Percussion: Interview and demonstration with principal Chris Devine and members of the percussion section발음듣기
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Percussion: Interview and demonstration with principal Chris Devine and members of the percussion section
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Percussion: Interview and demonstration with principal Chris Devine and members of the percussion section
("Daphnis and Chloe - Suite No. 2" by Maurice Ravel) As a percussionist, we do play a lot of instruments.
Lot of different techniques required to learn to be able to get all the different sounds out of those instruments.
We have the most fun of anybody in the orchestra.
We have the lowest of the low-pitched instruments, the bass drum.
(thudding) ("Symphony No. 2 - I. Allegro maestoso" by Gustav Mahler) Next to the triangle, one of the higher-pitched instruments.
Usually single notes. (dinging) Or a sustained sound by rolling between the two sides.
(dinging) ("Symphony No. 9 in E minor III." by Anton?n Dvorak) As percussionists, we also get to play pitched instruments, such as these crotales, part of the keyboard family.
They're laid out like a piano is laid out, with the white notes and the dark keys right here.
Normally we strike them with various types of mallets.
(dinging) Now we have more fun than anybody else in the orchestra because we get to do things like using a Super Ball on a stick to make sounds like this.
(resonating) Then if we're making unusual sounds like that, we're usually providing rhythm of some sort, with another variety of different drums.
Snare drum is a typical one.
(tapping) These other drums are the Latin variety, bongos and timbales.
(thudding) And then we get to play instruments that are found throughout the world, such as this tambourine.
In many different cultures they have their versions of the tambourine.
And we have various ways of striking the instrument with our hand.
(rattling) And we can play fast by using other parts of our body.
(rattling) And then we can shake and make a sustained tone which we call a roll.
(rattling) And what would be a percussion section without the crash cymbals?
Now everybody, hold your ears. (resonating) Ah, fooled you.
Percussion instruments can play loud and soft.
But of course we all love to play loud.
(crashing) And then finally, oftentimes we're asked to play mallet instruments, which can provide melody like any of the other instruments.
And one piece that we recorded, "Daphnis", has a very, very loud glockenspiel part, played on glockenspiel.
(dinging) ("Daphnis and Chloe - Suite No. 2" by Maurice Ravel) Percussion instruments, like anything, are learned skills.
And essentially you're learning specific motions required to produce certain sounds.
With a lot of practice, which that's really the key, lot of practice will give you the repetition to learn those motions.
And that's how you develop the different techniques.
A typical technique to play something like a snare drum, just a simple drum, would be two sticks, one in each hand.
The motion is very simple as far as up and down goes, as long as you're only playing one, striking the drum with one stick at a time.
There are different techniques though where you use more than one note per stick.
And when you combine those, that's what we call a roll.
And it changes the sound quite a bit.
It's almost kind of like, if you were going to become a very fast runner, you probably wouldn't be very fast at the beginning, you would learn how to jog slowly and comfortably, and increase your speed over time.
It's the same kind of thing with a technique like that.
("Daphnis and Chloe - Suite No. 2" by Maurice Ravel) Cymbals can be a little bit different that way, in the sense that, when you're playing a pair of cymbals, what we call crash cymbals, you have one in each hand.
And there's a motion that you need to prepare in order for the cymbals to strike at exactly the right time when you want them to for the right dynamic that you want them to.
And hopefully getting the kind of roundness out of the cymbal sound that you also want.
You can change that slightly by the direction that the cymbals meet.
In other words, if they're more up and down, you can get a little bit more highs out of them.
If they're a little bit more side to side, you can get a bit more lows out of them.
And that's actually kind of the sound spectrum that the instrument has that you're trying to bring out.
("Symphony No. 5 - IV." by Dmitryi Shostakovich) Typically what would happen, for something like say the mallet instruments that we play, vibraphone, xylophone, glockenspiel, marimba, chimes.
These instruments are often, their sound is greatly altered by the mallets that we choose to play them with.
It's not the only way you can alter it, but it's the most instantaneous and effective way.
If you have a mallet that the material is very hard and dense, it's going to get a different kind of attack than a mallet that's softer or more malleable.
We have a whole variety, an array of mallets to choose from.
Sometimes we think, this mallet's probably good, we send our colleague out into the audience to see.
They come back and say, "Nope, I can't hear it.
There's no attack. It's lost, "in the big orchestration around us.
Your instrument's not pushing through. And it needs to be.
So, that's the kind of feedback we need to be able to adjust and know which mallets to use.
("Symphony No. 5 - III. Largo" by Dmitryi Shostakovich) Mallet instruments are set up exactly like a piano. White keys, black keys.
Anybody that can play a piano can play a percussion mallet instrument.
I was fortunate enough that my parents got me piano lessons.
I took five years of piano when I was younger.
That was very, very helpful to be able to make that transfer.
My mother and grandmother like to take credit for the fact that they encouraged me to pull out pots and pans in the kitchen.
On the kitchen floor, with wooden spoons. That's literally how I started.
They thought it was funny, they thought it was cute.
Of course I loved it, I didn't know what I was doing.
I think once I got into the sixth grade, I joined the public school band program.
That actually kind of set me on a path to really enjoying music.
In high school, I played with a community orchestra.
I experienced all kinds of different music.
Wanted to be, actually, a really good drumset player at one point.
