1.
Timbales
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Timbales or pailas are shallow single-headed drums with metal casing. They are shallower than single-headed tom-toms, and usually tuned much higher, the shells are referred to as cáscara, which is also the name of a rhythmic pattern common in salsa music that is played on the shells of the timbales. The shells are made of metal, but some manufacturers offer shells of maple. The heads are light, and tuned fairly high for their size, the term timbal or timbales has been used in Cuba for two quite different types of drum. Timbales is the Spanish word for timpani, an instrument that was imported into Cuba in the 19th century and these were the same general type of drum used in military bands, perhaps slung either side of a horse, and in classical orchestras. These were, and are, played with mallets, the timpani were replaced by pailas criollas, which were originally designed to be used by street bands. Pailas are always hit with straight batons that have no additional head, hits are made on the top and on the metal sides. In a modern band the timbalero may also have a set to switch to for certain numbers. Since the term timbales is used to refer to both timpani and pailas criollas, it is ambiguous when referring to bands playing the danzón in the 1900–1930 period, if one does not have a photograph it is difficult to know which drum a band used. In French, timbales is also the word for timpani, thus the French refer to Cuban timbales as timbales latines, in Brazil, the term timbal refers to an unrelated drum. Timbalitos or pailitas are small timbales with diameters of 6″, 8″, the timbalitos are used to play the part of the bongos with sticks and are not used to play the traditional timbales part. Papaíto and Manny Oquendo were masters at playing the part on timbalitos. Timbalitos are sometimes incorporated into expanded timbales set-ups, or incorporated into drum kits, the basic timbales part for danzón is called the baqueteo. In the example below, the slashed noteheads indicate muted drum strokes, the danzón was the first written music to be based on the organizing principle of sub-Saharan African rhythm, known in Cuba as clave. During the mambo era of the 1940s, cowbells were mounted on the drums, the cowbells, or wood block may be mounted slightly above and between the two timbales a little further from the player. The following four timbale bell patterns are based on the folkloric rumba cáscara part and they are written in 3-2 clave sequence. In the 1970s José Luis Quintana Changuito developed the technique of simultaneously playing timbale, the example below shows the combined bell patterns. Due to the timbalero Tito Puente, it is now acceptable for a player – especially a band leader, Puente was frequently seen in concerts, and on posters and album covers, with seven or eight timbales in one set
2.
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
3.
Jam block
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A jam block is a percussion instrument which is a modern, hard plastic version of the wood block. It is sometimes referred to as a block, gock block. Jam blocks are used for their sturdiness and durability compared to the traditional wood block. Jam blocks are attached to timbales and drum kits. These blocks are used in salsa and other Latin American styles. Jam blocks are used in the marching percussion idiom as well. There are several manufacturers of jam blocks, including LP, Pearl, Meinl, manufacturers typically color-code their jam blocks by size/pitch. Variants include sambango bells, granite blocks, stealth and blast blocks, wood block Slit drum Log drum Cowbell
4.
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
5.
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
6.
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
7.
Rhythm
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Rhythm generally means a movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions. In the performance arts, rhythm is the timing of events on a scale, of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language. In some performing arts, such as hip hop music, the delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as timed movement through space, in recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, Godfried Toussaint, William Rothstein, and Joel Lester. In Thinking and Destiny, Harold W. Percival defined rhythm as the character and meaning of thought expressed through the measure or movement in sound or form, or by written signs or words. In his television series How Music Works, Howard Goodall presents theories that human rhythm recalls the regularity with which we walk, other research suggests that it does not relate to the heartbeat directly, but rather the speed of emotional affect, which also influences heartbeat. Yet other researchers suggest that certain features of human music are widespread. The perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, Joseph Jordania recently suggested that the sense of rhythm was developed in the early stages of hominid evolution by the forces of natural selection. Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, some types of parrots can know rhythm. There is not a report of an animal being trained to tap, peck. For this reason, the fast-transient sounds of percussion instruments lend themselves to the definition of rhythm, Musical cultures that rely upon such instruments may develop multi-layered polyrhythm and simultaneous rhythms in more than one time signature, called polymeter. Such are the cross-rhythms of Sub-Saharan Africa and the interlocking kotekan rhythms of the gamelan, for information on rhythm in Indian music see Tala. For other Asian approaches to rhythm see Rhythm in Persian music, Rhythm in Arabian music and Usul—Rhythm in Turkish music and this consists of a series of identical yet distinct periodic short-duration stimuli perceived as points in time. It is currently most often designated as a crotchet or quarter note in western notation, faster levels are division levels, and slower levels are multiple levels. Rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit. A rhythmic gesture is any pattern that, in contrast to the rhythmic unit
8.
Accent (music)
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In music, an accent is an emphasis, stress, or stronger attack placed on a particular note or set of notes, or chord, either as a result of its context or specifically indicated by an accent mark. Accents contribute to the articulation and prosody of a performance of a musical phrase, accents may be written into a score or part by a composer or added by the performer as part of his or her interpretation of a musical piece. Compared to surrounding notes, A dynamic accent or stress accent is an emphasis using louder sound or a stronger articulation, a tonic accent is an emphasis on notes by virtue of being higher in pitch as opposed to higher in volume. An agogic accent is an emphasis by virtue of being longer in duration, accents which do not correspond to the stressed beats of the prevailing meter are said to be syncopated. For example, in time, also called 4/4, the most common metre in popular music. If chords or notes are played on two or four, this creates syncopation, as the music is emphasizing the weak beats of the bar. Syncopation is used in Classical music, popular music and traditional music, however, it is more prominent in blues, jazz, funk, disco and Latin music. There are four kinds of accents, Longer notated duration of a note, for example. Extended duration of a note within its full-time value, for example, players of organ and harpsichord can emphasize one of a sequence of staccato quarter notes by making it less staccato. Extended duration of a note with the effect of slowing down the tempo. Delayed onset of a note, for example by doing a pause before starting a note, in music notation, an accent mark indicates a louder dynamic and a stronger attack to apply to a single note or an articulation mark. The most common is the accent, the fourth symbol in the diagram above. The vertical accent, third in the diagram, may be stronger or weaker than the horizontal accent, in most musical works this type of accent is meant to be played more forcefully and usually shorter. The remaining marks typically shorten a note, staccato, the first symbol shown above, indicates that the last part of a note should be silenced to create separation between it and the following note. For example, a quarter note should be played as an eighth note followed by an eighth rest. The duration of a note may be about half as long as the note value would indicate, although the tempo. In jazz articulation, it is stated as dit, the staccatissimo, shown second, is usually interpreted as shorter than the staccato, but composers up to the time of Mozart used these symbols interchangeably. A staccatissimo crotchet would be played in traditional art music as a lightly articulated semi-quaver followed by rests which fill the remainder of the beat
9.
