88,91,139,159,176,453 pass through Trafalgar Square. Building work on the side of the square in the late 1950s revealed deposits from the last interglacial. Among the findings were the remains of cave lion, rhinoceros, straight-tusked elephant, the site of Trafalgar Square has been a significant location since the 13th century. During Edward Is reign, the area was the site of the Kings Mews, running north from the original Charing Cross, from the reign of Richard II to that of Henry VII, the mews was at the western end of the Strand. The name Royal Mews comes from the practice of keeping hawks here for moulting, after a fire in 1534, the mews were rebuilt as stables, and remained here until George IV moved them to Buckingham Palace. After 1732, the Kings Mews were divided into the Great Mews and the smaller Green Mews to the north by the Crown Stables and its site is occupied by the National Gallery
34.
London
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London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
35.
Cymbal
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A cymbal is a common percussion instrument. Often used in pairs, cymbals consist of thin, normally round plates of various alloys, the majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a definite note. Cymbals are used in ensembles ranging from the orchestra, percussion ensembles, jazz bands, heavy metal bands. Drum kits usually incorporate at least a crash, ride or crash/ride, a player of cymbals is known as a cymbalist. The word cymbal is derived from the Latin cymbalum, which is the latinisation of the Greek word κύμβαλον kymbalon, cymbal, which in turn derives from κύμβη kymbē, cup, bowl. In orchestral scores, cymbals may be indicated by the French cymbales, German Becken, Schellbecken, Tellern, or Tschinellen, Italian piatti or cinelli, many of these derive from the word for plates. Cymbals have existed since ancient times, representations of cymbals may be found in reliefs and paintings from Hittite Anatolia, Larsa, Babylon, Assyria, ancient Egypt, ancient Greece, and ancient Rome. References to cymbals also appear throughout the Bible, through many Psalms, cymbals may have been introduced to China from Central Asia in the 3rd or 4th century AD. Cymbals were employed by Turkish janissaries in the 14th century or earlier, by the 17th century, such cymbals were used in European music, and more commonly played in military bands and orchestras by the mid 18th century. Since the 19th century, some composers have called for larger roles for cymbals in musical works, and a variety of shapes, techniques. The anatomy of the plays a large part in the sound it creates. A hole is drilled in the center of the cymbal, which is used to mount the cymbal on a stand or for tying straps through. The bell, dome, or cup is the section immediately surrounding the hole. The bell produces a higher pinging pitch than the rest of the cymbal, the bow is the rest of the surface surrounding the bell. The bow is sometimes described in two areas, the ride and crash area, the ride area is the thicker section closer to the bell while the crash area is the thinner tapering section near the edge. The edge or rim is the circumference of the cymbal. Cymbals are measured by their diameter either in inches or centimeters, the size of the cymbal affects its sound, larger cymbals usually being louder and having longer sustain. The weight describes how thick the cymbal is, Cymbal weights are important to the sound they produce and how they play
36.
Rute (music)
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The rute, also known as a multi-rod, is a beater for drums. Commercially made rutes are usually made of a bundle of thin birch dowels or thin canes attached to a drumstick handle and these often have a movable band to adjust how tightly the dowels are bound toward the tip. A rute may also be made of a bundle of twigs attached to a drumstick handle and these types of rutes are used for a variety of effects with various musical ensembles. A rute may also be a bunch of pieces of cane or twigs, bound at one end. The Rute is used to play on the head of the bass drum, Rute are also constructed from a solid rod thinly split partway down. In orchestral music, rute first appeared in the music of Mozart, in his opera Die Entführung aus dem Serail, K.384. The setting of the opera is Turkey, and rute were imported from Turkish Janissary music, the rute were played by the bass drum player, with a mallet striking on downbeats and rute being struck on offbeats. A typical pattern in this style would go, in 4/4 time, boom-tap-tap-tap boom-tap-tap-tap. Mozarts contemporaries and immediate successors used the rute in a fashion for military effect. This application was continued by Edgard Varese in his wildly coloristic use of percussion, widespread usage of the rute in kit drumming dates from US patent 4535671,20 August 1985, where Pro-Mark described their new Hot Rod rute-type drumstick intended for drum kit use. Variations such as Lightning Rods, Thunder Rods and Cool Rods soon followed from Pro-Mark, the Rute stick for drum kit is now produced by most major drum stick manufacturers including also Vic Firth and Vater. The Rute stick is held in the way as a drum stick. The handle of the rute is the area, as the drum or cymbal is struck with the wooden rutes or bundles of wooden stick. The word rute is a trap for radio announcers unaware of its German origin, the final e should be voiced, making the pronunciation root-uh
37.
