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 section발음듣기

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("Daphnis and Chloe - Suite No. 2" by Maurice Ravel) As a percussionist, we do play a lot of instruments.발음듣기

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Lot of different techniques required to learn to be able to get all the different sounds out of those instruments.발음듣기

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We have the most fun of anybody in the orchestra.발음듣기

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We have the lowest of the low-pitched instruments, the bass drum.발음듣기

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(thudding) ("Symphony No. 2 - I. Allegro maestoso" by Gustav Mahler) Next to the triangle, one of the higher-pitched instruments.발음듣기

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Usually single notes. (dinging) Or a sustained sound by rolling between the two sides.발음듣기

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(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

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They're laid out like a piano is laid out, with the white notes and the dark keys right here.발음듣기

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Normally we strike them with various types of mallets.발음듣기

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(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

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(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

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Snare drum is a typical one.발음듣기

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(tapping) These other drums are the Latin variety, bongos and timbales.발음듣기

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(thudding) And then we get to play instruments that are found throughout the world, such as this tambourine.발음듣기

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In many different cultures they have their versions of the tambourine.발음듣기

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And we have various ways of striking the instrument with our hand.발음듣기

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(rattling) And we can play fast by using other parts of our body.발음듣기

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(rattling) And then we can shake and make a sustained tone which we call a roll.발음듣기

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(rattling) And what would be a percussion section without the crash cymbals?발음듣기

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Now everybody, hold your ears. (resonating) Ah, fooled you.발음듣기

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Percussion instruments can play loud and soft.발음듣기

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But of course we all love to play loud.발음듣기

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(crashing) And then finally, oftentimes we're asked to play mallet instruments, which can provide melody like any of the other instruments.발음듣기

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And one piece that we recorded, "Daphnis", has a very, very loud glockenspiel part, played on glockenspiel.발음듣기

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(dinging) ("Daphnis and Chloe - Suite No. 2" by Maurice Ravel) Percussion instruments, like anything, are learned skills.발음듣기

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And essentially you're learning specific motions required to produce certain sounds.발음듣기

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With a lot of practice, which that's really the key, lot of practice will give you the repetition to learn those motions.발음듣기

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And that's how you develop the different techniques.발음듣기

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A typical technique to play something like a snare drum, just a simple drum, would be two sticks, one in each hand.발음듣기

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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

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There are different techniques though where you use more than one note per stick.발음듣기

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And when you combine those, that's what we call a roll.발음듣기

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And it changes the sound quite a bit.발음듣기

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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

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It's the same kind of thing with a technique like that.발음듣기

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("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

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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

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And hopefully getting the kind of roundness out of the cymbal sound that you also want.발음듣기

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You can change that slightly by the direction that the cymbals meet.발음듣기

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In other words, if they're more up and down, you can get a little bit more highs out of them.발음듣기

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If they're a little bit more side to side, you can get a bit more lows out of them.발음듣기

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And that's actually kind of the sound spectrum that the instrument has that you're trying to bring out.발음듣기

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("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

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These instruments are often, their sound is greatly altered by the mallets that we choose to play them with.발음듣기

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It's not the only way you can alter it, but it's the most instantaneous and effective way.발음듣기

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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

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We have a whole variety, an array of mallets to choose from.발음듣기

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Sometimes we think, this mallet's probably good, we send our colleague out into the audience to see.발음듣기

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They come back and say, "Nope, I can't hear it.발음듣기

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There's no attack. It's lost, "in the big orchestration around us.발음듣기

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Your instrument's not pushing through. And it needs to be.발음듣기

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So, that's the kind of feedback we need to be able to adjust and know which mallets to use.발음듣기

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("Symphony No. 5 - III. Largo" by Dmitryi Shostakovich) Mallet instruments are set up exactly like a piano. White keys, black keys.발음듣기

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Anybody that can play a piano can play a percussion mallet instrument.발음듣기

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I was fortunate enough that my parents got me piano lessons.발음듣기

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I took five years of piano when I was younger.발음듣기

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That was very, very helpful to be able to make that transfer.발음듣기

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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

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On the kitchen floor, with wooden spoons. That's literally how I started.발음듣기

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They thought it was funny, they thought it was cute.발음듣기

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Of course I loved it, I didn't know what I was doing.발음듣기

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I think once I got into the sixth grade, I joined the public school band program.발음듣기

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That actually kind of set me on a path to really enjoying music.발음듣기

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In high school, I played with a community orchestra.발음듣기

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I experienced all kinds of different music.발음듣기

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Wanted to be, actually, a really good drumset player at one point.발음듣기

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Turned and went the orchestral route.발음듣기

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And fell in love with orchestral music.발음듣기

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And that's really how I ended up being a percussionist.발음듣기

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("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

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I had recordings of orchestral music, but I'd never played live with an orchestra.발음듣기

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I remember sitting in a rehearsal, my very first rehearsal.발음듣기

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And listening to this amazing sound of strings surrounding me that I had never heard before.발음듣기

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I totally missed my percussion cue because I wasn't paying attention.발음듣기

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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

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The public school band program provided the variety of instruments to learn.발음듣기

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And I studied privately with the local percussion teacher.발음듣기

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As I progressed though, I needed somebody with a higher level of teaching ability.발음듣기

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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

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As I got better, my teachers got better, obviously. And I sought them out.발음듣기

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That's really important, I think, in development is really being active in finding and searching out the best teachers you possibly can.발음듣기

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Because they're out there, and they're willing to help.발음듣기

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("Academic Festival Overture" by Johannes Brahms)발음듣기

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