Melody
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A melody, also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively and it may be considered the foreground to the background accompaniment. A line or part need not be a foreground melody, melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches, pitch range, tension and release, continuity and coherence, cadence, the true goal of music—its proper enterprise—is melody. All the parts of harmony have as their purpose only beautiful melody. Therefore, the question of which is the significant, melody or harmony, is futile. Beyond doubt, the means is subordinate to the end, given the many and varied elements and styles of melody many extant explanations confine us to specific stylistic models, and they are too exclusive. Paul Narveson claimed in 1984 that more than three-quarters of melodic topics had not been explored thoroughly, melodies in the 20th century utilized a greater variety of pitch resources than ha been the custom in any other historical period of Western music. While the diatonic scale was used, the chromatic scale became widely employed. Composers also allotted a structural role to the dimensions that previously had been almost exclusively reserved for pitch. Kliewer states, The essential elements of any melody are duration, pitch, and quality, texture, for example, Jazz musicians use the term lead or head to refer to the main melody, which is used as a starting point for improvisation. Rock music, melodic music, and other forms of popular music, indian classical music relies heavily on melody and rhythm, and not so much on harmony, as the music contains no chord changes. Balinese gamelan music often uses complicated variations and alterations of a melody played simultaneously. In western classical music, composers often introduce an initial melody, or theme, classical music often has several melodic layers, called polyphony, such as those in a fugue, a type of counterpoint. Often, melodies are constructed from motifs or short melodic fragments, richard Wagner popularized the concept of a leitmotif, a motif or melody associated with a certain idea, person or place. Appropriation Hocket Parsons code, a notation used to identify a piece of music through melodic motion—the motion of the pitch up. Harvard Dictionary of Music, 2nd ed. p. 517–19, the Art of Melody, p. xix–xxx. A Textbook of Melody, A course in functional melodic analysis, a History Of Melody, Barrie and Rockliff, London
10.
Harmony
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In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords, the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the aspect of music, as distinguished from melodic line. In popular and jazz harmony, chords are named by their root plus various terms, in many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with tensions. A tension is an additional member that creates a relatively dissonant interval in relation to the bass. Typically, in the common practice period a dissonant chord resolves to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds, in simple words, that occurs when there is a balance between tense and relaxed moments. The term harmony derives from the Greek ἁρμονία, meaning joint, agreement, concord, from the verb ἁρμόζω, to fit together, the term was often used for the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements, in the Middle Ages the term was used to describe two pitches sounding in combination, and in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, which is thought the first work in European history written on the subject of harmony, the underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use, ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and contrapuntal. The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory and this is usually accounted for by the replacement of horizontal writing, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation, as Carl Dahlhaus puts it, It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the structure of chords but also their movement, like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions, pitch simultaneity in particular is rarely a major consideration. Nevertheless, emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias, the conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation. Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, some traditions of Western music performance, composition, and theory have specific rules of harmony. This model provides that the seventh and ninth are not dissonant
11.
Orchestra
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The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus. A full-size orchestra may sometimes be called an orchestra or philharmonic orchestra. The actual number of employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played. The term chamber orchestra usually refers to smaller-sized ensembles of about fifty musicians or fewer, the typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras called for in the works of Richard Wagner, and later, Gustav Mahler. Orchestras are usually led by a conductor who directs the performance with movements of the hands and arms, the conductor unifies the orchestra, sets the tempo and shapes the sound of the ensemble. The first violin, commonly called the concertmaster, also plays an important role in leading the musicians, the typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass, percussion, and strings. The orchestra, depending on the size, contains almost all of the instruments in each group. Chamber orchestra usually refers to smaller-sized ensembles, a chamber orchestra might employ as many as fifty musicians. The term concert orchestra may also be used, as in the BBC Concert Orchestra, the so-called standard complement of doubled winds and brass in the orchestra from the first half of the 19th century is generally attributed to the forces called for by Beethoven. The composers instrumentation almost always included paired flutes, oboes, clarinets, bassoons, horns, the exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No,4, which each specify a single flute. Beethoven carefully calculated the expansion of this particular timbral palette in Symphonies 3,5,6, the third horn in the Eroica Symphony arrives to provide not only some harmonic flexibility, but also the effect of choral brass in the Trio movement. Piccolo, contrabassoon, and trombones add to the finale of his Symphony No.5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth, for several decades after his death, symphonic instrumentation was faithful to Beethovens well-established model, with few exceptions. Apart from the core orchestral complement, various instruments are called for occasionally. These include the guitar, heckelphone, flugelhorn, cornet, harpsichord. Saxophones, for example, appear in some 19th- through 21st-century scores.6 and 9 and William Waltons Belshazzars Feast, and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked tenor tuba, including Gustav Holsts The Planets, cornets appear in Pyotr Ilyich Tchaikovskys ballet Swan Lake, Claude Debussys La Mer, and several orchestral works by Hector Berlioz
12.
Percussion section
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The percussion section is one of the main divisions of the orchestra and the concert band. It includes most percussion instruments and all unpitched instruments, the percussion section is itself divided into three subsections, Tuned percussion, consisting of pitched instruments such as glockenspiel and tubular bells. Auxiliary percussion, consisting of all unpitched instruments such as snare drum and these three subsections reflect the three main skill areas that a percussionist studies. Percussion sections, consisting of instruments, may also be found in stage bands. All instruments of this subsection are pitched, and with the exception of the timpani and they include, All mallet percussion instruments, and keyboard percussion instruments such as the xylophone and tubular bells. Collections of pitched instruments such as bells, tuned cowbells. Despite the name, keyboard percussion instruments do not have keyboards as such, similarly, the timpani, although they are pitched percussion and are tuned by the player, are not included in the tuned percussion subsection owing to the particular skills expected of the player. The timpanist is a specialist who does not usually perform on the percussion instruments during a concert. A high level of skill unique to this instrument is expected, while players of tuned and auxiliary percussion often play many instruments from both subsections during a performance or piece, the timpanist is normally dedicated to that instrument. Classification of percussion instruments String section Woodwind section Brass section Keyboard section
13.
Whistle
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An aerodynamic whistle is a simple aerophone, an instrument which produces sound from a stream of gas, most commonly air. It may be mouth-operated, or powered by air pressure, steam, whistles vary in size from a small slide whistle or nose flute type to a large multi-piped church organ. Whistles have been around since humans first carved out a gourd or branch. In prehistoric Egypt, small shells were used as whistles, many present day wind instruments are inheritors of these early whistles. With the rise of mechanical power, other forms of whistles have been developed. One characteristic of a whistle is that it creates a pure, or nearly pure, there are many ways to create pure tones, but we restrict the descriptions here to what are called aerodynamic whistles. Strictly speaking, they are fluid mechanical whistles since they occur in gases, such as air or steam, as well as in liquids, the only difference between them is the fluid density and the sound speed. The word aerodynamic whistle is used here since it is in common use, the conversion of flow energy to sound comes from an interaction between a solid material and a fluid stream. The forces in some whistles are sufficient to set the material in motion. Classic examples are Aeolian tones that result in galloping power lines, other examples are circular disks set into vibration. The whistles described in this article are in a subclass where only the fluid is in motion, joseph Hudson set up J Hudson & Co in Birmingham, UK in 1870. With his younger brother James, he designed the Acme City brass whistle and this became the first referee whistle used at association football matches during the 1878–79 Football Association Cup match between Nottingham Forest and Sheffield. Prior to the introduction of the whistle, handkerchiefs were used by the umpires to signal to the players, in 1883 he began experimenting with pea-whistle designs that could produce an intense sound that could grab attention from over a mile away. His invention was discovered by accident, when he dropped his violin. Observing how the discordant sound of the breaking strings travelled, Hudson had the idea to put a pea in the whistle, prior to this, whistles were much quieter, and were only thought of as musical instruments or toys for children. After observing the problems that local police were having with effectively communicating with rattles, Hudson demonstrated his whistle to Scotland Yard and was awarded his first contract in 1884. This police whistle monopoly gradually made Hudson the largest whistle manufacturer in the world, supplying police forces and his whistle is still used by many forces worldwide. His design, was improved as the Acme Thunderer, the first ever pea whistle, in 1987, Ron Foxcroft released the Fox 40 pealess whistle, designed to replace the pea whistle and be more reliable
14.