Davul
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The davul or tupan is a large double-headed drum that is played with mallets. It has many names depending on the country and region and these drums have both a deep bass sound and a thin treble sound due to their construction and playing style, where different heads and sticks are used to produce different sounds on the same drum. In Armenia the dhol does not have as large of a circumference and is played with the hands, although a wooden. It is frequently heard in Armenian folk music, not only is it in folk music but also in modern music as well, even having solos in many prominent songs. Other Greek names for this drum include Davouli, Argano, Toskani, Tsokani, Toubi, Toubaki, Kiossi, Tavouli, Pavouli, Toubano, in the southern Balkans, the rhythm of the tapan is complex and utilizes many accents in numerous traditional time signatures. In Macedonia, tapans are most often used to other instruments such as the zurla and gaida, while in Bulgaria they usually accompany gaida. They are also played solo in some Albanian, Bulgarian and Macedonian folk dances, for centuries the tapan is irreplaceable at Bulgarian village festivities such as weddings and celebrations of patron saints of homes and villages. In Romania and Moldova the toba is sometimes used to accompany dances, in the regions of Moldavia, Maramures and Bihor there are also some varieties with a small cymbal mounted on top. They are generally struck with a mallet on one skin. In Turkey and Armenia, the davul is most commonly played with the zurna, although it can be played other instruments. It has also traditionally used for communication and for Turkish mehter. The drum shell is made of wood, perhaps walnut or chestnut. To make the shell, the wood is boiled in water to make it bendable, the heads are usually goat skin, and they are shaped into circles by wooden frames. However, one head may be goat skin to provide a higher tone, while the head can be sheepskin, calfskin. Some say that wolf skin and even dog skin are preferred, rope threaded back and forth across the shell of the drum, from head to head in a zigzag pattern, holds the heads on the drum and provides tension for tuning the drum. Sometimes metal rings or leather straps join neighboring strands of the rope in order to allow for further tuning, two rings are sometimes attached to the main rope where a belt-like rope is threaded through to hold the drum. In the former Yugoslavian republics and Bulgaria, the tapan is made in two dimensions, Bulgarian, golem, at about 50 –55 cm diameter, and Bulgarian, mal or tapanche, in Turkey, davuls typically range in size from 60 cm to 90 cm in diameter. Cow hide is used for the bass drum head side, while goat skin is used for the thin
38.
