Impact folk instruments. Video Tutorial

Russian folk percussion instruments are the first of three groups of folk instruments.A characteristic feature of Russian folk drum tools is that some of them were the objects of life.Perhaps one of the most common Russian folk instruments are spoons. Before the spoons were woodenAnd these wooden spoons people began to use like a shock tool. They played, usually, on three spoons, of which two were kept in one hand, and the third to another. Children often play on two spoons, bonded together Performers on spoons call Plugs . There are very skillful lodkari that play on more spoons that are stuck in boots and a belt.

The next percussion instrument, which was also the subject of life is rubel . It is a wooden bar with jar on one side. With it was washed and smoothed underwear. If you spend on it with a wooden stick, then we will hear a whole cascade of loud, trust sounds.

The next tool with whom we will meet will ratchet . There are two varieties of this tool. A rattling that represents a set of wooden plates associated with a rope and a circular ratchet, inside which a toothed drum, when rotating which a wooden plate is hidden about it.

No less popular impact folk instrument is tambourine which is a wooden hoop with metal small plates, on one side of which the skin is stretched.

The next Russian people's shock tool is Box . It is a wooden bar, made, usually, from solid wood rocks with a small cavity under the top of the housing, which enhances the sound, which is removed by drum or xylophonic chopsticks. The sound of this tool is well transmitted by the Cocane's hoofs or the head of the heels in the dance.

Russia with her huge expanses can not be submitted without triple Horses, without yamchikov. In the evening, in the snowy perma, when visibility was very bad, it was necessary that people heard the approaching troika. For this purpose under the horse's arc, the bells were hung and bubber. Bell It is an open metal cup with a drummer suspended inside (tongue). It sounds only in a limful condition. Bell It is a hollow ball, in which the metal ball (or several balls) is freely rolling, when shaking hitting the walls, as a result of which the sound is removed, but more dull compared to the bell.

A lot of songs and tools are devoted to Russian troika and yamchikov that there was a special musical instrument into the orchestra of folk instruments, simulating the sound of yamchchitsky bells and puments. This tool was called - Bubentes . On a small piece of skin with a palm with palm, a strap that helps keep the tool in the palm of palm. On the other hand, the baubles themselves are sealing as much as possible. Shaking the bubrels or hitting them about the knee, the playing removes the sounds, reminiscent of the ringing of the bells of the Russian Troika.

And now we will talk about the instrument called Kokoshnik .

In the old days, rustic strollers were armed with so-called beater. Watchman Hodyl

at night, in the village and pounded into it, giving fellow villagers to understand that he was not sleeping, but she worries, and at the same time, when scaring the thieves.

According to the principle of this watchdog and arranged a shock folk instrument Kokoshnik. The basis of it is a small wooden frame, covered with skin or plastic, which strikes the ball suspended to the top. Playing makes a brush of hands Frequent oscillatory movements, forcing a tied ball to dangle from side to side and alternately hit the walls of Kokosnik.

The next musical instrument is called firewood . It represents the rope of different lengths of lamp. Not all sorts of firewood will sound good. It is better to take firewood of solid wood. Lengins take different lengths, but approximately the same thickness. After you make a tool, it is set up.

We met with the main Russian folk instruments, and in conclusion I would like to introduce you to some of the most famous percussion instruments of other peoples.

Very common Latin American tool are maracasy.

Maracas or Maraca - the oldest shock-noise tool of indigenous inhabitants of the Antille Islands - Indians Taino, a variety of rattles, publishing when shooking a characteristic rustling sound. Currently, Maraki are popular throughout Latin America and are one of the symbols of Latin American music. As a rule, a musician playing on the Maraca uses a couple of rattles - one in each hand.

In Russian, the instrument name is more often used in not quite the correct form of "Maracas". A more correct form of the name is "Maraca".

Initially, the dried fruits of a rustling tree, known in Cuba called "Guira", were used for the manufacture of Marak, and in Puerto Rico - Iguero. Grylyanka tree is a small evergreen plant, which is widespread in West Indies (on the Antillest Islands), Mexico and Panama. The major iguero fruit covered with a very hard green shell and reaching 35 cm in diameter, the Indians used for the manufacture of both musical instruments and dishes.

For the manufacture of Marak, the fruits of a small size of the correct round shape were used. After removing the pulp through two holes drilled in the housing and drying of the fetus inside the shallow pebbles or plant seeds, the number of which in any pair of Marak is different, which ensures each tool uniquely individual sound. At the last stage, a handle was attached to the resulting spherical rattle, after which the tool was ready

And now let's get acquainted with a very famous Spanish shock tool - casstans.

Castanets - a shock musical instrument, which is two concave plates-shells, in the upper parts associated with a lace. Kastagnes got the greatest distribution in Spain, southern Italy and Latin America.

Similar simple musical instruments suitable for rhythmic accompanying dance and singing were used in ancient Egypt and ancient Greece.

The name of the kastagnets in Russian is borrowed from Spanish, where they are called Castañuelas ("Kashtanka") due to similarity with chestnut fruits. In Andalusia, they are more often called Palillos ("sticks").

The plates are traditionally manufactured from solid wood, although recently metal or fiberglass is increasingly used for this. In the symphony orchestra, for the convenience of performers, cacadettes fixed on a special stand (so-called "kastanet-car") are most often used.

Kastnets used by Spanish dancers and dancers have traditionally been manufactured two sizes. Big Castanets were kept with her left and chopped the main dance movement. Small kastagnes were in their right hand and repulsed a variety of musical drawings, which was accompanied by the execution of dances and songs. As accompanied by songs, the kastanyti acted only as a wage - during a break in the voice of the voice.