Siren (instrument)
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The Acme Siren is a musical instrument used in concert bands for comic effect. Often used in cartoons, it produces the sound of a police siren. It is one of the few aerophones in the section of an orchestra. The instrument is made of metal and is cylindrical. Inside the cylinder is a type of fan-blade which, when the performer blows through one end, spins, the faster the performer blows, the faster the fan-blade moves and the higher the pitch the instrument creates. Conversely, the slower the performer blows, the lower the pitch, iannis Xenakis used it in the 1960s in his works Oresteia, Terretektorh and Persephassa. A Siren was used in Bob Dylans classic album, Highway 61 Revisited, Acme is the trade name of J Hudson & Co of Birmingham, England, who developed and patented the Acme Siren in 1895. It was sometimes known as the cyclists road clearer, mP3 audio of an Acme Siren, on Hudsons website
15.
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
16.
Snare (percussion)
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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
17.
White noise
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In signal processing, white noise is a random signal having equal intensity at different frequencies, giving it a constant power spectral density. The term is used, with this or similar meanings, in scientific and technical disciplines, including physics, acoustic engineering, telecommunications, statistical forecasting. White noise refers to a model for signals and signal sources. Depending on the context, one may require that the samples be independent and have identical probability distribution. In particular, if each sample has a distribution with zero mean. The samples of a noise signal may be sequential in time. The concept can be defined also for signals spread over more complicated domains, an infinite-bandwidth white noise signal is a purely theoretical construction. The bandwidth of noise is limited in practice by the mechanism of noise generation, by the transmission medium. Thus, a signal is considered white noise if it is observed to have a flat spectrum over the range of frequencies that is relevant to the context. For an audio signal, for example, the relevant range is the band of sound frequencies. Such a signal is heard as a sound, resembling the /sh/ sound in ash. In music and acoustics, the white noise may be used for any signal that has a similar hissing sound. White noise draws its name from white light, although light that appears white generally does not have a spectral power density over the visible band. The term white noise is used in the context of phylogenetically based statistical methods to refer to a lack of phylogenetic pattern in comparative data. It is sometimes used in non technical contexts, in the sense of random talk without meaningful contents. Being uncorrelated in time does not restrict the values a signal can take, any distribution of values is possible. Even a binary signal which can take on the values 1 or –1 will be white if the sequence is statistically uncorrelated. Noise having a distribution, such as a normal distribution
18.
Drumhead
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A drumhead or drum skin is a membrane stretched over one or both of the open ends of a drum. The drumhead is struck with sticks, mallets, or hands, so that it vibrates, originally, drumheads were made from animal hide and were first used in early human history, long before records began. In 1957, Remo Belli and Sam Muchnick together developed a polymer head leading to the development of the Remo drumhead company, despite the benefits of plastic heads, drummers in historical reenactment groups such as fife and drum use animal skin heads for historical accuracy. Another common material used for drumheads is aramid fiber, such as kevlar, kevlar heads are also used in marching percussion. The bolts, called tension rods, are screwed into threaded lugs attached to the shell, in order to tighten. A drum key is a four sided wrench used to screw the tension rods into the lugs, drummers muffle their drums using special drumheads. Some drumheads come pre-muffled such as Remo Powerstroke Pro, accessory Fetish A Complete List of Drum Head Manufacturers Resonant Drum Head Explained
19.
Inharmonic
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In music, inharmonicity is the degree to which the frequencies of overtones depart from whole multiples of the fundamental frequency. Acoustically, a note perceived to have a distinct pitch in fact contains a variety of additional overtones. Many percussion instruments, such as cymbals, tam-tams, and chimes, create complex, any departure from this ideal harmonic series is known as inharmonicity. The less elastic the strings are, the more inharmonicity they exhibit, Music harmony and intonation depends strongly on the harmonicity of tones. An ideal, homogeneous, infinitesimally thin or infinitely flexible string or column of air has exactly harmonic modes of vibration. In any real musical instrument, the resonant body that produces the music tone—typically a string, wire, or column of air—deviates from this ideal and has some small or large amount of inharmonicity. For instance, a thick string behaves less as an ideal string and more like a cylinder. For this reason, a single tone played by a string instrument, brass instrument. The inharmonicity of a string depends on its characteristics, such as tension, stiffness. For instance, a string under low tension exhibits a high degree of inharmonicity. A wound string generally exhibits less inharmonicity than the equivalent solid string, in 1943, Schuck and Young were the first scientists to measure the spectral inharmonicity in piano tones. They found that the spectral partials in piano tones are progressively stretched—that is to say, in 1962, research by Harvey Fletcher and his collaborators indicated that the spectral inharmonicity is important for tones to sound piano-like. They proposed that inharmonicity is responsible for the warmth property common to real piano tones, according to their research synthesized piano tones sounded more natural when some inharmonicity was introduced. In general, electronic instruments that duplicate acoustic instruments must duplicate both the inharmonicity and the resulting stretched tuning of the original instruments. When pianos are tuned by piano tuners, the technician sometimes listens for the sound of beating when two notes are played together, and tunes to the point that minimizes roughness between tones. Piano tuners must deal with the inharmonicity of piano strings, which is present in different amounts in all of the ranges of the instrument, the result is that octaves are tuned slightly wider than the harmonic 2,1 ratio. Because of the problem of inharmonicity, electronic piano tuning devices used by piano technicians are not designed to tune according to a harmonic series. Rather, the use various means to duplicate the stretched octaves
20.