Ottoman Empire
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After 1354, the Ottomans crossed into Europe, and with the conquest of the Balkans the Ottoman Beylik was transformed into a transcontinental empire. The Ottomans ended the Byzantine Empire with the 1453 conquest of Constantinople by Mehmed the Conqueror, at the beginning of the 17th century the empire contained 32 provinces and numerous vassal states. Some of these were later absorbed into the Ottoman Empire, while others were granted various types of autonomy during the course of centuries. With Constantinople as its capital and control of lands around the Mediterranean basin, while the empire was once thought to have entered a period of decline following the death of Suleiman the Magnificent, this view is no longer supported by the majority of academic historians. The empire continued to maintain a flexible and strong economy, society, however, during a long period of peace from 1740 to 1768, the Ottoman military system fell behind that of their European rivals, the Habsburg and Russian Empires. While the Empire was able to hold its own during the conflict, it was struggling with internal dissent. Starting before World War I, but growing increasingly common and violent during it, major atrocities were committed by the Ottoman government against the Armenians, Assyrians and Pontic Greeks. The word Ottoman is an anglicisation of the name of Osman I. Osmans name in turn was the Turkish form of the Arabic name ʿUthmān, in Ottoman Turkish, the empire was referred to as Devlet-i ʿAlīye-yi ʿOsmānīye, or alternatively ʿOsmānlı Devleti. In Modern Turkish, it is known as Osmanlı İmparatorluğu or Osmanlı Devleti, the Turkish word for Ottoman originally referred to the tribal followers of Osman in the fourteenth century, and subsequently came to be used to refer to the empires military-administrative elite. In contrast, the term Turk was used to refer to the Anatolian peasant and tribal population, the term Rūmī was also used to refer to Turkish-speakers by the other Muslim peoples of the empire and beyond. In Western Europe, the two names Ottoman Empire and Turkey were often used interchangeably, with Turkey being increasingly favored both in formal and informal situations and this dichotomy was officially ended in 1920–23, when the newly established Ankara-based Turkish government chose Turkey as the sole official name. Most scholarly historians avoid the terms Turkey, Turks, and Turkish when referring to the Ottomans, as the power of the Seljuk Sultanate of Rum declined in the 13th century, Anatolia was divided into a patchwork of independent Turkish principalities known as the Anatolian Beyliks. One of these beyliks, in the region of Bithynia on the frontier of the Byzantine Empire, was led by the Turkish tribal leader Osman, osmans early followers consisted both of Turkish tribal groups and Byzantine renegades, many but not all converts to Islam. Osman extended the control of his principality by conquering Byzantine towns along the Sakarya River and it is not well understood how the early Ottomans came to dominate their neighbours, due to the scarcity of the sources which survive from this period. One school of thought which was popular during the twentieth century argued that the Ottomans achieved success by rallying religious warriors to fight for them in the name of Islam, in the century after the death of Osman I, Ottoman rule began to extend over Anatolia and the Balkans. Osmans son, Orhan, captured the northwestern Anatolian city of Bursa in 1326 and this conquest meant the loss of Byzantine control over northwestern Anatolia. The important city of Thessaloniki was captured from the Venetians in 1387, the Ottoman victory at Kosovo in 1389 effectively marked the end of Serbian power in the region, paving the way for Ottoman expansion into Europe
39.
Janissaries
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The Janissaries were elite infantry units that formed the Ottoman Sultans household troops, bodyguards and the first standing army in Europe. The corps was most likely established during the reign of Murad I and they began as an elite corps of slaves made up of conscripted young Christian boys, and became famed for internal cohesion cemented by strict discipline and order. Unlike typical slaves, they were paid regular salaries, forbidden to marry or engage in trade, their complete loyalty to the Sultan was expected. By the seventeenth century, due to a increase in the size of the Ottoman standing army. Civilians bought their way into the corps in order to benefit from the socioeconomic status it conferred upon them. Consequently, the corps gradually lost its character, undergoing a process which has been described as civilianization. The corps was abolished by Sultan Mahmud II in 1826 in the Auspicious Incident in which 6,000 or more were executed, the formation of the Janissaries has been dated to the reign of Murad I, the third ruler of the Ottoman Empire. From the 1380s to 1648, the Janissaries were gathered through the system which was abolished in 1638. This was the taking of non-Muslim boys, notably Anatolian and Balkan Christians, Jews were never subject to devşirme, according to the Encyclopedia Britannica, in early days, all Christians were enrolled indiscriminately. Later, those from Albania, Bosnia, and Bulgaria were preferred, the Janissaries were kapıkulları, door servants or slaves of the Porte, neither freemen nor ordinary slaves. They were subjected to strict discipline, but were paid salaries and pensions upon retirement, as such, they became one of the ruling classes of the Ottoman Empire, rivalling the Turkish aristocracy. The brightest of the Janissaries were sent to the palace institution, through a system of meritocracy, the Janissaries held enormous power, stopping all efforts at reform of the military. These boys were taken from their parents and given to Turkish families in the provinces to learn Turkish language and customs. The recruits were indoctrinated into Islam, forced into circumcision and supervised 24 hours a day by eunuchs and they were subjected to severe discipline, being prohibited from growing a beard, taking up a skill other than soldiering, and marrying. As a result, the Janissaries were extremely well-disciplined troops, and became members of the askeri class, most were non-Muslims, because it was not permissible to enslave a Muslim. The Janissary system was introduced in the 14th century, the Janissary Corps was a trained and loyal group of slaves to the sultan. In the late 16th century, a sultan gave in to the pressures of the Corps and permitted Janissary children to members of the Corps. They also became rent-seeking and sought protection of their special rights, according to paintings of the era, they were also permitted to grow beards
40.