In the world culture, the castanets are the stronger all the most associated with the image of Spanish music, especially with the music of Spanish Gypsies. Therefore, this tool is often used in classical music to create a "Spanish color"; For example, in such works as Opera J. Bizen "Carmen", in the Spanish overtures of Glinka "Aragon Khota" and "Night in Madrid", in the "Spanish Capriccio Rimsky-Korsakov, in Spanish dances from Tchaikovsky's ballets.

Although percussion instruments are not given in music the main role, but not rarely shock tools give music a unique flavor.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted by http://allbest.ru.

State autonomous professional educational institution of the city of Moscow

"College of Entrepreneurship number 11"

COURSE WORK

On the topic: Percussion instruments

By specialty: "Music literature"

Performed:

Student Safronova Kristina Kirillovna

Leader:

Teacher branch

Audiovisual technologies

Bocharova Tatyana Aleksandrovna

Moscow 2015.

1. PERCUSSION INSTRUMENTS

Light musical instruments are a group of musical instruments, the sound of which is extracted by a blow or shaking (swaying) [hammers, beasts, sticks, etc.] for the sounding body (membrane, metal, wood, etc.). The most numerous family among all musical instruments.

Impact musical instruments appeared before all other musical instruments. In ancient times, the percussion instruments used the peoples of the African continent and the Middle East to accompany the religious and militant dances and dancing.

Nowadays, the percussion instruments are very common, since no ensemble is without them.

The drums belong to the tools whose sound is retrieved by hitting. According to musical qualities, i.e., the possibilities of obtaining sounds of a certain height, all shock tools are divided into two types: with a certain sound height (liter, xylophone) and with an indefinite sound height (drums, plates, etc.).

Depending on the type of sound body (vibrator), the shock tools are divided into webbed (Litales, drums, tambourines, etc.), lamellar (xylophones, vibrofones, bells, etc.), self-refined (plates, triangles, casstans, etc.).

The volume of the sound of the shock tool is determined by the dimensions of the sounding body and the amplitude of its oscillations, i.e. the force of the blow. In some tools, the gain is achieved by adding resonators. The timbre of the impact tools depends on many factors, the main of which are the form of a sounding body, the material from which the tool is made, and the way of impact.

1.1 Effective impact tools

Invertible impact tools, the sounding body is a strained membrane or membrane. These include Litales, Drums, Tuben, and others. Impact bell sound drum

Litavra - a tool with a certain height of sound having a metal housing in the form of a boiler, at the top of which the membrane is stretched from well-seal skin. Currently, a special membrane is used as a membrane from polymeric materials of high strength.

The membrane is attached on the housing using hoops and tensioning screws. With these screws, located around the circumference, stretch or release membrane. Thus, configuration of the Litavra is carried out: if the membrane is tightened, the system will be higher, and, on the contrary, if the membrane is released, then the system will be lower. In order not to interfere with the free vibration of the membrane in the center of the boiler, there is a hole for moving air.

The body of the Litavr is made of copper, brass or aluminum, they set them on the stand - tripod.

In the orchestra, the Litavra is used in a set of two, three, four or more boilers of various sizes. The diameter of modern Litavr from 550 to 700 mm.

Split strip screws, mechanical and pedal. The most common pedal, since one click on the pedal can, without interrupting games, rebuild the tool for the desired tonality.

Sound volume Litavra is approximately quinte. Big Lituri is configured below all others. Tool sound range - from Fa large octave to small octave. The middle license has a sound range from a large octave to Fa Small Octave. Malaya Litaur - from the lane octave to la with octave.

Drums - tools with an indefinite height of sound. The drums are small and large orchestral, small and large pop, Tom-tenor, Tom Bas, Bongs.

A large orchestral drum is a cylindrical cylindrical body, covered with skin or plastic on both sides. The large drum has a powerful, low and deaf sound, which is extracted with a wooden beater with a ball-shaped tip from felt or filler. Currently, for membranes, the drums began to apply instead of expensive parchment leather polymer film having higher strength rates and best musical and acoustic properties.

The membranes at the drums are fixed by two rims and tensioning screws located around the circumference of the tool housing. The housing of the drum is made of sheet steel or glued plywood, stones with an artistic celluloid. Sizes 680x365 mm.

The high pop drum has a form and design similar to the orchestral drum. Its dimensions 580x350 mm.

The drum Small orchestral has the form of a low cylinder, covered with two sides with leather or plastic. Membranes (membranes) are attached to the housing using two rims and tightening screws.

To give a drum of a specific sound above the lower membrane, special strings or spirals (edge) are tensioned, which are powered by a discharging mechanism.

The use of synthetic membranes in the drums made it possible to significantly improve their musical and acoustic capabilities, the reliability of operation, the duration of the service and the transport. Sizes of small orchestral drum 340x170 mm.

Small orchestral drums are included in the military brass orchestras, they are used in symphony orchestras.

The drum Small pop has the same device as orchestrous. Its dimensions 356x118 mm.

Drum Tom Tom Tenor and Drum Tom-Tom Bas do not differ on the device and are used in pop shock installations. The Tom Tenor drum is mounted using a bracket to a large drum, the drum Tom-Tom-bass is installed on the floor on a special stand.

Bongs are drums of small sizes with leather strained on one side or plastic. They are part of the pop shock installation. Bongs are connected by adapters.

The tambourine is a hoop (shell), which has leather or plastic on one side. In the housing, the hoop has special slits in which brass plates having a kind of small orchestral plates are strengthened. Sometimes still inside the hoop on stretched twin or spirals, small puments, rings are rolled. All this from the slightest touch to the tool is by creating a kind of sound. Strokes on the membrane produce fingers ends or the base of the palm of the right hand.

