Musical instrument triangle with a stick. Musical instrument triangle
Musication on children's tools is one of the most affordable forms of familiarizing the child with the world of music. Music is always (along with movement, speech and toys) was a prerequisite for the general development of children.
Playing for children's instruments - develops musical hearing, rhythm, musical memory, forms verbal and non-verbal communication skills, forms readiness and ability to act in the team, develops the skills of small and large motility, as well as hearing, visual, tactful perception abilities.
Triangle - This geometric term is called a musical instrument that enters the drum group and is often used in symphony and opera music. In the form, the tool is an equilateral triangle. Made from steel rod. The triangle is suspended to the console and lightly hit with a metal wand.
The sound is obtained high (indefinite height), ringing and gentle, and with a strong shock shrill, resembling bells.
Ratchet. The ratchet is a bundle of wooden plates, which, when shaking, hits each other and make cracking sounds.
Hold the ratchet usually at the head or chest level, and sometimes above; After all, this tool attracts attention not only to its sound, but also appearance. Often it is decorated with colored ribbons and flowers.
Tambourine - One of the drum tools that came to the Symphony Orchestra in the XIX century, the tambourine was known in the countries of the Ancient East. Then he became a folk instrument in Italy and Spain. No dance did without his accompaniment.
And in the Symphony Orchestra, it accompanies the eastern, Gypsy, Spanish and Italian dance. It is a hoop with rattles - small metal plates inserted into the holes.
Xylophone - Impact tool, outwardly similar to bells. Xylophone has the same form, but consists not from metal plates, but from wooden bars. Play on them with two wooden sticks. The range of xylophone - from "to" the first to "up to" the fourth octave. The sound is dry, clicking, ringing.
GLOCKENSPIEL Nowadays, there are quite a few tools, the sound in which arises from the oscillation of the elastic metal body. These are triangles, gongs, bells, plates and other shock tools. All of them are combined with a common name - Metallophone. One of the metallophones, the vibraphone, is particularly interesting for its design and expressive opportunities.
- acquaintance and work with bad signs of sounds on instrument plates
- the ability to keep sticks properly (do not clamp the sticks with the whole palm, do not put the index finger on the wand, do not press the head of the stick to the plate during the strike)
- mastering various techniques of the game with two hands (joint movement, alternate movement, parallel movement, converging and diverging movement, crossing hands, tremolo, glissando).
Tool passport
Name: Triangle (Ital. Triangolo, English and Fr. Triangle, it.
Group: Impact musical instrument
Origin: The origin of the instrument is not established
for sure, but the encyclopedic dictionary of Brockhaus and Ephron
it claims that the triangle first appeared in the east.
Timbre: It has a brilliant and bright timbre capable of decoracing even
powerful Tutti orchestral.
Method of sound recovery: The triangle is suspended for one of
corners on a thin wire or braid, which is held in hand or
attach to the pushrit. On the triangle hit metal
(less often wooden) stick (on the jargon of musicians this wand
called "nail").
Device: Impact musical instrument in the form
metal rod (usually made of steel or aluminum), curved in
the form of a triangle. One corners left open (rod ends
almost touch).
With light impact, the sound turns out a gentle, "air"; With a strong - bright, brilliant, easily cutting orchestral Tutti. Well sounds on a triangle simple rhythmic figures, tremolo. The party is recorded on the thread. As a folk instrument, a triangle is known from the XV century. In opera music, it was for the first time to apply K. V. Glitch, V. A. Mozart (end of the XVIII century). Somewhat later, he firmly established himself in a symphony orc. 
Puzzles:
What geometric figure has become a musical instrument?
In the most fabulous moment this tool will come.
But not everyone knows that he played in the orchestra!
Quiet, gently squeezed, as if everything is concerned.
And then it will be silent soon along the conductor.
He knows this every schoolboy. What… (Triangle)
It is interesting!
