1.
Percussion instrument
–
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
Percussion instrument
–
Yoruba drummers: One holds
omele ako and
batá, the other two hold
dunduns.
Percussion instrument
–
Orchestral percussion section with
timpani,
unpitched auxiliary percussion and pitched
tubular bells
Percussion instrument
–
Djembé and
balafon played by
Susu people of
Guinea
Percussion instrument
–
Concussion idiophones (
claves), and struck drums (
conga drum)
2.
Percussion
–
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
Percussion
–
Yoruba drummers: One holds
omele ako and
batá, the other two hold
dunduns.
Percussion
–
Orchestral percussion section with
timpani,
unpitched auxiliary percussion and pitched
tubular bells
Percussion
–
Djembé and
balafon played by
Susu people of
Guinea
Percussion
–
Concussion idiophones (
claves), and struck drums (
conga drum)
3.
Drum
–
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
Drum
–
Talking drum.
Drum
–
Drum carried by John Unger, Company B, 40th Regiment New York Veteran Volunteer Infantry Mozart Regiment, December 20, 1863
Drum
–
Several
American Indian -style drums for sale at the
National Museum of the American Indian.
Drum
–
Moche ceramic vessel depicting a drummer.
Larco Museum Collection. Lima-Peru
4.
Unpitched
–
An unpitched percussion instrument is a percussion instrument played in such a way as to produce sounds of indeterminate pitch, or an instrument normally played in this fashion. Unpitched percussion is used to maintain a rhythm or to provide accents. The drum heads produce inharmonic sounds, the strongest frequencies that are present are unrelated to pitched sounds produced by other instruments in the ensemble. Although the drum is tuned by the player, this tuning does not relate to the pitches of other instruments, the sound may be inharmonic, a mixture of sounds including some with conflicting fundamental frequencies. The fundamental frequency may simply be unexpected, and unrelated to other sounds in the piece of music, a heavy rock drummer playing on the bell of a ride cymbal, for example, produces a sound with a strong fundamental, but the pitch is unrelated to the music. This is unpitched percussion, despite the pitch of the sound if heard in isolation. In practice two or all of these mechanisms are frequently in effect in producing the sensation of an instrument being unpitched, but any one can be sufficient. It is important to note that many unpitched percussion instruments do or can produce a sound with a fundamental frequency. The pitch of a bell is particularly strong however struck, more radically, pitched instruments can be used to produce unpitched sounds, for example a prepared piano, or the golpe technique of flamenco music. The smaller tom-tom drums in a kit are tuned higher than the larger ones. Three or more tom-toms are common, each tuned higher than the larger ones, the male pair in a set of castanets is lower in pitch than the female. These pitches however, Relate only to members of the set, or to related unpitched instruments. Bear no harmonic relationship one to the other, if either of these two conditions is not met, then the instrument could be considered pitched. Many folk instruments and world music instruments are tuned to match the pitch of a degree of the scale of the music, including. The bass head of the dhol, instruments regularly used both as pitched and as unpitched percussion include many types of bells. Lincoln Cathedral, for example, has three towers, two containing bells used as unpitched including a chiming clock, and the third containing a pitched ring of bells. The term unpitched refers to the usage and perception of the sound of the instrument rather than simply to its sound, classification of percussion instruments Inharmonicity Pitched percussion instrument Tuned percussion List of percussion instruments
Unpitched
–
A pair of
timbales, two
cowbells, a
jam block and a
cymbal all in use as unpitched percussion
Unpitched
–
Andrea Neumann 's
prepared piano,
Goethe-Institut, Boston, 2010, showing a dinner knife, a dinner fork, a piece of felt and a piece of cardboard interferring with the normal movement of the strings.
Unpitched
–
The
tabla, left, is tuned to the
tonic,
dominant or
subdominant of the soloist's key and thus complements the
melody. Its
drum head is reinforced at the centre to reduce
inharmonic overtones.
Unpitched
–
The
cowbell is most often used as unpitched percussion, but here is a pitched set
5.
Musical instrument
–
A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
Musical instrument
–
Anne Vallayer-Coster, Attributes of Music, 1770. This
still life painting depicts a variety of French Baroque musical instruments, such as a
natural horn,
transverse flute,
musette,
violin, and
lute.
Musical instrument
–
Found in
Slovenia, the
Divje Babe Flute is considered the world's
oldest known musical instrument
Musical instrument
–
Two
Aztec slit drums, called teponaztli. The characteristic " H " slits can be seen on the top of the drum in the foreground.
Musical instrument
–
Ancient Egyptian tomb painting depicting lute players,
18th Dynasty (c. 1350 BC)
6.