The tambourines are used for rhythmic accompaniment of dance, songs. In the East, where the art of the game on the tambourine has reached virtuoso skill, a solo game has a solo game on this tool. Azerbaijani tambourine is called Def, Dyaf or Gaval, Armenian - Daf or Hawa, Georgian - Dair, Uzbek and Tajik - Doyra.

1.2 Plate shock tools

The lamellar shock tools with a certain height of the sound include xylophone, metallophone, marim-baph (marimba), vibrophone, bells, bells.

Xylophone - is a set of wooden pars of different sizes corresponding to different sounds in height. Lands are made of rosewood, maple, walnut, fir. They are located in parallel in four rows in the order of chromatic gamma. Mounting lumps on durable laces and are separated by springs. The cord passes through the holes in the bar. For the game, xylophone is folded on a small table on equity rubber gaskets located along the tool cords.

Play on xylophone with two wooden chopsticks with thickening at the end. Xilophone is used for both solo games and orchestra.

The range of xylophone is from the SI small octave to the fourth octave.

Metallophones are similar to xylophones, only the sound plates are made of metal (brass or bronze).

Marimbaphones (Marimba) - a shock musical instrument, sounding elements of which are wooden plates, and to enhance the sound on it, tubular metal resonators are installed.

Marimba has a soft, juicy timbre, has a range of four octaves: from notes to a small octave to notes up to the fourth octave.

The gaming plates are made of rosewood wood, which ensures high musical and acoustic properties of the tool. Plates are located on the frame in two rows. The first row contains the plates of the main tones, the second row - the plates of the semitones. Resonators (metal tubes with plugs) installed on the frame in two rows) are configured to the sound frequency of the corresponding plates.

The main nodes of Marimba are fixed on the supporting trolley with wheels, the framework of which is made of aluminum, which provides minimal mass and sufficient strength.

Marimba can be used by both professional musicians and educational purposes.

The viborphone is a set of chromatically tuned aluminum plates located in two rows similar to the piano keyboard. Plates are installed on a high bed (table) and attached to laces. Under each plate in the center there are cylindrical resonators of the corresponding magnitude. Through all the resonators in the upper part are the axes, on which fan impeller are attached - fans.

With side of the bed, a portable silent electric motor is mounted, which evenly rotates the impeller throughout the game on the instrument. Thus, vibration is achieved. The tool has a damper device connected to a pedal under the face, to mucut the sound. Play on the vibrafone two, three, four sometimes and longer chopsticks with rubber balls at the ends.

The vibraphon range is from the Fa Small Octave to the FA of the third octave or from to the first octave to the third octave.

The vibraphone is used in the symphony orchestra, but more often in the pop orchestra or as a solo tool.

Bells are a set of shock tools that are used in opera and symphonic orchestras to imitate bell tongues. The bell consists of a set of cylindrical pipes from 12 to 18 pieces configured chromatically.

Pipes are usually brass nickel plated or steel chrome-plated with a diameter of 25--38 mm. They are suspended in a rack-rack with a height of about 2 m. The sound is removed by a blow of a wooden hammer through the pipes. The bells are equipped with a pedal damper device to join sound. The range of bells 1--11 / 2 octaves, usually from the FA large octave.

Bells - a shock musical instrument, which consists of 23--25 chromatically tuned metal plates placed in a flat box in two rows of steps. The top row corresponds to black, and the bottom row is the white piano keys.

The range of the sound of the bells is equal to the two octaves: from the notes to the first octave to the note to the third octave and depends on the number of plates.

1.3 Immediate impact tools

The self-refining percussion instruments include: plates, triangles, thamas, cassations, maratas, rattles, etc.

Plates are metal discs made of brass or nezilber. Discovers are granted several spherical shape, leather straps are attached to the center.

When you hit the plates, a long ringing sound is published. Sometimes one plate is used and remove the sound of a stick or metal brush. Receives orchestral plates, charleston plates, gong plates are available. There are plates sharply, ringing.

The orchestrous triangle is a steel rod, which is supplied with an open triangular form. When playing, the triangle is freely suspended and hit with a metal wand, performing various rhythmic patterns.

The sound of the triangle is bright, ringing. A triangle is used in various orchestras and ensembles. We are produced orchestral triangles with two steel chopsticks.

There, there or gong - a bronze disk with curved edges, in the center of which beaten with a beater with a felt tip, the sound of a deep, thick and gloomy, reaches full force not immediately after impact, and gradually.

Castanets - in Spain are a folk instrument. Castanets have a form of sinks converted one 1C with another concave (spherical) side and cord-related. Made them of solid wood and plastics. Castanets are produced double and single.

Maracasy - Wood or plastic balls, filled with a small amount of small pieces of metal (fraction), outside maratasa are colorfully decorated. For ease of hold during the game, they are equipped with a handle.

Shaking maratasas, reproduce various rhythmic drawings.

Maracas find application in orchestras, but more often in pop ensembles.

Rattles are sets of small plates fortified on a wooden plate.

1.4 Shock installation of a pop ensemble

To fully explore the group of impact musical instruments, a specialist involved in their implementation, it is necessary to know the composition of the drums (sets). The most common is the following permissions: a large drum, a small drum, a spotted plate "Charleston" (Hay-Het), the plate is single large, the plate is single small, bongs, Tom Tom, Tom Tom Tom, Tom Tom Alto.

Directly in front of the artist on the floor, a large drum is installed, it has stubborn legs for stability. Top on the drum with the help of brackets can be fixed drums Tom Tomor and Tom Tom Alto, additionally on the large drum there is a stand for an orchestral plate. Brackets, fixing Tom Tovor and Tom Tom Alto on the Big Drum, regulate their height.

An integral part of a large drum is a mechanical pedal, with which the performer removes the sound from the drum.