Musical ensemble
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A musical ensemble, also known as a music group or musical group, is a group of people who perform instrumental and/or vocal music, with the ensemble typically known by a distinct name. Some music ensembles consist solely of instruments, such as the jazz quartet or the orchestra, some music ensembles consist solely of singers, such as choirs and doo wop groups. In classical music, trios or quartets either blend the sounds of musical instrument families or group together instruments from the instrument family. In jazz ensembles, the instruments typically include wind instruments, one or two chordal comping instruments, an instrument, and a drummer or percussionist. Jazz ensembles may be instrumental, or they may consist of a group of instruments accompanying one or more singers. In rock and pop ensembles, usually called rock bands or pop bands, there are usually guitars and keyboards, one or more singers, Music ensembles typically have a leader. In jazz bands, rock and pop groups and similar ensembles, in classical music, orchestras, concert bands and choirs are led by a conductor. In orchestra, the concertmaster is the instrumentalist leader of the orchestra, in orchestras, the individual sections also have leaders, typically called the principal of the section. Conductors are also used in big bands and in some very large rock or pop ensembles. In Western classical music, smaller ensembles are called chamber music ensembles, the terms duet, trio, quartet, quintet, sextet, septet, octet, nonet and dectet describe groups of two up to ten musicians, respectively. A group of musicians, such as found in The Carnival of the Animals, is called either a hendectet or an undectet. A soloist playing unaccompanied is not an ensemble because it contains one musician. A string quartet consists of two violins, a viola and a cello, there is a vast body of music written for string quartets, as it is seen as an important genre in classical music. A woodwind quartet usually features a flute, an oboe, a clarinet, a brass quartet features two trumpets, a trombone and a tuba. A saxophone quartet consists of a saxophone, an alto saxophone, a tenor saxophone. The string quintet is a type of group. It is similar to the quartet, but with an additional viola, cello, or more rarely. Terms such as piano quintet or clarinet quintet frequently refer to a string quartet plus a fifth instrument
21.
Fundamental frequency
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The fundamental frequency, often referred to simply as the fundamental, is defined as the lowest frequency of a periodic waveform. In music, the fundamental is the pitch of a note that is perceived as the lowest partial present. In terms of a superposition of sinusoids, the frequency is the lowest frequency sinusoidal in the sum. In some contexts, the fundamental is usually abbreviated as f0, in other contexts, it is more common to abbreviate it as f1, the first harmonic. All sinusoidal and many non-sinusoidal waveforms are periodic, which is to say they repeat exactly over time. The period of a waveform is the T for which the equation is true. This means that this equation and a definition of the values over any interval of length T is all that is required to describe the waveform completely. Every waveform may be described using any multiple of this period, there exists a smallest period over which the function may be described completely and this period is the fundamental period. The fundamental frequency is defined as its reciprocal, f 0 =1 T Since the period is measured in units of time, when the time units are seconds, the frequency is in s −1, also known as Hertz. For a tube of length L with one end closed and the end open the wavelength of the fundamental harmonic is 4 L. If the ends of the tube are now both closed or both opened as in the last two animations, the wavelength of the fundamental harmonic becomes 2 L. By the same method as above, the frequency is found to be f 0 = v 2 L. At 20 °C the speed of sound in air is 343 m/s and this speed is temperature dependent and does increase at a rate of 0.6 m/s for each degree Celsius increase in temperature. The fundamental may be created by vibration over the length of a string or air column. The fundamental is one of the harmonics, a harmonic is any member of the harmonic series, an ideal set of frequencies that are positive integer multiples of a common fundamental frequency. The reason a fundamental is also considered a harmonic is because it is 1 times itself, the fundamental is the frequency at which the entire wave vibrates. Overtones are other components present at frequencies above the fundamental. All of the components that make up the total waveform, including the fundamental
22.
Overtone
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An overtone is any frequency greater than the fundamental frequency of a sound. Using the model of Fourier analysis, the fundamental and the overtones together are called partials, harmonics, or more precisely, harmonic partials, are partials whose frequencies are integer multiples of the fundamental. These overlapping terms are used when discussing the acoustic behavior of musical instruments. The model of Fourier analysis provides for the inclusion of inharmonic partials, when a resonant system such as a blown pipe or plucked string is excited, a number of overtones may be produced along with the fundamental tone. In simple cases, such as for most musical instruments, the frequencies of these tones are the same as the harmonics. Examples of exceptions include the drum, – a timpani whose first overtone is about 1.6 times its fundamental resonance frequency, gongs and cymbals. The human vocal tract is able to produce highly variable amplitudes of the overtones, called formants, most oscillators, from a guitar string to a flute, will naturally vibrate at a series of distinct frequencies known as normal modes. The lowest normal mode frequency is known as the fundamental frequency, often, when an oscillator is excited by, for example, plucking a guitar string, it will oscillate at several of its modal frequencies at the same time. So when a note is played, this gives the sensation of hearing other frequencies above the lowest frequency, timbre is the quality that gives the listener the ability to distinguish between the sound of different instruments. The timbre of an instrument is determined by which overtones it emphasizes and that is to say, the relative volumes of these overtones to each other determines the specific flavor or color of sound of that family of instruments. The intensity of each of these overtones is rarely constant for the duration of a note, over time, different overtones may decay at different rates, causing the relative intensity of each overtone to rise or fall independent of the overall volume of the sound. A carefully trained ear can hear these changes even in a single note and this is why the timbre of a note may be perceived differently when played staccato or legato. A driven non-linear oscillator, such as the folds, a blown wind instrument, or a bowed violin string will oscillate in a periodic. This generates the impression of sound at integer multiple frequencies of the known as harmonics, or more precisely. Thus, in music, overtones are often called harmonics, depending upon how the string is plucked or bowed, different overtones can be emphasized. However, some overtones in some instruments may not be of an integer multiplication of the fundamental frequency. High quality instruments are built in such a manner that their individual notes do not create disharmonious overtones. This is illustrated by the following, Consider a guitar string and this dead length actually varies from string to string, being more pronounced with thicker and/or stiffer strings
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Irrational number
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In mathematics, the irrational numbers are all the real numbers, which are not rational numbers, the latter being the numbers constructed from ratios of integers. Irrational numbers may also be dealt with via non-terminating continued fractions, for example, the decimal representation of the number π starts with 3.14159265358979, but no finite number of digits can represent π exactly, nor does it repeat. Mathematicians do not generally take terminating or repeating to be the definition of the concept of rational number, as a consequence of Cantors proof that the real numbers are uncountable and the rationals countable, it follows that almost all real numbers are irrational. The first proof of the existence of numbers is usually attributed to a Pythagorean. The then-current Pythagorean method would have claimed that there must be sufficiently small. However, Hippasus, in the 5th century BC, was able to deduce that there was in no common unit of measure. His reasoning is as follows, Start with a right triangle with side lengths of integers a, b. The ratio of the hypotenuse to a leg is represented by c, b, assume a, b, and c are in the smallest possible terms. By the Pythagorean theorem, c2 = a2+b2 = b2+b2 = 2b2, since c2 = 2b2, c2 is divisible by 2, and therefore even. Since c2 is even, c must be even, since c is even, dividing c by 2 yields an integer. Squaring both sides of c = 2y yields c2 =2, or c2 = 4y2, substituting 4y2 for c2 in the first equation gives us 4y2= 2b2. Dividing by 2 yields 2y2 = b2, since y is an integer, and 2y2 = b2, b2 is divisible by 2, and therefore even. Since b2 is even, b must be even and we have just show that both b and c must be even. Hence they have a factor of 2. However this contradicts the assumption that they have no common factors and this contradiction proves that c and b cannot both be integers, and thus the existence of a number that cannot be expressed as a ratio of two integers. Greek mathematicians termed this ratio of incommensurable magnitudes alogos, or inexpressible. ”Another legend states that Hippasus was merely exiled for this revelation, the discovery of incommensurable ratios was indicative of another problem facing the Greeks, the relation of the discrete to the continuous. Brought into light by Zeno of Elea, who questioned the conception that quantities are discrete and composed of a number of units of a given size. ”However Zeno found that in fact “ in general are not discrete collections of units. That in fact, these divisions of quantity must necessarily be infinite, for example, consider a line segment, this segment can be split in half, that half split in half, the half of the half in half, and so on
24.