The story did not keep a worthy story about the emergence of this wonderful orchestral instrument. The vague assumption that the triangle does not have neither Asian nor, especially, African roots and is a tool of quite European origin is not deprived of, invisible, grounds. When a triangle appeared in the XV century, he was still a "triangular" in the direct value of this definition and, if judged by the preserved images of Italian and English painters, had a kind of a trapezium, very similar to the outlines of medieval stirrups. Accordingly, with this, some modern names of the names sometimes point to its "triangular", which is not difficult to conclude from the old-French Trepie, or its "strolleness", which is applied from the Italian Staffa or Staplen - Stegmentif. The concept of "triangle" - Triangle was for the first time met in 1389 in one Württemberg property inventory, but, with the exception of the names already mentioned, it was sometimes hiding under misleading the name - Cymbale, applied even so cautious and accurate in their writings, Like Per Meresenne. It is difficult to say now with the unconditional accuracy, when it was an old ascending or trapezier "triangle" that received an outline of an equifiable triangle, but with confidence it can be argued that shortly before 1600 there were usually three varieties, and after that time five. In the Symphony Orchestra, the triangle penetrated not earlier than 1775, when he first took part in the opera Granetry La Fausse Magie, but in the orchestra of military music, he settled much earlier. In any case, it is definitely known that in the pre-revolutionary Russia, the triangle acted already in the troops of Elizabeth Petrovna and, judging by the fact that the triangle was established in Russia, it was strange and, in essence, not found by the nickname of Trenzel, he must think firmly entered the military use of the time. It is fair, however, that in a symphony orchestra, this offensive for the triangle nickname did not penetrate and he uses there quite well-deserved respect. So, the modern triangle is not very thin, not too thick steel rod, bent in the form of an inaccessible triangle. The ends are not closed and, most often, completed with hooks or looping from one side. Perhaps, of course, the direct completion of the ends, indicating in this case the need to hang the tool for one of two closed corners. Russian musicians believe that the triangle requires special steel, known in the surprise under the name of silver, sounding "silver" sound and characterized by unusual purity and transparency. This steel is extremely elastic and is not at all so easy to external influence. Therefore, the approval of the Haupt is absolutely not clear, that the triangle "IST EINE Schwache, Zu Einem Dreieck Gebogene Stahlstange". If the word schwache is understood in the sense of "thin" and "light" steel rod, then it is quite fair. If it is perceived in the literal value, in the sense of "weak" and "soft," that is a delusion. But one way or another, the steel rod, from which the triangle will be bent, gives three values \u200b\u200bof the grounds. In France, the sizes of the triangle are somewhat less than in America or Russia, but the most common tools are accepted at six, eight and ten inches on the basis. However, the seven of the rod causes a complete discrepancy in views. So, the authors of various articles about the triangle hold the point of view that the diameter should not exceed one quarter of an inches, while the masters of this business preach the twisted rod thickness, believing that the tool sound was made more sustainable, juicy and beautiful. The question is, in the end, the habit, but it is important that the triangle sparkles and rang, and he did not rattle and did not quarrel and faintly. In direct connection with this last circumstance, it is also a way to hang a triangle. Leaving in the side of the last receptions of the last one or, for the purposes of greater stability, two loops, it should only notice that the best sound of the tool is achieved in the presence of ordinary living strings. Only they are not dismantling the tool, while the ropes or, even worse, - the straps, about which Vittorio Ricci mentions, are absolutely not suitable for this case. But since the triangles themselves, being three sizes, are different, - smaller slightly above, large below, then the known value has a wand to be given to the tool. As you know, the sound on the triangle is extracted with a steel stick and is distinguished by extraordinary purity and transparency. Therefore, in order not to spoil things, sticks should be without handles, which, as well as ropes, muffle the sound, and for different sound forces should have a different section. Thin sticks-twists, no more than one eighth inch in the diameter, are used for the gentle Pianissimo. Average, with a cross section to one quarter of an inches, suitable for Piano and Mezzo-Forte with all the intermediate degrees of the sound strength, of course. Finally, thick sticks up to three eighth inch thickness, apply for all other shades of sound strength - from Forte to the sharpest Fortissimo. It is clear, of course, that the author is not at all obliged to indicate the dimensions of the triangle and sticks. The case of the artist to solve his intention and apply such a kind of tool that would best have reproduced. Notes for a triangle are now written in any shortages, but only on "thread" and without any keys. True, the French invented for tools without a certain sound "key" in the form of two sheer stations, but this "innovation" further French publishers, and not all, and did not go. There is no big necessity in it ... In the same time, and not so