Listen to the explosive and resonance sounds of musical instruments percussion, shaking, percussion, and scratching.
Give any friend a story
As a subscriber, you have 10 gifts to send every month. Anyone can read what you share.
In the past, we chose a five-minute performance to make our friends fall in love with classical music, piano, opera, cello, Mozart, 21st century composers, violin, baroque music, soprano, Beethoven, flute, string quartet, Tenor, Brahms and chorus music.
Now we have to persuade those curious friends to like percussion-the resonance of instrument percussion, shaking, percussion. We hope you can find many things here to discover and enjoy; leave your favorites in the comments.
This is an exciting time for percussion innovation and inspiration. Especially new works with flexible instruments, because they really show the choice and personality of the ensemble. The multiple versions of "extremes" by Jason Treuting of Sandbox Percussion are a great example of how a great work can update itself with each interpretation. It’s interesting to understand how this piece works and what inspired the material — the rhythm drawn from the letters of six American cities — but most importantly, I just like listening and watching it Acting, I want to share this experience with you.
"Gmeng Se Naah Eee" ("What are we going to do?") is a concerto movement of gyil (pronounced "jeel") and orchestra. The gyil is a pentatonic African marimba, using only four notes per octave in any particular composition. Its composer asked a question-what should we do when trouble comes? ——Then answer: We will move forward with wisdom and determination until we turn from depression to joy. I find it surprising that the 12 notes used by gyil in this work can tell the story of wisdom conquering everyone in such a magnificent way-raising my mood and making me dance.
Percussion is primitive, complex, primitive, delicate, playful, and complex; it evokes emotional networks and ignites vibrations, transforming the body into huge ears. "Thunder Caves" are relentless drumming that combines human hands and technology. The sound is also very primitive, and I think about what I bulged through the grunt in my throat. Forked sticks, drum sticks, flix sticks, skin on the skin-all these contribute to the sound of these traditional instruments. The constant percussion of the kick drum gives this song an unremitting momentum.
Drums are the engine of almost any band, but some engines work in unique ways. It’s the first time I heard this live recording of Duke Ellington’s "Things Are No Longer Like It Used to Be" played by the Keith Jarrett Trio-Jarrett on the piano and Jack De Johannett on On the drums, Gary Peacock is on the bass-when I returned to college, I was shocked by how smooth the music sounded by the drums. DeJohnette is one of the most primitive sounds ever played on this instrument. Although the swing factor in his performance is undeniable, the unconventional filling and accent maintains a very well-known tune, the form is very simple, exciting and unpredictable. You can hear the crowd crazy behind some iconic DeJohnette stuffing. Pure happiness.
From Lil Nas X to Mozart to Esperanza Spalding, this is what we like to listen to this year.
Most percussion concert works are as interesting as concussions. But sometimes people like Steve Reich and John Adams will find real beauty in hitting. In this work, Tan Dun went a step further and bravely wrote for hydrophones and other crazy and rebellious instruments. He constructed a rich orchestral envelope to provide pitch and rhythm suggestions for the pitchless, wavy water sound. Listening on your beautiful system, or listening through headphones in a dimly lit room, will surely inspire your own wild adventure movie inspiration. For the background of doing things, it will stimulate lateral thinking and innovative solutions. May not be suitable for group connections, parades or sex-never drive on these things!
The composer and performer Michael Ranta (Michael Ranta) was born in 1942 and is an important figure in the world of percussion, although he is almost completely unknown today, even as a musician. In the 1970s, as an avant-garde composition interpreter, improviser, and composer of highly individualistic solo works, he was very prolific, and he still composes these works to this day. He has spent a long time in Asia, especially China and Japan, and the live percussion and pre-recorded sound "Yuanshan" is based on ancient spiritual principles and has been created for nearly 40 years. Ranta is unswervingly committed to becoming a percussionist and also a creative artist. This has always been a source of inspiration for my creation.
Carl Nielsen's irrepressible Fourth Symphony was composed in 1916, during the First World War, it was a melee between light and darkness. Where does percussion apply? When the orchestra tried to soar into the sky in the finale, two timpani players competed against each other, standing on either side of the stage—and, as Nielsen wrote, “maintain a certain threatening character.” , The disharmony of their duel and the barbarity of their attack almost pulled the music back to the martial arts disaster. But not exactly; life is triumphant. This is one of the most prominent uses of percussion in symphony repertoire, and the live testimony is amazing.
The most obvious characteristics of percussion in the orchestral field are sheer strength, intensity, and horror—both open and face-to-face horror, as well as a more subtle undercurrent of fear. Percussion is often used to create color, shimmer, flash, or shock waves. The sounds we can make are infinite, because our instruments are actually infinite; percussion is defined as anything that shakes, scratches, or strikes, which is why I chose Christopher Cerrone's "Memory Palace". Almost all the musical instruments in this work are DIY: wooden boards, pipes, bowls and bottles. It demonstrates the versatility of percussion-the range of instruments, the creation of rhythms, melody, harmony, character and mood.