String vibration
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A vibration in a string is a wave. Resonance causes a string to produce a sound with constant frequency. If the length or tension of the string is correctly adjusted, vibrating strings are the basis of string instruments such as guitars, cellos, and pianos. Let Δ x be the length of a piece of string, m its mass, and μ its linear density. If the horizontal component of tension in the string is a constant, T, if both angles are small, then the tensions on either side are equal and the net horizontal force is zero. This is the equation for y, and the coefficient of the second time derivative term is equal to v −2, thus v = T μ. Once the speed of propagation is known, the frequency of the produced by the string can be calculated. The speed of propagation of a wave is equal to the wavelength λ divided by the period τ, or multiplied by the frequency f, v = λ τ = λ f. If the length of the string is L, the harmonic is the one produced by the vibration whose nodes are the two ends of the string, so L is half of the wavelength of the fundamental harmonic. Hence one obtains Mersennes laws, f = v 2 L =12 L T μ where T is the tension, μ is the linear density, and L is the length of the vibrating part of the string. This effect is called the effect, and the rate at which the string seems to vibrate is the difference between the frequency of the string and the refresh rate of the screen. The same can happen with a fluorescent lamp, at a rate that is the difference between the frequency of the string and the frequency of the alternating current. In daylight and other non-oscillating light sources, this effect does not occur and the string appears still but thicker, a similar but more controllable effect can be obtained using a stroboscope. This device allows matching the frequency of the flash lamp to the frequency of vibration of the string. In a dark room, this shows the waveform. Otherwise, one can use bending or, perhaps more easily, by adjusting the machine heads, to obtain the same, or a multiple, of the AC frequency to achieve the same effect. For example, in the case of a guitar, the 6th string pressed to the third gives a G at 97.999 Hz. A slight adjustment can alter it to 100 Hz, exactly one octave above the current frequency in Europe and most countries in Africa
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Cymbal bell
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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
26.
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
27.
Pitched percussion instrument
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The term pitched percussion is now preferred to the traditional term tuned percussion, Pitching of percussion instruments is achieved through a variety of means. Membranophones are tuned by altering the tension of the face that is struck. Mallet percussion instruments gain their pitch through physical characteristics such as composition, density, alternatively, other percussion instruments can gain pitch through variation of air volume displaced. Many untuned percussion instruments, such as the drum, are tuned by the player. Untuned percussion instruments can and frequently do make sounds that could be used as pitched notes in an appropriate context, some percussion instruments, and particularly many types of bell and closely related instruments, are sometimes used as pitched percussion, and at other times as unpitched percussion. Some percussion instruments, such as the drum, are almost always used as unpitched percussion. Pitched percussion includes the classes of, Mallet percussion, instruments such as the glockenspiel and chime bars. Keyboard percussion, instruments such as the glockenspiel and tubular bells arranged in a particular way, melodic percussion, instruments used to produce several different pitches
28.
Bell
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A bell is a directly struck idiophone percussion instrument. Most bells have the shape of a cup that when struck vibrates in a single strong strike tone. The strike may be made by an internal clapper or uvula, Bells are usually cast from bell metal for its resonant properties, but can also be made from other hard materials, this depends on the function. Many public or institutional buildings house bells, most commonly as clock bells to sound the hours and quarters, historically, bells have been associated with religious rituals, and are still used to call communities together for religious services. Later, bells were made to important events or people and have been associated with the concepts of peace. The study of bells is called campanology and it is popularly but not certainly related to the former sense of to bell which gave rise to bellow. The earliest archaeological evidence of dates from the 3rd millennium BC. Clapper-bells made of pottery have found in several archaeological sites. The pottery bells later developed into metal bells, in West Asia, the first bells appear in 1000 BC. The earliest metal bells, with one found in the Taosi site, early bells not only have an important role in generating metal sound, but arguably played a prominent cultural role. See also Klang Bell of the British Museum collection, in the western world, the common form of bell is a church bell or town bell, which is hung within a tower or bell cote. Such bells are fixed in position or mounted on a beam so they can swing to. Bells that are hung dead are normally sounded by hitting the bow with a hammer or occasionally by pulling an internal clapper against the bell. Where a bell is swung it can either be swung over an arc by a rope. As the bell swings higher the sound is projected rather than downwards. Bells hung for full circle ringing are swung through just over a circle from mouth uppermost. A stay engages a mechanism to allow the bell to rest just past its balance point, the rope is attached to one side of a wheel so that a different amount of rope is wound on and off as it swings to and fro. Swinging bells are sounded by an internal clapper, the clapper may have a longer period of swing than the bell
29.
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
30.
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
31.
Timpani
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Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper and they are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet. Timpani evolved from military drums to become a staple of the orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras. Timpani is an Italian plural, the singular of which is timpano and they are also often incorrectly termed timpanis. A musician who plays the timpani is a timpanist, alternative spellings with y in place of either or both is—tympani, tympany, or timpany—are occasionally encountered in older English texts. Although the word timpani has been adopted in the English language. The German word for timpani is Pauken, the French and Spanish is timbales, the Ashanti pair of talking drums are known as atumpan. The tympanum is defined in the Etymologiae of St. Isidore of Seville, est enim pars media symphoniae in similitudinem cribri. Tympanum autem dictum quod medium est, unde, et margaritum medium tympanum dicitur, et ipsum ut symphonia ad virgulam percutitur. The tympanum is skin or hide stretched over a wooden vessel which extends out. It is said by the symphonias to resemble a sieve, but has also likened to half a pearl. It is struck with a wand, beating time for the symphonia, the reference comparing the tympanum to half a pearl is borrowed from Pliny the Elder. The basic timpani drum consists of a drumhead stretched across the opening of a bowl made of copper or, in less expensive models, fiberglass. In the Sachs–Hornbostel classification, the timpani are thus considered membranophones, the heads tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods, the shape of the bowl contributes to the quality of the drum. For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones, another factor that affects the timbre of the drum is the quality of the bowls surface. Copper bowls may have a smooth, machined surface or a surface with many small dents hammered into it
32.