Turned and went the orchestral route.
And fell in love with orchestral music.
And that's really how I ended up being a percussionist.
("Avanti!" by Ellen Taaffe Zwilich) I think I was probably about 16, when I was asked to join this community orchestra in Pensacola, Florida.
I had recordings of orchestral music, but I'd never played live with an orchestra.
I remember sitting in a rehearsal, my very first rehearsal.
And listening to this amazing sound of strings surrounding me that I had never heard before.
I totally missed my percussion cue because I wasn't paying attention.
And that's when I knew, wow, this is a really, really unique situation and I hope that I can somehow do this as a career.
The public school band program provided the variety of instruments to learn.
And I studied privately with the local percussion teacher.
As I progressed though, I needed somebody with a higher level of teaching ability.
I used to drive from Pensacola to Tallahassee, Florida which is about three and a half hours away, on the weekends to take my lessons with a grad student at Florida State University.
As I got better, my teachers got better, obviously. And I sought them out.
That's really important, I think, in development is really being active in finding and searching out the best teachers you possibly can.
Because they're out there, and they're willing to help.
("Academic Festival Overture" by Johannes Brahms)
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("Daphnis and Chloe - Suite No. 2" by Maurice Ravel) As a percussionist, we do play a lot of instruments.발음듣기
대기중
Lot of different techniques required to learn to be able to get all the different sounds out of those instruments.발음듣기
대기중
(thudding) ("Symphony No. 2 - I. Allegro maestoso" by Gustav Mahler) Next to the triangle, one of the higher-pitched instruments.발음듣기
대기중
(dinging) ("Symphony No. 9 in E minor III." by Anton?n Dvorak) As percussionists, we also get to play pitched instruments, such as these crotales, part of the keyboard family.발음듣기
대기중
They're laid out like a piano is laid out, with the white notes and the dark keys right here.발음듣기
대기중
(dinging) Now we have more fun than anybody else in the orchestra because we get to do things like using a Super Ball on a stick to make sounds like this.발음듣기
대기중
(resonating) Then if we're making unusual sounds like that, we're usually providing rhythm of some sort, with another variety of different drums.발음듣기
대기중
(thudding) And then we get to play instruments that are found throughout the world, such as this tambourine.발음듣기
대기중
(crashing) And then finally, oftentimes we're asked to play mallet instruments, which can provide melody like any of the other instruments.발음듣기
대기중
And one piece that we recorded, "Daphnis", has a very, very loud glockenspiel part, played on glockenspiel.발음듣기
대기중
(dinging) ("Daphnis and Chloe - Suite No. 2" by Maurice Ravel) Percussion instruments, like anything, are learned skills.발음듣기
대기중
With a lot of practice, which that's really the key, lot of practice will give you the repetition to learn those motions.발음듣기
대기중
A typical technique to play something like a snare drum, just a simple drum, would be two sticks, one in each hand.발음듣기
대기중
The motion is very simple as far as up and down goes, as long as you're only playing one, striking the drum with one stick at a time.발음듣기
대기중
It's almost kind of like, if you were going to become a very fast runner, you probably wouldn't be very fast at the beginning, you would learn how to jog slowly and comfortably, and increase your speed over time.발음듣기
대기중
("Daphnis and Chloe - Suite No. 2" by Maurice Ravel) Cymbals can be a little bit different that way, in the sense that, when you're playing a pair of cymbals, what we call crash cymbals, you have one in each hand.발음듣기
대기중
And there's a motion that you need to prepare in order for the cymbals to strike at exactly the right time when you want them to for the right dynamic that you want them to.발음듣기
대기중
In other words, if they're more up and down, you can get a little bit more highs out of them.발음듣기
대기중
And that's actually kind of the sound spectrum that the instrument has that you're trying to bring out.발음듣기
대기중
("Symphony No. 5 - IV." by Dmitryi Shostakovich) Typically what would happen, for something like say the mallet instruments that we play, vibraphone, xylophone, glockenspiel, marimba, chimes.발음듣기
대기중
These instruments are often, their sound is greatly altered by the mallets that we choose to play them with.발음듣기
대기중
If you have a mallet that the material is very hard and dense, it's going to get a different kind of attack than a mallet that's softer or more malleable.발음듣기
대기중
Sometimes we think, this mallet's probably good, we send our colleague out into the audience to see.발음듣기
대기중
("Symphony No. 5 - III. Largo" by Dmitryi Shostakovich) Mallet instruments are set up exactly like a piano. White keys, black keys.발음듣기
대기중
My mother and grandmother like to take credit for the fact that they encouraged me to pull out pots and pans in the kitchen.발음듣기
대기중
("Avanti!" by Ellen Taaffe Zwilich) I think I was probably about 16, when I was asked to join this community orchestra in Pensacola, Florida.발음듣기
대기중
And listening to this amazing sound of strings surrounding me that I had never heard before.발음듣기
대기중
And that's when I knew, wow, this is a really, really unique situation and I hope that I can somehow do this as a career.발음듣기
대기중
I used to drive from Pensacola to Tallahassee, Florida which is about three and a half hours away, on the weekends to take my lessons with a grad student at Florida State University.발음듣기
대기중
That's really important, I think, in development is really being active in finding and searching out the best teachers you possibly can.발음듣기
대기중
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