"Winter Drums" is full of energy and energy, and is the core of John Luther Adams's fascinating early multimedia work "Earth and Weather: Sonic Geography of the Arctic". Even without high-pitched percussion, it contains all the most exciting elements of percussion. The turbulent power and subtle peace of the natural world are expertly contained. The song moves quickly, covering many places, and the rhythmic harmony and inconsistent sound wave peaks and valleys show the tonal potential of the drum quartet. The last 30 seconds is an exciting ending, which will definitely open the door and listen to more people.
Although the piano is a percussion instrument, we agree that we will go beyond this function of its traditional repertoire. But John Cage’s sonatas and pre-made piano interludes are works that truly create exciting percussion ensembles. In these 20 works, Cage continued his experiment, using a prepared piano—a normal piano with screws, bolts, rubber plates, plastic sheets, and other objects inserted between the strings according to Cage’s precise specifications. By striking the keys, the player will produce a series of thumping sounds, bell-like tones, nearly non-tonal pops, delicate harp-like sounds, and so on. In the paired sonatas XIV and XV, "Gemini", the music sounds like a faint Asian dance, with ripples in the bass range, melody fragments in the treble, seductive thumps and intricate rhythmic numbers.
When talking about Duke Ellington’s music in the early 1940s, discussions tended to focus on the contributions of bassist Jimmy Brandon and tenor saxophonist Ben Webster—and the techniques of percussionist Sonny Grier were often ignored. Ignore. However, Ellington himself described his long-time drummer Greer as "the best percussion reactor in the world." "When he heard a bang," Ellington added in his memoir, "His response is the most appropriate." You can hear that responsiveness in the classic "Cotton Tail" because Greer drove the ensemble, adding excitement to the already exciting Webster solo and playing flexibly under Ellington's piano.
Roscoe Mitchell's "Maze" was composed for an eight-person percussion ensemble in 1978 and is a groundbreaking example of the relationship between his dialogue/African studies and composition. Its unusual sheet music is conducive to egalitarian aesthetics, in which each performer not only has the opportunity to explain complex and traditional pieces, but also has the opportunity to explore different sound fields in their personalized combinations, which have traditional combinations. Western percussion instruments, self-invented equipment and a large number of discovered objects. "Labyrinth" encourages performers to collaborate with all traditional and graphic symbolic materials, by questioning the separatist concepts of "improvisation" and "composition", to cultivate a sound universe in which such a binary did not exist in the first place.
In 1977, on a sunny autumn day, when I visited New York City for the first time, I walked the length of Manhattan and stood outside the building where Edgard Varèse had lived in Soho. Along the way, I heard the metal-to-metal noise of the building, the wailing sirens, and fragments of the city's cheerful world music. At that time I realized that the "ionization" composed of these voices was not barren modernism, but a love letter written by Varese to his adoptive family. After 44 years of listening, the hustle and bustle of "Ionization" is still inspiring, and the rhythm is still cheerful. I have been inspired by this passionate national anthem again.
The first time I heard "Genderan" was in 1997. It is the gamelan gong kebyar style, which shows many amazing qualities of Balinese music-these qualities allowed me to study with I Nyoman Suadin at Eastman School of Music, and then to Bali to study with him and other musicians More. "Genderan" starts with a consistent introduction, then hits with complex hockey in the gong loop, showing off the bright melody that wraps around the beat in endless and fascinating ways. This music completely changed my life and my understanding of percussion and its ability to play. I hope you like it too.
In its rhythm and lyrical gesture, this piece seems to contain elements of Steve Reich and John Adams-perhaps even Leonard Bernstein. However, all of this predates them: Colin McPhee wrote "Tabuh-Tabuhan" in 1936, which was influenced by his years of studying gamelan music in Bali. He transplanted his research to Western classical orchestras, featuring Bali gongs, but also created what he called a "nuclear cambell" composed of two pianos and percussion instruments, and simulated it on the strings The sound of tambourine. The resulting works paved a new path for Western percussion in the 20th century, which was later stepped on by Benjamin Britton and broadened by Lou Harrison.
In the prelude of Janacek's opera "Kat'a Kabanova", the expression of percussion is as clear as any singer in rehearsing the upcoming drama: the timpani, first dark, then cruel, beating like a heartbeat, like destiny; And the constant sleigh bells that later took her husband away, causing his wife to fall into temptation, adultery, and suicide. Percussion works below, above, and in the orchestra—add punctuation, italics, and bold.
The splendid impromptu performances in this excerpt represent the spirit of this revolutionary group "from ancient times to the present." In this 1969 recording, the Chicago Art Orchestra's extensive percussion installation was performed freely and completely by all four band members. This recording was produced before Famoudou Don Moye joined. Lester Bowie is listed as playing bass drum; Roscoe Mitchell, cymbals, gongs, conga drums, logs, bells, whistles, whistles, steel drums, etc.; Joseph Jarman, marimba, vibes, conga drums, bells, Whistles, gongs, siren, guitars, etc.; and Malachi Favors, log drums, cythar, percussion, etc.-in addition to their main instruments, there are all these.
The timpani can be a very loud musical instrument, and when you play it, people tend to look at you. But when it is so soft, it does attract the audience; it kind of makes you. Just before the end of Beethoven's Fifth Piano Concerto, there were only piano solo and quiet timpani. Such a big and heavy thing is so delicate when it comes out. You have captured everyone's imagination.