Prepared piano
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A prepared piano is a piano that has had its sound altered by placing objects on or between the strings. They must fit in the location inside the piano. They should not move from their location during playing, additionally, most preparations will change the timbre of the string in such a way that the original pitch of the string will no longer be perceptible, though there are occasional exceptions to this. He developed these techniques in such as Aeolian Harp and The Banshee. Although Cowells techniques dont call for placing objects inside the piano, the invention of the prepared piano, per se, is usually traced to John Cage. Cage first prepared a piano when he was commissioned to write music for Bacchanale, for some time previously, Cage had been writing exclusively for a percussion ensemble, but the hall where Fort’s dance was to be staged had no room for a percussion group. The only instrument available was a grand piano. After some consideration, Cage said that he realized it was possible “to place in the hands of a single pianist the equivalent of an entire percussion orchestra. With just one musician, you can really do a number of things on the inside of the piano if you have at your disposal an exploded keyboard”. Ferrante & Teicher, were American piano duo who produced over an albums of light classical. Between 1950 and 1980 they included partially prepared pianos on a number of their tunes to add percussive effects, all Tomorrows Parties from The Velvet Underground & Nico, John Cale prepared his piano with a chain of paper clips. Since 1982, Roger Miller has fashioned his own take on prepared piano in his work, initially featured on Mission of Burmas 45 Trem II, Miller has since released many albums incorporating this technique. His concert hall compositions, from 2009 to present, often utilize prepared piano, on his 1973 album Another Green World, composer Brian Eno employed prepared piano on the track entitled Little Fishes. German band Tangerine Dream includes prepared piano on their 1975 album Rubycon, aphex Twin widely used prepared piano in his 2001 album Drukqs and 2015 Computer Controlled Acoustic Instruments pt2 EP. Strictly speaking, a piano is not a prepared piano. The strings original pitches remain perceptible, although the tacks can be removed from the hammers, inserting them causes permanent damage to the felt, and for this and other reasons the use of tacks is generally discouraged by piano technicians. The Acoustisizer is a musical instrument built from a small grand piano with built in speakers, magnetic guitar pickups, PZMs. It was built as part of a thesis project at California State University Dominguez Hills by Bob Fenger
33.
Goethe-Institut
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The Goethe-Institut fosters knowledge about Germany by providing information on German culture, society and politics. This includes the exchange of films, music, theatre, Goethe cultural societies, reading rooms, and exam and language centers have played a role in the cultural and educational policies of Germany for more than 60 years. It is named after German poet and statesman Johann Wolfgang von Goethe, the Goethe-Institut e. V. is autonomous and politically independent. Partners of the institute and its centers are public and private institutions, the federal states, local authorities. Much of the Goethe-Instituts overall budget consists of yearly grants from the German Foreign Office, the relationship with the Foreign Office is governed by general agreement. Self-generated income and contributions from sponsors and patrons, partners and friends broaden the scope of the work of the Goethe-Institut,1951, The Goethe-Institut was founded as successor to the German Academy, which was founded in 1925. Its first task was to further training for foreign German teachers in Germany. 1953, The first language courses run by the Goethe-Institut began in Bad Reichenhall, due to growing demand, new centres of learning were opened in Murnau and Kochel, the focus of selection being on towns which were small and idyllic and which showed post-war Germany at its best. Lessons were taught from the first textbook developed by the Goethe-Institut, 1953-55, The first foreign lectureships of what was the German Academy were taken on by the Goethe-Institut. Responsibilities include German tuition, teacher training and providing a program of events to accompany courses. 1959-60, On the initiative of the head of the sector of the Foreign Office, Dieter Sattler. 1968, Influenced by the student revolts of the late 1960s the Goethe-Institut readjusted its program of events to include socio-political topics. 1970, Acting on behalf of the Foreign Office, Ralf Dahrendorf developed his principles for foreign cultural policy. Cultural work involving dialog and partnership was declared the third pillar of German foreign policy, during the Willy Brandt era, the concept of extended culture formed the basis of activities at the Goethe-Institut. 1976, The Foreign Office and the Goethe-Institut signed an agreement governing the status of the Goethe-Institut. 1980, A new concept regarding the location of institutes within Germany was drawn up, places of instruction in small towns, mostly in Bavaria, were replaced by institutes in cities and university towns. 1989/90, The fall of the Berlin Wall marked a point for the Goethe-Institut. Its activities in the 1990s were centred on Eastern Europe, numerous new institutes were set up as a result
34.
Flamenco
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Flamenco, in its strictest sense, is a professionalized art-form based on the various folkloric music traditions of Southern Spain. It includes cante, toque, baile, jaleo, palmas, the oldest record of flamenco dates to 1774 in the book Las Cartas Marruecas by José Cadalso. The genre originated in the music and dance styles of Andalusia, Flamenco has been influenced by and become associated with the Romani people in Spain, however, unlike Romani music in Eastern Europe, its origin and style is uniquely Andalusian. In recent years, flamenco has become popular all over the world and is taught in many countries, especially the United States. In Japan, there are more flamenco academies than there are in Spain, on November 16,2010, UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity. There are many suggestions for the origin of the word flamenco as a musical term, the word was not recorded as a musical and dance term until the late 18th century. The Spanish word flamenco could have been a derivative of fire or flame, the word flamenco may have come to be used for fiery behaviour, which could have come to be applied to the Gitano players and performers. Palos are flamenco styles, classified by criteria such as rhythmic pattern, mode, chord progression, stanzaic form, there are over 50 different palos, some are sung unaccompanied while others have guitar or other accompaniment. Some forms are danced while others are not, there are many ways to categories Palos but they traditionally fall into three classes, the most serious is known as cante jondo, while lighter, frivolous forms are called cante chico. Forms that do not fit either category are classed as cante intermedio, Cante jondo has clear traces of Arabic and Spanish folk melodies, as well as vestiges of Byzantine, Christian and Jewish religious music. Each song of a set of verses, which are punctuated by guitar interludes called falsetas, the guitarist also provides a short introduction which sets the tonality, compás and tempo of the cante. Flamenco uses the Flamenco mode, in addition to the major and minor scales used in modern Western music. The Phrygian mode occurs in such as soleá, most bulerías, siguiriyas. A typical chord sequence, usually called the Andalusian cadence may be viewed as in a modified Phrygian, according to Manolo Sanlúcar E is here the tonic, F has the harmonic function of dominant while Am and G assume the functions of subdominant and mediant respectively. Guitarists tend to use two basic inversions or chord shapes for the tonic chord, the open 1st inversion E. Montoya also created a new palo as a solo for guitar, later guitarists have further extended the repertoire of tonalities, chord positions and scordatura. There are also palos in major mode, most cantiñas and alegrías, guajiras, some bulerías and tonás, the minor mode is restricted to the Farruca, the milongas, and some styles of tangos, bulerías, etc. In general traditional palos in major and minor mode are limited harmonically to two-chord or three-chord progressions, however modern guitarists have introduced chord substitution, transition chords, and even modulation
35.
Bongo drum
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Bongos are an Afro-Cuban percussion instrument consisting of a pair of small open bottomed drums of different sizes. In Spanish the larger drum is called the hembra and the smaller the macho, the origin of the bongo is largely unclear. Most sources on Afro-Cuban cultural history argue that the bongo derives from Central African drum models, also a Santería influence from Yoruba culture in the symbolic twin drum is assumed. The strong historical presence of Africans from the Congo/Angola region in Eastern Cuba makes such an influence probable, moreover, Central African/Congo influences are also documented in the Cuban son music genre, including changüí, and initially the development of the bongo drum went parallel with these genres. From such conceptual African drum models, the bongo developed further in Cuba itself, and some historians state that the attaching of the two drums was a later invention that took place in Cuba. Although the bongos are defined as African in concept, but Cuban in invention - e. g. by author Ned Sublette - some Moorish or European aspects may also have shaped the bongos over time. Etymologically, Sublette traces the origin of the bongo to a multi-purpose word of Bantu origin. The bongo came to western Cuba at the turn of the 20th century, as son inspired Cuban big band music gained international popularity, the Cuban bongo was exported all over the world. It is today one of the most common hand drums, bongo drums produce relatively high-pitched sounds compared to conga drums, and should be held behind the knees with the larger drum on the right when right-handed. It is most often played by hand and is associated in Cuban music with a steady pattern or ostinato of eighth-notes known as the martillo or hammer. They are traditionally played by striking the edge of the drumheads with the fingers, the glissando used with bongó de monte is done by rubbing the third finger, supported by the thumb, across the head of the drum. The finger is sometimes moistened with saliva, or sweat before rubbing it across the head, when used in art music compositions they are usually struck with drum sticks. These drums can also be played on a stand, as is the case with concert orchestras, bongo drummers are known as bongoseros. The following drummers are important figures in the history of the instrument
36.