Alex Van Halen
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Alexander Arthur Alex Van Halen is a Dutch-American musician, best known as the drummer and co-founder of the hard rock band Van Halen. Originally, his brother Eddie played drums, while Alex practiced guitar, after spending time playing Eddies drum kit, Alex became more skillful at the drums than Eddie. In 1974, the Van Halen brothers, David Lee Roth and they were signed to Warner Brothers in 1977 and released their debut album in 1978. The two brothers are the members of Van Halen who have been in the band for its entire duration. Alexander Arthur Van Halen was born in Nijmegen and his Dutch father Jan was an accomplished jazz saxophonist and clarinet player. His mother Eugenia van Beers was an Indo from Rangkasbitung, Indonesia and he spent his childhood in Nijmegen in the east of the country. The family moved to Pasadena, California in 1962, both Alex and his younger brother, Eddie, are naturalized U. S. citizens. Both Alex and Eddie Van Halen were trained as classical pianists in their childhood, although Alex is known as a professional drummer, he began his musical aspirations as a guitarist, with his brother Eddie taking up drums. While Eddie was delivering newspapers to pay for his drum kit, when Eddie heard Alexs mastery of The Surfaris drum solo in the song Wipe Out, he decided to learn to play the electric guitar. Alex was influenced by Budgie drummer Ray Phillips, in 1971, Alex graduated from Pasadena High School in California. He then took classes in theory, scoring, composition. While attending Pasadena City College, Alex met Michael Anthony and David Lee Roth and they formed the band Mammoth, and Alex, along with the others, left Pasadena City College. Alex had several bands with Eddie before Van Halen came to be. Names of these bands include The Broken Combs, The Space Brothers, The Trojan Rubber Company. In 1972, Alex and Eddie formed Mammoth with Mark Stone on bass, the band rented David Lee Roths PA system for their shows. Soon after, Edward became tired of singing lead vocals, later, in 1974, since the name Mammoth was already taken by another band, the name was changed to Van Halen, and Stone was replaced by Michael Anthony. Roth has claimed that it was his idea to rename the band Van Halen, in addition to his musical duties at this time, Alex handled managerial duties, such as booking gigs, etc. for the band. Their 1978 self-titled debut album Van Halen was released to much fanfare, although the term brown sound is generally associated with Eddies guitar, it was actually coined by Alex to refer to the sound of his snare drum
41.