long ago, for a triangle, we used a five-line notopower with a salt key, and the sounds were most often depicted on the place of notes before or by the second octave. Ebanezer Rourat, considering this method of writing more appropriate, mentions both the very strange yotreatment of the triangle in the Fa key. Berlioz in the Roman carnival, according to Haupta, used for this purpose a note of the first octave, and Mahler, who applied to the percussion tools his own and, must be said, a small emulsive letter depicted it in the third symphony on the site of the FI and the second octave, and in The second symphony is at the place of salt above the fifth line. The most controversial way of the letter is the yoting of a triangle in the key of salt on one notonic one with some other shock instruments, which only casually mentions Ricci, and Stanislav Monyushko (1819-1872), with a sufficient amount of free space not finding anything more convenient, how to place Triangle in the bass key in the Commonwealth with a large drum, a small drum and even by the Litauria. All these "extraordinary things" is not difficult to meet on the pages of the anniversary edition of the Opera Pebb. But anyway, now all such ways of writing must recognize in little happy and just unsuccessful. The triangle, as a tool without a certain sound, requires only a rhythmic pattern and therefore, any key or high-altitude designation of its notes, by no means reaching the goal, only climbs the score. The triangle belongs to the tools without a certain sound, or rather to say, - without a certain height of the sound, since he has a relative height of sound and is distinguished by its indisputable charm. Kurt Zaks rightly notices about this that "the triangle throws on the color palette of the orchestra the brightest sheaf of the world", and that "his overtones are so cutting and bringing it that his height is uncertain, but it is this uncertainty and gives it so blinding glitter" . All this is quite true, although in other cases the size of the instrument and the diameter of its cross section has a well-known impact on the relative "density" of its sound. The orchestra is most convenient to use the larger sizes of the triangle, characterized by the most accurate and beautiful tone. It is about this that Selyl Forsight notes very successfully, saying that the triangle is not so small to ring the "bell", but it is not so great to achieve the musical sound of a certain height. " However, from all that is said, no longer follows that the composer can not use the triangle of smaller or large sizes. The present performers in the game triangle reaches such perfection that they can quite satisfy all even the most capricious requirements of the composer. And if such an irresistible desire arises, by all means to take advantage of the triangle with a particularly "thin" sound or with deliberately "rude", he will go correctly if he expressed his wishes immediately in the score. You can only assume with confidence that the performer and in this case will try to remain true to himself, - it will undoubtedly cost the usual triangle variety for himself and to achieve the goal in a different way. But to no longer return to the affected. Here, the question is, by the way, it's curious to remind you that according to the testimony of Jacob, the bikes on the triangles not only took the lively participation in the so-called "Turkish music", first appeared at the court of Empress Elizabeth, but were manifolded by rings hanging on their grounds. During the game, these rings randomly and arbitrarily prompted, giving the triangle "diverse sound." Hardly such a "adaptation" could contribute precisely a variety of soundness. It could rather contribute to the occurrence of side noise, it may be relevant in such music, what the background of Schlyanin narrates. But such a "innovation" would, of course, completely intolerant in the modern symphony orchestra, where a distinctive feature in the triangle sound is its shine, clarity, transparency and bellivity ... What are the triangle artistic possibilities in the modern orchestra now? If you believe Berliozu, then very miserable! Surprisingly, how quickly the tastes change and how easily the composers are moving from one extreme to another! Berlioz, whose opinion can not be trusted, responds about the triangle as if it concerns some "beast", the presence of which in the orchestra is subordinate to unusual settings. And in fact, he says that the triangle "enjoy the orchestra is harder than tools that can rattle, crack and continuously sound" and that its "Metal Clause in Forte is only suitable for music exaggeratedly brilliant, whereas in Piano his sound is full -Hruck fancy. " In modern conditions, it is difficult, of course, to believe such a "peculiar" triangle abilities. Now, on the contrary, his presence is associated in the orchestra not only with the "glitter" and "solemnity" by no means exaggerated, but also with everything that is easily combined with the concept of modest, elegant and even exquisite. It is in such a refraction that the triangle should be used and you need to leave all the hints of "Certain Bizarrerie Sauuage" to "Certain Bizarrerie Sauuage" - some wild, barbaric, rough, unbridled oddity or fancy, or, according to GEVART, - to "Turkish music", inherent, even if even The most picturesque belonging of which it seems to be. Exceptions, of course, are, but the whole case depends, in the end, from music, its content and destination, and there is nothing easier to testify the great variety in the use of a triangle and his amazing ability to easily escalate to the music in which he is intended to act. The sound of the triangle, as already known, is