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
37.
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
38.
Castanets
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Castanets are a percussion instrument, used in Kalo, Moorish, Ottoman, ancient Roman, Italian, Spanish, Sephardic, Swiss, and Portuguese music. The instrument consists of a pair of concave shells joined on one edge by a string and they are held in the hand and used to produce clicks for rhythmic accents or a ripping or rattling sound consisting of a rapid series of clicks. They are traditionally made of hardwood, although fibreglass is becoming increasingly popular, in practice a player usually uses two pairs of castanets. One pair is held in hand, with the string hooked over the thumb. Each pair will make a sound of a different pitch. The origins of the instrument are not known, the practice of clicking hand-held sticks together to accompany dancing is ancient, and was practiced by both the Greeks and the Egyptians. In more modern times, the bones and spoons used in Minstrel show, during the baroque period, castanets were featured prominently in dances. Composers like Jean-Baptiste Lully scored them for the music of dances which included Spaniards, Egyptians, Ethiopians, in addition, they are often scored for dances involving less pleasant characters such as demons and nightmares. Their association with African dances is even stated in the ballet Flore by Lully, Les Africains inventeurs des danses de Castagnettes entrent dun air plus gai. A rare occasion where the accompanying instrument is given concertant solo status is Leonardo Baladas Concertino for Castanets. The Conciertino für Kastagnetten und Orchester by the German composer Helmut M. Timpelan, in cooperation with the castanet virtuoso, see also the tocatta festiva for castanets by Allan Stephenson. Sonia Amelio has also performed her castanet arrangements as a concert soloist, also referred to as clackers in the United States. Castanets are often played by singers or dancers, contrary to popular belief, castanets are not commonly used in the flamenco dance, except for two specific forms, zambra and siguiriyas. In fact, Spanish folk dance Sevillanas is the style typically performed using castanet, escuela bolera, a balletic dance form, is also accompanied by castanets. The name is derived from the form of castaña, the Spanish word for chestnut. In Andalusia they are referred to as palillos instead. Castanets were used to evoke a Spanish atmosphere in Georges Bizets opera and they are also found in the Dance of the Seven Veils from Richard Strauss opera Salome and in Richard Wagners Tannhäuser. An unusual variation on the standard castanets can be found in Darius Milhauds Les Choëphores, other uses include Rimsky-Korsakovs Capriccio espagnol, Ravels Rapsodie espagnole, Francis Poulencs Concerto for Two Pianos and Orchestra in D minor and Karl Jenkinss Tangollen
39.
Harmonic
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A harmonic is any member of the harmonic series, the divergent infinite series. Every term of the series after the first is the mean of the neighboring terms. The phrase harmonic mean likewise derives from music, the term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields. It is typically applied to repeating signals, such as sinusoidal waves, a harmonic of such a wave is a wave with a frequency that is a positive integer multiple of the frequency of the original wave, known as the fundamental frequency. The original wave is called the 1st harmonic, the following harmonics are known as higher harmonics. As all harmonics are periodic at the frequency, the sum of harmonics is also periodic at that frequency. On strings, harmonics that are bowed have a glassy, pure tone, harmonics may also be called overtones, partials or upper partials. In some music contexts, the harmonic, overtone and partial are used fairly interchangeably. Most acoustic instruments emit complex tones containing many individual partials, rather, a musical note is perceived as one sound, the quality or timbre of that sound being a result of the relative strengths of the individual partials. Oscillators that produce harmonic partials behave somewhat like one-dimensional resonators, and are long and thin. Wind instruments whose air column is open at one end, such as trumpets and clarinets. However they only produce partials matching the odd harmonics, at least in theory, the reality of acoustic instruments is such that none of them behaves as perfectly as the somewhat simplified theoretical models would predict. Partials whose frequencies are not integer multiples of the fundamental are referred to as inharmonic partials, antique singing bowls are known for producing multiple harmonic partials or multiphonics. An overtone is any partial higher than the lowest partial in a compound tone, the relative strengths and frequency relationships of the component partials determine the timbre of an instrument. This chart demonstrates how the three types of names are counted, In many musical instruments, it is possible to play the upper harmonics without the note being present. In a simple case this has the effect of making the note go up in pitch by an octave, in some cases it also changes the timbre of the note. This is part of the method of obtaining higher notes in wind instruments. The extended technique of playing multiphonics also produces harmonics, on string instruments it is possible to produce very pure sounding notes, called harmonics or flageolets by string players, which have an eerie quality, as well as being high in pitch
40.
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
41.
Rattle (percussion instrument)
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A rattle is a type of percussion instrument which produces a sound when shaken. Rattles are described in the Hornbostel–Sachs system as Shaken Idiophones or Rattles, Rattles include, Shac-Shac, as known in Trinidad, Dominica and the French Antilles. Maracas, widely used in Cha Cha Cha and jazz, the egg-shaped plastic chicken shake, filled with steel shot and available in varying tones depending on the size and quantity of shot. Folk instruments especially used in ceremonial dance, though there are many different sorts of rattles, some music scores indicate simply a rattle. Chankana Ganza Hosho Maracas Maracitos Katsa Chajchas In Ancient Egypt, rattles were used during rituals to signify regeneration in the after-life. Rattles were viewed as sacred and became the forerunners of the sistrum, the earliest Egyptian rattles were ovular and made of pottery. During the Predynastic and Old Kingdom periods rattles gained handles and different shapes and were out of different materials such as basket, wood. Native American people often use rattles in ceremonial dances, oftentimes, these rattles are meant to represent something. Each figure or depiction can relate to something sacred to their tribe, often, the sound of rattles forms a connection to the supernatural world when the rattles are employed by shamans. The use of the rattle, like the one pictured to the right, always implies power, which when used in dances, symbolize the status of the chief. Indirectly struck idiophones Rattle Rattle Rattles - Polish folk musical instruments
42.
Maraca
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Maracas, sometimes called Rumba shakers, shac-shacs, and various other names, are rattles which appear in many genres of Caribbean and Latin music. Players hold them by their handles, usually in pairs, maracas, also known as Tamaracas, were rattles of divination, an oracle of the Brazilian Tupinamba Indians, found also with other Indian tribes, and on the Orinoco and in Florida. Rattles made from gourds are being shaken by the natural grip, human hair is sometimes fastened on the top, and a slit is cut in it to represent a mouth, through which their shamans made it utter its responses. A few pebbles are inserted to make it rattle, and it is crowned with the red feathers of the Goaraz and it was used at their dances, and to heal the sick. Andean curanderos use maracas in their healing rites, modern maraca balls are also made of leather, wood, or plastic
43.
