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Percussion Techniques > Terms And Phrases > Flashcards

Terms And Phrases Flashcards

0
Q

Anvil

A

French- enclume
Italian- incudino
German- amboss

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1
Q

Antique cymbals

A

French- crotales
Italian - crotalo
German-Krotalen

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2
Q

Bass drum

A

French- grosse caisse
Italian- gran casse
German- Grosse trommel

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3
Q

Brushes

A

French- verges
Italian- verge
German- rute

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4
Q

Castanets

A

French-castagnettes
Italian- castagnettea
German- kastagnetten

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5
Q

Change (tuning)

A

French- changez
Italian- Muta
German- Nach-stimmen

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6
Q

Chimes

A

French- Cloches
Italian- Campane
German- Glocken

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7
Q

Choke or dampen

A

French- Etouffe
Italian- secco
German- Dampfen

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8
Q

Cymbals

A

French- cymbales
Italian- piatti, cinelli
German- becken

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9
Q

Drum

A

French- caisse
Italian- cassa
German- trommel

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10
Q

Field drum

A

French- tambour militaire/ roulant
Italian- tambouro militaire/ basso/ basilea
German- militarretrommel

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11
Q

Finger cymbals

A

French- cymbales droigts
Italian- cinelli dito
German- fingernbecken

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12
Q

Hard sticks

A

French- baguettes dures
Italian- bachette duro
German- schwerer schlagel

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13
Q

Let ring

A

French- laissez vibrer
Italian- lasciare
German- klingen lassen

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14
Q

Mallet

A

French- marteau
Italian- maglio
German- Holzhammer

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15
Q

Muffle (w/ cloth)

A

French- sourdine, voilee
Italian- coperto
German- gedampft

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16
Q

Near Center

A

French- au milieu
Italian- sul mezzo
German- in der mitte

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17
Q

Near Rim

A

French- au bord
Italian- sul bordo
German- am rand

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18
Q

Orchestra bells

A

French- jeu de timbres
Italian- campanelli
German- glockenspiel

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19
Q

Percussion

A

French- batterie
Italian- batteria
German- Schlagzeug

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20
Q

Rachet

A

French- crecelle
Italian- ragnello
German- handratche

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21
Q

Player

A

French- executante
Italian- executori
German- spieler

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22
Q

Roll

A

French- roulement

Italian- rullo

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23
Q

Slapstick (whip)

A

French- fouet
Italian- frusta
German- peitsche

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24
Q

Sleighbells

A

French- grelots
Italian- sognali
German- schellen

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25
Q

Snare drum

A

French- caisse claire
Italian- piccolo cassa
German- kleine trommel

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26
Q

Snares

A

French- cordes/timbres
Italian- cordes
German- saiten

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27
Q

Snares off

A

French- sans cordes
Italian- senza cordes
German- ohne schnaurseite

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28
Q

Soft

A

French- mou
Italian- soffici/morbido
German- Weicher

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29
Q

Stick (beater)

A

French- mailloche/baguette
Italian- bachetta
German- schlagel

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30
Q

Strike

A

French- frappez
Italian- colpo
German- schlagel

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31
Q

Suspended cymbal

A

French- cymbals libre
Italian- piatto suspenso
German- becken frei

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32
Q

Tambourine

A

French- tambour de basque
Italian- tambourino (basco)
German- schellentrommel

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33
Q

Tenor drum

A

French- tambourin
Italian- tambourello
German- rolliertrommel

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34
Q

Timpani

A

French- timbales
Italian- timpani/ tamburi
German- pauken

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35
Q

Wood blocks

A

French- bois
Italian- legno
German- holz

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36
Q

Bass drum beater

A

Large felt or fur covered

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37
Q

Bass drum stroke types

A

Straight: into and away from head; most well defined attack
Glancing: reverse “check-mark”, legato attack

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38
Q

Suspended cymbal beaters

A

Medium or soft yarn
Also- snare stick or triangle beater

NO TIMPANI MALLETS

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39
Q

Triangle beater

A

Metal rods – larger the triangle = larger rod

40
Q

Triangle playing area

A

Optimal= side across from opening (choose place based off sound desired)

41
Q

Playing area for triangle rolls

A

1 hand: corner opposite opening

2 hands: side opposite opening

42
Q

Suspended cymbal play areas

A

Bell, bow, edge (unless otherwise directed)

43
Q

Crash cymbal playing position

A

Hold no more than 10 inches apart (closer for soft crashes)

Edge of pates misaligned (about half inch)

44
Q

Crash cymbal grip

A

Hold strap between thumb and index finger, not looped over hand

45
Q

Crisp crash cymbal sound

A

Produced by a straight together and apart motion

46
Q

Full/legato crash cymbal sound

A

Made by striking upper edge slightly before lower edge (like closed flam)

47
Q

Snare sticks made of……..