extracted with the assistance of steel sticks of three species - fine, medium and thick. But since the triangle itself belongs to the tools without a certain sound, the task of the stick is reduced, naturally, to the performance of all kinds of rhythmic buildings. Here, only in passing, it should be reminded that individual blows in a relatively temperate movement are made with their right hand and in the middle of the base of the triangle. In a faster alternation of notes, sequentially variables are used by sticking with chopsticks and left hand. Strong and relatively strong stakes of the clock, as a rule, fought off with their right hand. And these, it would seem that the "immense possibilities" of the triangle, in reality, are largely progressed, and that is why. The fact is that the entire charm of the triangle lies in the free attenuation of its oscillations, the duration of which interferes with too frequent initiation of the tool. In other words, with overly frequent strokes of the stick, there is an excessive rattling of the tool, by no means contributing to the advantages of the triangle and usually strongly disturbing not only the clarity of the selected pattern, but also its relative harness in terms of the accuracy of the height of the sound. This very remarkable observation can easily seem contrary to the nature of the tool. In fact, about what "accuracy" can we talk when the triangle belongs to the number of tools without a certain sound? Meanwhile, this is exactly the case, and the reason for such an unpleasant phenomenon lies precisely in slow down the oscillations. In confirmation of the said, it is enough to remember two excellent cases of the use of a triangle in Solo, where the sound of the instrument in some time of the moment it turns out to be positively incompatible with the sound of the rest of the orchestra. The power of the triangle is easily consistent with any intentions of the author, and the performer usually knows how to achieve the desired one. But just in case, it is still not impossible to know that the louder the sound, the closer to the middle moves the sticks of the sticks and, on the contrary, than it is more gentle, the more these blows shy towards the angle. Itself, of course, in Forte and Fortissimo, the performer enjoys a big scope of the sticks and strikes it with a fairly tangible tension, whereas in Piano and Pianissimo, he slightly concerns the wall of the triangle, liketing his stroke sharp, but extremely easy needle injection. In various ways of execution, trill is based, in essence, and play Crescendo and Diminuendo. It is achieved by a simple movement or, more precisely, - gradually sliding sticks from the top of the angle to the middle of the triangle with Crescendo and - from the middle of the triangle to its top during diminuendo. It is clear from what is clear that the greatest volume occurs with the greatest sweep of the sticks, coming around the middle of the triangle, and the smallest power of the sound, on the contrary, can only be achieved in the angle of the tool, where the natural excitability of it is less free and is ease. A gradual transition from Piano to Forte through freely increasing Crescendo no difficulties in performance causes. On the contrary, a consistent diminuendo from a sharp fortissimo to the finest Pianissimo to a certain extent depends not so much from the natural attenuation of the sound, how much from the persistent intervention of the performer himself, obliged to make every effort to implement the author prescribed. It is easy to agree that during Crescendo and Diminuendo, the change of sticks is not realized, and the composer must therefore require the impossible. But all these subtleties in the extraction of sound and EN-Power should not worry the author, - his intention to determine its intentions on paper, and the artist's business is perfectly owning his tool and reproduce written in accuracy. It is immediately appropriate to remind you that any blow on the triangle should always be clear and definite, in order to eliminate his szvuk, as a result of his "return". It is quite fair, therefore, notes Vidor that "such a blow with a double impact of sound should be considered unconditionally erroneous and the wand in all cases should produce only one single blow." Now - a few more words about chopsticks. The ordinary blow on the triangle, depending on its strength, is extracted by the steel rod of the proper thickness, and the performer, in accordance with its skill, it is completely copes with all the usual prescriptions of the author. But sometimes, in order to get a particularly gentle and a little dull Pianissimo, the author provides a wooden wand that gives a less bright and somewhat muted sound. Such a wand, which performers clearly dislike, can be used on a par with metallic, but should not be abused. She does not give proper presentation of the instrument and eventually generates the sound of quite mediocre quality. Nevertheless, in the orchestra, it sometimes meets and the author will go quite prudently if it is noted by the appearance of a special designation of Aesia Ipe Baguette de Bois - "wooden stick". If on this score was an universal agreement, then nothing prevented replacing such a long verbal definition by small cross, exhibited under each note artificial suppression of the free sound of the triangle is achieved by touching the finger to any point of the surface of the tool. The need for muffling is most often established by the Contractor himself, but the reason to this may be either the nature of the music itself, or the method of its presentation. The first case is the value is quite a variable, depending largely from the personal tastes