Project 1: Percussion Solos

THE SNARE DRUM

The first instrument I chose to use was the snare drum.  Having some experience of the drum kit, I have some knowledge of the instrument but my research below gave me the inspiration to create this piece exploring the instruments military history.  

Below is the first piece I composed:

                                I tried to reflect the military rhythm and style of the Janissary Bands

Research of Snare Drum

The snare drum, often used in orchestras, marching bands, concert bands and drum corps, is an unpitched instrument belonging to the percussion family.  In a drum kit the snare drum sits in the middle, making it the most prominent in the kit.  The snare drum is usually made by curving and stretching wood into a cylindrical shape, stretching a skin over both sides and placing a ‘snare’ on the top and bottom skins. 

The History of the Snare Drum

The snare drum is believed to have evolved from a medieval instrument called the tabor.   The tabor was larger than a medium tom and was often used in war, played with a fife.   Despite the fact that the tabor was not always double-headed, and some of them didn’t have snares, from the descriptions of both instruments, it is clear to see the evolutionary process involved. 

During the 15^th and 16^th Century, the snare drum became popular with the Swiss armies following its regular use by the Turkish Janissary Bands.   Up until the 17^th Century, snares of these drums would have been made from gut.  However, in the 17^th and 18^th Century, the snare underwent further development, adding screws to secure the snares and a development in the way the skins were applied. 

In the book, ‘The Art of Snare Drumming’ (1925), Sanford A. Moeller stated, "To acquire a knowledge of the true nature of the [snare] drum, it is absolutely necessary to study military drumming, for it is essentially a military instrument and its true character cannot be brought out with an incorrect method. When a composer wants a martial effect, he instinctively turns to the drums".

The Snare Drum in Classical Music

Instances of the use of the snare drum with classical compositions seems to be themed around the instruments military character and position in the Janissary and marching bands.  In Ravel’s Bolero and Rossini’s Ouverture (La Gazza Ladra) the instrument uses a number of rolls and keeps an military sound hidden beneath the orchestra.  In Nielson’s Symphony No.5 op.50 this military base is still heard with the music, but seems to make more of a dramatic input into the piece.

The Snare Drum in Modern Music

Today, the snare drum remains within the western orchestra and continues to be used for military beats, drum rolls and special sounds.  The snare also plays a major part in most other genres of modern music as part of the drum kit.   In the Pop and Rock genres the snare is often used to keep the backbeat and is often played using a technique called ‘rim shots’, whereby the rim and head of the drum are hit simultaneously with the drumstick.  Rock and Pop songs, such as Nirvana’s Smells Like Teen Spirit and The Cranberries Linger use the snare, but seem to have lost the military theme, instead use the instrument’s unique sound to harmonise with the other pieces in the kit.

Today, Cozy Powell, Dave Grohl, Keith Moon and John Bonham are held in high regarding as extremely talented drummers.   These musicians have often been known to experiment with both the character and techniques of the drum kit, creating new and fresh sounds.  

THE TRIANGLE

The second instrument I chose was the Triangle.  This Triangle has a reputation for being a layman's instrument and I was extremely interested to find out how the instrument could be used.

My composition using a triangle is below:

                               With this piece, I have tried to explore the rhythmic side to the triangle

My Research of the Triangle

The triangle, which is classed as an idiophone, is a metal instrument in the percussion family.  Usually made of steel, the instrument is played by striking the metal with a metal beater or wand. 

The History of the Triangle

The first reference to the triangle was during the 10^th Century when the instrument was used to mark church celebrations, documented through religious art.  During this time the instrument was made in many shapes including trapezoidal and isosceles triangles.  Later, in the 18^th Century, the triangle was often used in Janissary music and began to be seen in orchestras.   Early triangles were not left open at the corner, but were in fact a solid triangle with five or more rings threaded onto the instrument.  When struck, these rings would vibrate adding more depth to the sound.  This style lasted until the 19^th Century when the instrument was simplified. 

However, it was only in the 19^th Century that the unique sound of the triangle was commonplace in a variety of music genres.   Franz Liszt’s Piano Concerto No.1 in E-Flat Major is heralded as one of the most famous compositions to heavily feature the triangle. 