A

Hickory, maple, or birch

48
Q

Snare grips

A

Matched: fulcrum between pad of thumb and middle joint of index finger
*stick must pivot so it can bounce off of head

49
Q

Snare playing area

A

Slightly off center, but still over snares

50
Q

Snare strokes

A

Full, down, tap, up

51
Q

Snare roll types (and when used)

A

Single stroke: rudimental & concert style
Open/double stroke: marching & concert styles
Multiple bounce/closed/buzz: concert style & contemporary rudimental lit

52
Q

Differences between rudimental and concert style snare drumming

A

1) rudiments have set stickings, concert style generally R-hand lead or strict alternation (free merging of both, depending on eveness of strokes)
2) rudiments meant for eveness between hands, concert style goal is to make everything sound the same
3) rudimental uses measured rolls, concert uses closed/buzz rolls

53
Q

Timpani mallets

A

Felt: hard=stacatto
Medium=general
Wood: very hard

54
Q

American timpani grip

A

Thumbs down use fingers and wrists

55
Q

French timpani grip

A

Thumbs up, fingers only

56
Q

German timpani grip

A

Palms down, wrists only

57
Q

How to tune timpani?

A

Tune lowest pitch first, then tune other drums by interval from lowest pitch

58
Q

Timpani playing area

A

1/4-1/3 from edge of drum (different for each drum)

Listen for most bass sound and play there

59
Q

Timpani rolls

A

Exclusively single stroke (except on rare occasion)

60
Q

Tambourine playing area for soft-loud @ slow-medium speeds…

A

Held in one hand, and struck w/ fingers or palm of opposite hand.

  • moving from edge to center increases volume and adds head sound
  • forearm can be used to dampen head when playing fingers near edge
  • slap head w/ hand for accents
61
Q

Tambourine playing technique/area for soft-loud passages for rapid notes…..

A

Right foot on chair w/ knee overlapping on thigh, (less overlapping= more head sound)

  • rest forearms on shell
  • fingers = soft passages
  • hands = loud passages
62
Q

Tambourine playing for VERY LOUD & FAST PASSAGES

A

Hold in one hand a shake between knee and opposite hand fist (like spoons)

63
Q

Tambourine rolls

A

Shaking: generally loud, crescendo by raising tambourine up to shoulder height
Thumb roll: thumb on head near edge; faster speed & more pressure=louder sound

64
Q

Wood block beater…

A

Medium-medium hard rubber

65
Q

Wood block playing positions….

A

1 hand: held in one hand, played in other

2 hands: set on padded surface, or block holder

66
Q

Temple block beaters…..

A

Medium hard - hard rubber

67
Q

Clave playing technique

A

Rest one clave between fingertips and thumb, creating resonating chamber w/ hand, hold other clave with matched grip, strike center of resting clave

68
Q

Bells/glockenspiel beaters

A 
Loud/best = brass
Soft= aluminum
Other= plastic, hard rubber
69
Q

Xylophone beaters….

A

(Best–>worst)

Wood, plastic, hard rubber

70
Q

All purpose marimba beater

A

Medium-medium hard yarn/rubber

*avoid hard mallets in low register!!

71
Q

Vibe beaters…

A

Soft-hard yarn/rubber

72
Q

Marimba/keyboard grip (2-mallet)

A

Matched- loose, floppy fulcrum, to permit mallet to flop up and down on 2nd joint of index finger, w/ minimal wrist movement.

73
Q

Playing area on keyboards

A

Center of bars (very edge of accidentals on fast passages)

74
Q

Snare grip….

A
  • hands held palms down
  • fulcrum between pad of thumb, & first and second joint of index finger
  • back fingers curl naturally around stick, w/ pads of fingers lightly touching stick
  • butt of stick should cross outer half of palm @ base of fingers * not in center of palm
75
Q

Function of snare fulcrum

A

Pivot point- much like center of teeter-totter. 3 back fingers touch stick, but do not move it.