of the artist or conductor. The second, - on the contrary, receives an external expression in the form of a rhythmic pattern, points over notes pointing to the underlined sound of sound, or, finally, in the form of a pause separating one note from the other. Under these circumstances, no additional designations are required, as most authors relies on the experience of their performers and completely trusts them with attention and artistic taste. However, Malener in his works carefully stipulates this case, demanding a muffling where it can be itself and is not meant. In the score, therefore it is useful to specify with words, - Etouffez LE SON or just Etouffez, - to drown the sound of a triangle. Sometimes, however, the need for just in reverse reception. It may be that the author, using a triangle, wants to leave his sound free to natural attenuation. It will then go quite reasonably if the words of Netuffez Pas will introduce! Or Laissez VIBRER! Both of these concepts - "Do not shuffle!" And "Leave to sound!" The true intentions of the author are equally well answered. The small league, stretched from the tank head to the right, is completely replaced by a given verbal definition. In the modern orchestra, the triangle was extremely widespread. True, most of the Western authors of theorists restricts its capabilities to the statement that the largest use of the triangle has in dance and entertainment and ballet music. In a comic opera and operetta, he is already less common, in a large opera - sometimes in symphonic music - only in special cases. Now such conclusions are already very naive. The triangle does not know the obstacles and applies in any music in need of his bright, call and unusually beautiful tempering. Therefore, any listed of the scores, where the triangle is used, will seem far from all conditions. Moreover, now there is no longer any opportunity to exhaust even the best cases of its use with sufficient fullness, and therefore it is better not to talk about the success of the triangle in the orchestra, or to reduce this list to the most common cases in order to give only some idea of As used triangle big masters passes almost three hundred years. But before proceeding to the presentation of artistic means and the possibilities of the triangle in the orchestra, timely say a few words about the method of using it during the game. For a long time, a ridiculous custom was established to tie the triangle to the re-container crossbar. Under such conditions, the sound of it, without having a proper space for distribution, it sounds deaf and not ringing. In this regard, in some particularly good orchestras, the performers never tune in a triangle, and hold it with his left hand at the head level of a sitting person and play on it "on weight". In the development of this provision, many modern conduits demand a game on a triangle standing, so that his ring-and-silver blows or sparkling trills were fluent in the air and how. would dominate the orchestra. Against such a completely reasonable requirement, of course, nothing, but many performers mistakenly mistakenly believe that the game on the triangle standing before the face of the entire auditorium not only does not have any influence on his sonicity, but simply prevents the orchestra. The performers must learn more than once that this is the game on a triangle, aimed at achieving the best soundness of the orchestra should be regarded by them only in a positive sense. As already known from the previous one, for the first time used the triangle of Granets in his opera secret magic. However, according to the custom of that time, the author did not write a special party for the triangle, but limited himself a very eloquent note - "accompanied by plates, triangles and other unusual tools." On the contrary, the Pianissimo triangle, such a peaceful acting in the orchestra, with the exception of only such music, the authors of which are generally deprived of any sensation of beauty, is very successfully applied by the overwhelming majority of outstanding composers. But is it possible to exhaust all the best, what is given by great masters? There is no positiveness of any possibility to even list all the works of them, where in one or another refraction It is collapsed by a sparkling of a triangle. Let the reader believes that the samples referred to below from the compositions of Russian authors the essence of the "Small Tolika" of what is really. Let him himself give himself a work to overflow the scores of at least the most prominent and famous Russian classics, in order to make sure that it is very difficult to talk about their samples, because there is no case of a genuine artistic revelation. But all the prediction of the triangle are not exhausted. The most remarkable property of this tool is its ability to initiate orchestral sonicity and bring it to the extreme limit. Any Crescendo or Fortissimo seemed to have achieved the highest stage of the voltage with the entry of the triangle turns out to be easily surpassed. And deeply right, therefore, Vidor, when it was quite fair to express his admiration for such a striking quality of such a small and unbelieving tool. Perhaps, only one plate could compete in this direction with the triangle, but the impression of it is reproducible at a completely different order. The ringing triangle turns out to be capable not only to erect the orchestral sound to the next step, but it owns spells to enlighten any multi-size combination. Let even the triangle trill will take away in the bowels of the orchestra and will remain impossible. His business she will do! It will clarify overly rich orchestra sounding and make it a great-solemn and brilliant.