Today, the triangle is still used in many orchestras around the world and is commonly found in most other musical genres including Pop, Jazz and World Music. 

Although commonly seen as a ‘layman’s’ instrument which requires almost no musical knowledge to play, there are a number of examples, especially classical composition, which require a high level of input and skills for the triangle player.

The Triangle in a Janissary Band

Janissary music is named after the Janissaries in Turkey dating between the 14^th and 19^th Century.   This style of music seems to incorporate both the marching band style with the more typical tribal styles from the surrounding regions.  Janissary Bands are formed mainly of large and loud percussion instruments such as the timpani drum, bells, triangles and cymbals.   When struck loudly, the triangle has the capability to make a dramatic input into any ensemble and fits well with the military style of the Janissaries. 

The Triangle in Classical Composition

Many classical composers including Beethoven, Mozart and Haydn have used the triangle.  Their use of the instrument was often minimal, probably so as not to ‘drown out’ other instruments in the orchestra.  Most famously, Franz Liszt’s Piano Concerto No.1 uses the triangle as a solo instrument in the 3^rd movement.

The Triangle in Modern Music

The triangle is still widely used across many different genres.  It maintains a valuable role in an orchestra.  It features highly in Cajun folk music as well as being commonplace in the Pop and Rock genres.  The triangle provides the percussion for Henry Mancini’s theme for The Pink Panther as well as being commonly found in a number of TV and Movie themes including Blackadder Goes Forth. 

Reflections on the Triangle’s Character

Whilst having the potential to ‘ring out’ above other instruments, the triangle’s high-pitch and delicate tone provides a great contrast between the often lower tones of other percussion instruments.  When used sparingly as an accent, the triangle offers the emotion of innocence and carries a magical undertone reminiscent of fairy tales and mythical creatures such as pixies and fairies. However, when the triangle is played in a more rhythmic pattern, it can provide variation between tones and pitches.  A rhythmic percussion solo by Jose Cortijo revealed an almost tribal rhythmic sound which could be incorporated within a larger ensemble of tribal instruments.

Despite its reputation, the triangle can be played in many different ways to fit within the given genre.  Its versatility accounts for its regular use in many different forms of music.

THE TAMBOURINE

I chose the tambourine as my next project.  It is seen frequently in pop music and I was keen to see how this instrument was used around the world.  My research and project can be found below:

I tried to explore the range of the tambourine with this piece, 

with the frequent use of both trills and tremolos.

My Research of the Tambourine

The tambourine is an instrument in the percussion family made up of a ring of wood or plastic and small pairs or metals disks called ‘zils’.  Classically a tambourine would feature a drumhead stretched across the wooden frame, but many variations exist today. 

The History of the Tambourine

The origins of the tambourine can be traced back to many ancient civilisations including Greece, Eygpt and Rome.   The first examples of the tambourine were the tympanon or tympanum used in Rome, Greece, Eygpt, Israel and Mesopotamia.   The timbrel or tabret were early forms of the instruments that were bought to Europe in the 13^th Century and were mainly played by women.  A recognisable form of today’s tambourine was seen in the 18^th Century, brought in by the Turkish Janissary bands. 

The tambourine has also been seen in many religious texts. In the Christian faith, the tambourine is mentioned in Exodus 15:20 as the instrument Miriam played when the Israelites escaped from Eygpt.  In Islam, a similar instrument is used called a ‘Rebana’.  Rebana comes from the Arabic word Robbana which translates to “our god”. 

Mozart was one of the first western composers to incorporate the tambourine into one of his compositions.  Since then, it has been widely used in orchestras, operas and ballet including Tchaikovsky’s Arabian Dance from the Nutcracker Suite. 

Today the tambourine is used in many ways across many genres.  In Europe, it is mainly associated with the folk genre, but has been seem on numerous Pop and Rock scores.   Some modern composers who feature a tambourine in their compositions are Nikolay Rimsky-Korsakov, Hector Berlioz, Igor Stravinsky and Christoph Gluck. 