76
Q

Tightness/pressure on snare fulcrum affects……

A

Speed at which stick bounces off head. Tighter= quicker

77
Q

Where should timpani pedal be when not in use?

A

About half tension

78
Q

Timpani drum sizes, and fundamental pitches

A

32”- low C (or D)
29”- F
26”- Bb
23”- D

79
Q

Timpani grip…

A
  • Matched, but w/ THUMBS UP, PALMS FACING EACHOTHER
  • tip of index finger curls around shaft
  • fulcrum between pad of thumb, and middle section of index finger
  • thumb almost parallel to shaft
  • back fingers curl around shaft, but not encircle
  • hands positioned as far back on mallet as possible
80
Q

Timpani stance considerations…….

A
  • energy centered
  • do not reach/straighten elbows
  • hands 2-4 inches above drum
81
Q

Legato timpani strokes….

A
  • vary by dynamic* all contact head as little time as possible
  • begin and end in “up” position
  • allow weight of mallet to draw sound from head
  • Soft: made w/ back fingers
  • medium soft: rocking motion in fulcrum (mostly on up part of stroke) w/ back fingers
  • medium loud: wrist equal partner w/ fingers & fulcrum
  • loud: add forearm in
82
Q

Staccato strokes on timpani

A

Used for quick, rapid notes

Made by snapping fingers, wrist, or forearm (depending on dynamic, style wanted)

83
Q

Which aspects of percussion technique, that transfer between instruments, are most important? (Asks for 3)

A

1) Rudiments- most specifically the equal development of both hands, to help with aspects such as eveness of sound, speed, nuances, fluidity between instruments, etc
2) a firm grasp of how to create and manipulate,a fulcrum, as well as it’s function - though the fulcrum is slightly different from grip, to grip - understanding those differences, and being able to master them is essential to developing good technique
3) single stroke rolls - developing a good, even, malleable single stroke roll, as it is used so often on multiple instruments- & it develops hand coordination

84
Q

Define three types of timpani staccato strokes

A

Finger: snap back fingers, playing down into the head
Wrist: fingers closed w/ no mvt, can be dry if needed
Arm: full weight of arm behind stroke, same grip as wrist. Try to stay relaxe

85
Q

Sticking is…….

A

Phrasing!!

86
Q

Stickings determined by…

A

Phrasing/musicality

87
Q

All changes in sound come from….

A

Technique, not moving playing area

88
Q

Describe difference between legato & staccato timpani strokes

A

Legato- no emphasis/ get of the head!

Staccato- clear, crisp, stay on head longer

89
Q

Compare and contrast matched grip for snare vs mallets

A

Similar- both palms down
Fulcrum is still between index finger and pad of thumb
Butt/end of stick should still cross over outer part of palm, nit center
Different- function of fulcrum: snare= pivot point, pressure applied to keep stick in place, or manipulate for rolls. Mallets= fulcrum serves as point where stick is held.
Snare- manipulation of sticks themselves, more back finger involvement.
mallets- manipulating the weight of the head, less fingers

90
Q

Main technical value of rudimental snare drumming?

A

Develops both hands equally

91
Q

Describe 2 common problems with GRIP in beginning snare players.

A
  • issues establishing fulcrum: allowing first finger to pint sown stick, instead of lightly curl
  • trying to control stick w/back three fingers, instead of controlling rebound of stick
92
Q

2 most important considerations when setting up percussion section

A
  • Percussion should be placed near their related wind instrument
  • B.D. And cymbals should be next to each other
93
Q

Key to technical facility on mallets?

A

Economy of motion

94
Q

Name and describe the 3 types of concert cymbals

A

Light/French - react quickly, light and fast sound
Medium/Viennese - good “all-purpose”
Heavy/German - long response time, short decay

95
Q

How many snare drums required for marching band?

A

Rule of thumb - 2/ every 20-25 members of band

*adjust as necessary to maintain balance

96
Q

Name 10 notation problems in percussion music

A

1) lack of standards ( multiple ways to notate rolls, l.v., dampening, etc.
2) very open to interpretation
3) not overly accurate
4) generally gives you where the note starts, and not much else

97
Q

The “3 Dont’s of Keyboard Playing”

A

1) don’t cross your arms, mallets can cross occaisonally
2) don’t hit on the nodes,
3) don’t ever use the wrong mallet! Mallets must not be harder than what they are hitting!

Percussion Techniques (1 decks)

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