Keith Moon
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Keith John Moon was an English drummer who played with the English rock band the Who. He was noted for his style and his eccentric, often self-destructive behaviour. His drumming continues to be praised by critics and musicians, Moon grew up in Alperton, a suburb of Wembley, in Middlesex, and took up the drums during the early 1960s. After playing with a band, the Beachcombers, he joined the Who in 1964 before they recorded their first single. Moon remained with the band during their rise to fame, and was recognised for his drumming style, which emphasised tom-toms, cymbal crashes. He occasionally collaborated with musicians and later appeared in films. In addition to his talent as a drummer, however, Moon developed a reputation for smashing his kit on stage and he was fascinated by blowing up toilets with cherry bombs or dynamite, and by destroying television sets. Moon enjoyed touring and socialising, and was bored and restless when the Who were inactive and his 21st birthday party in Flint, Michigan, has been cited as a notorious example of decadent behaviour by rock groups. Moon suffered a number of setbacks during the 1970s, most notably the death of chauffeur Neil Boland. He became addicted to alcohol, particularly brandy and champagne, and acquired a reputation for decadence and dark humour, after moving to Los Angeles with personal assistant Peter Dougal Butler during the mid-1970s, Moon recorded his only solo album, the poorly received Two Sides of the Moon. While touring with the Who, on occasions he passed out on stage and was hospitalised. By their final tour with him in 1976, and particularly during production of The Kids Are Alright and Who Are You, the drummers deterioration was evident. Moon moved back to London in 1978, dying in September of that year from an overdose of Heminevrin, Keith John Moon was born to Alfred Charles and Kathleen Winifred Moon on 23 August 1946 at Central Middlesex Hospital in northwest London, and grew up in Wembley. He was hyperactive as a boy, with a restless imagination, Moon attended Alperton Secondary Modern School after failing his eleven plus exam, which precluded his attending a grammar school. His art teacher said in a report, Retarded artistically and his music teacher wrote that Moon has great ability, but must guard against a tendency to show off. Moon joined his local Sea Cadet Corps band at the age of twelve on the bugle and he was interested in practical jokes and home science kits, with a particular fondness for explosions. On his way home from school, Moon would often go to Macaris Music Studio on Ealing Road to practise on the drums there and he left school at age fourteen, around Easter in 1961. Moon then enrolled at Harrow Technical College, this led to a job as a radio repairman, Moon took lessons from one of the loudest contemporary drummers, Screaming Lord Sutchs Carlo Little, at ten shillings per lesson
42.
Ginger Baker
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Peter Edward Ginger Baker is an English drummer, best known as the founder of the rock band Cream. Bakers work in the 1960s earned him praise as rocks first superstar drummer, Baker is credited as a pioneer of drumming in genres like jazz fusion, heavy metal and world music. Baker began playing drums at age 15 around 1954, and later took lessons from Phil Seamen, in the 1960s, he joined Blues Incorporated, where he met bassist Jack Bruce. The two clashed often, but would be rhythm section partners again in the Graham Bond Organisation and Cream, Cream achieved worldwide success but only lasted until 1968, in part due to Bakers and Bruces volatile relationship. Bakers drumming attracted attention for his style, showmanship, and use of two bass drums instead of the conventional one, in his early days, he performed lengthy drum solos, most notably in the Cream song Toad, one of the earliest recorded examples in rock music. Baker was born in Lewisham, south London, an athletic child, Baker began playing drums at about 15 years old. In the early 1960s he took lessons from Phil Seamen, one of the leading British jazz drummers of the post-war era and he gained early fame as a member of the Graham Bond Organisation with future Cream bandmate Jack Bruce. The Graham Bond Organisation was an R&B/blues group with jazz leanings. Baker founded the rock band Cream in 1966 with Bruce and guitarist Eric Clapton, a fusion of blues, psychedelic rock and hard rock, the band released four albums in a little over two years before breaking up in 1968. Baker then joined the short-lived supergroup Blind Faith, composed of Clapton, bassist Ric Grech, and Steve Winwood and they only released one album before fading. In 1970 Baker formed, toured and recorded with rock group Ginger Bakers Air Force. Baker lived in Nigeria from 1970 until 1976 and he sat in for Fela Kuti during recording sessions in 1971 released by Regal Zonophone as Live. Fela also appeared with Ginger Baker on Stratavarious alongside Bobby Gass, Stratavarious was later re-issued as part of the compilation Do What You Like. Baker formed Baker Gurvitz Army in 1974 and recorded three albums with them before the band broke up in 1976, in 1992 Baker played with the hard-rock group Masters of Reality with bassist Googe and singer/guitarist Chris Goss on the album Sunrise on the Sufferbus. The album received critical acclaim but sold fewer than 10,000 copies, Baker lived in Parker, Colorado, a rural commuter town at the southeastern corner of the Denver Metropolitan Area, between 1993 and 1999, in part due to his passion for polo. Baker not only participated in events at the Salisbury Equestrian Park. In 1994, he formed The Ginger Baker Trio with bassist Charlie Haden and he also joined BBM, a short-lived power trio with the line-up of Baker, Jack Bruce and Irish blues rock guitarist Gary Moore. On 3 May 2005, Baker reunited with Eric Clapton and Bruce for a series of Cream concerts at the Royal Albert Hall, nowadays, were happily co-existing in different continents
43.