The percussion installation necessarily includes a small pop drum, which is attached on a special stand in three grabs: two folding and one retractable. The stand is installed on the floor; It is a rack equipped with a locking device for fixing in a given position and adjusting the slope of a small drum.

The small drum has a dropping device, as well as the muffler, which are used to adjust the voice tone.

The drum kit includes simultaneously several different volumes of drums, volumetom alto and volume tenor. Tom Tom Bass is installed on the right side of the artist and has legs with which you can adjust the height of the tool.

Bongy drums included in the shock installation are placed on a separate stand.

The drum installation also includes orchestral plates with a stand, a mechanical stand for the charleston plates, chair.

The accompanying percussion tools are maratas, casstans, triangles, as well as other noise tools.

Spare parts and accessories for shock tools

Spare parts and accessories of percussion instruments include: stands for small drum, stands for orchestral plates, mechanical pedal stand for Charleston orchestral plates, mechanical beater for large drum, chopsticks, chopsticks to a small drum, drumstand sticks, orchestral brushes, Large drum, leather for large drum, belts, cases.

In the shock musical instruments, the sound is removed by a blow to any device or individual parts of the tool.

The percussion instruments are divided into refidming, lamellar, self-refined.

The refiguration belongs to the tools that the source of sound is a strained membrane (litwords, drums), the sound is removed by a blowpock with any device (for example, a beater). In plate instruments (xylophones, etc.), wooden or metal plates, bars use as a sounding body.

In self-spiling tools (plates, cassays, etc.) the source of sound is the tool itself or its body.

Impact musical instruments are tools that sound the bodies of which are excited by blows or shaking.

By sound source, shock tools are subdivided into:

* Plate - in them the sound source is wooden and metal plates, bars or tubes, for which the musician hits with chopsticks (xylophone, metalphone, bells);

* Weching - they sound the strained membrane - membrane (Litavra, Drum, Tuben, etc.). Litales are a set of several metal boilers of different magnitudes covered with toppeaking from the skin. The refill tension can be changed by a special device, and the height of the sounds recovered by the beater changes;

* Immediate - In these tools, the source of the sound is the case itself (plates, triangles, cassays, maratasas)

2. The role of shock tools in the modern orchestra

The fourth association of a modern symphony orchestra is percussion instruments. They have no resemblance to a human voice and say nothing to his inner feeling on him understandable. Their measured and more or less specific sounds, their fracturing and crackling have rather "rhythmic" value.

Their melodic duties are extremely limited, and all the creature of their deep roots goes into the nature of the dance in the widest values \u200b\u200bof this concept. It is as such that some of the impact tools had to be used in deep antiquity and were widely used not only by the peoples of the Mediterranean and Asian East, but also acted, invisible, in all so-called "primitive peoples" at all.

Some spare and ringing percussion instruments used in ancient Greece and ancient Rome as instruments accompanying dancing and dance, but no shock tool from the Barabanov family was allowed by them to the field of military music. These tools had a particularly wide application in the life of ancient Jews and Arabs, where they performed not only civil duties, but also the military.

On the contrary, the peoples of modern Europe in military music adopted percussion instruments of various species where they are very important. However, the melodic poverty of the percussion instruments did not interfere with them, nevertheless, to penetrate the opera, ballet and symphony orchestra, where they are already occupied by far away.

However, in the artistic music of European peoples there was a time when access to these tools was almost closed into the orchestra and, with the exception of the Litavr, they laid the way to symphony music through the Opera and Ballet orchestra, or, as they would say now - through the orchestra "Dramatic Music "

In the history of "cultural life" of mankind, percussion instruments arose before all other musical instruments at all. However, this did not prevent the impact tools to the background of the orchestra at the time of his emergence and the first steps of its development. And it is all the more surprising that denying the huge "aesthetic" value of the percussion instruments in the artistic music is still impossible.

The history of the occurrence of shock tools is not very fascinating. All those "guns of the production of measured noise", which all primitive peoples used to accompany their warlike and religious dances, at the beginning further of ordinary dors and poor drums did not go. And only much later in many Mid-African tribes and some peoples of the Far East have such tools that served as worthy samples to create more modern European shock tools adopted everywhere.

With regard to musical qualities, all shock instruments are very simple and naturally divided into two types or kinds. Some make the sound of a certain height and therefore it is quite natural to enter the harmonic and melodic basis of the work, while the other capable of producing more or less pleasant or characteristic noise performs the duties of purely rhythmic and decorating the words in the widest value. In addition, various material takes part in the drum tool device and, in accordance with this feature, they can be divided into the tools "with skin" or "webbed", and "self-reflecting", in the device of which takes part different types and varieties of metal, wood And lately - Glass. Kurt Zaks, assigning them not very good and extremely ugly for hearing the definition - idiophones, obviously misses what it is. The concept in the meaning "peculiar" may be in essence, on equal bases: applied to any musical instrument or their family.

In the orchestral score, the Commonwealth of the percussion instruments is usually placed in the middle of it - between copper and bow. With the participation of the harp, piano, Cheesets and all other string-pinch or keyboard tools, the drums always retain their place and are then located directly after the copper, yielding after themselves the place to all the "adorning" or "random" voices of the orchestra.

A ridiculous way to write percussion instruments Below to the Blood Quentte must be strongly convicted, as very uncomfortable, unnecessary and extremely ugly. He originally arose in the old scores, then acquired a more separate position in the depths of the brass orchestra and, having an insignificant justification, now, truth, disturbed and completely overcome, was perceived by some composers who wished to pay attention to at least something and in so it became.

But the worst thing is that this is, a strange innovation turned out to be the stronger and more dangerous that some publishers went towards such composers and printed their scores on the "new sample". Fortunately, such "publishing pearls" turned out not so much and they, as. Looks to the advantage in their artistic meritors, they sacred in the abundance of truly excellent samples of a diverse creative heritage of all nations.