Tabor (instrument)
–
Tabor or tabret refers to a portable snare drum played with one hand. The word tabor is simply an English variant of a Latin-derived word meaning drum—cf, french, tambour, Italian, tamburo It has been used in the military as a marching instrument, and has been used as accompaniment in parades and processions. A tabor has a cylindrical shell, two skin heads tightened by rope tension, a leather strap, and an adjustable gut snare. Each tabor has a range of about an octave, the larger the tabor. It is played by just one stick, which strikes the snare head. The tabor is suspended by a strap from the forearm, somewhere between the elbow and wrist, when played, the shell is virtually parallel with the ground. The tabor is most widely known as accompaniment for the pipe and other small flutes, the tabor is beaten on the snare side. Georges Bizet scored for the drum in his LArlesienne Suite No. 2, and Aaron Copland calls for it in his Appalachian Spring and El Salón México
Tabor (instrument)
–
Tabor
7.
Drum kit
–
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
Drum kit
Drum kit
–
South-African jazz drummer
Louis Moholo playing a four-piece kit
Drum kit
–
Dance band drummer Stan Farmer at Mark Foy's Empress Ballroom, Sydney, New South Wales, using a kit with bass drum pedal and low sock. Tom Lennon, 23 October 1935
Drum kit
–
Drummer in a Memphis "juke joint" orchestra playing a kit with four non-tunable
toms. Marion Post Wolcott, October 1939
8.
Bass drum
–
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
Bass drum
–
Bass drum
Bass drum
Bass drum
–
Bass drums with "woofers" or additional resonating sections attached to enhance tone and depth. Drum set used by
Alex van Halen
Bass drum
–
Conventional single pedal
9.
China cymbal
–
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
China cymbal
China cymbal
–
China type cymbals from three continents
China cymbal
–
Meinl china type: Conventional bell, upturned rim; here mounted bell up.
China cymbal
–
Detail of a conical bell.
10.
Snare drum
–
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
Snare drum
–
A drum kit snare drum.
Snare drum
Snare drum
–
Snares on a drum
Snare drum
–
Snare Strainer
11.
Floor tom
–
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
Floor tom
Floor tom
–
16x16 floor tom with traditional mounting
Floor tom
–
Paul Simmons with both 14x14 and 16x16 floor toms
12.
Splash cymbal
–
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
Splash cymbal
Splash cymbal
Splash cymbal
Splash cymbal
13.
Ride cymbal
–
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
Ride cymbal
Ride cymbal
–
A
Zildjian 19" Armand Ride Cymbal
14.
Tom-tom drum
–
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
Tom-tom drum
Tom-tom drum
–
12 in × 8 in (30 cm × 20 cm) rack tom mounted to a stand
Tom-tom drum
–
Tom-toms mounted on a
bass drum
Tom-tom drum
–
In the 1970s,
Alex Van Halen simply removed the bottom heads from his hanging toms to create concert toms
15.
Hi-hat
–
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
Hi-hat
Hi-hat
–
Dance band drummer with low-hat
Hi-hat
–
Sabian 10" mini hats, 1980s
Hi-hat
–
Vented
UFIP 14" hi-hat cymbals
16.
Crash cymbal
–
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
Crash cymbal
Crash cymbal
–
A 16"
Zildjian A Custom Projection Crash.
Crash cymbal
–
An 18"
Sabian AAX X-plosion Crash.
17.
Drum hardware
–
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
Drum hardware
Drum hardware
–
1 Mount, 2 Rim, 3 Tension rod, 4 Lug, 5 Snare butt
Drum hardware
–
1 Drum badge and grommet, 2 Snare strainer, 3 Throwoff lever
Drum hardware
18.
Sizzle cymbal
–
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
Sizzle cymbal
–
Swish cymbal with six rivets in the traditional pattern
Sizzle cymbal
Sizzle cymbal
–
Zidjian 19" Armand Ride with a three-rivet cluster
Sizzle cymbal
–
Chain sizzlers mounted on a Paiste 11" trad splash (top) and Paiste 2002 18" medium
19.
Swish cymbal
–
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
Swish cymbal
–
Original design Zildjian swish cymbal with six rivets, mounted bell up
Swish cymbal
20.
Crash/ride cymbal
–
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
Crash/ride cymbal
–
Paiste Rude 16" crash/ride
Crash/ride cymbal
Crash/ride cymbal
–
Three-piece kit with one suspended cymbal, 1959
21.
Cowbell (instrument)
–
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
Cowbell (instrument)
–
Cowbell
Cowbell (instrument)
Cowbell (instrument)
–
A set of tuned cowbells.
Cowbell (instrument)
–
Tuned Chromatic Cowbells (from Emil Richards Collection), F4-C7 range
22.