Tabla
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The tabla is a South Asian membranophone percussion instrument consisting of a pair of drums, used in traditional, classical, popular and folk music. It has been an important instrument in Hindustani classical music since the 18th century, and remains in use in India, Pakistan, Nepal, Bangladesh. The name tabla likely comes from tabl, the Persian and Arabic word for drum, the tabla consists of two single headed, barrel shaped small drums of slightly different size and shapes, daya also called dahina meaning right, and baya also called bahina meaning left. The daya tabla is played by the right hand, and is about 15 centimetres in diameter and 25 centimetres high. The baya tabla is a bit bigger and deep kettledrum shaped, each is made of hollowed out wood or clay or brass, the daya drum laced with hoops, thongs and wooden dowels on its sides. The dowels and hoops are used to tighten the tension of the membrane, the daya is tuned to the ground note of the raga called Sa. The baya construction and tuning is about a fifth to an octave below that of the daya drum, the musician uses his hands heel pressure to change the pitch and tone color of each drum during a performance. In the Hindustani style tabla is played in two ways, band bol and khula bol, in the sense of classical music it is termed tali and khali. It is one of the main instrument used by Sufi musicians of Bangladesh, Pakistan. The tabla is also an important instrument in the bhakti devotional traditions of Hinduism and Sikhism, the history of tabla is unclear, and there are multiple theories regarding its origins. There are two groups of theories, one that traces its origins to Muslim and Moghul invaders of the Indian subcontinent, the first theory, very common during the colonial period scholarship, is based on the etymological links of the word tabla to Arabic word tabl which means drum. They would beat these drums to scare the residents, the armies, their elephants and chariots. Babur, the Turk founder of the Mughal Empire, is known to have used these paired drums carrying battalions in their military campaigns. However, this theory has had the flaw that the war drums did not look or sound anything like tabla, they were large paired drums and were called naqqara. The second version of the Arab theory is that Amir Khusraw, a musician patronized by Sultan Alauddin Khilji invented the tabla when he cut an Awaj drum and this is, however, unlikely, as no painting or sculpture or document dated to his period supports it with evidence. For example, Abul Fazi included a long list of instruments in his Ain-i-akbari written in the time of the 16th century Mughal Emperor Akbar. Abul Fazis list makes no mention of tabla, however, scholars such as Neil Sorrell and Ram Narayan state that this legend of cutting a pakhawaj drum into two to make tabla drums cannot be given any credence. The second theory traces the origin of tabla to indigenous ancient influences and this version states that this musical instrument acquired a new Arabic name during the Islamic rule, but it is an evolution of the ancient puskara drums
44.
Tonic (music)
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The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. More generally, the tonic is the pitch upon which all other pitches of a piece are hierarchically referenced, scales are named after their tonics, thus the tonic of the scale of C is the note C. Simple folk music and traditional songs may begin and end on the tonic note, in very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary harmonies, tonic, dominant, and subdominant, and especially the first two of these. The tonic is often confused with the root, which is the note of a chord. The root of a chord is different from the tonic, because different types of chords have root notes. It is also represented with the Roman numeral I, two parallel keys have the same tonic. For example, in both C major and C minor, the tonic is C, however, relative keys have different tonics. For example, C major and A minor share a key signature that feature no sharps or flats, thus a pitch center may function referentially or contextually in an atonal context, often acting as axis or line of symmetry in an interval cycle. Pitch centricity was coined by Arthur Berger in his Problems of Pitch Organization in Stravinsky
45.
Dominant (music)
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The dominant is sung as so in solfege. The dominant function has the role of creating instability that requires the tonic for resolution, in very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the primary harmonies, tonic, dominant, and subdominant, and especially the first two of these. The scheme I-x-V-I symbolizes, though naturally in a very summarizing way, for example, in the C major scale, the dominant is the note G, and the dominant triad consists of the notes G, B, and D. In music theory, the dominant triad is a triad, symbolized by the Roman numeral V. It is, however, a triad, denoted v. For instance, in G-B♭-D, the B♭ is sharpened to B natural, a dominant seventh chord is a chord built upon the dominant of a major diatonic scale. It contains a major triad and a seventh of the root of the triad. An example is G7 in C major, G-B-D-F, with G being both the dominant of C major and the root of the major triad G-B-D, and F being the seventh of the root. In a general context, the dominant seventh is denoted V7, a cadential dominant chord followed by a tonic chord is denominated as authentic cadence. If the roots are in the bass and the tonic is in the highest voice, the dominant key in a given musical composition is the key whose tonic is a perfect fifth above the tonic of the main key of the piece. Put another way, the key whose tonic is the dominant scale degree in the main key, if, for example, a piece is written in the key of C major, then the key of C is the tonic key. The key of G major is the dominant key since it is based on the dominant note for the key of C major, with a key signature of one sharp, G major features one more sharp than C major. In sonata form in major keys, the subject group is usually in the dominant key. Even with the widest roaming modulations in the development, the dominant key exerts influence, the movement to the dominant was part of musical grammar, not an element of form. Almost all music in the century went to the dominant, before 1750 it was not something to be emphasized, afterward. This means that every eighteenth century listener expected the movement to the dominant in the sense that would have been puzzled if did not get it, it was a condition of intelligibility. Dominant also refers to a relationship of musical keys, for example, relative to the key of C major, the key of G major is the dominant key. Music which modulates often modulates into the dominant, modulation into the dominant key often creates a sense of increased tension, as opposed to modulation into subdominant, which creates a sense of musical relaxation
46.
Subdominant
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In music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. It is so called because it is the distance below the tonic as the dominant is above the tonic – in other words. It also happens to be the note immediately below the dominant and it is sung as fa in solfege. In the C major scale, the subdominant is the note F, and the subdominant chord uses the notes F, A, and C. In music theory, Roman numerals are used to symbolize the subdominant chord as IV if it is within the mode or iv if it is within the minor mode. In very much conventionally tonal music, harmonic analysis will reveal a broad prevalence of the harmonies, tonic, dominant, and subdominant. A cadential subdominant chord followed by a tonic chord produces the so-called plagal cadence, Subdominant also refers to a relationship of musical keys. For example, relative to the key of C major, the key of F major is the subdominant, music which modulates often modulates into the subdominant when the leading tone is lowered by a half step to the subtonic. Modulation into the subdominant key often creates a sense of relaxation, as opposed to modulation into dominant. The use of the subdominant in this location serves as a way of keeping the rest of recapitulation in the tonic. As with other chords which may or tend to precede the dominant the subdominant diatonic function acts as a dominant preparation or predominant, in theories after Hugo Riemann it is considered to balance the dominant around the tonic. Media related to Subdominant at Wikimedia Commons
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Folk instrument
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A folk instrument is a musical instrument that developed among common people and usually does not have a known inventor. It can be made from wood, metal or other material, such an instrument is played in performances of folk music. The instruments can be percussion instruments, or different types of flutes or trumpets, some instruments are referred to as folk instruments because they commonly appear in folk music, even though they do not meet the criteria defining a folk instrument, an example is the harmonica
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