The only one reigns the specified way to present the impact tools - at the very bottom of the scores, is a pop ensemble. But there it is generally customary to have all the tools otherwise, guided only by the high-speed sign of participating tools. In those remote times, when only alone Litavra acted in the orchestra - they were taken to put the above all other tools, believing, obviously, such a presentation is more convenient. But in those years, the score was generally somewhat unusual, nowhere now there is no need to remember. It must be agreed that a modern way of presenting-scores is sufficiently simple and convenient, and therefore there is no point in dealing with all sorts of fabrications, which was just said in detail.

As already mentioned, all shock tools are divided into tools with a certain height of sound and tools without a certain height of sound. Currently, such a distinction is sometimes challenged, although all proposals made in this direction are reduced rather to confusing and deliberately emphasizing the being of this extremely clear and simple position, in which there is even a direct need to remember every time the meaning of the sound height each time.

In the orchestra, the tools "with a certain sound" imply, first of all, a five-line note mill or notonic, and the tools "with an indefinite sound" - the conditional way of music record- "hook" or "thread", that is, is one single line on which Goton heads are depicted only by the required rhythmic pattern. Such a transformation, made quite by the way, was to guess the place, and, with a significant number of impact tools, simplify their presentation.

However, not so long ago, ordinary notoposses with SOL and FA keys were adopted for all shock tools "without a certain sound", and with the conditional placement of music heads between the spps. The inconvenience of such a record did not slow down to affect how soon the number of shock-noise tools increased to the "astronomical limits", and the composers themselves who used this method of presentation were lost in the insufficiently developed order of their design.

But what was caused by the combination of keys and threads - to say it is very difficult. Most likely, it began with typos, which was then attracted by some composers, which began to set a treble key on a thread intended for relatively high percussion instruments, and the FA key for relatively low.

Do you need to talk here about the justice and complete insolvency of such a presentation? As far as it is known, for the first time, the keys on the thread met in the scores of Anton Rubinstein, printed in Germany, and representing undoubted typos, and significantly later revived in the womb of the Flemish composer Arthur Moylems (1884-?), Who adopted the rule to supply the average thread with the SOL key, and the most Low-key FA. Especially wild, such a presentation looks in cases where the threads that are not marked with the keys with the Fa key appears. In this sense, the Belgian composer Francis de Burguignon (1890-?) Was more consistent, which supplied a thread that participates in the score.

The French publishers accepted a special "key" for impact tools in the form of two vertical bold bars resembling the Latin letter "H" and crossing threads at the accolad itself. There is nothing to objeed against such an event, since it will eventually lead to a "some external finish of orchestral scores in general.

However, it will be quite fair to recognize all these eccentrics, equal to zero, before the face of that "unstores", which still exists - * to this day in the presentation of impact tools. Roman-korsakov expressed the idea that all self-refining tools or how oh calls them - "shock and ringing without a certain sound," you can consider how high - triangle, kastagnets, bubber, middle - tambourine, rods, small drum, Plates, and as a low-large drum and there, "implying their ability to combine with the relevant areas of the orchestra sounding in tools with the sounds of a certain height." Leaving aside some details, which is the force of which "rods" should be excluded from drums, as "affiliation of drum tools", but not a shock tool in its own meaning, the observation of the Roman Corsakov remains to this day in full strength.

Based on such an assumption and complementing it with all the latest shock instruments, it would be possible to consider the most reasonable to have all the impact tools in the order of their alosight and write the "high" above "medium", and the "average" higher "low". However, there is no unanimity among the composers and the presentation of the impact tools is carried out more than arbitrarily.

It is possible to explain this provision of V.Mennye degree only by the chance of participation of percussion instruments, and in a greater - the complete disregard of the composers themselves and the evil habits or erroneous prerequisites. The only excuse for such a "instrumental intercession" can be the desire to set out the entire cash composition of the shock instruments existing in this case, in order of parties, when each performer is assigned strictly defined tools. Putting a waiting for words, such a presentation has more meaning in the parties of the drummers themselves, and in the scores it is useful only when it is construed with "pedantic accuracy".

Returning to the question of the presentation of impact tools, of course unsuccessful should recognize the desire of many composers, and including quite noticeable, placing plates and a large drum at once after the film, and the triangle, bells and xylophone are lower than these last. In such a solution, there is no problem, of course, sufficient grounds, and all this can be attributed to the unjustified desire to be "original." The simplest and natural, and in the light of the exorbitant number of percussion instruments operating in the modern orchestra, the most reasonable can be recognized as the premises of all the impact tools that are used by the NOTONOP, above the filament.

In each individual association, of course, it would be desirable to adhere to the views of the Roman Corsakov and place the votes in accordance with their relative alights. Of these considerations, after Litavre, holding their championship in the "original tradition", one could place bells, a vibraphone and a tube above xylophone and marimba. In tools Without a certain sound, such a distribution will be somewhat more complicated due to the large number of participants, but in this case, nothing will prevent the composer to stick to the well-known rules, which has already been mentioned above.

It should be thought that the definition of the relative altitude of the self-sounding tool, mainly does not cause curvators, and the ring is so, it does not cause any; difficulties and for their implementation. Only the bells are taken to place below all shock tools, since their party is most often caught by the conditional inscription of the notes and their rhythmic duration, and not a complete "ringing", as is usually done in the relevant entries. The "Italian" or "Japanese" bells, having a form of long metal pipes, requires the usual five-line note that the lower than all other tools "with a certain sound". Consequently, the bells and here serve as if the framing of the notophus, combined by one common sign of "definition" and "uncertainty", sound. Otherwise, there are no features in the entry of shock tools, and if they, for some reason, will turn out to be, then they will be told in proper place.