Microphone
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A microphone, colloquially nicknamed mic or mike, is a transducer that converts sound into an electrical signal. Several different types of microphone are in use, which employ different methods to convert the air pressure variations of a wave to an electrical signal. Microphones typically need to be connected to a preamplifier before the signal can be recorded or reproduced, in order to speak to larger groups of people, a need arose to increase the volume of the human voice. The earliest devices used to achieve this were acoustic megaphones, some of the first examples, from fifth century BC Greece, were theater masks with horn-shaped mouth openings that acoustically amplified the voice of actors in amphitheatres. In 1665, the English physicist Robert Hooke was the first to experiment with an other than air with the invention of the lovers telephone made of stretched wire with a cup attached at each end. German inventor Johann Philipp Reis designed an early sound transmitter that used a strip attached to a vibrating membrane that would produce intermittent current. Better results were achieved with the transmitter design in Scottish-American Alexander Graham Bells telephone of 1876 – the diaphragm was attached to a conductive rod in an acid solution. These systems, however, gave a poor sound quality. The first microphone that enabled proper voice telephony was the carbon microphone and this was independently developed by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, the carbon microphone is the direct prototype of todays microphones and was critical in the development of telephony, broadcasting and the recording industries. Thomas Edison refined the carbon microphone into his carbon-button transmitter of 1886 and this microphone was employed at the first ever radio broadcast, a performance at the New York Metropolitan Opera House in 1910. In 1916, E. C. Wente of Western Electric developed the next breakthrough with the first condenser microphone, in 1923, the first practical moving coil microphone was built. The Marconi Skykes or magnetophon, developed by Captain H. J. Round, was the standard for BBC studios in London and this was improved in 1930 by Alan Blumlein and Herbert Holman who released the HB1A and was the best standard of the day. Also in 1923, the microphone was introduced, another electromagnetic type, believed to have been developed by Harry F. Olson. Over the years these microphones were developed by companies, most notably RCA that made large advancements in pattern control. With television and film technology booming there was demand for high fidelity microphones, electro-Voice responded with their Academy Award-winning shotgun microphone in 1963. During the second half of 20th century development advanced quickly with the Shure Brothers bringing out the SM58, digital was pioneered by Milab in 1999 with the DM-1001. The latest research developments include the use of optics, lasers and interferometers
44.
Trigger pad
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A trigger pad is an electronic sensor on a drum that produces a certain sound assigned from a sound module once the head has been struck. This device allows drummers to play at a constant dynamic regardless of the force used. Triggers are also used to add definition to drum sounds. An example is very rapid bass drum hits become difficult to distinguish or even hear in the presence of a full band. Triggers are often used as a way to count and monitor drum hits, tim Waterson, the current world record holder as stated in the Guinness Book of World Records, uses trigger pads to record his speeds. They can also be used to send MIDI signals after processed by a module to a Light Desk controlling different lights
45.