Tambourine in Classical Music

Early use of the tambourine in classical compositions seems to be focussed around adding a hint of exotic or eastern flavour to the pieces.  Many early pieces containing the tambourine use the instrument sparingly to keep the beat and further enhance the piece.  A number of Mozart’s Dances included the tambourine as part of his ‘scaled down’ orchestra.

The Tambourine in Modern Music

Today, in western culture, the tambourine remains a frequently used instrument.  It features heavily on numerous Pop and Rock tracks as well Folk and World music.   The Beatles used the tambourine in a number of their hits including Ticket to Ride, Drive my Car and Lucy in the Sky with Diamonds.  The song ‘Mr Tambourine Man’, written by Bob Dylan and made famous by the Byrds also helped to bring the tambourine to the fore in modern music.  The tambourine was also popular in the ‘Brit Pop’ era, being Liam Gallagher’s ‘instrument of choice’.

Reflections on the Tambourine’s Character

Religion and culture have played a huge part in the characteristics of the tambourine.  In addition to being a simple drum, the zils give the tambourine a very different sound, lifting the monotone pitch produced.   In addition, the instrument’s military background adds a very different perspective.

The tambourine seems to be an instrument capable of embodying the mood and characteristics of any piece.  Its flexible nature allows for it to be struck, scraped, shaken or tapped and it can be used with various parts of the body (i.e. the leg or forearm) to create a variety of tones.  

THE GUIRO

Having had access to this instrument at the school I work at, I am really excited to discover the character of the guiro.  My research and composition can be found below:

I tried to capture the tribal roots of this instrument and reflect

 the simple, yet distinctive tribal beat.

My research of the Guiro

The guiro, which translates to “the hitting of one body against another”, is an instrument in the percussion family made from a carved gourd which is struck, shaken or scraped using a ‘pua’.  The guiro is usually played by making long or short sounds by scraping the ‘pua’ against the carved notches of the instrument. 

Origins of the Guiro

The guiro, which is commonly used in Latin American Music, was believed to have been developed in Puerto Rico by Taino people dating back to the 1400’s.  The Tainos held music in high regard and it played an integral part of their daily life.   Music was used to recall historical moments, to mark special occasions, to communicate with the spirit world and as praise to their gods.  Although not much evidence remains of traditional Taino music, it is believed that music pieces were organised to include solo and chorus sections.   

The Tainos originally made guiro from the seedpod from the native Flamboyan tree, but since then a number of different materials have been used in the production of this instrument.

The earliest known writings of the guiro were written in 1778 by Fray Inigo Abbad y Lasierra.  Born in Spain in 1745, Fray Inigo Abbad y Lassierra was the first historian to extensively document the history of Puerto Rican culture.  In his writings, the guiro was described as one of the percussion instruments commonly used in dance sequences.  Some historians maintain that the instrument was introduced to the Tainos by a native African tribe called the Arawaks.  It is believed that the Arawaks used guiros commonly in their dance and musical rituals.

The Modern Guiro

Today it is common to find guiros made from wood, metal, plastic or even fibreglass.  The scraper is typically made of metal, wood, bamboo, ceramic, plastic or bone.  The unusual sound of the instrument adds interesting tones to a rhythm sections and is commonly used in Cumbia and Salsa and Mambo music. 

Guiro in Salsa and Mambo

Although the Guiro is not commonly an instrument fitting this style of music, it is often used today as its tones provide a simple and steady beat, which can be easier for dancers to follow. 

Guiro in Cumbia

Cumbia music originated as a fusion sound in Colombia’s costal regions at a time when the native Colombia people mixed with African slaves.  Cumbia started as a courtship dance, popular in Africa, and later developed by incorporating European and other western instruments.  The guiro is an extremely important instrument in the Cumbia and is seen as the main instrument in the rhythm section.

Reflections on the Guiro’s Character

The guiro can be used in a number of different ways to represent different emotions and textures.   Its low and monotone sound provides an audible, steady and regular rhythm when played with a large ensemble, yet its characteristics could make it an ideal piece for a solo.

It’s hard not to hear the sounds of nature in the guiro.  A gentle long scrape of the guiro is reminiscent of a frog’s croak, yet a frantic series of light, short scrapes mimic the buzzing sound of insects.