In the modern symphonic orchestra, the percussion instruments serve only two goals - rhythmic to maintain the clarity and sharpness of movement, and decorating a broad sense with a broad sense, when the author of shock tools contributes to the creation of charming sound paintings or "moods", filled with excitation, hotness or rapidness.

From what has been said, of course, it is clear that you have to use the shock tools with great caution, taste and moderation. The diverse soundness of the percussion instruments is able to quickly utilize the attention of the listeners and therefore the author should remember all the time that he is doing shock. Only one liter enjoys well-known advantages, but they can be reduced to excessive excess.

The classics paid a lot of attention to shock tools, but they never erected them into the degree of single orchestra figures. If something similar has happened, then the performance of the shock is most often limited to only a few dollars of tact or was content with the extremely minor duration of the entire construction.

From Russian musicians with one shock, as joining very rich and expressive music, took advantage of the Spanish Capriccio Roman-Korsakov, but most often Solo percussion instruments occurs in the "music dramatic" or in ballet, when the author wants to create a particularly acute, extraordinary or " Unprecedented feeling. "

This was exactly what Sergey Prokofiev was admitted in the musical performance of the Egyptian nights. Here the audit tools are accompanied by the scene of the podmoch in the house of Cleopatra's father, which the author is the name of "alarm". Did not refuse drum tools and Victor Orange (1899-1953). He had an opportunity to apply this amazing dies in the ballet three fathers, where he entrusted with one shock accompaniment to the acute rhythmic canvas of "eccentric dance".

Finally, quite recently, the services of some shock tools applied in the intricate sequence "dynamic<оттенков», воспользовался также и Глиер в одном небольшом отрывке новой постановки балета Красный мак. Но как уже ясно из всего сказанного такое толкование ударных явилось уже в полном смысле слова достоянием современности, когда композиторы, руководимые какими-нибудь «особыми» соображениями, заставляли оркестр умолкнуть, чтобы дать полный простор «ударному царству».

The French, firing over such "art revelation," quite a poisonous question, "Don't have the new French word Bruisme, as a derivative of Brui-" noise ". In Russian, there is no equivalent concept, but the orchestrants themselves have already taken care of the new name of such music, which they rather evil painted the definition of "shock throat". In one of its early symphony works, such an "ensemble" dedicated to the whole part Alexander Cherepnin. About this work was already a case a little talk about the connection using the Blood Quintet as shock tools and therefore there is no sharp need to return to it again. The annoying "shock" delusion gave Danan and Shostakovich in those days when his creative worldview was not still sufficiently stable and mature.

At all aside, there is a "sound-powered" side of the case, when the author, with the smallest number of truly occupied actual impact tools, there is a desire or more precisely, - the artistic need to create only the "sense of shock" of all music intended mainly for stringed and wooden wind instruments.

One such example, an extremely witty, funny and superbly sounding "in the orchestra", if the composition of the tools participating in it can generally be determined by this concept, meets the Orange in ballet three fat men and is called "Patrol".

But the most outrageous example of musical formalism remains an essay written by Edgar Varez (1885-?). It is designed for thirteen performers, intended for two drum tools associations and is named by the author of Lonisation, which means "saturation". In this "work" there are only acoustically sound percussion instruments with piano.

However, this last used also as a "shock tool" and the Contractor acts on it according to the latest "American Method" Henry Kowel (1897- ", which suggested, as you know, play only with one elbows, spread throughout the keyboard wide.

According to the reviews of the then press, - and the case took place in the thirties of the current century, -pargean listeners, brought to this product to the state of wild frenzy, strongly demanded it to repetition, which was immediately implemented. Not to say a bad word, the story of the modern orchestra does not know the second case from a number of emerging "case".

Posted on Allbest.ru.

Similar documents

Types of Chuvash Folk Musical Instruments: Strings, Brass, Impact and Immediate. Shapa - bubble bubble, technique of playing on it. Source of membronofones. Material of self-visual tools. Plug tool - Timer Cupam.

presentation, added 03/05/2015


The main classification of musical instruments according to the method of extracting sound, its source and resonator, sound formation specificity. Types of string tools. The principle of operation of a lump harmonica and bagpipes. Examples of plumbing, sliding tools.

presentation, added 04/21/2014


The history of the origin and the development of musical instruments from ancient times to the present day. Consideration of the technical capabilities of copper, wooden and shock tools. The evolution of the composition and the repertoire of the brass orchestras; Their role in modern Russia.

coursework, added 11/27/2013


The use of musical toys and tools and their role in the development of children. Varieties of tools and their classification by way of extracting sound. Forms of work on learning a game of children's musical instruments in children's preschool institutions.

presentation, added 03/22/2012


Keyboard musical instruments, physical basis of action, the history of the occurrence. What is the sound? Characteristics of musical sound: intensity, spectral composition, duration, height, major gamma, musical interval. Sound distribution.

abstract, added 07.02.2009


Microscopic aspect of the mediator, criteria selection of shape and size. Staging right hand to extract sounds by the mediator. . Hierarchical position of the mediator in the orchestra. Machinery and techniques of the game by the Mediator: Boot, on tabs and notes and variable stroke.

abstract, added 02/21/2012


Big team of musicians for performing academic music. Tools of the symphony orchestra. The composition of the symphony concert. Bow and tweezing string tools. Wooden and copper brass instruments. Block instruments orchestra.

presentation, added 19.05.2014


Physical basis of sound. Properties of musical sound. Designation of sounds according to the alphabetic system. Definition of the melody as a sequence of sounds, as a rule, in a specially associated with LADA. The doctrine of harmony. Musical instruments and their classification.

abstract, added 01/14/2010


The history of the emergence and manufacture of musical instruments, their characteristics, classification and varieties. The first acquaintance of children with music, learning a game on a metalophone, accordion and brass harmonic with the help of musical and didactic games.

methodology, added 01/31/2009


Criteria and signs of rational classification of musical instruments, ways to play on them. Systematization of the performing and musical and historical classes of instruments; Types of vibrators on Hornbosteley-Zaksu. Classification of P. Zimin and A. Modra.

