orchestral percussion quiz

4 preferred characteristics of tambourines

-2 rows of jingles

-calfskin head

-woodshell

-non-tuneable head

3 jingle types of tambourines

-German Silver - bright, resonant

-Berryllium Copper - somewhat dry

-Phosphor Bronze - dark, very dry

head preference of tambourine

-calfskin

-some newer are synthetic heads are being produced

3 roll types for tambourine

-shake roll

-thumb roll

-finger roll

shake roll tambourine

-longer roll

-more aggressive sounding

-loud

-1st, 4th, and thumb are main contact points

-articulate beginning and ending

-tap to articulate

thumb roll for tambourine

-shorter

-kind of loud

-less aggressive

-put finger moistener on thumb and drag along edge of tambourine - almost on shell

finger roll for tambourine

-shorter

-softer

-very controlled, delicate

-same as thumb roll but with finger 3

3 performance techniques for tambourine

-general purpose

-soft rapid passages

-loud rapid passages

general purpose tambourine playing

-slow to moderate tempos

-hold in non dominant hand at various angles to create legato/staccato sounds

-play with fingers/thumb of dominant hand

soft rapid passages tambourine technique

-rest tambourine on a surface and play with fingers

-rest wrists on tambo for balance

loud rapid passages on tambourine

-held in non dominant hand

-hit the head between knuckles of dominant hand and knee

tambo bag essentials

-beeswax

-fingertip moistener

-lighter - to tune

sizes for triangle

-4'“ - brighter tone

-6-8” is general purpose

-10” - darker tone

how to hold triangle

-non dominant hand

-open end of triangle always faces non-dominant hand

-hold beater with thumb up

triangle equipment

-two clips for fast passages where 2 beaters are required

-need multiple sets of various sized beaters

where to hit triangle

-for single strokes - play either on bottom or right side

-for rolls - top or right corners (left to right for equal gravity, get farther away to get louder)

triangle muffling

-with 2 back fingers of hand holding triangle

-when to muffle: when at rest with rest of orchestra, staccato parts

concert bass drum sizes

-16” chamber style - 40” for large ensemble

-32-36” perfect for middle school

head preference for concert bass drum

-calfskin

concert bass drum tuning

-generally should tune the playing side a second lower than the resonating side

concert bass drum mallet types

-shaft: solid wood or metal

-general playing: german felt

-articulate playing: chamois

-will also need rollers - traditional grip

concert bass drum muffling

-muffle with knee or hand

-when to muffle: at rest with entire ensemble, staccato

concert bass drum stroke/grip

-thumb face upwards

-stroke comes from wrist - use arm only for deep large sound

-prep and stroke creates a backwards C

-follow through to le head resonate fully

concert bass drum 3 placement positions

-dead center: staccato, canon shot sound

-off center: general playing

-edge: rolls and special effects

cymbals 3 weights and characteristics

-french

-viennese

-german

french cymbals

-lightest

-dark tone quality

-fast attack and fast decay

viennese cymals

middle of the road

german cymbals

-heavy

-shimmery and very bright sound

-slow attack and slow decay

cymbals sizes

-16-18” viennese should be the first kind of cymbals students use

-17” would be perfect

-size depends on grade level

cymbals technique

-2 points of attack: FLAM top to bottom

-circular motion

—small quick: faster attack and more staccato

—large slow: less attack and more legato

-softer crash = less flam/more in center up

-louder crash = more flam/lower

-left hand at 45 degree sngle

-right hand crashes into left

-lower cymbal in left hand, higher cymbal in right hand

-grip as close to actual cymbal as possible

mallets for suspended cymbal

-can use snare sticks on tip/shoulder

-or 2 marimba mallets

rolling on cymbals

-usually with 2 mallet marimba mallets (rattan and yarn)

-placement at 2 and 10