Rock and roll
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While elements of rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until the 1950s. For the purpose of differentiation, this deals with the first definition. The beat is essentially a blues rhythm with an accentuated backbeat, classic rock and roll is usually played with one or two electric guitars, a double bass or string bass or an electric bass guitar, and a drum kit. Beyond simply a style, rock and roll, as seen in movies and on television, influenced lifestyles, fashion, attitudes. In addition, rock and roll may have contributed to the civil rights movement because both African-American and white American teens enjoyed the music and it went on to spawn various genres, often without the initially characteristic backbeat, that are now more commonly called simply rock music or rock. The term rock and roll now has at least two different meanings, both in common usage, the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the hand, regards it as the music that originated in the mid-1950s. In 1934, the song Rock and Roll by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round, in 1942, Billboard magazine columnist Maurie Orodenker started to use the term rock-and-roll to describe upbeat recordings such as Rock Me by Sister Rosetta Tharpe. By 1943, the Rock and Roll Inn in South Merchantville, in 1951, Cleveland, Ohio disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it. The origins of rock and roll have been debated by commentators. The migration of former slaves and their descendants to major urban centers such as St. The immediate roots of rock and roll lay in the rhythm and blues, then called race music, particularly significant influences were jazz, blues, gospel, country, and folk. The 1940s saw the use of blaring horns, shouted lyrics. In the same period, particularly on the West Coast and in the Midwest, similarly, country boogie and Chicago electric blues supplied many of the elements that would be seen as characteristic of rock and roll. Rock and roll arrived at a time of technological change, soon after the development of the electric guitar, amplifier and microphone. It was the realization that relatively affluent white teenagers were listening to music that led to the development of what was to be defined as rock. Because the development of rock and roll was a process, no single record can be identified as unambiguously the first rock. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Little Richard, Jerry Lee Lewis
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Time signature
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The time signature is a notational convention used in Western musical notation to specify how many beats are to be contained in each bar and which note value is to be given one beat. A mid-score time signature, usually following a barline, indicates a change of meter. | Simple time signatures consist of two numerals, one stacked above the other, The lower numeral indicates the value that represents one beat. The upper numeral indicates how many beats there are grouped together in a bar. For instance,24 means two quarter-note beats per bar—38 means three eighth-note beats per bar, the most common simple time signatures are 24,34, and 44. The symbol is used for 44 time, also called common time or imperfect time. In modern notation, it is used in place of 22 and is called alla breve or, colloquially, in compound meter, subdivisions of the main beat are in three equal parts, so that a dotted note becomes the beat unit. Compound time signatures are named as if they were simple time signatures, in which the part of the beat unit is the beat. The lower number is most commonly an 8, as in 98 or 128,34 is a simple signature that represents three quarter notes. To the ear, a bar may seem like one singular beat, for example, a fast waltz, notated in 34 time, may be described as being one in a bar. Terms such as quadruple, quintuple, and so on are also occasionally used, as mentioned above, though the score indicates a 34 time, the actual beat division can be the whole bar, particularly at faster tempos. Correspondingly, at slow tempos the beat indicated by the time signature could in actual performance be divided into smaller units, on a formal mathematical level the time signatures of, e. g.34 and 38 are interchangeable. In a sense, all simple triple time signatures, such as 38,34,32, etc. —and all compound duple times, such as 68,616, a piece in 34 can be easily rewritten in 38, simply by halving the length of the notes. Other time signature rewritings are possible, most commonly a simple time signature with triplets translates into a compound meter, though formally interchangeable, for a composer or performing musician, different time signatures often have different connotations. First, a note value in the beat unit implies a more complex notation. Second, beaming affects the choice of actual beat divisions and it is, for example, more natural to use the quarter note/crotchet as a beat unit in 64 or 22 than the eight/quaver in 68 or 24. Third, time signatures are traditionally associated with different music styles—it might seem strange to notate a rock tune in 48 or 42. For all meters, the first beat is stressed, in time signatures with four groups in the bar
play within typical rock beat (help·info) & 
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