Music surrounds us from childhood. And at the same time, our first musical instruments appear. Remember your first drum or tambourine? And the brilliant metallone, on the plates of which it was necessary to knock on a wooden wand? And dulls with holes on the side? At them, with a certain skill, it was possible to even play simple melodies.

Toy tools are the first step into the world of real music. Now you can purchase a variety of musical toys: from simple drums and harmonica to almost real piano and synthesizers. Do you think it is only toys? There is no at all: in the preparatory classes of music schools from such toys, whole noise orchestresses are compiled, in which the kids are selflessly blowing into the shoes, knocking on the drums and tambourines, spurt the Rhythm Maracas and play the first songs on xylophone ... and this is their first true step into the world music.

Types of musical instruments

In the world of music there is an order and classification. Tools are divided into large groups: string, keyboards, drums, brass, and also language. Which of them appeared earlier, which later, it is difficult to say for sure. But already ancient people who shot out of Luca noticed that the stretched valuation sounds, reed tubes, if they have a pioneer, publish whistling sounds, and the rhythm is conveniently discouraged on all the surfaces with all his profiles. These items have become the progenitors of strings, wind and shock tools, already known in ancient Greece. Also, the tongues appeared for a long time, but the keys were invented a little later. Consider these basic groups.

Overs

In wind instruments, the sound is issued as a result of the oscillations of the air column concluded inside the tube. The larger the amount of air, the lower sound it makes it.

The winds are divided into two large groups: wooden and copper. Wooden - Flute, Clarinet, Oboe, Fagot, Alpine Horn ... - are a straight tube with side holes. Closing or opening holes with fingers, the musician can shorten the air post and change the height of the sound. Modern tools are often made not from wood, but from other materials, but according to traditions are called wooden.

Copper The brass set the tone of any orchestra, from the wind to the symphony. Pipe, French horn, Trombone, Tuba, Helikon, whole family of Saxcorn (Bariton, Tenor, Alt) - typical representatives of this very high-profile group of tools. Later, a saxophone appeared - the king of jazz.

The height of the sound in copper winds is changing due to the power of the inventive air and the position of the lips. Without additional valves, such a pipe can only publish a limited number of sounds - a natural sound. To expand the sound range and the ability to fall on all sounds, a system of valves - valves, changing the height of the air column (as side holes on wooden) were invented. Too long copper pipes, unlike wooden, can be collapsed, giving them a more compact form. French horn, Tuba, Helicon - examples of rolled pipes.

String

A bow of Luke can be considered a prototype of string tools - one of the most important groups of any orchestra. The sound here is published by the oscillating string. To strengthen the sound of the string began to stretch over the hollow case - so the lute and mandolin, cymbals, husli appeared ... and a guitar familiar to us well.

The string group is divided into two main subgroups: smychkovy and plug instruments. Smychkov include violins of all varieties: violins, alta, cello and huge double bass. The sound of them is extracted with a bow, which is based on stretched strings. And for the pinch, the bow is not needed: the musician fingers turns the string, causing it to hesitate. Guitar, Balalaika, Lutni - Plumbing Tools. Like the beauty of the harp, publishing such tender speaker sounds. But the double bass is a bow or tweezky tool? Formally, it refers to the puffy, but often, especially in Jazz, they play with tweezers.

Keyboards

If the fingers hitting the strings are replaced by the hammers, and the hammers to move in motion using the keys will turn out keyboards instruments. First keys - clavician and clauses - appeared in the Middle Ages. They sounded quite quiet, but very gentle and romantic. And at the beginning of the 18th century invented piano - The tool on which it was possible to play both loud (forte) and quietly (piano). A long name is usually reduced to more familiar "piano". Senior Brother Pianino - Why there is a brother - king! - So it is called: piano. This is not a tool for small apartments, but for concert halls.

The keys belongs to the biggest - and one of the most ancient! - Musical instruments: organ. This is no longer a shock-key, like a piano and piano, but keychard Tool: not light musician, and the blower creates an air flow into the tube system. This huge system is managed by a complex control panel, in which there is everything: from manual (that is, manual) keyboard to pedals and register switches. And as otherwise, the organs consist of tens of thousands of individual tubes of various sizes! But the range is huge: each tube may sound only on one note, but when there are thousands of them ...

Drums

The ancient musical instruments were drums. It was the advocating rhythm that was the first prehistoric music. The sound can produce a stretched membrane (drum, tambourine, oriental darbuka ...) or the tool housing itself: triangles, plates, gongs, casstans and other ruts and godrelki. The special group is the drums, emitting the sound of a certain height: Litales, bells, xylophones. They can already play a melody. Percussion ensembles, consisting only of drum tools, arrange entire concerts!

Language

Is it possible to somehow extract the sound? Can. If one end of the plate from the tree or metal is fixed, and the second leave free and make it hesitate, then we get the simplest tongue - the basis of the tongue tools. If the tongue is one, we get vargan. Belongs include harmony, accordions, accordions and their miniature model - harmonica.

harmonica

On the accordion and accordion you can see the keys, so they are also considered keyboards, and the bunch. The tongues are some winds: for example, in the already acquaintances of us clarinet and a fagot tongue is hidden inside the pipe. Therefore, the separation of tools for these types is conditional: there are many tools mixed type.