Triangle on Wikisklad Triangle (musical instrument)From the end of the XVIII century, a triangle is one of the main impact tools of the symphony orchestra. In the writings of Hydena, Mozart and Beethoven, it was used to simulate the so-called "Janacharsk Music". One of the first essays in which the triangle is instructed by a fairly responsible independent party - concert number 1 for piano with the leaf orchestra. Among the musicians, this work sometimes is a joke called a "triangle concert".
The characteristic sound of the triangle can be heard in the middle section of the Overture to the Opera Wilhelm Tools, Migra's music to the Drama "Per Gunt" (Aitera dance, Arabic dance) and other writings. The triangle is widely used in Forro, sambe and other types of popular music of the Northeast of Brazil.
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Links
- (Inaccessible link from 14-06-2016 (987 days))
- Solovyov N. F. // Encyclopedic Dictionary of Brockhaus and Efron: in 86 tons. (82 t. And 4 extra). - St. Petersburg. , 1890-1907.
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The triangle is one of the most simple musical instruments used in the modern symphony orchestra. It really is a metal rod, bent in the shape of an equilibried triangle. The triangle is not closed - in one of its corners, the ends of the rod are close to each other, but do not come into contact.
The sound is extracted by a blow on a triangle with a wooden or metal wand. The sound of the tool depends on the material from which the triangle itself is made and wand, as well as from the place of impact. The triangle is suspended for a closed corner on a thin wire or a rigor.
When and where for the first time this instrument appeared to say quite difficult. Some experts suggest that he came to Europe from the East, and it happened at about the beginning of the 15th century. For a long time, he was considered a folk instrument, but in the XVIII century, due to such great composers as Mozart and Glitch, he firmly fixed in the symphony orchestra. The first appearance of a triangle in the symphony orchestra is related to the 70s of the XVIIIV.
A little earlier, he began to be used in military orchestras. There is information that in Russia in the troops it was used during the times of Elizabeth. In our country, for some reason he got the name of Trenzel. However, this name for the triangle was fixed only in the military orchestra - it remained the same in the symphony.
Despite the seeming simplicity of the tool, it should be made according to strictly defined rules. For the manufacture of a triangle, special steel is used, which is sometimes called silver - as it publishes a special "silver" sound. This metal is very elastic and rigid enough. It must be said that the parameters of the triangle are not everywhere: so for example, in France, it is slightly smaller than in our country. The most common values \u200b\u200bof values \u200b\u200bare 6, 8 and 10 inches (the value of the triangle base). The cross section of the rod itself also varies, the main defining factor in this case is considered tool sound.
Suspension for the triangle is currently also useful - if any suitable rope used for this, now the string is now.
The fact is that the string is practically not unavailable the sound of the instrument. For the same reason, there are no pens and a wand, with which sound is removed from the tool. The thickness of the stick depends on what, in fact, the sound must be removed. Typically, three types are used - thin, middle and thick. More often used sticks from the same material as the tool itself, but sometimes they can be wooden. At the same time, it is believed that the triangle does not belong to the tools from which the sound of a strictly defined frequency can be removed. Two sticks can be used immediately, which the musician holds in the left and right hand - so it can tapping a certain rhythm.
The strength of the recoverable sound usually also depends on the desire of the composer. The performer seeks him not only by changing the strength of the blow, but the places where he delivers it. The sound in the middle is stronger than closer to the corners. Sound duration The performer can also adjust. It is done quite easily - he just touches the triangle with his finger, can do it at any point of the surface.