Wood block
–
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
Wood block
–
Wood blocks
Wood block
–
Tubular wood block
23.
Tambourine
–
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
Tambourine
–
Tambourine
Tambourine
–
Ancient Greek
black-figure pottery depicting a girl playing the tambourine.
Bourgas Archaeology Museum.
Tambourine
–
Woman holding a mirror and a tambourine facing a winged genie with a ribbon and a branch with leaves.
Ancient Greek red-figure oinochoe, ca. 320 BC, from
Magna Graecia. (Notice the coloured decorative woven stripes hanging on the tambourine, which can still be seen today on "tamburello", the tambourine of Southern Italy.)
Tambourine
–
Maenad playing a
tympanum. Detail from the Triumph of Dionysus, on a Roman mosaic from Tunisia (3rd century AD)
24.
Rototom
–
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
Rototom
–
Rototom on a standard mounting bar
Rototom
–
Three small rototoms on a mounting bar
25.
Octoban
–
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
Octoban
–
A cluster of four home made octobans.
Octoban
Octoban
Octoban
26.
Temple block
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Temple Square is a 10-acre complex, owned by The Church of Jesus Christ of Latter-day Saints, in the center of Salt Lake City, Utah. In recent years, the usage of the name has changed to include several other church facilities that are immediately adjacent to Temple Square. Contained within Temple Square are the Salt Lake Temple, Salt Lake Tabernacle, Salt Lake Assembly Hall, the Seagull Monument, and two visitors centers. In 1847, when Mormon pioneers arrived in the Salt Lake Valley, LDS Church president Brigham Young selected a plot of the ground and proclaimed. When the city was surveyed, the block enclosing that location was designated for the temple, Temple Square is surrounded by a 15-foot wall that was built shortly after the block was so designated. The square also became the headquarters of the LDS Church, other buildings were built on the plot, including a tabernacle and Endowment House, both of which were later torn down. The Salt Lake Tabernacle, home of the Mormon Tabernacle Choir, was built in 1867 to accommodate the churchs general conferences, another church building, the Salt Lake Assembly Hall, was later built with a seating capacity of 2,000. As the church has grown, its headquarters have expanded into the surrounding area, the Hotel Utah, another building on this block, was remodeled in 1995 as additional office space and a large film theater and renamed the Joseph Smith Memorial Building. In 2000, the church purchased the section of Main Street between this block and Temple Square and connected the two blocks with a called the Main Street Plaza. In 2000, the church completed a new,21,000 seat Conference Center on the north of Temple Square. The Family History Library and the Church History Museum are located on the block west of Temple Square. Attracting 3 million to 5 million visitors a year, Temple Square is the most popular tourist attraction in Utah, by comparison, Utahs five National Parks—Zion, Bryce Canyon, Capitol Reef, Canyonlands, and Arches—had a combined total of 5.3 million visitors in 2005. The grounds, as well as the Gardens at Temple Square, often host concerts, during the Christmas holiday season, approximately 100,000 Christmas lights sparkle from trees and shrubs around Temple Square each evening until 9 pm. The lighting of Temple Square is an event, usually attended by more than 10,000 people. They are also locations for street musicians to perform, especially during the holiday season. Temple Square serves as the point for all street addresses in Salt Lake City. The Salt Lake Temple is the largest and best-known of the 150 operating LDS temples and it is the sixth temple built by the church overall, and the fourth operating temple built following the Mormon exodus from Nauvoo, Illinois. Today, Temple Square features two visitors centers, called the North Visitors Center and the South Visitors Center, the North Visitors Center was built first and features a replica of the Christus, a statue of Jesus Christ by Danish sculptor Bertel Thorvaldsen
Temple block
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Temple Square
Temple block
Temple block
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Salt Lake Temple
Temple block
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Christus statue in North Visitors' Center
27.
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
Gong
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A gong collection in a
Gamelan ensemble of instruments – Indonesian Embassy
Canberra
Gong
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An
agung, a type of
Philippine hanging gong used as part of the
Kulintang ensemble
Gong
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A
Java -
Bali style Gong, hanging in a frame
Gong
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The Familiar "Chinese" Gong (A 10" Chau Gong).
28.
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
Triangle (musical instrument)
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Triangle
Triangle (musical instrument)
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Angelica Kauffman: L'Allegra, 1779
29.
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
Drum stick
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Traditional grip (for a right-handed drummer)
Drum stick
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Traditional grip used by a
side drummer
Drum stick
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Matched grip used by a
taiko drummer
30.
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
Traps case
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A five-piece
drum kit in
hard cases, with the traps case at the left. Note the trunk handles to help bear the weight, which are not needed on any of the other cases.