In the 20th century, a friendly music family was replenished with another big family: electronic tools. The sound in them is created artificially with the help of electronic circuits, and the first sample was the legendary Termenvelox, created in 1919. Electronic synthesizers can imitate the sound of any tool and even ... play yourself. If, of course, someone will make up the program. :)

The separation of tools to these groups is just one of the ways to classify. There are many others: for example, the Chinese combined tools depending on the material from which they were made: wooden, metal, silk and even stone ... Classification methods are not so important. It is much more important to be able to recognize the tools and in appearance, and the sound. We will learn to this.

- Musical instruments, the sound on which is mined by a blow (hands, chopsticks, hammers, etc.) by body, becomes its source. Numerous and most ancient family among all musical instruments. Sometimes shock musical instruments are called a word percussion (from English. percussion. ).

Musician playing on shock tools is called drummer or percussionist in rock and jazz groups - also drummer.

1. Classification

Depending on the sound source, shock tools can be:

From the western regions of Ukraine to other regions of the republic, an exotic percussion instrument came, for the specific color of sound is called bull. In a small cone-shaped rudder, the upper hole is covered with skin. A bunch of horse-haired is attached to her in the center. The musician moistened in kvass hands pulls over the hair and mined the resistant sounds of the chord.

4. Multimedia

Sources

• Short Music Dictionary, M.1966
• Anthem to drum art (rus.)
• Impact musical instruments (rus.)

Literature

• A. Andreeva. Impact tools of the modern symphony orchestra. - K.: "Music Ukraine", 1985
• A.Panayotov. Impact tools in the modern orchestra. M, 1973.
• E. Denisov. Impact tools in the modern orchestra. M, 1982.

Among all musical instruments, the shock group is the most numerous. And it is not surprising, because the drum musical instruments are the most ancient on earth. Their history leads its beginning to almost the very beginning of mankind. The most primitive of them is either very simple for manufacture, or do not require any processing at all. In fact, every object of the world can serve as such a tool.

So the first percussion instruments in the world were bones of animals, tree branches, and later for musitizing, a person began to use the kitchen utensils that appeared by that time - boilers, pots, and so on.

Impact musical instruments of different nations

By virtue of the circumstances listed above: the simplicity of manufacturing and history, leaving roots in deep antiquity, the percussion instruments were so widespread that they penetrated literally into every corner of our planet. Each people have their own tools, the sound of which is extracted with the help of blows of a kind.

Of course, the number of percussion instruments in each individual people depends on the nature of its musical culture. For example, in Latin America, where ethnic music is distinguished by a variety of rhythms, the complexity of rhythmic patterns, the impact tools are an order of magnitude greater than, for example, in Russia, where folk song art often does not involve any instrumental accompaniment. But still even in countries where melodic starts over rhythmic music prevails in folk music, still there are their unique shock tools.

Percussion percussion

Some drums with time formed a single integer, which is now called the trick installation. Impact installations are usually used in various varieties of pop music: in rock, jazz, pop music and so on. The tools that are not included in the classic composition of the drum plant are called percussions, and the musicians who play with percussionists.

Such tools tend to have a pronounced national character. The greatest distribution today received percussion musical instruments of the peoples of Latin America and Africa.

Name history

The name of the musical instrument "Percussion" has Latin roots. It comes from the root having a "beat, hit". Interestingly, the word is familiar not only by musicians and music lovers, but also doctors. Perkussia in the medical literature is called the method of diagnosing diseases with the help of tapping on the tissues of the body and analyzing the sound published by them. It is known that the sound from hitting a healthy organ differs from the sound of a strike on a body in a painful state.

Music percussion is also associated with blows that are responding to humans, albeit not through direct impact, as in medicine.

Classification of musical instrument percussion

The great set of drum tools that do not belong to the set of classical shock installation, eventually began to need to be systematized. Tools of this kind are made to divide into certain musical notes and noise tools - that is, there are such, the sound of which does not have a certain height. The first include xylophone, metallophone, licensions and others. All sorts of drums - percussions of the second variety.

By sound source, musical instruments of percussion are divided into:

1. Membronofones are those in which the sound comes from the membrane vibrations stretched on any basis, such as in the tambourine.
2. Idiophones - where the source of the sound is the entire body of the tool, or its one-piece components, such as the triangle, metal fond, and the like.

In turn, idiophones are divided into made of wood and from wood.

An interesting fact is that the piano also belongs to the musical instruments of the genus of the drums, since in this instrument the sound is obtained by hitting the hammers in strings. The string drum also includes such an ancient musical instrument as cymbals.

Exotic tools

Percussion in modern music

Despite its national roots, percussion tools are used not only in ethnic music. In many modern jazz orchestras and rock bands, besides the drummer playing on the traditional installation, percussionist is also involved.

Thus, the rhythmic section of the ensemble is noticeably enriched due to the saturation of the drum parties. Samples of percussion musical instruments are also used in various directions of electronic music. The set of drums in the symphony orchestra is called orchestral percussion.

Kits percussion

For those who want for the sake of interest to try to play percussion as a musician amateur or for those who are a professional in this area, there are both separate percussion tools and ready-made sets.

For the smallest musicians in music stores, you can find kids percussion sets, often they are sold in ordinary toy stores. Sometimes these tools are completely identical to real percussions, with the exception of their reduced size.

Famous percussionists

• Airto Moreira is famous for its cooperation with the classic jazz music, Miles Davis. His solo projects are also known. Contributed to the spread of small noise shock tools in European jazz.
• Karl Perazzo - Percussionist of the famous Santana group.
• Arto TunçBoyaciyan - vocalist, composer and percussionist. It is known for its ability to get a first-class sound from any rented subject.